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Issue7.QXD 9/27/05 7:51 AM Page 1 Issue7.QXD 9/27/05 7:51 AM Page 2

Erik Siljander Chad Weis 612.685.6296 612.501.8595 Issue7.QXD 9/27/05 7:51 AM Page 3

ISSUE 7 OCTOBER 2005

CONTENTSE 014 016 002 004 013 010 012 011 INTRO COLUMNS CD REVIEWS 018 MUSIC SCENE MUSIC FEATURES CHARIOTS by Rich Horton MUSIC BUSINESS/ADVIC ROBERT SKORO by Jen Parshley 006 DESDEMONA by Christine Mlodzik 008 COOL LOCAL MUSIC WEBSITES LOCAL MUSIC AT SOUND UNSEEN 2005 LOCAL MUSIC AT AND JUSTICE FOR ALL by Galen Eagle Bull RECORD LABEL: Afternoon by Rich Horton Records NOWHERE BAND: Back From the Dead by Keith Pille AUDIO INSERT: Will You Still Hear Me Tomorrow by Chad Weis by Chad Weis Still Hear Me Tomorrow AUDIO INSERT: Will You Issue7.QXD 9/27/05 7:51 AM Page 4

INTRO

What Comes Around, Goes Around. ISSUE 7

As Rift Magazine enters its seventh issue, it transitions into a new era.

We've been around for more then a year now and I haven't given up yet, RIFT MAGAZINE which is a good sign. Instead of messing around and releasing issues at October 2005

erratic times, I've opted to take the magazine into overdrive status and get it

on the stands each month. Loyal readers, you'll no longer have to wait EDITOR IN CHIEF around for two, sometimes three, months to get a healthy dose of Rift. RICH HORTON

Of course this means I'm likely going to end up crazy in a mental insti- FEATURES COPY EDITOR tution, but a mind is a terrible thing to waste, so I am going to do my best to AMBER CORTEAU

exercise it. Better to push it to the limit while I'm young than when I'm 40 and PROOF READING can no longer think. CHRISTINE MLODZIK

What have I've learned over the last six issues and all my experiences ART DIRECTION / LAYOUT is that it's not easy doing anything creative independently. I've watched EMILY UTNE countless artists and musicians sacrifice themselves and their money to cre- COVER ART ate something important to them. Many of us can't get past the full-time job, RICH HORTON part-time passion hump and those who risk diving into the creative fray full ADVERTISING SALES time brave a lifestyle with little money and no health care or other important RICH HORTON benefits. CONTRIBUTING WRITERS Rift wants to embrace that spirit and get the word out, so maybe local CHAD WEIS, CHRISTINE MLODZIK, KEITH PILLE, RICH musicians and creative people can see a light at the end of the tunnel. We HORTON, DAVID BRUSIE, GENTRY BOEKEL, JACK EVANS, JEN PARSHLEY, AND GALEN EAGLE BULL. want to make the impossible dream seem less unattainable; making it appar-

ent that selling your soul to the "man" isn't your only option. CONTRIBUTING PHOTOGRAPHERS AND ILLUSTRATORS EMILY UTNE, COLIN STRANDBERG, 301 STUDIOS AND To fans who are content just indulging in music and art, rather than cre- ANDY BERNDT. ating it, this is what you can do: Purchase local music whenever the chance ALL ADVERTISING INQUIRIES PLEASE E-MAIL: arises. If you're at a club and see an amazing band, support them by buying [email protected] a CD. When you attend art show and see a cool print or poster, purchase it

if you can. This is the only way to support these artists, which encourages FOR GENERAL INFO E-MAIL: [email protected] them to keep creating.

The same thing goes with Rift. Check out our advertisers and let them PLEASE SEND ALL MUSIC FOR REVIEW AND PROMOTIONAL ITEMS TO: know you saw them in Rift, so we keep getting the backing we need to sur- RIFT MAGAZINE vive. Send us an e-mail from time to time to let us know how we're doing and P.O. BOX 18700 MINNEAPOLIS, MN 55418 where we can improve. We're all consistently striving for better, more (612)978-1527 informed pieces and we want you to come along for the ride. We appreciate WWW.RIFTMAGAZINE.COM all the support so far and thank you all, the readers, for supporting local

RICH HORTON RETRACTIONS & CORRECTIONS: EDITOR IN CHIEF LUCAS SAUGEN WAS NOT CREDITED FOR THE OLD-TIME MUSIC SCENE PHOTOS.

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EMILY UTNE Issue7.QXD 9/27/05 7:51 AM Page 7

bounced from floor to air like a grasshopper and then landed flawlessly back at his keyboard to fill in the sound with a layer of organ notes. A few days after the show, the band’s guitar player, Eric Odness, jetted off to live in New York. Chariots are taking it in stride, however. The guys anticipate a long-distance relationship where Odness will visit in two months for rehearsal and then a short, East-Coast tour. Bos said Chariots didn’t want to seek a replace- ment for Odness because the band’s chemistry was already set. Writing new songs could prove to be a bit more of a challenge. In the past, the whole band worked on 30- second blasts of music and then blended them together to create cohesive songs. Now, along with Bos, drummer Matt Kepler and bassist Blain Finders will partially assemble and record those spots and send them to Odness so he can work in his parts. Chariots have a new album in the works, but can’t say when it will be done. The band doesn’t want to rush it. Since Bos has made relationships with a few labels through previous bands like Song of Zarathustra, he’s confident someone will be there to put the new record out when the time comes. Troubleman Unlimited released “Congratulations,” on CD and vinyl and the label has done an excellent job of getting the album into the right hands. As for the addition of “America, North” to the band’s name, the guys explain they were forced to do it because of the gluttony of bands with Chariots in their name. Chariots elected “America, North” to fend off any confusion. For example, one of the bands using Chariots in their name is overtly Christian, which Bos and Kepler confirm they are not. The band has been nominated for a Minnesota Music Award in the punk rock category, but their sound might line up better in the hard rock category. Chariots are better described as a subgenre of the two, where the rawness of punk rock unites with the heavy sound of hard rock. Bos and Kepler say it has been difficult to define and explain their sound to people. It seems that Chariots has things pretty well figured out. Finders is perfectly happy with his day job, Kepler and Bos have temporary jobs and they all agree Chariots is a good place for them. All twenty-something and Midwestern, they have no misconceptions about playing music. This is what allows them to create the music that they want to create, without compromising for the sake of a major record label or anyone else.

www.chariots-music.com Issue7.QXD 9/27/05 7:51 AM Page 8

ROBERT SKORO CAMERON WITTIG BY JEN PARSHLEY

ike many well-meaning parents, my mom had a dream that one of her children would become a piano prodigy. She wanted a child who would practice obediently for hours every week, not a child who frantically memorized the pieces 15 minutes before each les- son, hoping the piano wouldn’t notice the too-crisp pages of unturned sheet music. I was that latter child. One Minnesota mom, though, found herself on other the end of the piano-child- genius dream. After watching a schoolmate play at a piano recital, her son said, “Mom, I have to do that.” He was only five years old. Twenty years later, that earnest young man signed with Yep Roc L Records to release his second album, “That These Things Could “FOR EVERY SONG Be Ours,” which was released on September 6th. Twenty-five-year-old Robert Skoro, a Minneapolis native, WE WERE JUST STRIVING studied piano formally for five years after the piano-recital “it” TO HAVE THAT SONG THAT moment. He attended MacPhail Center for Music in his early high-school years and began writing his own music at age 14, JUMPS OUT AT YOU.” when he picked up a guitar and learned a few chords. Unlike ROBERT SKORO many young guitarists, he did not automatically envision himself performing in a band. “[I was writing] without much regard for playing with other people,” Skoro said. Eventually, he began playing in garage bands with high school friends and at 17, Skoro joined the Mason Jennings band lineup as the bassist and toured

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with Jennings for nearly four years. While you won’t find any songs from Skoro’s earlier years on his latest album, you will hear a more mature and musically evolved Skoro. Compared to his self-produced debut album, “Proof,” (Merciful Records, 2002), which Skoro describes as a “lot of me just fooling around,” “These Things” took nearly three years to assemble. Skoro spent two years writing the tracks and one year pushing the demo before recording at Engine Studios in Chicago with Brian Deck and signing with Yep Roc Records. Toward the end of pushing the demo, Skoro said he found himself exhausted from controlling much of the production process. “When it was time to make the record, I just wanted to be the song writer/guitar player,” Skoro confessed. Deck actually contacted Skoro first about working together on his second album after liking what he heard from “Proof.” Skoro, already a fan of Deck’s work such as the Fruitbats’ album, said he learned a lot from Deck and after some discussion, decided to head to Chicago to record the album. The full band, which includes Andy Thompson on electric piano, the synthesizer, melodica, and vocals; Bill Mike on electric, acoustic and prepared guitars, pedals and vocals; James Buckley on bass and JT Bates on drums, percussion and programming, spent ten days together in the studio. Skoro returned later to finish mixing. The album wrapped up in under three weeks. One of the biggest challenges–and most arguably the great- est risk–Skoro took with this album was choosing to record vocals while playing guitar with a live band rather than recording tracks separately to be added in the end. Skoro said he took this chance because he wanted to “tap into the emotional core of the song” instead of aiming for technical perfection. “I wanted an honest representation of what the band sounds like when we actually play together,” Skoro said. While Skoro writes all of the music, he feels confident that his band members will find their own role in a song. “They have a strong natural force. They’re really fantastic musicians,” Skoro said. For example, while recording at Engine Studios, the band needed a marimba for the track “Old Friend.” They found one to borrow an hour away, hopped in the van together and then drove back to have “Thompson bust out an arrangement on the first take,” Skoro said, with awe still ringing in his voice. As for the experience of recording in a full live band, Skoro said “For every song we were just striving to have that song that jumps out at you. Leave no doubt that that’s the track you’ve been looking for.” Skoro described his music as having “narrative quality lyrics.” Skoro said his songs are not as confessional as people tend to believe, though. “They touch on things I’ve experienced in the real world, [but with] lots of fictional moments” Skoro said. So while we may never know if Skoro was really blonde at four years old or whose angular face he can no longer ignore, we look forward to watching this Minneapolis artist woo other listen- ers across the coasts, as he said he wants to tour as much as possible to create new opportunities for the band. “You don’t get to choose your audience. You don’t get to choose your fans,” he said. And Skoro also has a favor to ask of you: “Just listen to the music. That’s all. Be a participant in the performance.” Now that is something this piano-practice-faker can do without being told twice. Featuring the Hit Singles - “Streetlife” “SHAKE IT GURL” WWW.ROBERTSKORO.COM “Problemz II Solve” “Tell Dem” Issue7.QXD 9/27/05 7:51 AM Page 10

desd mona the “spoken worda princess of hip-hop and poem” PROMOTIONAL PHOTO

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nterwoven within Desdamona’s family tapestry is a it’s edgy or rock and roll,” she said. “I love to see very strong thread: spoken word. where the music takes the lyrics and the mood of the With a grandmother who’s a poet and a father who’s album.” On Desdamona’s new album “The Ledge,” a storyteller, Desdamona was naturally drawn to spo- she mixes together reggae, jazz and world beats with ken word and began writing poetry at a young age. In help from producers Sly & Robbie and Rich her teens, she took an interest in music and connect- Crawford. Desdamona credits a grant from the ed to spoken word when she started creating rhymes Minnesota State Arts Board to help get her work off and lyrics. Soon after, she got her first taste as a per- the ground. She said the arts board is a great, under- former at an open mic night. used resource for musicians. Desdamona left her Mt. Pleasant, Iowa, home- Desdamona’s hard work is paying off in the form town for Minneapolis almost 10 years ago and with of respect from local musicians and an impressive list hard work and determination, she’s taken reign as of awards, including the Minnesota Music Award for the “spoken word princess of hip-hop and poem.” Best Spoken Word Artist in 2000, 2003, 2004 and She captures the attention of her audience with a sul- 2005. Desdamona has gained significant national try whisky-and-cigarette filled voice and holds it with recognition as well, including an appearance on the razor-sharp lyrics. Jenny Jones show, a victory at Honolulu’s Slam 2004 I “Music, poetry and Championship and a slot on the Bustin’ Out Tour in BY CHRISTINE MLODZIK songwriting is part of an California as one of four female poets. oral tradition that’s existed since humans learned to When Desdamona isn’t making music, she’s speak,” Desdamona said. “It’s so important; some- forming strong community ties, attributing the latter to times I don’t think we realize its power.” her small-town roots. She produces the Encyclopedia Desdamona feels unrestricted with spoken of Hip-Hop Evolution, a quarterly series at Intermedia word. “When you take the music away from some Arts in Minneapolis. She also teaches workshops to hip-hop lyrics, the song falls apart,” she said. student’s ranging from third grade to college. She “Spoken word doesn’t need to be done over music to shares and cultivates the love of poetry in young have the same power behind it, plus it has a lot of artists by performing, talking about hip-hop and rhythm and tempo changes that’s sometimes hard to encouraging them to write poetry. The effect on her do with music.” students has been remarkable. “I’ve seen students Desdamona considers herself a hip-hop artist, come out of their shells,” she said. “They connect to yet many musicians and fans see her as a poet and me as a person and as a performer and they eat up a singer. She admits being labeled is frustrating, but what I’ve taught them. Some of my former students she refuses to limit her musical growth because of it. have come back to me years later saying ‘I want to “I love to experiment with all styles of music, whether be a hip-hop artist because I saw you at my school.’” “It’s important to keep telling your story with your voice. Even if someone else tells it, no one can tell your story like you can.”

In 2005, Intermedia Arts approached Desdamona about putting together an all-female, hip- hop festival. “My first reaction was ‘no way,’” she said.” It was a great idea, but I’m not a great organiz- er.” She said, “I thought about it overnight, came back the next day and said ‘yes, let’s do this, but let’s get other women in the community involved. This needs to be a musical and visual exhibit.’” The end result was B-Girl Be: A Celebration of Women in Hip-Hop, celebrating women’s accom- plishments in hip-hop through workshops, film screenings, live graffiti art, breakdancing, MCs and DJs. The event occurred from April to June of 2005. Plans are underway for the 2006 B-Girl Be. Desdamona has already left her legacy in music and community service, yet she’s not resting on her laurels. She plans to take her love of spoken word on the road in 2006 and share it with a larger audience. “I perform with the hope people are positively affected by spoken word,” she said. “It’s important to keep telling your story with your voice. Even if someone else tells it, no one can tell your story like you can.”

EMILY UTNE EMILY WWW.DESDAMONA.DUNATION.COM

RIFT MAGAZINE 09 Issue7.QXD 9/27/05 7:52 AM Page 12

BY KEITH PILLE NOWHERE BAND

BACK FROM THE DEAD! COLIN STRANDBERG

he whole point of this column mattered a great deal; however, is that my band, while very satisfying because it took on the form of estab- and a ton of fun to be in, isn't exactly on lished relationships with booking agents. the fast track to stardom. While trying to In all of my time observing and par- get booked after a yearlong hiatus from ticipating in the Twin Cities rock scene, shows, I've been surprised to find it's I've seen that relationships matter the much more difficult when stagnant time most. The people who book the clubs has passed. It turns out before our peri- are the keepers of those ever-elusive T od of dormancy, we had been making a doors, and they're a lot more likely to let Like my boys little bit of headway after all. But like my you in if they know you or have dealt in Cinderella told me boys in Cinderella told me during my with enough to know you'll show up and during my MTV-drenched MTV-drenched junior high years, “you know how to play your instruments. don't know what you've got 'til it's gone.” Talent and determination are necessary, junior high years, When I say that we'd made of course, but not the determinant of “you don't know what progress, it's a relative statement. The your success. Even if you impress a evolution of our career was sort of like booking agent with your amazing rock you've got 'til it's gone.” the mass of the subatomic particle neu- assault and he or she wants you to play trino-it existed, but in such a tiny every Saturday night because you're so amount, you could only say is it was awesome, this means your talent only mathematically greater than zero. We greased the rails for the all-important weren't well known or poorly known. We popularity contest. (I'm skirting the other just were. Our neutrino-like progress type of necessary and beneficial rela-

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tionship-- the connection to other bands. You fill out each other's show lineups, you show up at each other's shows, and, ideally, MUSIC WEBSITES when one of you actually starts to get somewhere, the other COOL LOCAL closely connected bands often start to rise with the same tide). What my band finds now is that most of the relationships we'd built up by last year have eroded with time. While we were fussing over our recording project, some clubs closed, opened, changed ownership or changed booking people. Booking agents we used to call with the reasonable expectation we'd get a show within a month, no longer remember us. Bands we were tied to have also dissolved with time. Tons of local show In some ways, things aren't much different than they were reviews and local when I first moved to St. Paul with a bass and a clunky solid-state writer blogs. Fender amp. And now, my band is very close to starting over at www.howwastheshow.com square one. Except today there are worse aspects. For example, when I was 22, I was perfectly happy to playing midnight slot on a Tuesday because I figured I was paying my dues and it would only be a few months before my band was signed. Now, the offer of a midnight show prompts a flurry of e-mails discussing whether it's worth being exhausted to play in front of six people, Band listings, shows, practically leading up to an Excel-spreadsheet-driven, cost-ben- resources and more. efit analysis of whether or not we should take the show. I don't mean to whine. For one thing, we knew this would www.tcmusic.net happen when we decided to keep a low profile for a while. And, well, we still get together every week--more or less--and make a lot of noise, which I believe is the central joy of playing in a rock band. And if the difficulty of getting shows is the worst problem in your life, you're doing pretty well. Most importantly, though, is All local internet that we're not really starting from scratch. Even though we've radio. Features local lost most of our booking relationships, I have a far better idea of artist each month. how the system works now than I did eight years ago. I'm no longer under the impression that if I just drop a home-recorded www.misplacedmusic.org cassette into the mail slot at the 400 Bar, their booking agent will call and offer me a gig. What's my point here? I have a couple, really. The first is that it's entirely possible your band has made more headway than you think. You should be careful about taking long periods of All the local show time off because getting a show after a year out of the circuit is listings, all ages and bit like trying to start a car that's sat dead all winter. 21+ Mostly, though, I wanted to confirm that it really is all about www.tcshowslist.com who you know in the music scene. Getting to know the right people is just a normal part of ongoing band business. You're almost certainly building those relationships now, even if you're not aware of it. While this column was in the draft stage, we actually booked a show. And yes, it is at the one club in town where the booking guy remained the same and he happened to remembered us. So Local Hip-Hop batten down the hatches, Minneapolis As of the end of October, Coverage. Derailleur exists again! www.dunation.com

RIFT MAGAZINE 11 Issue7.QXD 9/27/05 7:52 AM Page 14

AND JUSTICE FOR ALL BY GALEN EAGLE BULL

WHEN IS THE BEST TIME FOR MY LABEL/BAND TO Q HIRE AN ATTORNEY?

AThe answer to this question depends on how much work and research you After you've selected an attorney, the most important thing to you, the want to do yourself and how much money you have to spend. Either way, client, is the cost in such an investment. This is always the first question if you are serious about establishing a business, the expense of an attor- I'm asked. Most attorneys can review standard contracts for a flat fee up ney is something you should plan for in advance. front. Unless the case is taken on contingency, all attorneys will require that you pay a retainer for litigation. The retainer will usually range from The biggest way to save money is to figure out how much of the work you $1,000 to $5,000, depending on how time intensive and complex the mat- can do yourself. There are a number of legal self-help books on the mar- ter is. Whatever the case, clarify with your attorney how much and for what ket. Most contain form contracts that you might be able to use for simple you will be charged. Attorneys will often charge for interoffice conferences matters like model-release agreements or a basic demo deal. However, and phone calls regarding your matter. Personally, I only bill clients for for more complex matters, such as recording contracts, a form agreement phone calls with third parties relevant to their matter, not for direct calls with may not be tailored to your specific situation. In this case, you'll want to the client. I have found when clients know they're being billed for calling find an attorney familiar with such matters. If your business finds itself me, they hesitate to call or speak really quickly when they do. And frankly, involved in litigation, then you will definitely need an attorney to make sure the notion of charging my clients to talk to me on the phone seems a little the appropriate pleadings are filed in a timely manner. ridiculous and slightly self-important.

So you have reached the point where you want an attorney for your music Lastly, it is crucial that you feel comfortable with and trust your attorney. or entertainment business. Music law is not geared toward the general This individual will become a part of your team. You will disclose certain public. Instead of opening the yellow pages, seek referrals. Ask other local confidential matters to him/ or her over the course of your working rela- bands and labels if they have an attorney and if they have a good relationship. And remember, your attorney works for you. If you are unhappy tionship with him or her. Attorneys are generally known by their reputation, with the service provided to you, do not hesitate to fire your attorney and so a good referral never hurts. Word of mouth is an excellent way for attor- look elsewhere. neys to gain clients, especially in the music business. Most importantly, find an attorney who is familiar with the industry. I would never handle a The information in this column is for general information purposes only. It divorce matter because I am completely unfamiliar with family law. Make is not intended to provide advice regarding a particular legal situation. sure your attorney knows music and entertainment law, because you don't Legal advice can only be provided after consultation with a specific attor- want to pay for his or her learning curve. In other words, you shouldn't be ney. charged for the time it took your attorney to research the difference between artist royalties and mechanical royalties. An attorney that knows Email your questions to [email protected] the industry will save you money. Issue7.QXD 9/27/05 7:52 AM Page 15

>>>MUSIC SCENE>>> ANDY BERNDT LOCAL MUSIC AT SOUND UNSEEN 2005

Now in its sixth year Sound Unseen 2024 RECORDS SHOWCASE SCENE MINNEAPOLIS 1977-1984 Valet, Duplomacy & Fitzgerald TUESDAY OCTOBER 11TH 7:30 seems to get bigger and cooler every $5, 21+ OAK STREET CINEMA year. This year they will be showing Free w/ Glam Pass or Party Pass Vintage concert footage, music videos, Thursday, October 13 - 9:30 pm and performances, shot by local filmmak- more then 40 films while hosting multi- The Varsity Theatre, Dinkytown, ers Mike Rivard, Craig Sinard, and Chuck ple events and live music over a ten Minneapolis Statler. Bands include Things That Fall day period. The films come from all Down, the Psychenauts, The Wallets, CHAIRKICKER'S UNION Johnny Rey, The Suburbs, & more! over the world, but include many done SHOWCASE W/ HOST ALAN here in the states and a few even pro- SPARHAWK Screens with: If Thousands, The Keep Aways, No Wait duced here locally. We have listed Wait & Paul Metzger. SOUL ASYLUM: NEVER TOO LATE, NEVER those here, plus all the local music FREE TOO SOON (PREMIERE!) Saturday, October 15 - 9pm Shot December 1987, this film shows happening while the festival is going 331 Club - NE Minneapolis Soul Asylum loading, soundchecking and on. Make sure you check out the playing a gig at Minneapolis' First Avenue. VAMP MUSIC SOURCE A rare glimpse into the DIY life of the Sound Unseen website or pick up one SHOWCASE band during the Minneapolis rock heyday. of their programs and check out the The Vestals, Murzik & Joanna James The never before seen footage was lost $5 for 17 years, uncovered in the Soul descriptions of all the movies. With so Friday, October 14 - 10pm Asylum vaults in the Spring of '05. many movies to choose from, there is The Nomad World Pub bound to be a few must sees for you.

WWW.SOUNDUNSEEN.COM

RIFT MAGAZINE 13 Issue7.QXD 9/27/05 7:52 AM Page 16

AUDIO INSERT

WILL YOU STILL HEAR ME TOMORROW!? BY CHAD WEIS WWW.301STUDIOS.NET

or audio engineers and musicians alike, protecting your sure to excessive noise over a period of time or it can hearing is equivalent to protecting your livelihood. A happen suddenly in some instances and is referred to as healthy concern and earnest effort towards conserving “Sudden hearing loss” (SHL). SHL is defined as a your hearing can make a tremendous difference when it decrease of 30 decibels or greater including three fre- comes to how clearly each note will ring in your future quencies and tends to last less than three days. In most artistic endeavors. cases, hearing loss will happen over a longer period of It is estimated that more than 50 million Americans time due to repeated exposure to excessive noise levels suffer from some type of hearing related malady, and and does not commonly improve over time. Tinnitus is despite these staggering numbers, the topic of safe- referred to as “ringing” of the ears, common after being guarding your ears is rarely discussed in the music com- exposed to excessive noise and tends to resolve over munity. Only in rare instances have prominent figures of time, although in some cases it can become a perma- the musical community come forth to share their strug- nent and persistent problem. The sound of tinnitus is gles with hearing-related problems, thus helping draw often described as a whooshing, ringing, buzzing, F whirring and Over 50 million Americans suffer from humming sound some type of hearing related malady prominent attention to and educate other musicians about the when no other noise is around. inherent dangers in their line of work. A few of the more What is “excessive” noise? According to the notable characters to come forth with their struggles Occupational Safety and Health Organization, exposure include former Hüsker Dü front man Bob Mould, The to any noise at 85 decibels might cause permanent hear- Who’s guitar slinger Pete Townsend, and Brian Wilson, ing damage if exposed for a 16-hour period. With each the prominent driving force behind the Beach Boys. 5-decibel increase, the organization suggests the time of Common hearing-related ailments associated with exposure be cut in half before there is a risk of hearing working in the music industry include hearing loss and damage. Most concerts register at about 115 to130 tinnitus. Hearing loss can occur gradually due to expo- decibels. Following the aforementioned guidelines,

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exposure times at these levels should be limited to 15->2 minutes [What does this mean?] to avoid the risk of permanent damage. European standards lean toward even less exposure time at these noise levels. What can be done to protect your hearing? There are many options. Earplugs can be easily purchased at most pharmacies, music store and venues. It is recommended that when purchasing earplugs, you choose a pair with a 25-30 decibel reduction. Earplugs can cost less than a dollar per pair, which is a cheap and healthy investment. Many people dislike the way the common foam earplugs roll off the high end, leaving a muffled sound. If you’re one of these people, it’s best to select an ear plug with a more even reduction. There are a number of earplugs available meant to reduce the noise level with less drastic results. The Hearo’s “Hi- Fidelity” and “Extreme Protection” series and the Etymotic Research “ER” series, including the ER20, which do not require an ear mold, are a few recommendations. It’s also important to visit an audiologist periodically to keep tabs on your hearing health. While at the audiologist, you can discuss various custom-fit earplug options. To protect your hearing further, make sure you monitor in the studio at the recommended level of 85 decibels. This is easy to do with the purchase of a decibels meter. You can find this tool at most electronics stores. When using headphones or ear buds, be con- scious of the volume at which you listen. With the recent popularity of the iPod, use of ear buds has become extremely common. Keep in mind that the sound that you push through the ear bud has no place else to go. This is also true with in-ear monitors in a live-performance setting. What are some options if you are showing signs of tinnitus or hearing loss? Visit your health care professional immediately. They will have a number of options to help you deal with your per- sonal hearing issues and your ailments might not be noise related at all. Tinnitus can also occur due to high blood pressure, heart dis- orders, head injuries, blood vessel problems, abnormal bone growth or a host of other ailments. Hearing loss can also be associated with infection, tumors, multiple sclerosis, stroke, otosclero- sis, hereditary reasons or a number of other reasons. It is very important to make a visit to your health care professional to narrow down the cause. Take care of your ears today so you can hear tomorrow.

If you have concerns about the health of your ears, visit a professional audiologist.

For more information about how to protect your hearing or various hearing-related issues visit:

www.asha.org – Help finding a professional audiologist. www.healthyhearing.com – More help finding a professional audiologist. www.freehearingtest.com – An online free hearing test and simulated hearing loss. www.ata.org – The American Tinnitus Association. www.hearnet.com – Hearing Education and Awareness for Rockers. www.sotheworldmayhear.org – Organization to help children. www.audiologyonline.com – News that relates to the field of audiology. www.hearingcenteronline.com – News and product reviews. www.etymotic.com – Earplugs. www.hearos.com – Earplugs. Issue7.QXD 9/27/05 7:52 AM Page 18

RECORD LABEL BY RICH HORTON

afternoon records QUESTIONS ANSWERED BY IAN ANDERSON

WHO ARE THE OWNER(S) OF THE LABEL?

Michael Sandstedt and I own the label. Michael is 22 years old, attended MusicTech and runs our studio, the Juice Box Factory. I am 20 years old, I am currently attending St. Olaf College and I run the business end of our company. However, we have an amazing staff of young, ambitious people that make everything function properly: Bryan Sonday handles our radio promotion, John Krueger is head of A&R, Tony Hoff is the head of our Art Department, Sam Gerard runs Squareshooter Records and helps with distribution, and Brita Thompson and Jacob Huelster run Afternoon Records–Chicago. Not to mention all of the wonderful interns we have had.

WHO IS ON THE AFTERNOON RECORDS ROSTER?

Currently, we work with about 35 bands and artists on various levels of involvement, be it publicity, radio promotion or booking; but the bands on our steady roster are Aneuretical, Hello Blue, Look Down and Superdanger.

WHY WAS THE LABEL STARTED?

The label was started because we noticed a void in the Twin Cities all- ages music scene. There were always great shows happening, but we were all just too young to be a part of it. So, we decided to try and do something about it–this concept has remained the focus of our work throughout, and hopefully we've helped the situation.

COULD YOU GIVE A SHORT HISTORY OF THE LABEL?

The concept of the label first began in March 2003 on a road trip to Omaha, NE to see the release of Cursive's The Ugly Organ. Two close friends of mine (Darrel Moreland and Scott Johnson) and I all crammed into a mini-van together, and as the trip progressed, so did the idea. The three of us were standing in this massive line that stretched down the street comprised of skinny, cool-pant-wearing indie-kids, and we thought to ourselves, "Yeah, we could do this." We started laying out the groundwork and threw a big launch party that coming August in the Quest's Ascot Room (Non-Clear Channel), where we released our first four records. Suddenly, this was more than just a good idea. As work picked up,

16 RIFT MAGAZINE Issue7.QXD 9/27/05 7:52 AM Page 19

the three of us ended up parting ways and I continued the label with gifts • cards good friend and engineering genius Michael Sandstedt. From there, we incorporated, got a lawyer and started paying our taxes. The label became progressively more professional (and time consuming), until it • fresh cut flowers • is where it is today. We've released 18 records in less than three years - with two more planned for 2005. So, we've had to work hard, but we have learned a lot and are optimistic about the future.

ANY LABEL HORROR STORIES? Surprisingly no, we had a few bands we loved break up, but other than that things have run relatively smoothly.

HOW MANY DEMOS DO YOU GET PER MONTH AND WHAT DO YOU DO WITH THEM?

We receive about 60 to 100 demos a month. I spend a lot of time in the car driving back and forth from school, so I take advantage of that time to listen to almost every submission I get. Granted, we can't listen to every record that comes in, but we do our best to eventually get to it. It is probably one of my favorite parts of running a label: I get to hear a massive spectrum of new music, from loads of people from all over the country–even the world (we consistently receive demos from Sweden and Italy, we don't know why either).

WHAT DO YOU THINK OF THE LOCAL MUSIC SCENE HERE IN THE TWIN CITIES?

We all love the music scene. Not only are we are avid supporters of 2854 johnson st. ne mpls local musicians and the scene, but we also strive to be productive mem- • 612.781.0995 • bers of it. We have all traveled the country, and it is clear that the Twin Cities music scene is remarkable. Not only is our music scene close- knit and strong, but is also very inclusive and self-influenced. Our hip- hop and rap scenes are insanely large, a fact reflected in our indie, rock and punk scenes whose scenesters are just as likely to be listening to band, portrait, and event Heiruspecs as they are Dillinger Four. This has created a strange sort PHOTOGRAPHY of 612/651-Upper-Midwest sound that makes our approach to music distinct from anyplace else in the country. Plus, I don't think there is a single scene anywhere with more baseball nuts, and that says something. We just all freaking love the Twins.

WHAT IS NEXT FOR AFTERNOON RECORDS?

We just started a handful of new projects this fall, but our main focus is on Afternoon Records - Chicago, a new branch of the label that will do what we did here, but in Chicago. We will be booking all-ages shows, promoting, orchestrating distribution in stores and signing new Lucas Saugen bands out of Chicago. [email protected] Along with our Chicago branch, we started Squareshooter 763.807.9869 Records, our first subsidiary. SSR is designed to work primarily with 600 Washington Ave. N., Suite 340 new, young and talented bands: releasing their records, booking shows Minneapolis - Warehouse District and promoting them nationally. We are also really looking forward to putting out Superdanger's first full-length, a record we are very impressed with and hope to put out by the holiday season.

ANY RANTS OR RAVES YOU WOULD LIKE TO ADD?

Rants: less package tours, more all age shows, buy local releases and especially remember to buy refreshments at local venues!

WWW.AFTERNOONRECORDS.COM Issue7.QXD 9/27/05 7:52 AM Page 20

CD REVIEWS

Dear Machine PlasmaticBrainSpasm Look Down Robotboy Self-titled Self-titled 24/7 Dance Force And There Was No Future

Dear Machine's self-titled CD is PlasmaticBrainSpasm's self-titled It's said you can't judge a book by There's something a little uncom- an exceptional fusion of words and release weaves in and out of musical its cover. Take Look Down's CD, fortable about Robotboy's second sounds. Introspective lyrics are bal- genres moving from techno, a little "24/7 Dance Force" as an example. record. The sound is awkwardly situ- anced by infectious hooks and hip-hop, rock, and of course funk-- On its cover, the band wears match- ated between punk and pop, which is melodies, complemented by a vocal- where the Twin Cities band feels ing clothing giving the group a 70s- probably the reason lead singer ist who sounds like a hybrid of most at home. era feel, leaving the potential listener David Richardson sounds unsure Ronnie Van Zandt and Van Morrison, The album is successfully driven to wonder if the CD is full of disco- about whether he should shout or with a dash of country twang. by Shawn "Lawnmower" Bachinski's beat-driven tracks. croon. When the songs lean toward "Call Me Me" is high-voltage and bass playing and Aaron Bellamy's But that's not the case. Some of either end of the spectrum; however, gets the CD off to a raucous start. percussion, and Ryan Branstner's the tracks do have a retro sound, yet the result is decent, especially on "Up To My Neck" is a little honky staccato guitar playing melds nicely it's more early 80s, especially on the leadoff track "Didn't Want It tonk, but the horn section gives it a into the background. There are lots first, "Zack Morris Phone," which Anyway," which chugs along to a jazzy feel. Dear Machine maintains a of sounds on the recording, but it sounds a lot like Devo. And with three-chord, old-fashioned rawk fast, steady pace up until "In Your doesn't get muddy or cluttered; the each subsequent track, Look Down backbeat. Arms Tonight," where it offers up a band knows when to lay off so the sounds like a different band: "We've On other tracks, Robotboy's ambi- soft and dreamy complement to the sounds don't trip over themselves. Got The Same Number" sounds like tions outpace their execution: synth- other tracks; however, the fast pace My favorite song is "All Around," "Strawberry Fields" and "Just A pop and Joe Strummer punk moans resumes with the following track. In which got my head bobbing to the Clinic" starts out like a jam band ses- don't mix so well on "I Can't the final track, "Halloween," the music. It comes right on the heels of sion, until the organ tiptoes in, giv- Remember", and "3749" drags just piano and harmonica trail off at the the opening spoken word piece "The ing it its distinctly 70s flavor. The enough to make the song feel like it's end, making it an exquisite finish to Furthest [sic] Star," (the two sound standout track is "Jeans And Jackets on the wrong turntable speed. the CD. as if they are the same song) spoken And Dresspants And Coats." It's an This is all to say that the roots of The most outstanding track is in a Barry White-ish voice. Lots of instrumental with an appealing 60s greatness are here somewhere, "Open Skies." The intro is stripped good grooves on this album. surfer sound reminiscent of Los because the melodies - especially on down to vocals and piano, but the Trailing Thoughts: Why don't Straitjackets. "3749" and "Uninfected" - are pensive lyrics ("How long have you percussionist Aaron Bellamy and Look Down's strength is their inspired, and despite his ambiva- been yearning for what the naked eye guitarist Ryan Branstner have nick- instrumental tracks. Within each, lence, Richardson sounds like Paul can't see?" and "...wishes he were names? I could have gone for a there's cohesion, listenable melodies, Westerberg circa 1984. somewhere better than nowhere") slower song or two on the album, but not to mention it sounds like they're It's the unsure pace of the thing, and rich guitar solo makes for icing that's just me talking. Vocalists Anna having fun playing. They just may be the weightiness of it all, that keeps on the cake. Marie "Pepper" Engstrom and Erica on to something. CM “And There Was No Future” from Dear Machine's self-titled CD is "Red" Shepard each have distinct completely getting off the ground. worth a listen or three. CM individual singing voices, but www.big-woop.com/lookdown Rock this fun should be exactly that, when the harmonize, they kind of and Robotboy isn't quite there yet; www.dearmachine.com sound like Axl Rose and/or Prince a maybe if they outgrow such grown- few times. JE up constraint. DB

www.plasmaticbrainspasm.com www.robotboympls.com

18 RIFT MAGAZINE Issue7.QXD 9/27/05 7:52 AM Page 21

Beight Big Jess Joanna James Geoffrey Watson MC File In Rhythm The Super Jump Off Desire Detrimental Dialogue

Brad Senne reminds me a lot of my Maybe it's because I do nothing but JoAnna James is a contradiction. Geoffrey Watson grew up in my friend who is in a hardcore band (yeah I listen to Kanye West's “Late She's young, but after listening to her hometown of Bloomington, MN. know, who isn't nowadays.) My friend Registration” all day, but Big Jess new CD, "Desire," you'll be con- Locals like to highlight the economic will sway up on stage, cranking out sounds like a refugee from West's and vinced she's really an old soul. James' difference between the lower-middle heavy guitar parts for the screamo lead class east side and the upper-middle singer, and then go home and listen to Jay-Z's Roc-A-Fella camp. voice integrates the best of Bonnie This is fun, soul-drenched hip-hop Raitt, Melissa Etheridge and Patsy class west side. The fact of the matter Van Dyke Parks. Senne was once in the is that even the most impoverished same situation. In the late 90s he played from a flyover state whose residents Cline, while her music seamlessly neighborhood of Bloomington's east guitar and sang lead for the critically want to be recognized for their flow, melds together blues, soul, country side is much more well off then the adored local hardcore band Picturesque. and why not? “The Super Jump Off” and rock, creating a spellbinding They released one EP and then Senne majority of of those who live in say, takes a page from Atmosphere's mis- atmosphere. Jordan or Eliot Park. split. In 2001 he reemerged from his chievous positive role model hand- The first track "Wake" is straight bedroom with a self-released collection GeoffreywatsonMC (GWMC) of quiet 4-track confessionals. book up rock and roll with a bounce. doesn't claim to have any sort of ghet- In 2002, Senne continued to write but Its best track, "Don't It Feel James switches gears on the second to-cred, but instead reps his white- soon became enamored and intrigued by Good?," is all about good clean fun - track, "Waiting So Long," to a more middle-class background as much as production heavy music and intrigued by and the joy is contagious. And though bluesy sound, then sashays in the gangsta rappers wear their food the mix of acoustic and electronic ele- Jess is the first to admit sampling the direction of country, ending it on a stamps on their sleeve. The fact that ments, Senne looked for a producer to bleeps and bloops of Super Mario knee-slapping good time. The title GWMC is a white, overfed rapper add some flourishes to his lo-key bal- Bros. has been done ad nauseum, he track, "Desire," is seductive and from the suburbs wouldn't be impor- lads. He found that person in musician also asks (in the title track), "Do you James makes the listener feels the tant if he didn't so emphatically play and producer Ed Ackerson of up the role. While watching a skate- Minneapolis' own Polara. The final prod- really think I give a fuck? Ha ha. No." heat in her voice. "Rest" tells the tale That track compares Jess to a of coming to terms with her lover's boarding video he heard a song by uct of the two is “File In Rhythm”, a Del the Funkee Homosapien: it was Nintendo hero, and this lighthearted heart belonging to another person and slick, tuneful slice of archtypal pop. his first relatable rap. Senne's creamy falsetto flows surprising- approach stays with him throughout how painful, yet necessary, it is to GWMC's style? Think Del with ly well with his newly rhythmic back- the disc: "Road Rage" is all about say goodbye. There's one only minor drop. "Parallels," which was recently less wit, Aesop with less culture and Minnesota's driving issues ("some of complaint: The ersatz groove beat Slug without the girlfriends. Not the featured on NPR, is the obvious single, them shouldn't even leave their drive- within "Save Yourself" feels a little what with its simple structure and "doo most lyrically deft, GWMC is way/always doing under 25 on the out of step with the rest of the CD. doo doo's”. But "Fill Me Up" is the real nonetheless underlaid with some pleaser, a downstroke heavy acoustic highway"), "FAQ" turns hip-hop "Desire" is the rare CD where no good, if not slightly scene-derivative stomper with some beautiful melodies hubris into a press conference (he tells one track stands out from the rest beats. As much as he brags about and creative bridges. The largely drum- curious reporters, "I'm highly versatile because the entire CD is outstanding. "elevating" hip-hop dialogue, Gee ful affair takes a break for a moment of on the mattress/[My wife] says I got a It is also James' testament that she's Dub embarrassingly brings nothing regression on "Without Warning," a Jeff hot bod, and I resemble Brad Pitt"). ready to take her place among rock new to the genre while the main- Hanson-ish ballad that harkens back to The “Super Jump Off” is fun, but royalty, next to the Raitts, Etheridges stream rap he speaks against so vehe- Senne's more wistful, simple days. also has emotional depth and pathos. and Clines. CM mently is pulling out whisper songs Senne is a great pop songwriter in Like Kanye West, Big Jess isn't short and blood diamond diatribes. When that he isn't a flashy lyricist. He lets his you brag about doing ten shows a words adhere to the music, and not the on self-praise; also like West, the www.joannajames.com praise is well-deserved. DB month, and your best couplet is, "You other way around, so we let him go scum suck my septic / Right from the when he uses some "ba ba ba's" to fill in tank / I'm agent 007 / You're agent the gaps. Creating a successful pop www.unknownprophets.com Cody Banks," it may be time to album can be just as arduous and just as rewarding as an experimental concept rethink your message. There's nothing album in three suites. Brad Senne thank- wrong with goof-rap as long as it fully knows his strengths, and has no doesn't take itself too seriously-- qualms about taking his unpretentious Watson's dialogue straddles this line acoustic songs to a new level of "popu- with a little bit too much glee. GB lar." GB www.myspace.com/beight www.dialogueelevaters.com

RIFT MAGAZINE 19 Issue7.QXD 9/27/05 7:52 AM Page 22

CD REVIEWS

Twisted Linguistics What I Seen, What I Done... How to submit your CD for review. Send In the Twin Cities, back in March, a handful of Twin Cities hip-hop artists two copies of your came together for the Southside CD to - Family School Civil Rights Trip bene- fit show. Among the hip-hop artists who contributed to the show to raise Rift (reviews dept) money for the charter school's tri- PO Box 18700 annual trip to the southern United States were Eydea, Desdamona and MPLS, MN 55418 Twisted Linguistics. Noah Brandow, now the main lyricist behind Twisted Linguistics, has taught art and hip-hop Make sure to include to middle and high school students in your full contact info. the St. Paul public school system and is no stranger to the politics of social injustice. Twisted Linguistics newest record with its truncated lineup, “What I Seen, What I Done...” is a scattered affair. The opener, "Radioactive" is a red herring. A brooding minor-key syncopated dirge with lyrical images of a despotic America corrupted by its own megalomaniacal corporate cre- ation; it is unique amongst the largely Golden Age aesthetic on the rest of the record. The beats by Neal Collopy, who did the aforementioned "Radioactive," as well as "Warmachine" and "String Theory" bring a sense of tension, earnestness, and paranoia to Brandow's lyrics. Elsewhere, the duo of Brandow and DJ Anton bring in an assortment of musicians to create a loose, live and funky sound to the album. It all works, but results in a disjointed collection that bears little semblance of a whole. It's hard to tell if the libidinous Brandow of "Ride Tonight" and "Sunshine" is indicative of his person- ality, or a rare aside. The Brandow of "Diversity" stumbles when he tackles the worn, but important topics of racism, sexism, ethnocentrism and social ostracism but really hits his stride when he details the travails of a Marrakeshian school girl who is mis- taken for an Arab by her myopic class- mates. Brandow deviates and loses his opportunity to make a point through someone else's story besides his own. Nevertheless, I guess it lives up to its title: What he's seen and what he's done. GB

www.interlock.cc Issue7.QXD 9/27/05 7:52 AM Page 23

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