By Photography Editor and Photojournalist: Jeremiah Greer   Mon, Oct 31, 2011

Asheville - With the release of their latest album, Starfruit, Stephaniesid, continues to open ears in a town that, although known for diversity, does not have quite the noir-pop scene one would think.  But that doesn’t matter when your album has song after song that is fun to listen to and provokes even the non-singers to sing.

After turning down a few wrong streets on a dark Asheville night and sorting through unmarked houses and mailboxes, Magazine33 sat down with Stephaniesid in their home studio in which Starfruit was conceived and recorded.

Check out the full video interview right here in this article!

Visit Stephaniesid’s website at Stephaniesid.com for upcoming tour dates, music and more.  

By Photographer: Julie Steinberg   Tue, Nov 01, 2011

By Correspondent: John Winn   Sun, Jan 08, 2012

Artist: Kathleen Sloan
Album: Cold December Night
Rating: 9/10

Think Christmas, and you picture candy canes, egg nog and tinsel under the tree. But there is more than meets the eye (and the ear) than reindeer bells and Christmas cheer. With its understated elegance and eclectic sound, Cold December Night is the perfect companion to the crackling fireplace - or the yule log on TV, as the case may be. The result is the musical equivalent of hot cocoa; a warm, toasty album that comforts even the coldest souls who hear it.

Recorded in the artist's Los Angeles studio, Cold December Night is a smooth mix of strings and vocals that is both exquisite in its beauty and enjoyable to listen to.  The opening track, a classical version of "It's Beginning to Look a Lot Like Christmas" is deceptive in its simplicity.  Featuring classical violin and the warm voice of vocalist Alan Chang, it's faintly pleasant, Starbucks-approved sound lulls listeners in like a spiced latte on a cold winter's day.  But there's more to be found on the record the traditional carols audiences have become used to.

Case in point: "I Saw Three Ships".  With its relaxing jazz guitar and the David Gray-like vocals, it conjures more 90s era Sting than the Bing Crosby lullabies of old.  On the flip side, Chang's bittersweet rendition of "Rudolph the Red Nosed Reindeer" adds new depth to an otherwise lighthearted ode about a caribou who endures social exclusion at the hands of his jealous peers.  Tying the 11-track album together is the virtuostic piano and violin skills of a bevy of backup artists and performers, creating a warm hearth of a record that will keep even the grumpiest in-law tapping their toes with glee.

Available via KathleenSloan.com, Cold December Night is a must have for any holiday occasion.

By Photographer: David Gaertner   Sun, Jan 08, 2012

I recently had the privilege of sitting down with Connor Christian before a show at the Evening Muse in Charlotte.  We talked about music, family, and a sometimes grueling travel itinerary.  Then came a gritty show of Americana sprinkled with stories of experiences that helped to shape the songs on his new double disc set New Hometown.

Connor hails from Georgia where he grew up with his parents and older brother.  Early in his teen years, the family traveled around the world and lived in foreign countries where his father’s job took them.  After years of living in and traveling through other lands, Connor returned to America to attend Georgia State University where he studied Mass Communications and nourished his love of deep conversations and the exchange of ideas.

He now makes his home in Atlanta where he lives with his wife and two daughters.  The elder of the two shows her love of music and talent for art like her father, sounding out tunes on the piano.  Connor will sit and help her through the music when appropriate, although he doesn’t technically read sheet music as he prefers to allow the harmonies to flow organically.

We touched on several stories from the road where crashing with friends, or friends of friends, can make for awkward circumstances and lead to long nights after already exhausting performances.  The experiences have taken him and the rest of the band from shifts on a living room recliner to inadvertent hourly hotels.  All in all, he feels it’s worth going through to continue making a living while following his passion in life. 

Nothing grinds Connor’s nerves more than musicians complaining about the hardships of being on the road.  That is simply, in his view, a part of life on your way up the ladder in the industry.  This outlook must help him and the rest of the members deal with the adversities that come with life on the road, when one's opportunity for normalcy and being a family member is quite limited.

The Evening Muse in the NoDa (North Davidson Street) district of Charlotte compliments the performance style of Connor Christian & Southern Gothic due to its intimate feel.  You are never far from the stage and have a great view of the musicians from every corner of the venue.  As Connor meanders through his setlist, he tells stories between songs that invites the audience to partake in the experience that shaped the songs. 

The band incorporates a host of instruments to convey the soulful Americana style.  Jeff Spirco supports Southern Gothic with guitar, mandolin, banjo and occasionally an additional fiddle to accompany Elena Martin, who spends most her time coaxing emotional and heartfelt melodies from her violin.  Joe Abramson and Shawn Thacker round out the rhythm section on bass and drums, respectively.  All of the members provide backup vocals in support of Connor’s folky lead.

All in all, attending a Connor Christian & Southern Gothic show provides more than the great music you hear on the CDs or streaming from the website.  You also get the experience of witnessing a collaboration of talented and passionate musicians coming together over well-thought out and deliberately inclusive songwriting.  Most importantly, you are let inside the mind and soul of the songwriter Connor, as he fills you with his memories of what lead him to channel his thoughts and experiences through Americana music.

ConnorChristian.com

MySpace.com/WaitingForPrincess

By Correspondent: John Winn   Tue, Nov 01, 2011

Triad - They have jammed in garages, played gigs in Greensboro, and even scored a record deal.  In many ways, Janus 4-14 is not that unusual from many local acts in the Triad.  But the road to success hasn't been straightforward for songwriter Chad Bernard, bassist Brad Nichols, Shane Mauck, and Chris Charter.  From humble beginnings in Mt. Airy to stints in Atlanta, Durham and Charlotte, the foursome has come a long way from their small town roots to the bustle of the Piedmont Triad.  Add in wives, kids and the 9 to 5 grind and the winding road gets thornier still.  Despite the obstacles in front of them, they've managed to overcome them all to become one of the Old North State's best kept secrets.  Magazine33 caught up with Bernard and the band and talked about their origins, the chemistry of the band - and the state of the local music scene.

33: How did you guys meet?
Chad Bernard:  It's funny.  You know how most bands meet and play during their twenties and thirties, then break up and start a family later?  We did the opposite.  We all grew up in Mount Airy, married and had careers prior to the band forming.  I'd known Brad since high school.  The drummer previously played in a metal band.  We met another through Craigslist.  The band really gelled in earnest in 2003.

33: When did you realize you could write music?
CB: I had tremendous low-self-esteem when I started out, so I worked on that with the support of my wife and friends.  In time I became good enough to where the songs were decent.  Coincidentally, that was also when the band got together.

33: How would you describe your music?
CB: One punk rock musician described us as "rock with punk overtones", which is funny, since punk rock is about defying authority, and rock is about meeting girls.  The word that comes up over and over again is eclectic.  I have a more punk background, and Shane is into rock.  Our drummer is into jazz.  The sound really depends on how we feel about a particular song.

33: Have you had any arguments over your musical differences?
CB: Only minor disagreements.  If we feel that a certain chord or part needs to be cut, we cut it.  If Shane needs to eliminate a part, he does it and if I need to change a lyric, I do that too.  We rarely fight like some groups do.  The word we keep using is "feeling".  It's a constant theme in our work.   I've written many songs - particularly country songs - that were great but just weren't a good fit for the band.  Whenever there is a song that sounds like it is perfect for a particular group, I'd just give it to them.

33: What do you think of the music scene in Winston-Salem?
CB:  I'm a veteran of the music scene in Atlanta and Durham, and Winston and the Piedmont Triad in general are more than capable of holding their own, but there aren't a lot of venues for original artists.  Elliot's Revue in Winston, Ziggy's, and places like the Blind Tiger are doing their part.  But more often than not, bars and clubs just host cover bands because that's how they can get the easy money.  There just isn't an organic scene like in Asheville or Chapel Hill where acts like ours can get exposure.

On the flip side, there isn't nearly the level ego-tripping and power politics that goes on between bands as they do in other places.  We've played with some musicians who were the exact stereotype of what a "musician" is like - they think they're superheroes because they can play an instrument.  Fortunately, the bands here are really support each other in a real way.  The only thing that's missing is the people in the seats-- if the community could get to a level where more people would take notice, I think it'll happen.  We're almost at the point where the band's playing crowds of 80, 90 people but it seems like the community at large is just not there yet.

33: Final Question: What do you do when you're not performing?
CB: I sell signs for gas stations.  I know Brad is a stock analyst.  I'm also the resident music nerd - I subscribe to anything from Rolling Stone to local music blogs.  I collect '45s, CDs, and other media from punk to country.  I'd like to pursue country music maybe as a side project, when I have the time.

By Photography Editor and Photojournalist: Jeremiah Greer   Tue, Nov 01, 2011

Asheville - Drawing from their Appalachian bluegrass heritage, Dehlia Low has captured the attention of music lovers both young and old. Described by band member Greg Stiglets as “Appalachiagrassicana”, the blending of Americana, Country, Folk, and Bluegrass accompanied by original song writing and a creative thirst, gives Dehlia Low a new sound with a nostalgic underlining. It’s a place where past meets present meets future.

33: Can you share with us your musical background and influences?
Aaron Ballance: I started playing electric guitar in high school, playing in rock and blues bands. I then got into bluegrass guitar in college and later switched to the dobro and that’s what I’ve been up to since.
Bryan Clendenin: I was a big fan of music before I started playing. I started out playing the guitar for about six months before moving to the mandolin, which I have been playing ever since.
Anya Hinkle: I played violin as a child and sang in church. In high school I lived in southwest Virginia and met up with some folks that played bluegrass and old time music, so I started getting interested in the guitar at that time. Then I didn’t play for about seven or eight years but came back to it learning fiddle styles from old time music. I then decided to move to Asheville and give up everything to be a bluegrass musician.
Stacy Claude: I started classical piano training at six and voice shortly after. I picked up the guitar in college learning folky things. When I moved to Utah, I met a friend who turned me on to bluegrass fiddle. She introduced me to a lot of bluegrass artist I had never heard of which started me in this direction.
Greg Stiglets: My mom taught me how to play the Stars War theme on an air organ, I think in 3rd grade. In 4th grade I learned the guitar. In 6th grade I quit. Then in 8^th grade I figured out that girls liked you if you play guitar. I didn’t play bass or even own one until I was asked to join this fine group of musicians.

33: Describe your musical philosophy?
AB: I love music. I love listening to it. I move by music when I listen to it. When I play it, I’m trying to access a place within myself so I can express my deep love of it. It’s a relationship between me and my instrument. I give and it gives.
BC: Music is a powerful object. It doesn’t matter if I am in a good mood or a bad mood or stressed out; I can always listen to music and access that or play music and almost automatically forget about everything else.
AH: Music is such an interesting art form because it can form the soundtrack for your life and different periods. Kind of like smell can bring you back to a strong feeling; I think sound can do that as well in a different sort of way. Of course it’s great to experience that as a listener, and as a musician being able to create something that people can enjoy, is an honor. It’s a fun art form to be able to explore.
SC: When I was a young girl, I always played something but only because my parents made me and my sister. As I started playing more with other people, I realized that even more than just listening, you can be involved.
GS: I remember back in Jackson driving this kid in my car and asking him, “What kind of music do you like to listen to?” He looked at me and said, “I don’t like music.” I remember this; I stopped the car and said, “Get out of my car.” You can’t, not like music; it’s kind of like food.

33: Do you find the creative process challenging in an area where creative boundaries are always pushed?
SC: You have the opportunity to play with some really amazing musicians in town at different jams, and not only go see local, but also great national acts that come through. I think it’s an amazing place to be. It keeps the bar high too. I can’t think of a more conducive place to be for what we are trying to do right now.
BC: It’s totally inspiring too because Asheville is very eclectic. You have such a variety of genres that you can relate to.

33: Asheville is known for having a thriving music community, what has been your experience with collaborations?
GS: It quenches a thirst when you play with other bands. You get something you can’t get from one band. I know guys in town that are in six bands. That’s just crazy.
AB: It’s a tight knit community. We’re all friends and work with musicians in other bands to share ideas and support each other.

33: Do you classify yourself as a traditional bluegrass band?
AB: We’re all imports to bluegrass. We grew up listening to different types of music so we bring those influences into it. It’s not constrained to this old traditional idea, although it is highly influenced by that. It’s also a derivative of other styles that traditional bluegrass doesn’t nod to.
SC: It’s kind of like we all play the instruments we play and make the music we like. If I played electric and he played drums, we might play the same songs but with a totally different feel.
AH: Bluegrass gives us the foundation to start from and also try to contrast with so we can do something new.

33: How are you as a band expanding the bluegrass genre?
SC:  We play all original music and there is collaboration on the arrangement. It’s about what’s best for the song. We look at it like trying to construct a song as opposed to constructing a style.

33: Describe what it’s like being on stage?
AB: Try to control and be in your place. There’s a special place you can get to when you’re performing and it’s very energizing on stage. There’s this feedback between you and your instrument and you and the audience, and everything lines up. You want to find that place because that’s where the good stuff starts to happen. I’m always looking for that.
BC: Don’t mess up, concentrate! One of the things I like most is the relationship I have with everyone on stage and the circular energy with the crowd, which sometimes can be challenging depending on the crowd. It’s nice to see when all five of us and the crowd are enjoying the song and making the most of it every time.
AH: Performing on stage has been a learning experience. When we first started I was self conscience, but now it’s about balancing everything that you have to focus on and incorporating the big picture of what we are trying to do. It can be easy to look inward, but you get the most satisfaction and probably the best performance when you look outward, and the focus is on the people who are listening.
SC: Performing for me is about listening to the other musicians on stage. You’ll see me a lot on stage with my eyes closed because I am listening for what my role is and trying not to step on anyone. I can easily be distracted. Beyond that, it’s about creating an experience for myself, which in turn creates one for the band and the audience…hopefully a good one.
GS: The goal is, to put what you are physically doing with your instrument on auto pilot and listening to what’s going on around you, filling in and doing what you need to do to be a part of it. The less you focus on the problems you are having on your instrument, the more you can enjoy it, which makes it better for everybody.

Dehlia Low’s latest album, Ravens and Crows, has been finding it’s way in to CD players and digital drives as fans grow. Sticking to their philosophies and roots, its set list forms a broad appeal to be appreciated for its diversity and respect of tradition and exploration.

DehliaLow.com

By Correspondent: Aquilla Reid   Tue, Nov 01, 2011

Winston-Salem - You may think this article is about music; however, it is more about vision.  According to a web definition, a vision is the act or power of anticipating that which will or may come to be.  In this case what is coming is a film entitled The Quad, which is written by film writer and director, Nathan Ross Freeman.  The Quad is a film about paranormal meeting human tragedy and what happens when the human mind intent is altered by paranormal happenings.  Okay, so maybe that explanation was a bit too anomalous, but then again I am trying to be succinct and to the point.

Although this is a music magazine, I took this story on because I felt it had some orchestral overtones to it because the concept itself was a layer on top of a layer of pure genius!  I ran into the Writer/Director, Nathan Ross Freeman, a couple of summers ago and he handed me the script to read.  When I read it I walked away from it confused and scratching my head, however, eagerly amused that someone had the thought process to come up with such a thing.  I asked Nathan after the official private reading of the film what he was trying to accomplish with The Quad and he got very quiet, took a small breath and said, “Well, I wanted something that was artistically and commercially viable that could carry a message in terms of [the characters] turning their fate [leaving life to chance] into their destiny [taking a chance on life].” Freeman only wants people to think out of the box and this film has the capacity to do just that.

The film is centered on Rachael, an immortal who wants to experience a genuine human death.  Rachael, a doll maker, seeks out four women with secrets, morbid longings, and irreversible mental death sentences, to forge ahead with her plan of an actual human death experience.  The film is touching yet haunting and dramatic while giving you a wild ride of wtf all at the same time.  I shake my head now as I write this because it is unbelievable until you see it, smell it, and take it all in.  The characters in this film are truly phenomenal and with that being said I must give a shout out to Lamyra Kinzer, the star of the film as Rachael.  This woman is so amazingly creepy throughout the entire film that you are not sure whether she is like that on a daily basis; so watch out Hollywood, there is a new kid on the block!  If you want to read more about the film and see the trailer, go to QuadFilms.com.  Trust me, it’s a shocker.  I also want to shout out Element Pictures and Sound Lizard Productions for being on board with such a masterpiece.  Nathan Ross Freeman deserves nothing but the best to be behind him because after all he is the Original Film Maker.

By Correspondent: John Winn   Tue, Nov 01, 2011

Winston-Salem - The air was chilly as roving packs of collegians and music fans braved the cold to hear the double threat of Vel Indica and Janus 4-14 perform at Elliot's Revue.  Knees shivered and teeth chattered as patrons and musicians alike clambered inside the tiny bar on north Trade Street.  They came in search of beer and warmth, but what they found was rock magic.

It was slow going at first as the bands started to warm up.  A die-hard crowd of supporters and fans settled in as cigarette smoke wafted through the cramped space.  Drinks were consumed, hookups were made, but as night progressed something truly magical happened - the crowd of dozens became a packed house.

The first to weave their magic was Vel Indica.  As the trio of Patrick Ferguson, Kerrie Sheehan on drums and Ken Simonds on bass rolled through a quick set of songs including "While the Wolves Were Feeding", "All the Places" and "The Murdering of Sharon Crowe" a hypnotic gaze overtook the crowd as the band's moody sound infected the audience.  As the Pink Floyd-influenced "sonic-folk" band continued to play through an hour-long set, few could imagine the already packed house would grow...and grow...and grow.

Walk-ins came in from the cold as Winston-Salem residents struggled to get away from it.  In a space of a few minutes a crowd of 20 to 30 people ballooned upward.  But the real magic came much later.

The air crackled with electricity as Janus 4-14 took the stage.  Far from being rock wizards, the foursome of Chris Bernard on vocals, bassist Brad Nichols, Shane Mauck and Chris Charter seemed like unlikely candidates for diviners.  Yet despite the Mt. Airy residents decidedly mortal frames, the band charmed the audience with a diverse set of pop-punk songs including "Veruca Salt The Band", "It's Too Late", "Unsure Hands”, and "Said It Now".

Rumored to be in attendance was one Mitch Easter.  The legendary producer of R.EM. and Suzanne Vega was said to be producing Janus 4-14's debut record, but there was little sign of him as midnight drew near.

As the concert drew to a close patrons filed out and the chilly night reclaimed them.  But one thing would be forever certain - they would never be the same.

-----

Interview with Vel Indica

As local bands go, Vel Indica is perhaps the most eccentric.  Not just because of the name, but also its plethora of musical styles.  From rock to experimental, noise to folk, the trio of Patrick Ferguson on vocals, Karrie Sheehan on drums and Ken Simonds on bass make sure the music is anything but stale.  The result is an eclectic sound that recalls the best of Pink Floyd, R.E.M., and Bob Dylan.  It helps that the band has a good chemistry too, but as we found out in a brief interview with the lead singer, serendipity has a much to do with good music as drum and guitar solos.

Magazine33 caught up with Ferguson outside Elliot's Revue in Winston-Salem, and discussed the band's origins, method for writing songs - and future projects.

33: When did the band meet?
PF: 2008.  A lot of us played in other bands prior to meeting.  We met Karrie [the drummer] during an open mike performance at The Garage.  Things led from there, and the band gelled in earnest two months later.

33: What's your method for writing songs?  Do you have a set concept or idea or just do it on the fly?
PF: We improvise a lot of our sets.  Most of us have a good read on each other, so we play each other off really well and work on our chemistry. Our sound has grown tremendously in the past two years as people come and go and more instruments are produced.  It's almost like an orchestra now.  Our sound varies from rock to experimental noise--it really depends on our mood at the time.

33:  Would you describe yourself as a band or an orchestra?
PF: Definitely a band.

33: Do you use equipment such as MusicMaker to record music?
PF: When we record music at all, we use a hand-held recorder to get it down and mostly so we would remember what it sounds like. Doug Davis [The Plaids] occasionally produces for us also, so we get some help from as well.

33: What are your musical influences?
PF: Dylan, R.E.M., Pink Floyd.  As for local artists, I'd say Janus 4-14, The Plaids, groups like that.   I mostly consider what we do to be ‘sonic folk’, so the folk-rock blend really work for us.

33: Final Question: Are there any side projects you're working on in addition to Vel Indica?  Learning new instruments?
PF: I perform a lot of solo work on the side under my name.  I don't know about instruments.  I am not a drummer by any means and I wouldn't know how to play anything other than guitar.  I'd love to pursue an acoustic project, though.

By Correspondent: Chris Thurley   Tue, Nov 01, 2011

Back in August I covered a 311 show with openers Sublime with Rome, and looking back, the pictures of the band were way too good to miss out on article for all to see. I wrote a little blurb about the show, which is shown below, but I felt there was a need to spice it up with new words from my vernacular. Now three months later, I’m still obsessed with the new CD “Yours Truly”, but cannot wait until the temperatures rise back into the 80 and 90 degree temperatures so I can feel the reggae, California punk tunes in the weather that they’re supposed to be enjoyed with. As the temperatures start to drop, and our pumpkins dilapidate into moldy piles of a mush, read this quasi article, pump up the heat in your home, apartment, car, and throw on “Yours Truly” and think of next summer when the band will hopefully be back on tour with more good music. And if you are unsure if you’re going to see Sublime with Rome the next time they come to Charlotte, read this short recap of their presence on stage; I’m pretty sure it will dissuade your concert-going negligence.

Sublime With Rome opened with beers in hand and cigarettes in mouth, ready to uplift the crowd and revitalize a population that has probably never gotten a chance to hear Eric Wilson and Bud Gaugh rock together on stage since the loss of Bradley Nowell back in 1996.  As for their lead singer, Roman (Rome) Ramirez, there is no one else on the earth that could bring the same energy as Nowell once had, and provide the respect due to the legendary band.  Hearing songs like 54-46 sent the crowd into an uproar, while the calmer songs off the new CD, Yours Truly, like “Take It Or Leave It” had the whole crowd dancing to the new powerhouse which is Sublime With Rome.  Once Sublime With Rome ended with the exalted “What I Got” and one last older tune, the crowd calmed down to the summer setting sun, and the air cooled just enough to dry up some of the sweat on everyone’s bodies.

SublimeWithRome.com

By Illustrator/Cartoonist: Jason Nocera   Tue, Nov 01, 2011

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