The members are neither smug nor brothers, and the caddish name poorly fits these serious, veteran musicians. Furthermore, Smug Brothers could very well be your favorite rock band, especially if you love the pop virility of the Beatles, the lyrical bafflement of Guided by Voices, and the beautiful shambles of Big Star—but you may never know, because you may never see them or hear them.
Take a nap, Schrödinger’s cat. This here is a real paradox.“We’ve been doing this for 20 years,” says Smug Brothers singer and guitarist Kyle Melton, “and no one knows who we are.”One of the reasons for this is the fact that due to real-life responsibilities and a shifting lineup on Spinal Tap proportions, the band rarely performs live.
“You have to tour to make any kind of headway [in the music business],” explains drummer Don Thrasher. “You can’t just play Dayton, Cincinnati, and a few other places and get famous. Any group that has ‘made’ it has had to hit the road and play anywhere they can.”
And then, when the group does perform live, there’s an exciting yet mystifying dimension of difference between the live sound and the recorded material.“A lot of bands today are really, really good at replicating their studio sound in a live setting,” Melton says. “That eludes us. We thrive in a more controlled environment.”
Not surprising for a group that began, way back in 2004, as a one-off studio project between Melton and Dayton musician and producer Darryl Robbins (Peopleperson, TV Queens). It was only with the addition of drummer Don Thrasher, in early 2008, that the Smug Brothers became, to paraphrase Pinocchio, a real band.
Since then, Melton and Thrasher have held down a steady center among a revolving cast of additional musicians—the current lineup includes Kyle Sowash, from Columbus indie-rock stalwarts The Kyle Sowashes, on bass—and have released a series of ever-improving singles, EPs, and LPs. The band’s most recent album, Application of the Twig, is the season of spring distilled into a porch party soundtrack. Brisk and refreshing.
“While we’re not well-known,” says Thrasher, “we make well-done records. We provide a good listening experience for people who like short, catchy songs.” Melton agrees. “A lot of care and consideration goes into our albums. They are singular experiences that you will never see duplicated live.”
All of which brings the Smug Brothers’ quandary full circle. To get a better sense of the elusive Smug Brothers sound, please visit smugbrothers.bandcamp.com! Do it!
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 email@example.com. All photos care of Kyle Melton.
This week we have created a YTAA Playlist on Spotify for you listening pleasure! Next week we return to the YTAA Studio and the airwaves of WUDR 99.5 & 98.1fm in Dayton and online! We recommend that you visit the artists social media, webpages and bandcamp pages to support them!
The artists this week include new music from Guided by Voices, Benchmarks, Peopleperson, Tiny Stills, Frontier Folk Nebraska, Jess Cornelius, The Psychedelic Furs, Smug Brothers, Kathleen Edwards, Ryan Allen And His Extra Arms, Lydia Loveless, The Jayhawks, Nana Grizol, Samantha Crain, The Avett Brothers, Real Estate, CrocSoc Workshop, The Great Serpent Mound of Ohio, Carbon Leaf, Surfer Blood (featuring Pip Blom), Dolph Chaney and The Blow Monkeys — yup, they have new music for us all!
Some classics from Pere Ubu, The Pursuit of Happiness, Shrug, The Mayflies USA, Lab Partners, The White Soots, Captain of Industry, The New Old-Fashioned, Mandy Jewell, The Katawicks, Whiskeytown, Andrew Duhon, Gretchen’s Wheel, Manray and The Grapes of Wrath!
And some live versions of terrific songs from The Long Ryders and The Kyle Sowashes!
Smug Brothers’ All Blur & Spark, out on CD on Gas Daddy Go Records on Monday, July 8
From the band: Fifteen years since forming as a home recording outfit, Smug Brothers continue to find new ways to shake things up creatively. That’s certainly true of the new full-length, All Blur and Spark. Work on the Ohio band’s latest offering on Gas Daddy Go Records began before the February 2019 release of the crowd-funded vinyl album, Attic Harvest, and was curated by some of the group’s supporters.
“The songs were the result of the Attic Harvest fundraiser,” leader Kyle Melton said. “We offered contributors the option to have a custom song recorded as part of their contribution and 11 people participated. Each person was offered to choose an acoustic or full-band track and was then given a list of five titles from which to choose.
“We then recorded the songs quickly in late 2018 in time to send a CD copy of each song out with each person’s vinyl copy of Attic Harvest. When we had completed that project, we realized the 11 tracks would make a cool fan-curated album worth sharing with more people. We got each person’s permission to use their track and put it all together. And here we are at All Blur And Spark.”
Before these two 2019 albums, there were the studio projects with Darryl Robbins at BHA in Dayton (Woodpecker Paradise, 2015) and Micah Carli at Popside Recording in Troy, Ohio (Disco Maroon, 2017). Following these experiments in higher fidelity and the departure of lead guitarist Brian Baker and bassist Larry Evans, Melton and drummer Don Thrasher returned to the home-recording approach they’ve favored since joining forces in 2008.
“We really enjoyed recording studio albums with Darryl and Micah,” Thrasher said. “We’re proud of how those full-lengths turned out but working like that takes a lot of time in pre-production and post-production, not to mention tracking and overdubs. That’s how most bands make records but it’s not a very Smug way to work. Kyle and I prefer to get in the basement, take a few runs through a song and then lay it to the four-track cassette recorder while the material is still fresh.”
Melton and Thrasher perfected that approach on early releases like the digital LP Fortune Rumors (2011) and the cassette EP Strictly Triggers (2014), recording overdubs and vocals with Robbins (Overthought Musik, Motel Beds) as engineer/co-producer. That changed with Attic Harvest and All Blur And Spark, a one-two-punch that shows there’s still a lot of life left in this scrappy band of rockers.
It also marks a period of firsts. These are the first projects recorded with Melton at the helm in his basement studio and the first with the band’s new guitarist/keyboardist Scott Tribble, who is opening up new sonic dimensions in the music.
Being fully self-contained has also allowed Smug Brothers to increase its pace in Melton’s basement, with the group deep into sessions for several forthcoming releases. With the looming 20th anniversary of the band’s debut CD LP Buzzmounter (2005), it’s evident this scrappy outfit from Ohio will continue to grow.
Well it is not only that time of the year where everyone debates the “bests” of 2015 — best books, best shows, best foods, etc etc — it is time for us at Your Tuesday Afternoon Alternative to select the song that for us demonstrates the most exciting trends in indie music — and this was a task and a half. There were so many great albums, terrific songs, and artists who stretched themselves and their audience that to select a single song as the very best of 2015 feels a little bit wrong. However, a selection like this can be emblematic and symbolic of what makes a genre or artist powerful.
So, our criteria are simple — the song must be catchy, well crafted, and becomes stuck in your head. This song like all good ‘ear worms’ must be something that is nearly impossible to dislodge. You find yourself wanting to hear it, needing to hear it.
And, in the end, these lists and choices are expressions of the person doing the choosing. Yes. Sure, these choices are partly biographic about the judge and are often more about getting a conversation started about what makes a great song or a great album or truly unique or powerful artwork.
With that said, our favorite song of 2015 is Mittenfields – Optimists.
Released this past April, optimists is a great song from start to finish. From the first hit of the drumstick to the melody line of the bass to the weaving of multiple beautiful guitar parts. And oh what glory is in those guitar fills, leads and strums. The weaving of three guitarists at the top of their game makes for a fantastic listening experience. The guitar parts do not fight one another — they complement, they add to the aural experience and build upon one another. And along with the guitar parts a drum sound that sounds like actual drums. Not a tinny barely audible mish-mash of time keeping, but a strong hard hitting backbone for the song. If that was not enough, Dave Mann’s clever bass play and vocals sung with an urgency that captivates the listener’s attention make the song impossible to ignore. And as he sings optimistic lyrics that are not dripping with sappy syrup or faux sentimental — this gestalt of sounds makes an utterly complete piece of powerful indie power-pop. It is nearly 2 minutes of indie perfection for those of us at Your Tuesday Afternoon Alternative.
How many songs can you listen to and the second that song is finished, you wished that it was still playing! We even once played the song twice back-to-back on our program because close to four minutes seemed to give the song the length that it so richly deserved. This song never gets old. When every instrument is perfectly weaved in and out of the mix and it feels whole and meaningful and you find yourself singing along from the very first time you heard it — that is a great song.
And as the song starts — “We are all optimists, even on our bad days”
The only sour note here is that Mittenfields have broken up; but what a great tribute to leave behind. We look forward to the music projects these musicians will pursue in 2016 and beyond.
There was so much great music in 2015 that we are planning on two back to back radio shows celebrating that music! We will even be joined by some special guests! We will have our list of some of the most interesting music from 2015 — well, at least for Dr. J and Mrs Dr. J but we think that we will have at least a few things you will enjoy!
We also had some new music from Me & Mountains – a few sneak peeks at their upcoming record ‘Gold’ which included the title track and a fantastic tune in The Only Way To Be. The later tune written by a father to his young son. There was also new music from Good English who had a big year in 2015 as well as a few peeks at the new Manray record. There were many fantastic live shows that we will have to discuss as well
This was a year that gave us new music from outside of Dayton too! For music lovers across genres there was some great music from: The Bottlerockets, Lightouts, The Decemberists, Mittenfields, Bad Bad Hats, Low, My Morning Jacket, Ryan Adams, Sleater-Kinney, Sea of Bees, Jason Isbell, Timeshares, Steve Earle & The Dukes, Ultimate Painting, Turbo Fruits, Wilco, Mikal Cronin, Waxahatchee, Varsity, Father John Misty, The Worriers, Pocket Panda, White Reaper, Twin River, a live records from The Drive-By Truckers and The Jayhawks and a fantastic 20th anniversary re-release from Son Volt.
So, join us as we celebrate some terrific music from 2015 beginning this coming Tuesday on WUDR from 3-6pm (e)!
So join Mrs. Dr. J and her constant musical companion Dr. J as we listen to the new record, talk to Don and Kyle, and play loads of other new music for you because we love you all very much.
Don’t forget to send us questions for these two fine musical gentlemen at firstname.lastname@example.org or hey… you could call in at 937-229-2774. Tweet us at drjwudr with your suggestions and requests. Remember 3-6pm eastern time zone so calibrate your TARDIS on wudr.udayton.edu!
See you tomorrow music lovers! As The Smug Bros would say… salute!
Dayton’s own SMUG BROTHERS “WOODPECKER PARADISE” is coming out in fifteen days on 2.24.14 on the indie GAS DADDY GO! RECORDS
And this release will be out on CD and Digital download which is a new form for GDG! And we could not be more excited. Really. Its exciting for all lovers of great indie music!
From the Press Release: “Following the one two punch of the 2014 releases “Strictly Triggers” [EP] and “On the Way to the Punchline,” Smug Brothers spent the summer and fall recording to 4track in guitarist Kyle Melton’s home studio and touring out in support of their recent releases, reaching out to new audiences in Philadelphia, Louisville, Indianapolis, Morgantown, WV, and Fort Wayne, IN.
A chance conversation with ex-Smug Brother, current Motel Beds guitarist, and Dayton engineer extraordinaire Darryl Robbins led toward the fruition of “Woodpecker Paradise.” After submitting a batch of 35 demos to Robbins for consideration, nine were hand-selected and the Smug Bros set to work as a quartet, recording the album live in just two sessions.
In the course of the band’s 10 year history, this is the first time an entire album was recorded live by all its members. The results are fresh and impulsive, urgent and commanding. While the record’s sound is singular and consistent, the material remains eclectic, as has been the trademark of the Smugs since the beginning. From the restrained yet anthemic indie rock of lead track “Meet A Changing World” to the esoteric “One Question Too Many” to the fragmented 60s pop of “Venus Out at Night,” Smug Brothers run through a myriad of sounds over the course of “Woodpecker Paradise” while retaining their singular voice throughout.”
You can find the Smug Brothers on all the social media!
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!
This week we continue the smash that is “toast and jams” by playing songs that go together like… well, you get the idea, right? Things that go together make for more fun for all of us. Music is no exception. So, listen for the songs that we pair together for some reason. We also have some CDs to give away this week from Go Robot, Go!
We have so much new music that we cannot play everything and that is just a damn shame. So you will want to listen to this one. And in case you cannot remember… set the timer for tomorrow from 3-6pm on wudr.udayton.edu!
If you live in Dayton you can try the 99.5 and 98.1fm frequencies of ‘music in all directions.’ And for the tech-minded among us, you can also use the new UD Mobile app and listen to us that way too! But however you can… join us for a great show of independent music!
We will celebrate the upcoming Smug Brothers show on February 22nd at The Venue on 3rd. Smug Brothers are hosting this inaugural event to celebrate the release of their new album! The band will be joining us in the studio on Feb. 18th to talk about their EP Strictly Triggers, the upcoming show, and the new album — On The Way to the Punchline.
This incredible show will also feature some great local bands that are simply not to be missed:
And, of course, we will have some of the best of indie, alternative, local, and new music to share with you as well! So join us as we talk to some of our favorite Dayton Musicians on 02-18-14 from 3-6pm on WUDR.