Dayton, Ohio, a city known for its rich musical history, has produced a myriad of talented artists across various genres. Among the vibrant musical landscape emerges The Nautical Theme, a captivating duo that has been making waves with their latest record, “Get Somewhere.” Comprising long time bandmates Matt Shetler (Vocals, Guitar) and Tesia Mallory (Vocals, Keyboards), The Nautical Theme seamlessly blends folk, indie, and pop influences to create a sound that is uniquely their own.
“Get Somewhere,” the duo’s newest offering and one of our favorites of 2023, is a musical journey that explores the complexities of life, family, love, and the pursuit of meaning. Clocking in at six tracks, the album showcases the duo’s growth and maturity both lyrically and musically. From the moment the needle drops, listeners are transported into The Nautical Theme’s world, a place where introspection and vulnerability reign supreme.
One of the album’s standout tracks is the opener, “Sun Won’t Rise.” With its infectious melody and thought-provoking lyrics, the song sets the tone for the entire record. Dave’s skillful guitar playing complements Mallory’s soulful vocals, creating a harmonious blend that immediately captures the listener’s attention. The track explores the challenges of navigating the complexities of modern life, touching on themes of resilience and the pursuit of one’s true self.
As “Get Somewhere” unfolds, the duo delves into a range of emotions and experiences, crafting a narrative that resonates with listeners on a personal level. Tracks like “Trouble Tonight” and “Young and Free” showcase The Nautical Theme’s ability to craft catchy, introspective songs that stick with you long after the music stops. Matt and Tesia’s evocative storytelling and their intricate musical arrangements create a synergy that elevates each composition to new heights.
The album’s production is noteworthy, with each instrument and vocal line given the space to breathe. The sound is polished yet retains a raw, authentic quality that reflects the duo’s genuine approach to their craft. From the subtle nuances of Tesia’s voice to the intricate guitar work, every element of “Get Somewhere” is meticulously crafted, contributing to the overall sonic tapestry of the record.
Lyrically, The Nautical Theme explores themes of love, loss, and self-discovery. Matt’s poignant lyrics are a highlight, offering listeners a glimpse into the depths of emotions and experiences. Whether reflecting on the passage of time in “Home” or grappling with the complexities of relationships in “Something That You Needed,” Matt’s lyrical prowess shines throughout the album.
“Get Somewhere” also features a diverse sonic palette that keeps the listening experience engaging from start to finish. The duo seamlessly transitions between upbeat, folk-infused tracks like “Trouble Tonight” and more introspective, stripped-down moments such as “Something That You Needed.” This dynamic range showcases The Nautical Theme’s versatility as musicians and songwriters.
The album’s standout track for us, “Young and Free,” serves as a thematic centerpiece, encapsulating the essence of the entire record. With its infectious chorus and uplifting instrumentation, the song encourages listeners to embrace the journey of self-discovery and personal growth. It’s a testament to The Nautical Theme’s ability to create music that not only resonates on an emotional level but also inspires introspection and positive change. This is music that matters.
In addition to their musical prowess, The Nautical Theme’s connection with their audience is palpable. The authenticity and sincerity that permeate their music extend to their live performances, creating an immersive and intimate experience for fans. Dayton, Ohio, has become a key backdrop for their artistic journey, and the local community has embraced the duo with open arms.
As The Nautical Theme continues to carve out their own niche in the music industry, “Get Somewhere” stands as a testament to their growth and artistry. The record not only showcases their musical talent but also serves as a reflection of the human experience—its challenges, triumphs, and the perpetual quest for meaning.
The Nautical Theme’s “Get Somewhere” is a captivating musical odyssey that cements the duo’s status as rising stars in the indie folk scene across the country. With its rich lyricism, impeccable musicianship, and emotional depth, the album invites listeners to embark on a journey of self-discovery alongside the talented duo. The ability of Matt and Tesia to blend, swirl, and complement their voices is a rare ability in music. It is not at all trite to say that this duo was meant to sing together. As The Nautical Theme continues to make waves from their Dayton, Ohio, home base, “Get Somewhere” solidifies their place in the musical landscape, leaving an indelible mark on the hearts and ears of those who take the time to listen.
As we continue to pause and reflect on some amazing music from this year, we turn to an amazing local band. Smug Brothers, the indie rock veterans hailing from Dayton, Ohio, returned with their highly anticipated 2023 album, “In The Book of Bad Ideas.” Known for their eclectic sound and thought-provoking lyrics, the band has consistently pushed the boundaries of indie rock, and their latest release is no exception. “In The Book of Bad Ideas” not only showcases the band’s evolution but also serves as a clarion call to their ability to craft intricate and unconventional musical narratives.
“In The Book of Bad Ideas,” is an adventure through the space that indie, psychedelia, lo fi share together in a flat where Robert Pollard has Big Star’s “Third” playing in the background. This album — one of the band’s best — defies expectations and solidifies the band’s status as indie rock innovators who connect to their influences without sounding derivative or contrived. Smug Brothers’ breathe new life and vigor into the musical consciousness of indie. From the opening chords of “89 Lullaby” where the band jumps immediately into the song like leaping into a rushing river, the album grabs listeners with its raw energy and doesn’t let go. That first song sets the tone for the sonic journey ahead. The intricate guitar work and dynamic drumming create a sense of urgency, drawing the listener in with its raw energy. Lead singer and songwriter Kyle Melton’s distinctive vocals add a layer of authenticity, immediately grabbing attention.
The back-to-back tracks, “Mistaken for Stars” and “Let Me Know When It’s Yes” encapsulates the band’s ability to seamlessly blend genres, creating a musical tapestry that is familiar and unique. Imagine songs that are both complex, catchy — damn catchy — and accessible.
“Bend Blue The Copper” is a standout piece that exemplifies Smug Brothers’ ability to blend genres seamlessly. The track weaves through indie rock, punk, and even elements of folk, creating a sonic landscape that is as unpredictable as it is captivating. The lyrics seem to explore the consequences of impulsive decisions, adding depth to the already complex musical arrangement.
The album is a testament to the band’s evolution, showcasing a willingness to explore uncharted territory within the arrangements associated with independent music. Tracks like “Pattern Caveat” and “Since The First Time I Heard You Laugh” introduce experimental elements, with atmospheric soundscapes and genre-bending instrumentation. Smug Brothers’ frontman, Kyle Melton, delivers poignant lyrics throughout, exploring themes of impulsive decisions, nostalgia, and reinvention. These tracks seamlessly blends elements of psychedelic rock with electronic flourishes, creating a kaleidoscopic sonic tapestry. The result is a mesmerizing journey that defies categorization, showcasing the band’s fearlessness in pushing their artistic boundaries.
“What Starts Out as Fun” takes the listener into uncharted territory with its experimental instrumentation and atmospheric production. The use of synthesizers and layered vocals creates a dreamlike quality, offering a stark contrast to the more straightforward rock elements present in earlier tracks. The band’s willingness to explore new sonic realms pays off, adding a refreshing dimension to the album.
“An Age In An Instant” is a poignant ballad that showcases Smug Brothers’ ability to convey emotional depth through their music. The stripped-down arrangement allows Melton’s heartfelt lyrics to take center stage, touching on themes of nostalgia and loss. The subtle use of keyboards and acoustic guitar enhances the overall intimacy of the track, leaving a lasting emotional impact.
“Stiff arms At The Still Waters” introduces a rhythmic complexity that keeps the listener on their toes. The interplay between the drums and bass creates a sense of urgency, while the guitar riffs add a layer of sophistication. The track’s dynamic shifts and unexpected twists highlight the band’s prowess in crafting music that is both intellectually stimulating and sonically engaging.
“Enceladus Lexicon” stands out as a cinematic storytelling piece, with its evocative lyrics and sweeping musical arrangement. The instruments create soundscapes that transports the listener into the narrative woven by the song. Smug Brothers demonstrate their ability to create sonic landscapes that feel expansive and immersive.
“Paradise Farms” injects a burst of energy into the album, featuring upbeat rhythms and infectious melodies. The track pays homage to the band’s Midwestern roots, capturing the spirit of resilience and reinvention. The juxtaposition of the lively instrumentation with thought-provoking lyrics adds layers of complexity to the overall listening experience.
“In The Book of Bad Ideas” is more than just an album; it’s an experience that takes the listener on a rollercoaster of emotions and sonic landscapes. The band’s ability to balance introspective moments with energetic bursts creates a dynamic listening experience that resonates long after the final notes fade away. With this release, Smug Brothers have crafted a musical gem that pushes the boundaries of indie rock, inviting listeners to join them in the exploration of the unconventional and the brilliant. Throughout the record, the band, demonstrates their growth as musicians and their commitment to pushing the boundaries of indie rock. The album takes the listener through a diverse set of experiences in sound, from the raw energy of the opening track to the introspective moments of emotional vulnerability. With each track, Smug Brothers prove that they are not content to rest on past successes, but instead, they continue to evolve and explore new sonic territories. “In The Book of Bad Ideas” is a must-listen for anyone who appreciates music that challenges, engages, and ultimately transcends genre conventions. Smug Brothers have once again proven that they are at the forefront of indie rock’s creative frontier.
The city of Dayton, Ohio, has long been a hotbed for musical creativity, birthing numerous bands that have left an indelible mark on the music industry and on the hearts of music lovers. Among these, The 1984 Draft has carved its niche, blending indie rock sensibilities and the cleverness of punk music with heartfelt lyrics that resonate with audiences. In 2023, the band released “Best Friends Forever.” The buzz on this band is well earned and delivers on a promise of a musical journey that fans and critics alike were eager to embark upon.
Formed in the heart of Dayton, The 1984 Draft has been a mainstay in the indie rock scene, captivating listeners with their distinctive sound and poignant songwriting. Comprising members around the nucleus of principal songwriter, singer, guitarist Joe Anderl and uncompromising drummer and percussionist Justin Satinover, the band has consistently evolved while staying true to its roots. The band is rounded out with Eli Alban on guitar and Chip Heck on bass and most recently Cherry Fullam on backing/co-vocals. The band’s previous releases, including “Heisman Trophy Winner” and “Makes Good Choices,” showcased a musical maturation that hinted at the depth to come with “Best Friends Forever.”
“Best Friends Forever” is not just an album; it’s a sonic tapestry woven with the threads of emotion, experience, and musical prowess. From the opening chords to the fading echoes, the listener is taken on a captivating journey through the varied spaces, places and emotions of sound and sentiment. This is meaningful rock and roll that is not afraid to explore the challenges of maturity, work, aging, family, spirituality and the need for community.
The album kicks off with an anthemic track, “erryday” that serves as a rallying cry, immediately establishing the tone for what’s to come. The infectious energy and melodic hooks set the stage for a collection of songs that traverse the spectrum of human emotion without pulling any punches. If you are looking for charging rock and roll played and sung as if the band members lives depended on it, this it the record for you. Joe Anderl sings about topics deep and mundane with the same ‘take no prisoners’ approach that we used to take for granted from Bob Mould, Paul Westerberg and J. Robbins.
One of the standout features of The 1984 Draft’s music has always been the authenticity of their lyrics. “Best Friends Forever” is no exception. Each song is a lyrical voyage, delving into themes of life, challenge, resilience, and introspection. The band’s ability to craft narratives that resonate universally while maintaining a personal touch is a testament to their songwriting prowess.
Musically, the album showcases the band’s versatility. From the driving rhythms and electrifying guitar solos to the more subdued, introspective moments, The 1984 Draft proves their ability to experiment with different sonic panorama while maintaining a cohesive identity. The production quality elevates the listening experience, allowing each instrument and lyric to shine with clarity. The second track — and a personal favorite of ours — “Big Star” — celebrates the contributions of all of the members of the band. The backing vocals of Cherry Fullam elevate the song and her voice blends seamlessly with Joe Anderl’s.
Throughout the record, Justin Satinover demonstrates an unbelievable effort behind the drum kit that sounds and feels superhuman. The bass is played as a prime and lead instrument by Chip Heck. The bass is not an afterthought, the contribution of the lower end is just as critical as every other instrument. And speaking about the higher end, Eli Alban’s solos and progressions take the songs into orbit. Just listen to “Bells,” “War II,” “Rhino,” “Toldeo Strong” and ‘Hold Steady” — damn, this band rocks.
As “Best Friends Forever” made its way into the ears of fans and critics alike, the response was correctly overwhelmingly positive. Music journalists praised the album for its musical dexterity, lyrical depth, and emotional resonance. The band’s ability to seamlessly blend elements of alternative rock, punk, indie, and post-punk drew favorable comparisons to both classic and contemporary bands. Fans — such as us here at YTAA — took to social media to express their admiration for the album, with many highlighting specific tracks that resonated with them personally, give a listen to “Two Cow Barrage” and not feel the band’s love for the legendary Two Cow Garage. The sense of connection that The 1984 Draft fosters with their audience has always been a hallmark of their work, and “Best Friends Forever” only deepens that bond.
Within the ever-evolving music we call indie rock, The 1984 Draft’s “Best Friends Forever” is not only a spark from the band’s artistic growth and unwavering commitment to their craft, it is one of our favorite records of 2023. The album is not just a collection of songs but a narrative woven with sonic threads that tug at the heartstrings and heads of listeners. As the band’s musical journey continues, one can only anticipate what new real emotional landscapes The 1984 Draft will explore in the years to come.
In the digital streaming age where we all have instant access to an unparalleled variety of music — at least for now, it may seem paradoxical to consider the existence of unheard records. With thousands of records released every year and thousands of songs uploaded to streaming services every week, the sheer amount of available music is overwhelming. The vastness of the musical releases, coupled with the continuous influx of new creations and the persistent legacy of past works, results in an overwhelming number of records that remain unheard each year. Let’s delve into the reasons behind this phenomenon, exploring the factors contributing to the vast pool of undiscovered musical gems and considering the implications for both artists and listeners.
One of the strengths of music culture is the unending craft of music creation. The United States has long been a melting pot of diverse cultures, each contributing to the fantastic mix of musical genres and styles. From the birth of jazz in New Orleans to the rise of hip-hop in the Bronx, to the adventure of electronic music across the country, American music has evolved and branched out into an extraordinary array of forms. This constant evolution, driven by creativity and cultural cross-pollination, ensures a continuous influx of new records into the musical ecosystem.
The music industry, with its multifaceted nature, encompasses not only mainstream genres but also a plethora of incredible niche and independent scenes. While popular artists dominate the radio airwaves and streaming platforms, countless talented musicians operate in the peripheries, creating music that often goes unnoticed by the mainstream audience which we consider a distressing fact — and a mission of Your Tuesday Afternoon Alternative to address. YTAA as a radio show always focused on independent, local and amazing music that needs to be heard.
The expansive musical universe, we all inhabit, ensures that a considerable number of records go unheard each year simply due to the sheer volume of new releases and a cultivated ignorance of the mainstream record labels to push a limited number of artists and records, and a continuation of a narrowcasting approach by radio and streaming services. Consider Spotify’s financial model focusing on records that have high sales and high engagement. And this problem — and we think of the situation as a problem — is occurring despite an increase in the sales of physical copies of records. According to Oliver Payne, writing at Music Tech.com, “Physical album sales overall also saw a notable rise of 13.3 per cent in 2023, with 41.5 million physical copies sold compared to 2022’s 36.7 million. Notably, direct-to-consumer vinyl sales experienced substantial growth, reaching 2.6 million sales.”
The advent of digital technology and the rise of streaming platforms have revolutionized the way we consume music. It is not unreasonable to think of this as a digital deluge. While this has undoubtedly increased accessibility, it has also contributed to the phenomenon of unheard records. The democratization of music production means that anyone with a creative spark and basic equipment can produce and release music independently. And this opening for musicians is to be applauded and supported so that musicians regardless of reach can create music. Consequently, the sheer volume of music flooding online platforms can be overwhelming, making it challenging for even the most dedicated music enthusiasts to sift through the multitude of releases. An amazing song or incredible record can fall through the proverbial cracks all too easily.
Moreover, as we allude to earlier, the algorithms employed by streaming services often prioritize popular and commercially viable tracks, relegating many lesser-known gems to obscurity. As a result, artists operating outside the mainstream are faced with the daunting task of breaking through the digital noise to capture the attention of potential listeners. This digital deluge, while providing unprecedented opportunities for artists to share their work, also contributes to the growing pool of unheard records.
Economic realities and the struggle for visibility in a highly competitive music industry, is a core concern tied to unheard records. The economic considerations play a significant role in determining which records rise to prominence and which remain in relative obscurity. Major record labels, with their considerable resources, can afford extensive marketing campaigns and promotion efforts to elevate their artists into the public eye. Independent and unsigned musicians often face financial constraints that limit their ability and time to invest in promotion. Which assumes that artists are even interested in promotion in a challenging media and advertising environment in the first place. This issue motivated us to have conversations with musicians invested in music promotion on our podcast, Uncool Music Conversations with Andy & Art.
The lack of financial backing can result in talented artists creating exceptional records that languish in the shadows, unable to break into mainstream consciousness. In this context, the economic realities of the music industry contribute to the perpetuation of unheard records, creating a barrier for many artists to achieve the visibility they so richly deserve.
Taste curation, both on an individual and collective level, plays a pivotal role in determining which records gain traction and which fade into uncertainty regardless of how compelling an album or a song is for someone. Individual listeners often gravitate toward familiar genres, artists, or styles, limiting their exposure to a broader spectrum of musical offerings. Additionally, the collective taste of society, shaped by trends and cultural influences, can create a homogenized musical landscape that excludes many innovative and boundary-pushing works. Part of the challenge is encouraging music fans to listen to music that they do not know. Taking a chance on unfamiliar music remains a serious impediment for getting music heard.
Furthermore, the influence of music critics, radio stations, and streaming service playlists can shape public opinion and contribute to the perpetuation of certain genres or artists at the expense of others. This taste curation, while serving as a valuable guide for listeners, can inadvertently lead to the neglect of numerous records that fall outside the established norms.
The existence of unheard records has profound implications for artists, both established and emerging. For established artists, the pressure to conform to market trends and maintain commercial success can stifle experimentation and creativity. This not only limits the artist’s ability to explore new musical territories but also contributes to the saturation of certain genres at the expense of others.
Emerging artists, on the other hand, face the uphill battle of gaining visibility and recognition amid the vast sea of unheard records. The struggle for attention in a crowded digital landscape can be disheartening, and many talented musicians may find themselves overlooked simply due to the fierce competition for audience engagement.
The phenomenon of unheard records is not merely a challenge for individual artists but also has broader implications for the overall diversity and innovation within the space of music. The musical diversity and innovation are limited when all of the attention in music is devoted to just a handful of artists or albums. When a significant portion of the musical output remains undiscovered, the potential for cross-pollination of genres, the emergence of new styles, and the evolution of musical forms is hindered.
Diversity in music is a crucial aspect of cultural expression, reflecting the myriad perspectives and experiences within society. The failure to recognize and appreciate a wide range of musical creations diminishes the richness of the cultural tapestry of music, limiting the potential for innovation and the exploration of new sonic frontiers.
Let’s consider potential solutions and avenues for discovery for a moment. Addressing the issue of unheard records requires a multifaceted approach that involves both industry stakeholders and listeners. Increased support for independent and niche scenes, including financial backing for promotion and distribution, can empower artists who operate outside the mainstream. Streaming platforms can refine their algorithms to better highlight diverse and underrepresented music, ensuring that listeners are exposed to a broader range of offerings. Independent and local labels can and should be embraced and supported! Music fans can contribute to a healthy music ecosystem by supporting local labels! Our area has several independent labels such as Magnaphone Records, Poptek Recs, and Gas Daddy Go.
Supporting local record stores create physical and online spaces where music fans can expand their knowledge and experience of music. A simple solution is to go to these stores and support them. Talk to the staff who work there as they may have amazing recommendations for bands, artists and records that you may not know about yet. We recommend Omega Music, Blind Rage Records, Skeleton Dust Records, Toxic Beauty Records, Shake It Records, Everybody’s Records just to name some of the shops we regularly visit in our area.
Initiatives that celebrate musical diversity, such as festivals, awards, and curated playlists that explore songs beyond popular artists, can play a pivotal role in bringing attention to unheard records. Music enthusiasts can also contribute by actively seeking out and sharing lesser-known works, supporting local scenes, and engaging with a variety of genres to expand their musical horizons. In our city we have several incredible festivals such as Dayton Music Fest, Dayton Porchfest, Holidayton, Dayton Battle of The Bands, Showcase Thursdays at The Yellow Cab Tavern, Dayton Sideshow, and Winterfolk Dayton, again just scratching the surface of music events in the Gem City. Wherever you call home there are likely to be terrific music events where you can explore far more amazing music. Social media platforms and chat rooms where music fans respectfully share music that moves them is another source of information on unheard songs and albums.
The phenomenon of unheard records in the United States is a complex and multifaceted issue, shaped by the interplay of cultural, economic, and technological factors. This is not a concern that is easily resolved. But just because the challenge is difficult does not mean that it is impossible to address. As the music industry continues to evolve, addressing this challenge requires a collective effort from artists, industry stakeholders, and listeners alike. By fostering a culture that values diversity, embraces innovation, and supports independent voices, we can hope to unravel the symphony of unheard records and ensure that the full spectrum of musical creativity finds its audience. Take a chance and listen to something you do not know, it might be the next musical love of your life.
Dayton musician, Jay Madewell passed away unexpected on December 10, 2023 at the age of 51. Jay was not just a passionate music fan and avid record collector but a DJ, fantastic musician, and drummer who contributed to many musical projects in Dayton, Ohio. He had been active in the Dayton music community for well over 30 years where he encouraged many musicians to embark on their own sonic adventures and music-based journeys. His efforts in the legendary Dayton Dirt Collective, the Rock ‘n’ Roll Playdate as well as being an active and adventurous club DJ, hosting several themed nights such as the 1960s-focused Fab Gear, L’80s Night, and others. He was also considered to be the top wedding DJ for local musicians. Jay was involved in far more bands and music projects than can easily be listed here, but to list just a few — Real Lulu, Team Void, Power to the Peephole, Lexo & the Leapers, Dirty/Clean and GeeGee’s Punk Rock All Stars — are all evidence of a profound musical life.
A gathering of friends and family will be held at the Yellow Cab Tavern, 700 E. 4th St, Dayton, OH 45402 from 2-6 PM on Sunday, December 17, 2023 to share stores and memories of Jay.
When Team Void visited Your Tuesday Afternoon Alternative, we got to know Jay a little. His enthusiasm, passion for music, amazing drumming, and wry sense of humor were on keen display. It was a pleasure to spend time with him. He had a fascinating charm, easy nature and also decidedly deadly wit, terrific sense of humor and provocative observational skill. Jay was kind and good natured without speaking down to others.
Music has incredible power to cut across the barriers we put up to protect ourselves, the distance of time, and the expanse of place, weaving itself into the fabric of our lives and becoming an integral part of our identity. Often it also becomes part of the experience and sense of a place, music becomes part of how we think about community. For music enthusiasts, the relationship with their favorite musicians goes beyond mere fandom; it is a deeply emotional and personal connection. Music fans wear t-shirts of a loved band or artists not simply to become walking billboards but to illustrate in obvious, perhaps unavoidable fashion, their association with a band, artist, record, tour… whatever connects them in some distant way to the music.
When a beloved musician passes away unexpectedly, the waves of grief that ripple through a community are profound, leaving a deep void that seems impossible to fill in the immediacy of the grief. The shockwave of loss feels personal as if one has lost a member of their family or a dear childhood friend and that feeling is real. It matters. The sudden death of a cherished musician sends a seismic shift through the hearts of friends, colleagues, fans, and others, creating a collective sense of disbelief and sorrow. Unlike other forms of loss, the death of a musician carries a unique weight. Music is the soundtrack to our lives, marking milestones, soothing sorrows, markers of accomplishments, and heightening joys. When a musician unexpectedly departs, it feels as though a part of our own narrative has been abruptly severed, leaving us grappling with an overwhelming sense of emptiness. The intimate connection to something profound and personally meaningful is severed; and that bond cannot be easily repaired or replaced.
Music is a deeply personal experience, often serving as a companion in times of solitude, celebration, sadness, or introspection. The lyrics and melodies of an artist become intertwined with the listener’s memories and emotions. Those who hear the music develop an intimate connection with the artist’s work, feeling as though the musician understands their innermost thoughts and feelings. The unexpected loss of this artistic confidant can be akin to losing a dear friend or mentor who understood without judgement how you feel. That cut is especially acute when the musician is in actuality a friend.
For many, music is more than a form of entertainment; it is a lifeline. The music we listen to is more than mere background noise to many of us, it is a soundtrack to life. Musicians have a unique ability to articulate the human experience, expressing emotions that listeners may struggle to put into words. When an artist passes away, the soundtrack to life is forever altered. The songs that once brought comfort, joy, or solace may now carry a bittersweet resonance, serving as a poignant reminder of an artist’s absence.
In the digital age, social media platforms serve as virtual gathering spaces for fans to collectively mourn the loss of a musician. Social media creates the space for mourning that ripples throughout networks close and those separated and far away. The outpouring of grief on platforms like Twitter, Instagram, and Facebook creates a sense of solidarity among fans, friends, and colleagues who share a deep connection to the artist’s work. Hashtags memorializing the musician trend whether locally or farther afield, amplifying the collective voice of mourning and allowing fans to express their grief in a public forum.
Fans often channel their grief into creating and sharing tributes that celebrate the life and legacy of the departed musician. From fan art and cover performances to heartfelt messages, photos and playlists, these tributes become a way for the community to collectively honor the artist’s impact on their lives. In this shared creative process, fans find solace and a sense of connection with others who are navigating the same turbulent seas of grief. These shared memories and tributes remind us that we are not alone.
The unexpected death of a musician shatters the illusion of immortality that often surrounds artists in the eyes of their fans, colleagues and the wider community. Music has the power to transcend time, and supporters may have envisioned their favorite musician continuing to create and evolve indefinitely. The sudden loss confronts us with the harsh reality of mortality, forcing all of us to grapple with the finite nature of life and fragility of art.
The music we love forms a crucial part of our identity, shaping our tastes, values, and even our sense of self. When a beloved musician dies unexpectedly, fans, friends, and colleagues may experience a profound identity crisis as they navigate a world where the artist’s voice and sound is forever silenced. The process of mourning becomes intertwined with a search for meaning and a reevaluation of one’s own identity without the guiding influence of the departed artist. Whether the contribution would be a song, a sound, a reassuring comment, or a silly joke — that source of comfort is no longer available. In those moments, a community turns to one another to find solidarity, hope and the needed comfort.
As with any form of loss, grieving the death of a beloved musician follows the familiar stages of denial, anger, bargaining, depression, and acceptance. Navigating the stages of grief should not be considered a path to closure but rather a journey in establishing a sense of self and some grasp at understanding amongst the loss. The process is uniquely complex for members of a music community, as each stage is intertwined with the artist’s body of work, their influence on us and the fumbling efforts to come to some form of understanding. Denial may manifest as an unwillingness to accept that the musician will never create new music, while anger may be directed at the unfairness of a life cut short.
Bargaining takes on a unique form as members of a music community may replay “what if” scenarios in their minds, imagining alternative outcomes that would have allowed the musician to continue making music. Depression may settle in as fans grapple with the void left by the artist’s absence, and acceptance becomes a delicate dance between honoring the musician’s legacy and embracing the inevitability of their departure.
While the pain of loss is profound, the legacy of a beloved musician — at any level of experience — endures through their body of work, the contributions to a music community, and the creation of art. Colleagues, fans and friends often find solace in revisiting the artist’s discography, discovering nuances in the lyrics and melodies that take on new meaning in the context of personal and collective grief. The music becomes a bridge between the past and the present, allowing fans to maintain a connection with the artist even in their absence.
Music has always held a special and unique healing force in our lives. In the midst of grief, music has the power to serve as a healing force. Fans may find comfort in the familiar strains of a favorite song, using music as a therapeutic tool to navigate the tumultuous emotions associated with loss. Cover performances by fellow musicians, tribute concerts, sharing of photos, and posthumous releases become cathartic experiences, providing the music community with an opportunity to collectively mourn while celebrating the artist’s enduring impact. The love that they created remains with us if we can only find it and see it.
The death of a beloved musician does not mark the end of a relationship with the artist; rather, it transforms into an enduring bond that transcends a physical realm. Fans continue to carry the torch of the musician’s legacy, introducing their work to new generations and ensuring that the impact of their artistry is not forgotten. In this way, the community becomes the custodian of the artist’s memory, keeping the flame alive through shared stories, photos, traditions, and the perpetuation of the music itself.
The grief experienced by members of a music community when a beloved musician passes away unexpectedly is a complex and deeply personal journey. Music’s profound impact on our lives elevates the loss beyond the realm of simple fandom, creating a unique and enduring connection that transcends time. As music fans and supporters navigate the stages of grief, music becomes a source of solace, a bridge between the past and the present, and a recognition of artistic expression’s enduring power and beauty. While the pain of loss is undeniable, the legacy of a beloved musician lives on through the hearts and ears of those who continue to find comfort, inspiration, and connection in the melodies and lyrics that once emanated from the now-silent stage.
The holiday season is traditionally accompanied by the familiar sounds of sleigh bells, cheerful choirs, and iconic tunes from well-established artists. However, for those with an inclination towards alternative and independent music, the indie rock genre offers a refreshing twist to the festive soundtrack. On November 21st, Tom Gilliam and I celebrated our 13th annual YTAA Indie Holiday show. We played music from Dolph Chaney, The Popravinas, The Ramones, The Pogues, Darling West, Heather Redman, Fitz and The Tantrums, My Morning Jacket, Van Plating, Olivia Frances, The Surfajettes, Best Coast, Trey Stone and The Ringers, Calexico, Librarians with Hickeys, Debra Devi, Fountains of Wayne, The Decemberists, Joey Ramone, Bad Religion, Heartless Bastards, The Killers, and Dayton’s own Escape Velocity among others over three hours. I wanted to publicly thank Tom Gilliam of the excellent Dayton-based band Ghost Town Silence, for doing this special show with me for over a decade. I wondered what is it about independent music that allows for the creation of exciting new holiday music. So, if you will indulge me as we enter the holiday season, I will delve into the world of indie rock holiday songs, exploring the charm and uniqueness they bring to the season.
Taking a break from tradition can be a healthy and positive experience. Indie rock holiday songs provide a welcome departure from the conventional jingles and carols that dominate the airwaves during the festive season. Unlike the predictability of traditional holiday music, indie rock artists infuse their creativity into the lyrics and melodies, offering a fresh and sometimes irreverent take on the holiday spirit. The departure from traditional sounds allows listeners to experience the season with a new perspective, embracing the diversity that indie rock brings to the table.
One of the hallmarks of indie rock is its ability to convey complex emotions through music, expressing complex emotions — that special sense of being hit “in the feels” can be a moment of self-reflection. While traditional holiday songs often focus on joy and celebration, indie rock holiday tunes explore a broader spectrum of feelings associated with the season. From the melancholic reflections on solitude during the holidays to the bittersweet nostalgia of past celebrations, indie rock captures the multifaceted nature of the holiday experience. Artists like Sufjan Stevens, The Shins, Debra Devi, and Heartless Bastards weave intricate narratives that resonate with those who may find the holiday season to be a mix of joy and introspection. The Decemberists’ reinterpretation of Big Star’s Jesus Christ, from their album 3rd released in 1974, illustrates this approach quite clearly. The band’s official video incorporates the idea of a Yule Log experience into the music video.
Indie rock holiday songs showcase a range of perspectives on the holidays, reflecting the diversity of experiences within the indie rock community. One of the great aspects of alternative and independent music is the opening to diverse perspectives on the holidays. These songs often touch upon themes like non-traditional celebrations, unconventional family dynamics, and the challenges of navigating societal expectations during the festive season. The narratives presented in indie rock holiday songs provide a sense of relatability for listeners who may not find their own experiences mirrored in more mainstream holiday music. The 2016 original holiday song, “I Feel It In My Bones” from The Killers’ alternative holiday album “Don’t Waste Your Wishes” takes a dark, almost sinister interpretation of Santa Claus.
Indie rock, by its very nature, is a genre that thrives on experimentation and innovation. The best characteristic of an independent song is the surprise you discover when you hear it. Dolph Chaney’s excellent “Jingle Bells” set to Van Halen’s “Panama” is a complete surprise as well as a delight! Big Stir Records has released several fantastic indie holiday songs as part of their Yuletide Wave. When applied to holiday music, the willingness to explore and recreate results in a rich tapestry of unique soundscapes in which to capture the seasonal vibe. From the indie alt-country and folk-infused sounds of Trey Stones and The Ringers’ “Santa, Please Bring Me a Guitar” to the rock and roll vibes of The Ramones “Merry Christmas (I Don’t Want to Fight Tonight),” these songs reimagine the sonic landscape of the holidays. The infusion of indie rock elements into holiday music introduces listeners to a sonic experience that goes beyond the traditional, breathing new life into the seasonal soundscape.
Indie rock holiday songs offer a delightful departure from the familiar tunes that dominate the airwaves during the festive season. By expressing complex emotions, presenting diverse perspectives, and exploring unique soundscapes, indie rock artists contribute a distinct flavor to the holiday music repertoire. The unconventional jingles and alternative carols provide an avenue for listeners to connect with the holiday spirit in ways that resonate with the ever-evolving nature of contemporary music. So, this holiday season, consider expanding your playlist to include indie rock gems that bring a touch of creativity and innovation to the festive sounds we hear this time of year.
Normally, I am busy preparing for a radio show on Tuesday afternoons. Busy typing song titles into a computer that feels both like a friend and a reluctant companion. This Tuesday however, I am not doing any of that prep work because the radio station is preparing to move to its new home.
In the heart of the University of Dayton campus, nestled among the hustle and bustle, there exists a sanctuary that transcends the usual boundaries and divisions that we make for ourselves every day. For 22 years, a humble student-run radio station has occupied the same space, etching its mark on the airwaves and the souls of those who have tuned in whether they be students at the University of Dayton or community members looking for something captivating on the airwaves. In 2001, WUDR moved from cramped quarters in Kennedy Union to the then newly opened Artstreet complex creating a harmonious resonance that defies the transience of our ever-evolving world. The Artstreet experiment was untested on campus. It was a living, learning, creative space that playfully yet intentionally used architecture, design, and flexible classroom spaces to encourage applied creativity. WUDR Flyer Radio and Street Sounds Recording Studio shared the end of one of the buildings next to an open amphitheater for outdoor events. Before the radio station added online broadcasting, this came a few years later, the station provided a space for those with a passion for radio broadcasting, indie music enthusiasts, and students applying what they were learning in classes to come together toward a common goal of making radio shows.
While I was not a student for quite some time, I have long explored the role of a radio DJ. After receiving a positive tenure decision from the University of Dayton, I balanced my teaching, writing, and administrative obligations with a hunger to do radio again. For 19 years I tried to passionately advocate for local music balanced with an interest in new music and the development and evolution of indie and alternative music. For almost two decades that interest has animated Your Tuesday Afternoon Alternative. I wrote a personal essay about my sense of doing radio in September.
As I prepare to leave the studio that I have called my second office for 19 years, a wave of nostalgia washes over me. The worn-out carpet beneath my feet bears witness to the countless footsteps of other DJs — student and faculty — that have trodden this path before, each imprint telling a story of passion, dedication, and an unwavering commitment to the art of sound at WUDR. The walls, once adorned with posters of Dayton bands, amazing local shows, a few legendary musicians, and faded memories, seem to whisper tales of late-night broadcasts, whispered confessions, and the transformative power of music.
In an era where change is the only constant, the endurance of this student-run radio station becomes an anthem of constancy, a lighthouse guiding lost ships through the stormy seas of life. The comforting hum of the equipment, the familiar creaks in the chairs, the colors of the ENCO systems alongside the soft glow of the control panel all bear witness to the enduring spirit of a station that has weathered the storms of technological upheaval and the fickle tastes of an ever-evolving audience. The dim light and just barely audible hum of a computer to my right that sends the radio signal to the web is a constant companion.
It’s not just a radio station; it’s a time capsule, preserving the essence of an era long past while evolving with the pulse of the present. The student DJs who have graced this sacred space have become custodians of emotions, weaving the soundtrack of our lives through the carefully selected notes and melodies that have graced the airwaves for over two decades in this space (and over fifty years in total).
The connection between the station and its listeners is not merely a broadcast; it’s an intimate conversation that transcends the limits of physical space. You cannot see the people who are listening. The voices that have resonated through these speakers have been companions during late-night drives, all night cramming before a big test, solace during moments of solitude, and the soundtrack to celebrations and heartbreaks alike. The station has become a confidant, a friend, and a silent witness to the ebbs and flows of our collective experience on and off campus.
As the world around us races forward, this radio station through the various slogans and themes over the years — “rock in the gem city,” “music in all directions,” and “support your local music scene” — remains a constant, a testament to the enduring power of music to bind us across time and space. We come together even though we cannot see each other in that moment when a great song plays. It’s a reminder that, in the transient nature of life, some things are built to last. The 22 years encapsulated in these walls are not just a marker of time but a celebration of the resilience of the human spirit to create, connect, and find solace in the embrace of familiar melodies. Songs mean something beyond the notes, chords, voices… as they remind us what we feel.
In a society that often values the shiny and new, this radio station serves as a poignant reminder that there is beauty in the worn and weathered, in the stories etched into every scuff and scratch. It’s a living testament to the belief that, sometimes, the most profound expressions of art and emotion arise not from the pursuit of the novel but from the nurturing of what already exists.
Live, intimate performances in a radio station hold a profound significance in the realm of music and broadcasting. Unlike large concerts in arenas or stadiums, these intimate sessions offer a unique and up-close experience for both the artist, the DJ, and the audience. The confined space of a radio station creates an atmosphere that fosters a sense of connection, an all too quickly fleeting and personal bond allowing the artist’s emotions and musical nuances to be experienced with unparalleled intimacy. And I have been unbelievably fortunate to have so many guests in the studio.
From the audience’s perspective, the intimacy of a radio station performance offers a rare chance to witness their favorite musicians in an unfiltered setting. It forges a more profound bond between the listener and the artist, creating an environment where the nuances of the performance are not lost in the vastness of a large venue. Live, intimate performances on a radio station bring artists and audiences together in a way that transcends the traditional concert experience. They celebrate the essence of music, fostering a connection that resonates on a deeper level, making these performances invaluable in the rich tapestry of musical expression.
From Thrasher Cadillac to Ghost Town Silence’s Tom Gilliam, who joined me for our annual YTAA Indie Holiday program, several artists in Dayton, the region, and national touring acts have shared their music with our listeners. Incredible songwriter and musician Charlie Jackson made his very first radio interview and performance in the WUDR studio space at Artstreet. Remember his name, a songwriter with that much talent and lyrical richness is perfectly made for a large, national audience. There is not enough patience to list all of the musical acts who have shared their time and music with us but let’s try that perseverance just a touch: The New Old Fashioned, Amber Hargett, Oh Condor, Cricketbows, Brainiac, Age Nowhere, Smug Brothers, The 1984 Draft, K.Carter, Kris N., XL427, Team Void, Matt Moran, Librarians With Hickeys, Rossonian, Bottlecap Mountain, Renaissance, Serin Oh, Motel Faces, Avalon Park, Josh Thrasher, Nicholas Johnson, Nate Peters, Me & Mountains, David Payne, Mike Bankhead, Harold Hensley, Neo American Pioneers, Zack Sliver, Nasty Bingo, Khyrs Blank, The Boxcar Suite, Brian Wells, Trees and Wells, Jennifer Taylor, Sharon A. Lane, Scary Hotel, Jetty Bones, Heather Redman, Sadbox, The Nautical Theme, Tod Weidner, Ike B., Max B. Greene, Tim Gebard, Manray, Mandy Jewel, The Typical Johnsons, Ricky Terrell, Kevin Serey, Windsor Knotts, Kyle Byrum, Dave Zup, Bill Wendell, Paul Monin, Seth Canan and The Carriers, Don Thrasher, Dead Licks, Sam King, Far From Eden, Andrew Hunt, The Paint Splats, Emory Road, Achilles Tenderloin, Curse of Cassandra, Rich Reuter, Nick Kizirnis, Kyleen Downes, Goodnight Goodnight, Charles Hartman, Kurt Lee Wheeler (who traveled from Georgia to be on our show that day), Lisa Gain & The Rusty Silos, Mack McKenzie, Steve Shockley of the Original Lakeside, and so many more. Still here? That is far from a complete list because those are just some of the artists who were in the studio. The magic of the phone call-in provided for so many more artists to share their gifts with all of us.
For the artist, performing live on a radio station provides an opportunity to showcase raw talent and authenticity. Stripped of elaborate productions, the focus shifts to the purity of the music and the artist’s ability to connect with the audience on a personal level. It becomes a platform for artists to experiment, improvise, and unveil new dimensions of their creativity.
As I exit the studio, the faint strains of a timeless song linger in the air, I play The New Old Fashioned – Radio Waves. It is fitting. As David Payne sings, I carry with me the echoes of my 19 years in my second office, resonating not only in the frequencies of the music but in the very fabric of my being. This radio station is more than a collection of songs; it’s a living, breathing entity, a guardian of memories, and a symbol of the enduring power of music to transcend the limitations of time and space. It was home.
WUDR will move to its new space in the Roger Glass Center for the Arts over the next several weeks. We will set up shop in an exciting new space that was specifically designed with the station and student media in mind, but we carry with us the incredible music experiences, history, and warm embrace of a building that was the radio station’s home for 22 years. Here’s to many more.
Once upon a time country music was made with an eye toward capturing authentic experience and real storytelling reigned supreme. David Payne’s latest release, “Best Intentions,” stands as a testament to the genre’s ability to capture the complexities of life. With its poignant yet accessible lyrics, soul-stirring melodies, and raw, unfiltered sound, Payne invites listeners on a profound sonic journey that delves into the depths of human emotion. The music video made to accompany the single deftly captures the feeling of the song.
The song opens with a twangy guitar riff that immediately sets the tone for what’s to come, the guitar lines bounce with a syncopation that reminds the listener of The Buckaroos’ Don Rich. Payne’s vocals, weathered by experience, carry the weight of the narrative, creating a sense of sincerity that resonates with the listener. It’s a classic country setup, but as the lyrics unfold, it becomes evident that “Best Intentions” is not just another run-of-the-mill country song. Instead, it navigates the intricacies of relationships, regrets, and the inevitability of life’s unpredictable twists. Sometimes we all need to step out for just a minute as the song reminds us.
At its core, the song explores the universal theme of good intentions gone awry. Payne’s lyrics paint a vivid picture of a protagonist grappling with the consequences of choices made with the purest of motives. The verses unfold like pages from a personal journal, revealing a depth of self-awareness and vulnerability rarely found in mainstream country music.
The driving rhythm and syncopation are where “Best Intentions” truly shines. A blend of heartfelt sincerity and a touch of melancholy, the refrain captures the essence of the human experience. Payne’s delivery is both soulful and genuine, carrying the weight of the narrative with every note he sings. It’s the kind of song that lingers in the mind, inviting introspection and resonating with those who have faced the complexities of relationships and the bittersweet nature of good intentions. Why do we need time away from those we care about? How does the time get away from us and suddenly — at least to us it seems a surprise — it’s “last call.”
The instrumentation plays a crucial role in shaping the song’s emotional landscape. The twangy guitars and fuzzy bass evoke a sense of nostalgia, paying homage to the traditional country sound, especially Buck Owens and The Buckaroos while infusing a modern edge. The arrangement is masterfully crafted, allowing each instrument to breathe and contribute to the overall sonic palette. Payne’s decision to keep the production stripped down and authentic enhances the song’s emotional impact, creating an intimate connection between the artist and the listener. The video enhances that idea by keeping the visual narrative of Payne in a bar drinking by himself.
It’s worth noting that “Best Intentions” stands out in the country music scene for its refusal to conform to formulaic trends. In an era where many artists prioritize commercial success over artistic integrity, Payne embraces the roots of country music, blending tradition with innovation. The song harkens back to a time when storytelling was at the forefront of the genre, and each note carried the weight of genuine emotion.
One of the most compelling aspects of “Best Intentions” is its ability to transcend the confines of country music and appeal to a broader audience. The themes of love, loss, and redemption are universal, making the song relatable to listeners across genres. Payne’s genuine approach as a storyteller shines through, creating an emotional resonance that extends beyond the boundaries of a single genre. Moreover, the song’s narrative depth opens the door for interpretation, allowing listeners to find their own meaning within the lyrics and the reason that the narrator needs some space to think. Whether reflecting on personal experiences or simply appreciating the artistry of the storytelling, “Best Intentions” invites a level of engagement that goes beyond casual listening.
David Payne’s “Best Intentions” is a standout addition to contemporary country music. Through its authentic storytelling, soul-stirring vocals, driving rhythm, and refusal to conform to industry norms, the song encapsulates the essence of a commitment to celebrating genuine artistic expression. As a sonic journey through the heart of a modern country, “Best Intentions” serves as a reminder of the power of music to connect us all through the shared experiences of the human condition.
Video By Brandon Berry at Broken Tape, LLC. The song was written by M. D. Payne Jr. It was produced, engineered, and mixed by Patrick Himes and David Payne on 2″ analog tape at Reel Love Recording Company in Dayton, Ohio. The song was mastered by Tim Pritchard at Great Horned Audio, Dayton, Ohio. Thanks to Magnaphone Records for releasing this country music gem.
The players: David Payne: Vocals, Acoustic Guitar Patrick Himes: Precision Bass, Percussion Brian Hoeflich: Drums Dan Spaugy: Electric Guitar Matt Spaugy: Tic Tac Bass, Fuzz Bass
In the ever-shifting realm of music, where emotions dance to the rhythm of melodies and lyrics, the significance of first-person accounts is akin to the heartbeat of that sonic industry. Many books, articles, ‘zines, blogs, documentaries, and more have chronicled the evolution of rock and roll. Often the stories are made vivid through personal narratives which serve as soulful storytellers, encapsulating the visceral essence of musical experiences.
At the heart of this effort lies the undeniable truth that music is a deeply personal affair. Beyond the glitz of stage lights and the glamour of fame, the authentic narratives of individuals thrust us into the beating heart of musical spaces. First-person accounts unravel the mysteries behind the creation of iconic songs, giving us a backstage pass to the emotions, struggles, and triumphs that shape the artist’s sonic voyage.
Take, for instance, the confessional tales of Bob Dylan as he traversed the winds of change in the 1960s. His first-person accounts, woven into the lyrical tapestry of folk and protest music, became the anthems of a generation. Rolling Stone’s intimate interviews with Dylan, where he bared his soul and articulated the intricacies of his musical odyssey, stand as testaments to the power of firsthand narratives in deciphering the magic behind the music. First-person accounts from producers, engineers, and mixers also offer a peek behind the curtain at music creation. When those who shape and capture sound share their ‘I was there’ experiences as only someone who was present at the creation of the music can, all music fans are given an opportunity to learn how the various pieces were captured and assembled into song.
These direct accounts bridge the chasm between artist and audience, forging a profound connection. Whether it’s the euphoria of a Woodstock moment, the stories that surround Live Aid, or the fan culture of Swifties, first-person experiences, oral histories, and those who bear witness to the melancholy of a heartbreak anthem, the firsthand narratives serve as empathetic conduits. The reader becomes a fellow traveler in the sonic expedition, sharing the highs and lows, and reveling in the universal language that transcends boundaries.
In our digital culture, where streaming services and algorithms dictate musical preferences, the authenticity of firsthand accounts offers a refreshing counterpoint. It reminds us that behind every beat, every lyric, every strum of a guitar, there’s a human story waiting to be unveiled. It’s the firsthand narratives that echo through attempts to understand music and the music industry, immortalizing the songs and the artists who dared to dream. These narratives, with their raw honesty and unfiltered passion, weave an indelible tapestry that captures not just the sound but the soul of music.
With these ideas in mind, we contacted various music professionals who work in different facets of the industry. Tim Anderl who has written extensively on music and shared his passion and enthusiasm for music to the extent of creating — from the ground up — his own music promotion company is one of the first to kindly answer our call for a reflective essay on their personal experiences. Thank you very much, Tim. This excellent essay shines a light on music publicity and promotion.
Although I’d studied magazine journalism as an undergraduate student at Ohio University with the intent of becoming a professional music feature writer, the reality upon graduation was that if I wanted to live independently and have the blessings of creature comforts like health and dental insurance, I might have to be agile in my job search. Roughly two months later, I’d secured a junior administrative position at a medical non-profit in Cleveland, Ohio. While I did have the opportunity to flex some of my writing/journalism muscles — organizing a monthly health lines program for AM news radio, writing for and editing the organization’s monthly newsletter/magazine, and coordinating inputs for an insert in the Cleveland Plain Dealer — the truth was, I was drifting farther, and farther from my original plan.
Thus began a series of DIY endeavors, including a cut-and-paste print zine, an online music magazine, a blog, and eventual “freelance” work for a variety of publications, a couple paid, but most unpaid. The payment, or lack thereof, never really bothered me. During the ’90s and ’00s, publicists still sent physical releases for review. This meant sometimes dozens of free CDs, and occasionally records, for many years. Any writing that did yield a payday was donated to a charity or local food bank as by this time I’d taken a comfortable job as a marketing and communications professional with a large government contractor that primarily paid my bills. And, my day job also afforded me the freedom of spending every waking hour outside of work going to shows, promoting shows, reviewing music, and interviewing bands.
Then, 12 years ago I had a crisis of conscience after the subjects of a handful of features and two cover stories, published in international print magazines, were outed publicly for abusing their power dynamic to take advantage of or sexually abuse members of their fanbase. The question that emerged for me was, “Why am I spending hundreds of hours a month writing features on seemingly disgusting people that I don’t actually know in real life?” As the recipient of dozens to hundreds of pitches by music publicists each day via email, I decided to try my hand at music PR, something that I really had no experience in aside from being familiar with writing and circulating press releases to non-music entities.
Original color logo by Dan Rizer
And Sweet Cheetah Publicity was prematurely born. Where did the moniker come from you ask? The answer is two-fold. First, it was inspired by a short-lived Kent, Ohio band called Suite Cheetah. How does that make sense you ask? As I visualized what I wanted writers/listeners to say when they heard a release I’d sent them, the answer became, “Sweet Cheetah! This is so good!” It made sense in my mind’s eye anyway…
At the time, the swim lane that I decided to concentrate on consisted of doing free PR for my local friends and their bands and projects, leaning on a small list of publications and my Hotmail account. But, it wasn’t long before longtime friends from other parts of the country and world came calling. Then friends of friends came calling, as did people with no prior connection to me circle in any way. And as the requests for help multiplied exponentially, so did the workload. It no longer made sense to send individual emails to a couple hundred contacts on my modest list, and I purchased a Mailchimp subscription, importing my contacts, and making strategic email blasts possible.
Another complete game-changer for the endeavor came when my brother’s band, The 1984 Draft, began planning for their debut album release. Suffering from severe imposter syndrome as a publicist, I provided my brother with contacts for those that I deemed the best publicists I knew and he began to contact them. Of the dozen or so he reached out to, he received only a single reply. This resulted in a conference call where the publicist outlined the cost of an effort that would place a few singles as premieres, and result in circulation of a press release or two. The cost: $1,000 for a month’s campaign.
Black and White Logo by Paul Rentler
When I heard about the meeting, I offered my brother the option of working with me to push the record out together. Simply, it didn’t, and still doesn’t really, make sense to me that a small independent artist or band that is already shouldering the cost of a practice space, recording, mixing, mastering, pressing a physical product, booking their own shows, printing their own merch, paying a grand a month for a publicist, who, truth be told, can’t really promise a tangible ROI or sales. Anyway, as a result of dozens of hours of research on his part, and an old press list a friend had received from someone in the Guided By Voices camp, my brother returned to me with an audience list, including radio, that was several hundred publications, podcasts, blogs, etc. deep.
The result of that campaign, in which my brother and I worked for 7 months, was dozens of interviews, features, reviews, radio plays, and much to our delight, placements on several “best of the year” lists. Additionally, this established a solid, somewhat successful modus operandi that I would use to work on other campaigns in the future.
Additionally, around that time and with the amount of work continuing to grow, the model for SCPR evolved into a “pro-bono PR in exchange for some commitment to charitable giving” model that, to date has resulted in donations of over $100K to a variety of charitable organizations including the NAACP legal defense fund, the American Heart Association, Brigid’s Path, House of Bread, Shoes For The Shoeless, Punks with Lunch, and Appalachian Prison Book Project, to name a small sampling. Sometimes the contribution is $20, sometimes $100, sometimes over $1,000.
Palm Ghosts cover art by Joseph Lekkas
In 2023, inspired by my friends from Palm Ghosts and Bobby Johnson from The Ghost Is Clear Records also launched a SCPR Cover For A Cause series this year, delivering incredible covers from Canyons, Jeremy Porter & The Tucos, halicon, Palm Ghosts, and Resignation to the Bandcamp platform and with the proceeds going to charity.
Thanks also to the behind-the-scenes heroes who helped with mixing and mastering including Dan Coutant from Sun Room Mastering, J Robbins, and Chris Common.
Sweet Cheetah PR also saw a variety of exciting projects. For instance, working with Brainiac on their UK/U.S. tour and archival releases, and saw a tremendous amount of attention including a review in Pitchfork, Brooklyn Vegan, and feature items in Stereogum, The New York Times, The Guardian, etc. I was also blessed to continue working with some of my very favorite musicians and labels of all time like J. Robbins and Jawbox, Jack Duckworth of Scotland’s Soft Riot, Philadelphia noise mongers Rid of Me, Scott Padden and the gang from Pilot To Gunner, Mark Kaiser, the genius behind the Sacramento-based Mt.St.Mtn label, Matt Traxler of Cleveland’s Steadfast Records, etc. SCPR also continues to sponsor our favorite music interview podcast, Peter Tanski’s The Book of Very Very Bad Things.
I also discovered, via my network of friends, some incredible emerging artists: Toledo-based, teenaged songwriter Cash K. Allen (who joined the SCPR 11th anniversary celebration with Fred Mascherino, Paige Beller, and The 1984 Draft), Richmond, Virginia’s Roseneath, and Los Angeles’ Lewis.
Truth be told, I’m so blessed to have a cadre of talented, awesome friends who’ve allowed me to remain in the orbit during my adult life, and that makes it impossible to name them all and detail the reasons why I love and am inspired by them. They’re the reason Sweet Cheetah has the good fortune of being curated to my personal tastes, and a high level of musicianship, which brings an incredible sense of pride with regards to my involvement and work.
Toward the end of the year, in partnership with Dayton’s Poptek Records, the California Bay Area label Sell The Heart Records, and Engineer Records in the UK/EU released the most recent album from Palm Ghosts, titled I Love You, Burn In Hell. With the help of the SCPR network, the band also visited Dayton, Columbus, Cleveland, and Athens for live performances this year. Although I’m not sure what the future of Sweet Cheetah Records will be, I’m beyond thankful to have been involved in this trio’s incredible release.
I’m not sure what 2024 has to offer by way of Sweet Cheetah yet. I have made a handful of commitments to a couple great bands and labels already. Will there be more Covers For A Cause or another Sweet Cheetah Records release? Will publications and journalists who’ve not responded to us in 12 years start paying attention? Will journalists and publications who’ve been kind to us in the past, continue to spread the good news about those we work with? The only thing I can say for sure is that any commitment I make to a project will receive the same stubborn tenacity that I think I’ve proven in the past, and anyone who supports our work is sure to receive a sincere, and heartfelt thank you. And, thank YOU.
In the shadowy realms of contemporary indie music, Palm Ghosts emerge as neo-80’s ethereal phantoms weaving a haunting tapestry with their latest offering, “She Came Playfully.” The song is one of eleven incredible dark lullabies from the album I Love You, Burn in Hell released on Sweet Cheetah/Poptek Recs and Sell The Heart Records (in the US), and Engineer Records (in the UK). As the song barrels into an almost retro synthy groove, the listener is immediately transported to a sonic twilight zone, a place where nostalgia, darkness, and innovation engage in a mesmerizing dance of influence from across the alternative map such as The Psychedelic Furs, early XTC, The Cure, R.E.M., Tears for Fears, Duran Duran, and Joy Division.
Fronted by the enigmatic singer and songwriter Joseph Lekkas, Palm Ghosts doesn’t just create music; they summon spirits from the past and present, conjuring a sonic séance that reverberates through the soul. “She Came Playfully” serves as a portal, inviting us to traverse the haunted corridors of the band’s collective consciousness.
Lekkas, with a voice that feels like a séance conducted by David Bowie, Richard Butler, and Ian Curtis, guides us through a labyrinth of melancholic melodies and spectral harmonies. The beginning of the track is a sonic séance, blending dream pop with post-punk elements, creating an atmosphere that feels both timeless and contemporary. The ghostly synths and pulsating basslines provide the foundation for Lekkas’ vocals to soar, echoing through the haunted halls of a bygone era.
“She Came Playfully,” is a sonic kaleidoscope that unfolds with spectral grace. The ethereal guitar lines and shimmering keys and synths create an otherworldly atmosphere, while Lekkas’ lyrics paint a vivid portrait of a love that transcends time and space. It’s a sonic séance that evokes the spirit of the ’80s new wave while maintaining a modern hint at a dark wave edge.
Palm Ghosts masterfully balances the ethereal and the tangible in this song. The band’s ability to blend haunting atmospheres with catchy hooks creates a sound that is both haunting and infectious. “She Came Playfully” is not just a song; it’s an invitation to embark on the nightboat. It’s a journey into the recesses of the subconscious, a pilgrimage guided by the spectral whispers of Palm Ghosts. As the final notes of “She Came Playfully” fade into the ether, the listener is left with a sense of having communed with the ghosts of music’s past, present, and future. This song stands as a testament to the power of sonic exploration and the enduring magic of musical séances.
In the heart of Ohio, where the Great Miami River winds its way through the landscape, lies a city pulsating with rhythm and alive with melody – Dayton. Often overshadowed by larger musical hubs, Dayton boasts a local music scene that is as diverse and vibrant as the city itself. From intimate venues to grand concert halls, the Gem City resonates with the beats of talented local musicians who pour their hearts and souls into their craft. I would like to take a few moments to unravel the tapestry of Dayton’s local music scene, weaving a narrative that compels music enthusiasts, young and old, new to the area and stalwarts alike to partake in the experience of the incredible live music performances of the city that is home to YTAA.
The sense of community within Dayton’s music scene is palpable. Local musicians are not just performers; they are storytellers who narrate the collective experiences and emotions of the community. Attending a local music show in Dayton is not merely a night out; it is an immersion into the city’s cultural heartbeat.
Supporting Local Talent
Every city has its unsung heroes, and Dayton’s local musicians are no exception. These artists, often playing in smaller, more intimate venues, are the lifeblood of the music scene. Attending local shows is not just about enjoying music; it’s about supporting the dreams and aspirations of the artists who call Dayton home. The opportunity to connect with musicians who share their souls is an existential chance to become more than we are alone.
Local musicians in Dayton are not in singleminded pursuit of stardom; they are in pursuit of connection. They want their music to resonate with the people who come to understand the pulse of the city, and who can relate to its highs and lows. By attending local music shows, you become an active participant in nurturing the cultural roots that make Dayton truly unique and special.
Intimacy and Authenticity
Large concerts featuring international acts undoubtedly have their allure, but there’s something magical about the intimacy of a local music show. In Dayton’s smaller venues, you’re not just a face in the crowd; you’re an integral part of the performance. The energy exchange between the audience and the artists is palpable, creating an experience that transcends the mere consumption of music. The audience becomes family.
Local musicians often engage with their audience on a personal level, sharing anecdotes, expressing gratitude, and creating an atmosphere of genuine heartfelt connection. It’s in these moments that the boundary between performer and audience blurs, and you find yourself immersed in a shared musical journey. And in those moments we see our common humanity and find within one another something magical.
Affordability and Accessibility
One of the most appealing aspects of attending local music shows in Dayton is the affordability and accessibility. Unlike major concerts that may strain your budget, local shows offer an economic alternative without compromising the quality of the musical experience.
Furthermore, the accessibility of local venues contributes to a more inclusive atmosphere. Whether you’re a seasoned concert-goer or someone attending their first live performance, Dayton’s local music scene welcomes you with open arms. The diverse range of venues (Blind Bob’s, The Trolley Stop, Southpark Tavern, The Brightside, The Yellow Cab Tavern, and more) ensures that there’s something for everyone, from hole-in-the-wall bars in the Oregon district to historic theaters such as Memorial Hall, each offering a unique ambiance that adds to the allure of the experience.
Cultural Catalyst
Music has the power to transcend boundaries, bringing people from different walks of life together. In Dayton, local music acts as a cultural catalyst, fostering a sense of unity and pride among its residents. By attending local shows, you’re not just a spectator; you’re a participant in the cultural evolution of the city.
Dayton’s local music scene reflects the city’s rich tapestry of cultures and backgrounds. Whether you’re into blues, folk, or electronic beats, you’ll find a community that resonates with your musical preferences. These shared experiences contribute to the forging of lasting connections, fostering a sense of belonging that extends beyond the confines of the concert venue. Attending a local show is transformative.
The Ripple Effect
Attending local music shows in Dayton is not a solitary act; it’s a ripple that extends far beyond the immediate moment. By supporting local artists, you contribute to a thriving cultural ecosystem. The success of local musicians often leads to more opportunities for growth within the community, attracting attention to Dayton’s music scene on a broader scale. To say that the music and arts scene in Dayton deserves more attention is equivalent to stating the fact that water is wet.
Moreover, your presence at a local music show sends a powerful message – a testament to the fact that the city’s cultural identity is shaped by the collective enthusiasm of its residents. As Dayton’s local music scene flourishes, it becomes a beacon that draws attention to the city’s artistic spirit, potentially attracting even more talent and recognition. Attending local shows brings more music to everyone.
Just go, already!
In the midst of Dayton’s rivers, rolling hills, and urban landscapes lies a hidden gem – a music scene waiting to be explored and embraced. Attending local music shows in Dayton is not just a leisure activity; it’s a journey into the soul of the city, a celebration of diversity, and a testament to the power of music in fostering community.
The venues may be smaller, but the impact is monumental. In these spaces, local musicians weave stories that reflect the shared experiences, joys, and struggles of the community. By attending these shows, you become an integral part of this narrative, contributing to the cultural vibrancy that defines Dayton.
So, let the beats of Dayton’s local music scene guide you through a sonic adventure. Embrace the intimacy, support the dreams of local artists, and become a catalyst for cultural unity. Attend a local music show in Dayton – where the melodies are rich, the community is vibrant, and the experience is nothing short of magical.
Moroni Lane’s record, “Alchemy,” released almost a year ago on October 27, 2022, is a mesmerizing soulful journey into the nature of community building through heartfelt musical spirituality, social solidarity, and musical introspection. “Alchemy” is a spellbinding journey through a lush, sonic wilderness, proving that the lyrical boundaries of contemporary music are meant to be explored and stretched. The album, filled with an eclectic blend of textures, is a testament to Lane’s artistic prowess, poetry, and sonic experimentation. In a world filled with cookie-cutter pop and formulaic songwriting, “Alchemy” stands as a refreshing testament to the magic of musical alchemy in building community. Moroni Lane unapologetically seeks to build bridges of understanding that create ‘uplift and unity’ for all humanity. Do not think, for a moment, that such a challenge in creating real togetherness is a joke or an impossible task. As Lane demonstrates music’s power to touch us emotionally can accomplish this massive task.
Lane, a multi-instrumentalist and singer-songwriter hailing from the Gem city of Dayton, Ohio, has built a reputation for crafting music that defies easy classification. With “Alchemy,” he dives even deeper into his creative well, blending elements of Americana, folk, jazz, rock, and psychedelia to create a sonic tapestry that is both ethereal and rooted in the fragile threads of raw human emotion.
The album kicks off with the sparse title track, “Howl At The Moon,” setting the tone for the entire journey. The song is a bold opening statement, with Lane’s resonant voice delivering lyrics that speak of transformation and self-discovery through self-actualization and awakening. The instrumentation, a seamless blend of acoustic guitars and a rhythm section that knows when to hold back and when to push forward, creates a sound landscape that’s as vast as it is intimate.
Lane’s songwriting is a standout feature throughout the album. “High and Low” takes us into a powerful dreamlike state with its swirling, acoustic guitar and Lane’s ethereal vocals reminding us “That you have been enough, since your first breath of life.” The lyrics paint a vivid picture of empowerment derived from a celestial promise, drawing the listener into a spiritual gift. It’s a testament to Lane’s ability to create a sonic atmosphere that envelops the listener with music that is pleasing while extorting the listener to reflect, think, and act.
The tracks “The Light of Her Love” and “Let Go” showcase Lane’s gift for crafting memorable hooks and choruses. “Let Go,” in particular, is an infectious anthem that’s impossible not to sway along to as the song progresses. With catchy melodies and clever lyricism, it’s a prime example of Lane’s sensibility. “Other Worlds,” on the other hand, delves into a more contemplative and introspective realm, exploring themes of cosmic alignment and personal transformation. Here, Lane’s lyrical depth shines brightly, and his vocal performance is particularly evocative.
One of the standout moments of the album is “Reign.” The song is a masterclass in atmospheric production, with Lane’s voice floating above a backdrop of shimmering acoustic guitar and delicate percussion. The result is a breathtaking blend of sound that tugs at the heartstrings. The lyrics are equally compelling, painting a vivid picture of a journey to find inner peace and connection with the world around us. Here, Lane demonstrates his prowess as a guitarist, delivering a soulful and evocative performance. It’s a moment of respite, a chance for listeners to pause and reflect on the musical journey they’ve been on so far. Lane’s ability to communicate through instrumental music is evidence of his talent as a musician.
The closing track, “In The Hands of The Gods,” serves as a fitting conclusion to the album. It’s a gentle and contemplative piece that draws the listener into a gentle reflective state of mind. The soft, melodic guitar lines and Lane’s soothing vocals evoke a sense of closure and renewal, leaving a lasting impression.
“Alchemy” is an album that demands multiple listens. It’s a multifaceted work of art that unveils new layers and nuances with each replay. Moroni Lane’s songwriting and musicianship are exceptional, and the album showcases his ability to seamlessly blend different musical elements, creating a sound that is uniquely his own.
Lane’s vocals are a standout feature throughout the album, with a remarkable range and an emotional depth that connects with the listener on a profound level. His lyrics are poetic and thought-provoking, offering a glimpse into the complexities of the human experience and the yearning for connection to one another. The album is a beautiful ode to the impermanence of life, and the necessity of communities that care for all members often featuring a stripped-down arrangement that allows Lane’s vocals to take center stage. His voice is accompanied by minimal acoustic guitar and subtle percussive embellishments, creating a sense of intimacy and vulnerability.
The production of “Alchemy” is also worth noting. The album’s soundscapes are lush and immersive, with each instrument serving a purpose and contributing to the overall experience. Lane and his collaborators have paid meticulous attention to detail, resulting in an album that is both polished and organic.
In a world where mainstream music often leans toward predictability and sameness, Moroni Lane’s “Alchemy” is a breath of fresh air. It’s a reminder that music can be a powerful medium for self-expression and exploration. The album invites listeners to dive deep into their own thoughts and feelings, resonating with themes of personal transformation, self-discovery, and the interconnectedness of the universe. It’s a reminder that true artistry knows no constraints and that the alchemical process of turning raw emotion into music is a profound and timeless endeavor. In “Alchemy,” Lane has indeed achieved musical magic.
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