Today’s Short Takes comes courtesy of Dayton musician, bass player and writer Larry Evans.
Larry was part of the Dayton-based punk musical force Lurchbox. You can hear some Lurchbox on their Soundcloud page! And we recommend that you do so!
He has been in several projects including Smug Brothers, Goodnight Goodnight as well as playing in The Last Waltz tribute project, contributing bass to the most recent DirtyClean album among other works! In this brief essay, Larry explores the influences, deep cuts and journey of rediscovery that have shaped his recent musical experiences. It is a real pleasure to have Larry share the music and songs that he has been enjoying with us.
Dr. J: What are you listening to right now?
Larry: I’ll never claim to have the weirdest preferences in music, or that my edgy taste will “blow your mind” (someone actually told me that, and they – sadly – didn’t). In conversations with other musicians over the years (and in reading through the submissions so ingeniously curated by Dr. J), I am humbled to learn that we all have our diverse reserves of “deep cuts” that have inspired and shaped us. I have been excited to discover the insights of some of my friends and heroes here, and I’m grateful for the opportunity to share some inspirations and discoveries of my own as well.
I have to start with an artist who was an early influence on my musical taste and pop instincts, and while I was a child when The Beatles were literally changing the world with their music, I came of age in my teens listening to artists who used the freshly-plowed musical landscape to nurture their inspired reactions to that revolution. So while Jeff Lynn’s tenure with the Electric Light Orchestra furthered the hook-laden, R&B/symphonic-inspired path The Beatles had ended on, a listen to his earlier work shows that he was on the same path all along, and responding in real time. Even before his time with psychedelic pop innovators The Move, Lynn’s work with The Idle Race in the late 60s displayed every bit of the playful creativity and gift for melody that would later become his hallmark. “I Like My Toys” is a perfect example of the tunesmithing that showed the Fab Four hadn’t cornered the market on stunning, seemingly effortless pop.
A lot of what I’ve been listening to lately has been a revisit to an era that I sort of skipped; while I was sold on Industrial groups like Ministry and Nine Inch Nails, I didn’t stray far from that (relatively) mainstream path. So over the years, I’ve been delving into bands I overlooked, like the legendary Killing Joke (who I could devote page after page to), Nitzer Ebb, Front 242, KMFDM, and most recently, Front Line Assembly. Because Bill Leeb had originally been in Skinny Puppy (and I was never really into their sparse take on the genre), I didn’t pay much attention but I recently stumbled across 1992’s “Tactical Neural Implant” and it opened up a whole new world for me. Still relatively minimalist from a melodic standpoint, it brings a broad range of rhythms and synthesizer textures that make me wonder what the last 30 years would have been like if I’d discovered this back then.
I also have to mention that Dayton’s own Hexadiode continues under the same electronic/industrial banner, while bringing their own darkness, passion, and inventiveness into the mix. A band whose musicality and ferociousness couldn’t really (for me) be comfortably categorized under “post-hardcore” (too progressive for punk, too jazz for metal, too melodic for industrial), was Canada’s Nomeansno, and I was fortunate to discover them at a live show in the late 80’s when band founder Rob Wright was already older than most of their contemporaries: I thought he was the band’s dad or something. But then I had my face joyfully torn off that night, and I’ve been a fan ever since. Before retiring in 2016, they recorded 10 studio albums, and there were EP’s, bootlegs, a live album, and a collaboration with Jello Biafra, but 1989’s WRONG has become my favorite.
On the emotionally polar opposite of post-hardcore is another genre that’s also consumed me off and on over the last 20-30 years: Shoegaze. I was never a fan of My Bloody Valentine (which isn’t a popular claim to stake among other shoegaze fans), and while their 1991 “Loveless” is often credited as making them pioneers of the form, I was much more drawn to melodies, as opposed to experimentation with raw noise. The Cocteau Twins’ delicate “Blue Bell Knoll” from a few years earlier in 1988 I consider a precursor, but Slowdive’s “Souvlaki” in 1993 was the defining moment for me (I also have to mention the band Ride, although at the time in the 90’s, they slipped by me altogether). A more recent (2003) entry, however, is from Andrew Saks’s project Sway, employing walls of sound thicker and more layered than anything Phil Spector could have dreamed of, and while some tracks from “The Millia Pink and Green” EP drift into MBV territory and overwhelm you with their sonic spectacle, the haunting, gorgeous track “Fall” makes it all worth the price of admission. Continue reading →
After a hiatus of a few months, we return with our eighth installment of ’11 Questions with…’ column. We resume these articles with an interview featuring Smug Brothers‘ songwriter, guitarist and singer Kyle Melton. We want to publicly thank Kyle for taking the time to answer these questions!
Smug Brothers have been a prolific and active band without sacrificing quality. The vision for Smug Brothers is reflected in the interests, lyrics and approach that Kyle Melton has crafted for the group. The development of this band parallels the songwriting focus.
Smug Brothers begin in 2005 with the exciting debut record, Buzzmounter. This record featured the driving Valentine Chapel. In the beginning the band’s music was written by Darryl Robbins [The Motel Beds, Overthought Musik‘s numerous side projects] and the vocals and lyrics were created by Kyle Melton. Over time, Smug Brothers transformed into a cohesive band adding several musicians and artists into its indie rock sensibility. The eventual addition of Ex-Guided By Voices and Swearing at Motorists drummer Don Thrasher on drums and percussion and the departure of Darryl Robbins transformed the band. The addition of guitarist Brian Baker [Brat Curse] and then Scott Tribble added sonic texture to the group’s sound. Several talented bass players have participated in this project over the years including Marc Betts, Lurchbox’s Larry Evans and the current bass playing of multi-instrumentalist Kyle Sowash [The Kyle Sowashes]. While additional lineup changes have influenced the sound over the years, the vision for the project has stayed true to an imaginative concept for the most impactful and concise indie pop sound.
The band has been incredibly active from 2005 – 2019, releasing several excellent Midwestern indie rock album including the fantastic On The Way to the Punchline, the powerfully inventive Woodpecker Paradise and the amazingly accessible and catchy, Disco Maroon. In a just musical world (do not hold your breath waiting!), Disco Maroon would have produced top 40 singles with ‘Hang Up’ and ‘My Little Crowd Pleaser.’
In 2019, with the record Attic Harvest the band released its first record on vinyl — which is an important achievement. The group also released Serve A Thirsty Moon in that same year which speaks to their productivity! And to add more fuel to the idea of productivity — in the past challenging year because of the pandemic — the band was still able to release two terrific EPs, Room Of The Year and Every Surface Under Heaven and the single ‘Flame Verbatim.’
Originally formed in Dayton, Ohio and then Smug Brothers HQ relocated to Columbus, Ohio, Smug Brothers have released some of the most catchy, interesting and melodic Midwestern indie rock and roll in… well, the Midwest and beyond.
Dr. J: What can you share with us about when and how you started writing the latest album Room Of The Year?
Kyle Melton (KM): Much of Room of the Year, as well as ‘Flame Verbatim’ and Every Surface Under Heaven, was written between fall 2018 and fall 2019. I was working from home during that year and had a guitar handy a lot of the time. We whittled down a batch of about 100 songs to 30 or so that we liked best, then set to work recording in December 2019 and got the 12 songs that appear on these three EPs before COVID-19 hit and we couldn’t get together to work on any more.
Dr. J: What is your approach in recording? What are your biggest challenges when creating new music? What is the biggest reward for you when making new music
KM: For these three most recent single EPs, we stuck with our tried-and-true method of Don [Thasher] and I getting in a room together and hashing out a rhythm track to build off. With the COVID-19 situation this year, we had to figure out how to get [Kyle] Sowash to record his bass parts from where he is. Scott had done a lot of work from his place and sent it over with Serve A Thirsty Moon, so we had that dialed in. For us, the biggest challenge is making time to get things done. As you get older, there are a lot more obstacles to getting music done than when you’re 25. I think there are levels of rewards: when you know you have a good basic track with a good energy you can build up, when everyone’s parts get added and the picture becomes more complete, when you add the extra touches to flesh it out, when you have a final mix/master that is what is going out. The whole process is still just such a buzz, really.
Dr. J: Freshman Zephyr is a fascinating song. There are some of the classic elements of the band and some exciting experimentation. In particular, for me, the use of electronics/keyboards adds an unexpected dimension to the song. When I expect a guitar part to come into the mix, a keyboard/electronic part does instead. Did you set out to explore a more expansive sonic feel when starting to work on that song?
KM: We’re always trying to figure out how to expand what it is we sound like, so I think Freshman Zephyr is in that lineage a bit. Scott really turned us more toward adding keyboards in a way we didn’t previously, so that’s largely his contribution. We rarely set out to do anything more than whatever the song asks us to do, really. It’s usually pretty obvious if something is going to work for a song or if we need to push out past ourselves to figure out what the song needs. And we typically know when we’ve found something we all like.
Dr. J: Room of The Year seems to address themes of existence apart from the technology that we have become so comfortable using without asking what it means to be so dependent. I am thinking Radiator One, Good To Know Your Axis and Freshman Zephyr lyrically raise questions about technology. Would you say that is accurate? What themes were you addressing?
KM: Sure, there are flashes of coming to terms with technology in a lot of what I write. I think it’s just so prevalent in our current lives, that kind of thinking is going to be part of what I’m talking about. I have a very love/hate relationship with technology, as I’m sure a lot of us do. But I think we’re all working to find where we strike a balance between the benefits and whatever our humanity is. Where is your axis, you know?
Dr. J: How did Freshman Zephyr come together musically for you? How does that compare with Good To Know Your Axis?
KM: I think those songs have very different base identities: Freshman Zephyr is more in the pop house and Good to Know Your Axis is more in the postpunk range. So, from that standpoint, we would work on them with very different ideas in mind; you can’t really do the same kinds of things with both of these songs. We built them up in a similar way, but the four of us have developed a good unspoken language of what different types of songs would ask you to do.
Dr. J: Where do you often derive inspiration to make music?
KM: I always have the itch to make music. The struggle is getting it down on the phone or on tape in a timely fashion. The inspiration is everywhere, really. Listening to what other people are putting out is always inspiring. Going back and digging on things I’ve heard countless times but finding one new nuance, that sets off an idea. Things people say on TV or the Internet or in a text message. All of it has potential to trigger me to get to work.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from Attic Harvest to Serve A Thirsty Moon to Flame Verbatim and Room of the Year)?
KM: I have to feel some kind of energy from the connection between the words and music to get things going. I tend to write words and music separately, so when I try and put them together, I’m hoping there is a cool thing that happens. And there’s a big range, so that’s helpful. The biggest thing for how I work and how we’re able to function as group from Attic Harvest up through these new EPs is sharing demos in advance with the group that gives us a better idea of what we can work on and a sketch of an idea. When Don and I started playing together back in 2008, I would just throw a song at him totally cold and we’d come up with something. He has a little more advance idea now, which he says he likes a lot more. I think a lot of how I put songs together is fundamentally the same as I’ve done for a long time: pick up a guitar, throw some words out, and see what comes together. I raise the sails and hope for a strong wind to get us somewhere new and interesting.
Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project after Room of the Year?
KM: It’s hard to predict what we’ll be able to do in the next year, as COVID-19 doesn’t seem to be going anywhere anytime soon. We have some things we’ve already started working on, so we’ll have to see what we come up with next. I think we’re all game to approach things a little differently, since we’re just not really able to do things the way we normally would.
Dr. J: What is your favorite song to perform? What makes it a current favorite in your
KM: Well, we didn’t get to do any shows this year, so this isn’t really a current view, but Investigative Years [from On The Way To The Punchline], Reminding Penumbra [from Attic Harvest], and Hang Up [from Disco Maroon] have always been very enjoyable for me. They all have different things going on, but they’re fun to sing and the band typically gets a good headwind going behind each of them.
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
KM: I think there’s a hopefulness in this most recent batch of songs. Always keep looking for new ways to engage yourself and the world. Remain open to possibilities. The world is a lot more than most of us realize. Enjoy the ride, you know?
Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?
KM: Not playing shows has been a real bummer this year. First year since I started playing in bands in 1992 that I won’t do a single gig. But there’s always time to work on music and I’m grateful the four of us figured out how to work remotely to keep the ball moving. I miss “the Brothers,” but we did a Zoom call recently just to have a hang. That’s what band practice is like in 2020.
You can follow Kyle Melton and Smug Brothers on various social media including:
We want to extend our sincere gratitude to Kyle for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit Smug Brothers’s Bandcamp page! If any musicians or artists would like to participate in future ’11 Questions’ columns, please feel free to email us at firstname.lastname@example.org. All photos care of Kyle Melton.
We just learned that one of our favorite bands of all time and space, Smug Brothers have a new album tentative titled Woodpecker Paradise that they are planning to release on February 24th. The band recorded it with Derl Robbins (of Motel Beds) and the album is the first to feature the band’s new lineup with one of the finest bassists that we know — Larry Evans on all tracks. The album will be available from Gas Daddy Go! Records in both CD and Digital formats! To celebrate this fine achievement the band is playing on February 21st at Blind Bob’s in Dayton, Ohio with Human Cannonball and Forage! Who wants to go with Dr. J? You can expect to hear tracks from the album very soon on the show!