What bands do you currently have, and what bands have you been in previously?

I play guitar and sing in self-evident. With the exception of a few little asides, S-E has been my focus since 1997. Before that, I played in a handful of high school bands.

Is guitar your primary instrument?

Yes.

What instruments do you play?

I can tinker around on drums, bass guitar, and piano, but guitar is the only instrument I’m a little clever at.

How long have you been playing guitar?

24 years.

Did you take any lessons growing up? (guitar or other)

I took two years of basic lessons with Kim Bloom when I was 11-12 years old.

What impact did that have on you as a musician?

I was always terrible about practicing, but I learned the circle of fifths and how certain notes and chords can work together. The biggest thing for me was learning how to feel different rhythms; the most fruitful lessons were those spent sight-reading and tapping out rhythms with a pencil rather than actually playing the guitar.

Do you have an understand of scales and music theory?
— How does that impact your songwriting?

No. I play almost completely by ear. It can be frustrating at times trying to work out a part during practice and not being able to speak the language, but the other dudes tolerate my lack of knowledge well enough. I only play in DADGAD tuning, and obviously that informs the chord voicings and intervals that I use – lots of ringing open strings much of the time.

Who are some of your biggest musical influences?

I listened to a ton of Rush in my teens. As far as my playing style specifically, the big eye-opener was seeing Faraquet in 1998. I’d been playing in S-E for maybe a year, and we hadn’t really figured out our “sound” yet. When I first saw Devin Ocampo play and sing, I kinda went “OK, so THAT’S how it’s fucking done – wear the guitar up high, sing with your speaking voice, and play as many notes as possible as quickly as possible”. Totally took a cue from that dude, and I don’t think it’s any secret.

Do you still practice instruments, beyond when you’re writing for your band(s)?

Not so much, though I wish I could set aside more time for playing. Usually when I pick up the guitar, I’m either running songs for an upcoming show or trying to write a new song. I don’t sit around trying to work on arpeggios or pick attack or whatever.

Do you still attempt to push forward by learning new instruments or applications?

I’m more interested in writing a better song than the last one. The idea for us is always to write the most clever, challenging parts disguised as pop songs, and I still think we’re getting closer to the ideal every time.

Do you have have a method for songwriting? How does it usually happen?
- Prefer bringing a skeleton to practice, or build as a collaboration?

I’m nearly incapable of improvising, so I prefer to have my guitar parts worked out ahead of rehearsal. Usually I’ll try to have 3-4 different connected ideas to bring to the table, and Tom and Ben will then change and improve upon them until we realize we’ve got something special or it’s time to try something else. I’d say our songs our born by collaboration, but most often they are conceived on guitar.

What is your electric guitar rig these days (if you’re willing to divulge the secrets)?

Live, I mostly play a ’97 Gibson Les Paul Classic through a ’70s era Sunn Model T. In between the guitar and the amp are a DOD digital delay and a vintage MXR distortion+ (“MXR” in script lettering). I also have a ’75 Gibson SG that was my main guitar for years, and a mid-’90s Fender “Evil” Twin that I used to use live and still use for recording (alongside the Sunn – most of our last record was different SG / LP / Sunn / Fender combinations doubled or tripled). I always play on the neck pickup, always preferred that warmer, bluesier tone than what you tend you get with the bridge pickup.

Does gear impact your songwriting / performing?

I think it’s important to be able to set up at gig having the confidence that your drums and amps will sound awesome, regardless of the PA situation, that your gear will work the way it’s supposed to 99% of the time. Whether you’re playing a basement show or a large venue.

Any advice for students who are trying to find success in the music industry?

The best advice I ever got was from S-E’s great friend and champion Brian Herb: all you gotta do is not quit. We haven’t quit, and we’ve managed to write better records and tour more widely each time around. I never dreamed I’d be playing original music to excited crowds in Japan and Europe. It’s still partly luck, of course, but persistence helped us out for sure. Don’t get me wrong – by “success” I mean – I don’t ever expect to earn a living playing music, but to me that has never been the point of playing music.

Any Advice for life on the road?

Plan ahead and save up some cash, brush your teeth and change your socks daily if possible.

Do you prefer recording, or live performances?

Live performances. When we record, we book a week at the Mousetrap in Norman, OK to get everything tracked. We always have a blast but I’m always a little nerve-wracked about my voice holding up, getting the perfect take, etc. I love the electricity and sheer volume of playing live, when minor mistakes are quickly forgotten, if noticed at all.

How do you like to prepare for recording?

For the last record, we actually put together a spreadsheet detailing every last guitar/amp combo and overdub idea for each song in advance, which proved immensely helpful. Also we always practice like crazy until the instruments almost play themselves.

What have you been listening to lately?

I’ve been listening to Electric Hawk (Chicago) nonstop. I’ve also been listening to TTNG a ton – we’re supporting them at their Minneapolis stop on their US Tour on April 24th. Beyond that, the usual Cocteau Twins, Everything But the Girl, Elvis Costello, Sade, XTC, etc.

To celebrate, we’re throwing a big party / live music event, and my band Venna will be playing.
We’re an indie folk style band that draws comparisons to The Civil Wars, Mumford and Sons, Bon Iver, & Of Monsters and Men.

It’ll be a night of primarily acoustic musicians, and will be an absolute blast.

It would be awesome if you were able to come out and support the Oasis, especially if you’ve never seen it in action!

4/13/13
6pm / $5 donation

Check out the Facebook Event!
(there are videos for the bands on the event page)

Just RSVP online for comp tickets to the MetroChicago show on February 23rd.

Watch on YouTube!

What bands do you currently have, and what bands have you been in previously?

I play guitar and sing in a band based out of St. Louis called Tilts, and I of course play guitar in Torche as well. Before that I played guitar and sang in Riddle of Steel, also out of St. Louis for just about ten years.

Is guitar your primary instrument?

Indeed it is. I played drums in high school in bands with various friends, and I can still keep a fancy beat but it’s been a minute since I had the space or the means to keep up.

What instruments do you play?

Guitar and vocals are my two main weapons. Any guitar player can play the bass (and usually vice versa) but I’m not a “bass player.” I can noodle on the piano and drums, even took violin lessons as a kid. But yeah, guitar is the end of the road for me.

How long have you been playing guitar?

I’ve been playing since I was 12, so about two dozen years now. Ouch!

Did you take any lessons growing up? (guitar or other)

Yeah, I started on piano for maybe a month or so, but my incredibly uncomfortable and awkward teacher would make me sing while I played. The lessons were on the family piano, so here I was like 9 or 10 years old singing, “I would like and ice cream cone, I would like an ice cream cooooone…” while my two older sisters laughed from the other room. I didn’t have the fortitude to hang in there very long. After that came violin lessons which we had to do in school, but I took private lessons as well. I actually really liked it, but my teacher moved and that was that.
Then of course, guitar at the age of 12. My teachers were largely non-traditional and of the supplemented tab variety with bits of scales and theory thrown in as needed. As I got older, I took some more serious lessons from a jazz guy in my home town. He was great.

What impact did that have on you as a musician?

Every teacher left their mark for sure. The non-traditional approach is absolutely one I prefer as a guy who isn’t interested in session work or being a gun-slinger. I can hold my own with a lead, but I have no interest whatsoever being a shredder. I find that shit largely embarrassing, and I mean specifically of the Steve Vai/Malmsteen variety. They can play, without a doubt… but… You can shred? Neat. The guitar riff from “Black Dog” just eclipsed your entire catalog of mincing flummery. To each their own, I suppose.

Do you have an understanding of scales and music theory?
— How does that impact your songwriting?

Yes, enough to know what’ll work and what won’t. There’s a lot of theory that can help with songwriting, understanding scales and why certain chords sound better following certain other chords, etc. It can actually get pretty interesting. However, I’m not really into that mode of song writing. I love the more spontaneous way bands get together and bang it out.

Who are some of your biggest musical influences?

Early on it was the usual, Zeppelin, Sabbath, old Aerosmith, Ozzy, Metallica, AC/DC, etc. Later got into less formative but no less exciting stuff like Jawbox, Shellac, Bill Dolan’s playing (5ive Style, Heroic Doses, etc.) has always terrified me. Really when it comes down to it, I love heavy music and I love a good melody.

Do you still practice instruments, beyond when you’re writing for your bands?

I play guitar, at least a little bit, almost every day. At home it’s a lot of acoustic stuff, trying to improve finger picking and the like. Am I “practicing”? Maybe? Haha…

Do you still attempt to push forward by learning new instruments or applications?

I think it’s absolutely a great idea. I just wish I had more time. I’ve been trying to learn to play the bagpipes (not kidding) for about the last three years now. I can’t say I’ve really been putting in the hours, it’s tricky for sure. You understandably don’t start out on the pipes, but on a practice chanter which is a reeded instrument to train your lungs (you need a ton of air) and to properly train your fingers. Those guys take that stuff really seriously. Needless to say, the practice chanter doesn’t sound that encouraging.

Do you have have a method for songwriting? How does it usually happen?
- Prefer bringing a skeleton to practice, or build as a collaboration

I’ll occasionally have a riff, or a succession of parts ready to show a band I’m in. But without exception, every band I’ve been in, including Tilts and Torche all write collaboratively. I’m not writing all the songs in Tilts anymore than Steve is writing all the songs in Torche. It’s almost always the whole band in a room, hashing out ideas and putting the songs together, then doing a rough demo. I totally prefer this way since I think it produces the best ideas, is the most fun, and is usually the most satisfying for all band members.

What is your electric guitar rig these days (if you’re willing to divulge the secrets)?

Ah… this could get long! I’ve got too much stuff at the moment. My main guitar for years has been a “JDS” Les Paul copy that has been gutted and re-gutted to my specs. I really love it and mysteriously have never found another one, ever. I recently signed on with Framus Guitars out of Germany and I cannot say enough good things about the quality of their guitars. I’ve got a Panthera custom six string with P-90′s and a Panthera custom 12 string as well. Both instruments are perhaps the finest I’ve ever played. Truly unparalleled selection of wood. For a company that’s been around since the 1940′s, they remain largely under the radar, and that’s unfortunate because they’re making world class instruments. I use Seymour Duncan pickups and Cleartone Strings exclusively as well. Couldn’t be happier. Digitech/Hardwire has hooked Torche up with a large assortment of pedals too, and I have to admit I was skeptical at first, but at least two of them have found a permanent place in my pedal board. Also picked up a Verellen Skyhammer pre-amp pedal from Ben Verellen, and it’s a different world entirely. An incredible piece of gear! My current cab is an Atlas 4×12, straight front with Vintage 30′s. Atlas is a newer company out of Boulder, CO and this cab is a motherfucker. Built like a tank, I could not be happier. I’ve been really lucky as a player this year!
Head wise, I’ve been borrowing various Marshalls from my band mates in both bands, mainly Super Leads and 800′s. I just finished building my own Super Lead clone, though crazy loud and very ZZ Top/Angus Young, still needs some tweaks.

Do you use different rigs between Torche and Tilts?

Well, only slightly. Same guitars, same pedal board, different tunings. In Tilts, I’m using Andy White’s Super Lead with a master volume and an Avatar cab, I believe with V30′s as well.

Does gear impact your songwriting / performing?

Yeah, but recently it’s been all about getting the right gear for a specific sound and not the other way around. Like, Cleartone Strings wasn’t making a low .70 gauge string until we came along and requested it, haha. It would be different I suppose if we just had to play whatever we could cobble together.

Riddle of Steel had some unique tonalities, were you using any alternate tunings?

Yes, I used three different tunings. The main one, which I tried to keep secret for a while, is tuning in 5ths like a mandolin or a cello. The low string being a low B, then tune from the 7th fret. This way each pair of strings contains a root and a 5th. You really have to crank the third string high as well, so it helps if you adjust your gauges accordingly.
An easy way to just play power chords everywhere if you want to get lazy, but also forces you to try different chord shapes and gives you way different sounds. The other secret was that the top two strings were the same note. I used them as drone strings in many many chord progressions.
I also used DACGAD a lot (Kissing In Secret) as well as the occasional Drop-D.

Any advice for students who are trying to find success in the music industry?

Man, I’m still learning so many things myself. Really I guess it’s about defining what success means to you and not letting someone else decide for you. Expect nothing, thank everyone and most importantly, find like minded individuals.

Any Advice for life on the road?

Tons! But really I can’t do any better than Thor Harris’ blog post, “How To Tour In A Band, or Whatever.”
It’s really pretty incredible advice for touring musicians and for life in general. I read it before every tour, sometimes during tour… and sometimes forwarding it (again) to my band mates. Haha! No joke.

Do you prefer recording, or live performances?

Each for their own thing. I like to hear the beginnings of the finished product when we record, or those rare moments when you get something kind of magical. Live shows are an entirely different beast, enjoyed on their own terms. I love playing live.

How do you like to prepare for recording?

Well, I’d LIKE to prepare by having all the songs completely finished, and going into the studio knowing what we want and getting it done. Like most things in life, it doesn’t happen that way. Still, you manage to get it done.

What have you been listening to lately?

I’ve been all over the place lately man. Sort of looking for excitement in a world that’s starting to seem incredibly boring to me. There are some really killer new bands, new releases and old stuff that’s new to me to fill in the gaps though. That new High on Fire is scorching. The new Van Halen, I thought was really pretty great especially since I was expecting total garbage. Been jamming a lot of Iron Claw, AC/DC, old British folk stuff: Martin Carthy, Steeleye Span, Sandy Denny (gasp!), 80′s retro-futurist revival type stuff… It’s crazy what you find yourself geting into after hearing rock and metal bands every night of the week for months on end. It all starts to sound really conservative and you get desperate to hear new sounds, or at least, that’s how it works for me!

Check out the new music video here!

Check out some of my favorite songs on my Best of 2012 Spotify Playlist!

The Top 10

The Life and Times – No One Loves You Like I Do
I don’t know that a TLAT record taking the top spot will shock anyone. Each TLAT release seems to be the exact thing I want to listen to when it comes out. Their sound seems to mature in parallel with my tastes. Day 9 and Day 11 are in strong contention for Song of the Year. Mathy, melodic, and layered, with progressive leanings.

Hidden Hospitals – EP002
HH made the records of the year list last year with their debut, EP001. The followup picks up right where they left off, and takes it up a notch. I love everything about this band. Their branding is exemplary, their sound is refined, their live show is flawless, and most importantly, their songs are terrific. They are the total package, and have quickly become one of my favorite bands out there. Mathy / technical / alt rock.

Cloudkicker – Fade
This feels like the 5th year in a row with a Cloudkicker release in the top 5. This release is decidedly more post-rock than his metal reputation. It just shows how versatile he is as a songwriter and musician. Additionally, it’s his best engineered record to date. The mix and tones are great. I listened to this exclusively for well over a week, which is pretty much unheard of at my place. Here’s to hoping we see another release next year!

Town Portal – Chronopoly
Another band who found themselves on the list for 2011. Personally, I think this followup tops it, which is quite the feat. An indie instrumental band with mathy riffs, creative chord progressions, and progressive structures. READ: the foundation for a band I’ll love. The mix and production of this record is spectacular as well. I seem to jog further and faster when this is the playlist. Awesome.

Anakin – Random Access Memories
This falls somewhere between Weezer, Failure, Hum, and Reggie and the Full Effect. Heavy riffs, huge drums, synth melodies, with nice vocals sitting on top. The production is massive on this record. The songwriting is very consistent from track to track, and when in the mood, this record just hits the spot.

Cut Teeth – Televandalism
Despite coming out in 2012, this record brings me back. It feels like a perfect blend of old ATDI, Cursive, Drive Like Jehu, and just walking into venues in Chicago a decade ago. Textured riffs, tight drumming, and abrasive vocals done in a fashion that we just don’t hear enough anymore.

Minus the Bear – Infinity Overhead
This is not the Minus The Bear of old. The pop is more polished than ever, and the songwriting is just spectacular. The flashy riffage and creative fx usage serves the song more often than it takes the forefront, and it really works. Matt Bayles’ production may be my favorite work of his with MTB to date.

Hot Water Music – Exister
This is not what I expected from the return of HWM. This is less punk and more rock, and it works so well. The production is wonderful, and makes me want to listen to every record that comes out of The Blasting Room. “Drag My Body” is also on my list for Songs of the Year. If I had a list for best bass fill, it would be on that list as well.

Why Bother – Some Songs
This is my buddy Nick’s solo record. It’s a simple 4 song EP, but it’s great. If you didn’t know it was programmed drums and a pocket-pod for guitars, you likely wouldn’t notice. It’s a great high energy mathy rock record that almost reminds me of an old Rocket From The Crypt release.

Deftones – Koi No Yokan
I almost feel guilty for having this in the top 10, as it’s only been out for a couple weeks. Then I remember how awesome it is, and I don’t feel bad anymore. These guys have picked things up where they left off with Diamond Eyes. Just a great blend of heavy and melodic. I don’t really need to describe the deftones in 2012, do I?

Runners Up:
Arctic Sleep – Arbors
Imagine if HUM tuned to B.

British Theatre – ep
Members of Oceansize with a slight electronic leaning.

With Knives – Schadenfreude
Joe from Fallout Boy and Josh from Shiner tip their caps to Queens of the Stone Age.

Baroness – Yellow & Green
As close to a modern ‘classic rock’ record as I’ve ever heard.

The Jealous Sound – A Gentle Reminder
A very polished and streamlined version of my favorite indie / emo band of 2003.

Circa Survive – Violent Waves
Pretty much par for the course with this release. A fun proggy listen.

Honorable Mention:
The Casket Lottery – Real Fear
Jack White – Blunderbuss (I’m as surprised as you are).
The Sword – Apocryphon
Coheed & Cambria – Afterman
El Ten Eleven – Transitions
Sundrone – Burial Waves (former CodeSeven)
Sundiver – Vicious EP
Grizzly Bear – Shields
Caspian – Waking Season
Sigur Rós – Valtari
Converge – All We Love We Leave Behind
How to Destroy Angels – Omen

Biggest Disappointment
Further Seems Forever – Penny Black
I had modest expectations for this record, and it missed on all of them. The songs just aren’t good. Despite being the original lineup, there wasn’t a single aspect of this record that made you think these guys wrote ‘The Moon is Down’ (one of my all time favs).

Local Releases:
Life Long Laser – Pipedream
Somewhere between Minus the Bear, Broken Social Scene, and Brand New.

Two Star – Lover, Our Lips Have Left Us
As solid as a record as I’ve ever heard by a local band. Modern indie power pop. So good.

Best Record Not From 2012
Butch Walker & the Black Widows – The Spade
I’m glad I missed this record in 2011, because, it came to me at the perfect time in 2012. It was a refreshing listen, and EXACTLY what I was looking for. It’s one of the smartest, funnest pop records I’ve ever heard. The songwriting is impeccable, and the musicianship is unreal. If that wasn’t enough, the production absolutely KILLS. The tones are huge, the mix is flawless, and the performances are on point. Additionally, you don’t hear enough records with banjolin these days!

What bands do you currently have, and what bands have you been in previously?

I currently play guitar in Hidden Hospitals. We are a four piece rock band from Chicago, IL.

Is guitar your primary instrument?

Guitar is indeed my primary instrument. I started playing when I was about six years old.

What instruments do you play?

I played French horn for about 10 years and I played trumpet for a few years in my high school jazz band but nowadays I really only play guitar.

How long have you been playing guitar?

I started playing when I was 6 so it has been about 20 years.

Did you take any lessons growing up? (guitar or other)

I started taking lessons as soon as I started playing guitar. That lasted a couple years but then my teacher stopped teaching younger students so I went through quite a few years of teaching myself how to play. When I was around 13 years old I got into playing Jazz and started taking lessons again from a new teacher, but again, only for a couple years. Most of my learning has come from playing with and being surrounded by other musicians. It is important to realize how much you can further yourself by learning how other people view and play their instruments. I have found it to be just as beneficial as taking lessons.

Do you have an understand of scales and music theory?
— How does that impact your songwriting?

I do have an understanding of scales and music theory. I started learning theory when I started playing jazz guitar – it was pretty much unavoidable. I was even lucky enough to take some theory courses from Jamey Abersold. I used to sit down and run through scales every time I sat down to play guitar but when I started playing in bands I slowly got away from that habit.

I’d like to think having that sort of background doesn’t necessarily influence songwriting, but makes a lot of things come easier. One part of writing that can be discouraging is learning how to play exactly what you want to be playing. Being able understand the groundwork of what you are doing and having some of that muscle memory built in really does help me.

Do you still practice instruments, beyond when you’re writing for Hidden Hospitals?

Every once in a while I will sit down and practice some rudimentary exercises, but through playing with other musicians and being in this band I feel like I am advancing at a rate I am satisfied with. I value learning new things and improving on skills I already possess equally.

Do you still attempt to push forward by learning new instruments or applications?

I don’t think it would benefit myself or my band to learn a new instrument as much as it would to learn about a new process, piece of gear or tool that could further us as a group. There is always something that each one of us can be actively learning about to impact our progress but it doesn’t necessarily have to be an instrument or even musical.

What is your electric guitar rig these days?

There are a few important parts of my setup that have been consistent for a few years now and some things that seem to change with regularity.

Does gear impact your songwriting / performing?

Quite the opposite. We find the sounds we need while we are writing and recording. We use that time to explore new things sonically and experiment with our setup. Once we have created what we envisioned, we learn how to re-create it. This can lead to seeking out some new gear or simply learning how to better use what we have. How well I know the gear I have can absolutely impact our songwriting and performing.

How do you like to prepare for recording?

I find demoing the songs to be a helpful step. Having tracked versions of what we are about to record allows me to hear in context what could benefit from change. It also gives me a chance to experiment with new sounds and tones so I can go into the studio with rough ideas to expand on. Possibilities are always endless so it is important to define a set of parameters to work within in order to end up with a cohesive end product. I value the time I am allowed to spend experimenting in the studio as well as input from others, including our producer, but feel much more confident having basic ideas laid out before setting up to track a part.

Watch on Youtube!