Album Preview: "Bellows," Suavity's Mouthpiece

J.Trafford is no stranger to artistic creation.  A veteran on the scene, performing since 2001, the multi-instrumentalist and prolific songwriter has had the opportunity and challenge of stylizing music that remains timeless as time moves forward. His music has been featured in Pittsburgh Fashion Week and the Pittsburgh Independent Film Festival – opportunities that affirm the incomparable nature of Trafford’s musical art. Bellows is Trafford’s latest musical milestone. Accompanied by his live performance group, Suavity’s Mouthpiece, it is a welcome expansion from Suavity’s 2014 full-length studio release, Peerless Suavity. With Bellows, Trafford creates music that is grounded in pop, but has the air and cadence of the alternative scene. 

“Chassis” opens the E.P. with a few risky production ideas. The music has a lot of varied, almost eclectic instrumentation, including an accordion and a mandolin. As short as “Chassis” may be, the music is harmonically dense. Trafford’s sultry, folkloric singing works as an adhesive for the overall arrangement. His voice sits warmly in the midst of the hodgepodge, coloring the brightly-toned instruments. The vocals, however, can sometimes get lost in the jumble. Given the sing-song nature of the track, the overcrowding of instruments proves to be a detriment to his lyrical performance.

The first vocal jump in “Sugarcoating” starts the song off strong. Trafford’s versatility in his voice’s tonal quality is highlighted in both Sugarcoating and the third track on the EP, "You Clearly Picked…" He moves between heady quivers, reminiscent of Morrissey, and smooth glides harkening back to Jeff Buckley’s signature glissando.

Stylistically, the second and third track of Bellows are worlds apart. “Sugarcoating” plays like an eerie tribute to medieval festival tunes. The track somehow manages to feel psychedelic without an overwhelming use of effects. “You Clearly Picked…”, however, displays Trafford’s poetic lyrics at its forefront. The guitar rhythm stays steady as a rock, allowing the music to grow and the lyrics to be sung with an imagined freedom of form.

Bellows takes a huge leap in a different direction with the last track, No Bake Cherry Cheesecake. The tune is somewhat jazzy in nature. It’s also catchy and again salutes to Trafford’s versatility. Heavy rhythm-section entrances build the energy gradually, yet effectively. As the only instrumental track, it immediately stands out among the four songs on the EP. While the song itself is harmonically rich and a great stand-alone piece, it feels tonally independent from the context of the rest of his music. The song should be kept aside for a later release that is akin to its individual style.

Despite the sometimes muddy vocal mix and the minor incongruence of the last tune, Bellows proves that J. Trafford and Suavity’s Mouthpiece has the strength in songwriting chops to go beyond pop and create music with depth.

Check out a couple of tracks from Bellows below:

Album Preview: "Drag A Match Over Me," Flash of Silver

Drag a Match Over Me by Flash of Silver is out Friday, May 13.

Flash of Silver is the type of side project that every musician needs. It demonstrates several aspects of each band member’s significant potential. Together the trio of Vic Cherubim, Collin Cherubim and Alex Holloway brings forth the strength and solidarity created through years of playing together in their main project, local Pittsburgh psychedelic rock outfit Memphis Hill. Drag a Match Over Me establishes Flash of Silver as the raw, emotional “coming out” from their half of Memphis Hill.

The band excels at creating music uniquely stylized to highlight Vic Cherubim’s guitar playing. The album starts with a heavy-driving groove and an aggressive attitude. In “Act 2”, bassist Holloway compliments Vic from line to line, weaving through and around the guitar part to let Vic’s chords breathe. Vic has a distinct speak-sing style to his vocals, which is felt most strongly when drummer Colin Cherubim suddenly cuts out. These clever, well-timed breaks throughout the song provide a tense and necessary silence, broken once by a dulled moan and again by a pained screech.

The EP is cleverly dynamic within each of the four songs. As a vocalist, Vic tells his story in swift lines, spoken calmly but with an envy of his lovelorn past. He often contrasts his vocals with overdriven guitar leads reminiscent of ‘90s grunge. In “That Time,” the verse riff is aesthetically equivalent to Smashing Pumpkins. Drummer Collin Cherubim’s tom-heavy starting pace is eventually shifted to a half-time feel, sprinkled with the super dirty, hard-hitting lead lines. Mix in some tasteful shouts and Alex’s locked-in bass, and the resulting sounds are in your face for the rest of the tune.

Some special attention needs to be paid to Vic’s guitar solos in “Mountain” and “Queen of the Record Machine.” These require a series of double-takes to fully absorb. His guitar solos are wholly nasty – in a good way. That prowess is ever-present in his previous recordings with Memphis Hill. In these tracks, it’s like he’s having a conversation with Led Zeppelin’s Jimmy Page while being simultaneously possessed by the ghost of Rage Against the Machine’s Tom Morello. Vic’s solos are crunchy and overall raw. The listener is taken aback.

Drag a Match Over Me throws grime at the listener while keeping the flow rhythmically diverse. It takes a special type of band to play with so much dissonance and still be interesting. Flash of Silver joins the Pittsburgh scene with finesse and a tone-shifted departure from their psychedelic rock predecessor.

Listen to tracks from Flash of Silver's first EP, Drag a Match Over Me, below. Check out the album release party at Howler's on Friday, May 13 with Big Gypsy and Manic Soul.

Snarky Puppy @ Carnegie Library Music Hall of Homestead - 5/8/2016

Snarky Puppy’s Grammy Award-winning music, by nature of its virtuosity and sheer brilliance, is respected in the highest regard by groove makers and audiences alike. Fans came to Sunday’s show at the Carnegie Music Hall of Homestead to hear a fresh musical experience. They came out to the show to be wowed. The opportunity to see Snarky Puppy perform was an opportunity to watch masters in the technical art of music.

Opening act Charlie Hunter was a strong, pleasant introduction to the night. With a seven-string guitar/bass hybrid, he quickly piqued everyone’s interest. His playing was soulful, awe-inspiring, bluesy, light-hearted, sweeping and impossible to imagine. He made his playing style look effortless. His charisma on stage was unmatched, further exemplified by playing two instruments at once. He knew how to make a crowd laugh. Charlie Hunter was a clown to the audience as much as he was an entertainer to his musicians. Or an entertainer to himself, for that matter. He plucked out little musical jokes with his guitar, laughing casually in response to his own goofy wit. Unexpectedly to Hunter, his voice projected through to the audience, both when he laughed and when he gave instructions to his band, Snarky Puppy drummer Jason Thomas and horn players Justin Stanton and Chris Bullock.

Snarky Puppy began their set with a light tune off of their 2015 album, Sylva. In their own unassuming way, Snarky set the tone for the rest for the night. The ethereal nature of the first tune was followed by some of the hardest-hitting fusion pieces in Snarky’s arsenal from their latest release, Culcha Vulcha. The peaks and valleys created by bassist and bandleader Mike League’s compositions developed an emotional experience akin to getting slapped in the face and hugged immediately afterward. Percussive starts and stops in the music had the crowd on edge for several individual moments within a single tune. Throughout these moments of unabashed virtuosity, each member of the band knew how to show off without losing any humility.

Despite missing a few of the all-star players that usually accompany the group, Snarky Puppy managed to win the crowd over by highlighting the star players they still had up on stage. The horn section, consisting of Jay Jennings, Mike Maher and Chris Bullock, glided into their notes like butter into beautiful legato harmonic resolutions. At the same time, the three horn players performed as individual soloists reminiscent of their fusion jazz forefathers. Percussionist Marcello Woloski and drummer Jason Thomas performed perfectly when in the background and during their features. There were drum battles that moved in and out of time with incomprehensible ease. Mike League played underneath the percussion with subtle grace, making full use of his individualistic approach to songwriting. League’s ability to showcase the musicians on stage provided guitarist Bob Lanzetti with the space to mesmerize and captivate the audience with his solo.

The night’s official set ended with an energetic swing/shuffle accompanied by massive Dixieland-style horns and a much deserved standing ovation. Unsurprisingly, the audience stood through Snarky Puppy’s encore “What About Me?” The funky complexion of the song animated every listener, while maintaining a tight technical performance at its forefront. Snarky Puppy’s show was an exemplary demonstration of musicianship. The group is a true champion of their craft.

Half Moon Run @ Stage AE - 5/6/2016

Montreal’s Canada-famous Half Moon Run played The Club at Stage AE on May 6th. Their mismatch of fame - they’re far more well-known in Canada than in the US - means that they play with the cohesiveness and presence of a band twice their size on a stage designed for a band half as big. The end result feels like you won a contest to see your favorite band perform an incredibly intimate gig. Fortunately, Half Moon Run performs like they’re playing to a crowd befitting their hometown fame, creating one of the best bang for your buck shows to come through Pittsburgh.

Though the crowd was small, filling about two thirds of The Club at Stage AE, everyone there was a very avid fan. Every song was met with thunderous applause. Every silence was greeted with several cries of “I love you guys.” One fan insisted on inviting the band back to his place for a party after the show at every chance he got, which the band politely ignored. 

The show opened with Warmest Regards, the first track off of their most recent album, after which the band immediately launched into recent single, Turn Your Love. The upbeat, sixteenth-note-heavy track allowed the band to show off their very impressive light setup which featured tall, skinny LED columns that flashed in sequence with the music giving Half Moon Run the distinction of having perhaps the most impressive lights of any smaller-scale show many in the audience had seen. 

After opening with six consecutive tracks off of their recent release, Sun Leads Me On, the band played old album favorite Call Me In The Afternoon during which three of the band’s four members drop their instruments in favor of a very elaborate three-part drum part. The band’s drummer impressively manages to play keyboards, sing and drum at the same time. After a few more songs off of their first release, notably the lyrically impressive Need It, frontmen Devon Portielje and Conner Molander did a few slower acoustic tracks on their own. 

After the band left the stage, the enthusiastic crowd demanded an encore and made one last-ditch attempt at a party invitation. After playing the upbeat, electronic track Trust, the band ended the show with the first song that many in the audience had heard of Half Moon Run, Full Circle. 

Half Moon Run has certainly changed stylistically from their first album to their second album, but their instrumental mastery and outsized stage presence blends the very disparate albums into a cohesive live show that would’ve made for a very impressive show on Stage AE’s main stage but created an intimate and incredibly memorable performance on The Club Stage.

Parker Millsap @ Club Cafe - 4/24/2016

This unassuming Oklahoma pretty-boy brought rock-n-roll and a young man’s fire into a sold-out Club Cafe.

Parker Millsap’s charisma was the first thing I noticed when he stepped in front of the audience. Although only 23 years old, he walked the stage as a veteran. His voice, reminiscent of Buddy Guy’s golden years, rang out, enchanting the audience. Many have also drawn comparisons to Elvis, and this guy has an obvious respect for the King. He emulated some of his characteristic style and movements, but added a boyish charm to the mix. He had a gentle demeanor and a real love for the audience. The crowd often received kind words from Parker, similar to what’s expected of southern charm.

Parker also had some serious pipes. His singing sounded effortless as he roared through the beginning of the set. When he belted his notes, there was old soul pain flowing through his young blood. He sang his hits just as cleanly but twice as powerfully as they are in his recordings. His slower tunes were reminiscent of Irish folk tales, but instead with sultry narratives about the eight hours he had spent home alone while his girlfriend was at work. He lulled the crowd and rocked them peacefully with sweet melodies and warm songs. The lyrics he sang painted colorful stories, often with plot twists and biblical references. He played his music with skill and an abundance of influences, ranging from blues to hints of progressive metal. This, combined with the maturity of Millsap’s approach, really spoke to his talented songwriting.

While Parker’s voice alone was more than enough to laud praise, his group’s soul was bountiful in each member of the trio. The fiddle, the upright bass and Parker’s guitar played together as an independent unit in perfect compliment to his voice. Bassist Michael Rose, in contrast to the stoicism typical of bass players, was shaking and grooving the most out of the three of them. His integral walking lines were calm and well-executed. Daniel Foulks busted out passionate fiddle solos that were simple and beautifully constructed. His sliding vocal harmonies bellowed just above Parker’s melodies; these played well into gem moments when fiddle and guitar had direct call and response. Although his little licks often fell under the radar, they were present and they were slick when they peered through.

This show was both a delightful throwback and a vision of the future. It was a treat to hear and feel Parker Millsap’s strength as a musician. Someone in the audience screamed “unbelievable” about once every other song. That awestruck fan managed to get the whole audience to yelp in chorus at Parker’s masterful performance.

PWR BTTM @ Mr. Small's - 4/12/2016

Liv Bruce poses for a photo after their set.

The past few years have seen queer culture take a huge leap into the spotlight through all kinds of artistic means. PWR BTTM perfectly typifies this trend’s presence in music. Formed at Bard College in New York, PWR BTTM is the dynamic DIY duo of Liv Bruce and Ben Hopkins. The two take turns playing drums, guitar and singing while clad in various out of the ordinary outfits and makeup. Their sound sticks close to the band’s queercore rock roots, with short songs featuring punchy lyrics. 

Their show at Mr. Small’s on April 12 perfectly highlighted PWR BTTM’s quirky queerness. During their soundcheck, both Ben and Liv were dressed in dark street clothes, a stark contrast to what they wore when they came out to preform. Normally clothing choices of a musician don't deserve to be covered in detail, but normally musicians don't come onstage wearing just boxers and an inflatable deer, like Ben did. The deer set the tone for the entire set, complete with church-related jokes highlighting the conflict between religion and queer culture, and a reminder that PWR BTTM shows are safe places for everyone, regardless of gender, sexuality or interests. 

Overall, PWR BTTM boasts candid lyrics that make them stand out from the rest of the noise in the queercore genre, while their music mostly blends in, with the exception of some surprisingly impressive guitar tapping towards the end of their set. Most importantly, the band’s entertaining stage presence and interesting clothing choices – like the inflatable deer taped to Ben’s body - will continue to set PWR BTTM apart as their career helps bring queercore music a little closer to the mainstream.

Ben Hopkins of PWR BTTM

The Joy Formidable @ Mr. Small's - 4/11/2016

Avid music listeners and concert goers strive to find music that gives us something novel to feel. We live for artists whose shock factor is evident in the awe-stricken faces of the crowd. Unsurprisingly, we also like to dance and enjoy ourselves. We're triple impressed when we get something as compelling, fun and thoughtfully executed as The Joy Formidable’s Mr. Small’s show on 4/11.

The night began with Manchester synth-rock outfit Everything Everything. The audience quickly understood why they were propositioned for this tour. They threw together the bombastic power-synths that we've come to know and love from this genre, but with some notable plot twists. Alex Robertshaw’s guitar parts moved swiftly, inviting the crowd to pay attention to his technical ability and his gritty-yet-ethereal solo style. Singer Jonathan Higgs performed as a man of many voices, with rapid-fire lyricism interwoven with thoughtful use of his impressive vocal range. Their music complimented The Joy Formidable but was not analogous enough to upstage their upcoming performance.

The night's main attraction took to the stage with a sea of synthesizer ambiance. The Joy Formidable put forth a torrent of energy from the show’s start that didn’t relent for the entire evening. Each member of the Welsh alt-rock trio knew exactly how to fill up the stage, comfortably using every inch of space available to them. To the left, bassist Rhydian Dafydd (@rhydiandafydd) went hard while intermittently controlling the ever-present, vital synths. Drummer Matt Thomas (@mattthomasdrums) sat at the front-right of the stage, contrasting a lot of dummers’ back-center setting, giving him unique opportunities to actively engage the audience. Heavy guitar riffs and an intense smile from the band’s lead singer Ritzy Bryan (@ritzyformidable) set the tone for the rest of the show from the second she walked onstage. Her strength as a vocalist was clear in recordings and videos of the music, but when she performed live, she demonstrated a comfort in her voice that stemmed from her fondness with her bandmates on stage.

I became more and more invested in the personalities of the musicians as the show progressed, but in particular those of Ritzy and Matt. Not to knock bassist Rhydian Dafydd, whose performance felt like the combined active effort of three or more musicians packed into one. Where Ritzy's presence was full and piercing (I felt some strong Evanescence vibes), Matt loosened the vibe with goofy stage antics and displaced gong smashes. He often pointed at the crowd with one of his sticks to a roar of applause. The whole band had a sense of humor on stage, which went over exceptionally well and kept the audience feeling like a part of the show.

As the band experienced technical difficulties (of which the audience was completely unaware, thanks to some smooth-operating techs behind the scenes), Ritzy took this opportunity to perform a song in the middle of the crowd. She half-jokingly dismissed the crowd's ongoing gong worship before she and Rhydian picked up acoustic guitars. While this isn’t an uncommon trick of the trade, it was nevertheless refreshing and intimate.

We had yet to hear some crowd favorites, so most everyone stuck around for the encore after the set ended. This three song encore, which shared music from opposite ends of their nearly 10-year discography, got the entire crowd singularly invested in moving with the band. That sort of lasting impact, alongside their spectacle of a performance, are reason enough to think they should come play stateside more often.

Interview: Joanne De Luca

Joanne De Luca is the mastermind behind Live Music Yoga, a unique event that blends local music and relaxation. She's also an avid music lover, and is dedicated to supporting local artists. FoundSound Music interviewed Joanne to talk about the local music scene and her upcoming events! 

1. How are you involved in the local Pittsburgh Music Scene? 

I go to a TON of shows.  By that, I mean about 2-4 a week.  Yep, it’s pretty much the meat of what I do with my free time.  Live music keeps a smile on my face at all times and is always a blast when my friends come out to enjoy it with me.  Being in the music scene constantly has allowed me the great opportunity to meet and befriend a ton of local musicians as well.  It’s so exciting to watch insanely talented local musicians like Max Summerville blow huge crowds away in his band “Wreck Loose”, or see a collaboration with some of Pittsburgh’s most talented musicians come together in the band “Arkesh”.  The newest band in Pittsburgh on my radar is “Chalk Dinosaur”.  Every time I see John of “Chalk Dinosaur” performing it’s to a bigger crowd than the last and is completely blowing minds every time.  When there is so much talent to enjoy right at our fingertips I feel like it’s my duty to spread the word. 

2. Can you explain the idea behind Live Music Yoga? 3. What was your inspiration for this event? 

I was at a Lotus show with my friend and we both started to cramp up from the amount of dancing we were doing.  We went to the back of the venue and started stretching out.  It hit us both how cool it would be if we started doing yoga and people just started joining in.  Although we didn’t actually do that in the moment, I realized at that I needed to make that a reality.  The next morning I was on the phone getting the ball rolling.  It’s so exciting to see this idea blossom into a full blown successful event.  

3. Why did you decide to hold it at James St.? 

I’ve always loved James Street.  Kevin Saftner constantly has really fun and unique events going on so I knew the Live Music Yoga would fit right in.  When I told Kevin about the idea he was instantly just as jived as I was about it.  The upstairs ballroom is the perfect space for this event too.  The band and yoga teacher will be set up on the stage so that everyone will be able to see effortlessly.  There are also super large windows in the space which will allow the class to be taught in the natural sunlight. 

 James Street just started offering an incredible brunch menu on Sunday mornings that is out of this world.  I figured what better way to spend a Sunday than with friends, grabbing some brunch, Bloody Marys and getting in a really great yoga session while listening to an incredible musician play his soul out.

4. How do you find artists for this event? 

This first class was easy; Christan had a previous interest in being part of a live music yoga event after bring inspired by Mike Remple of the band Lotus who had done it at The Catskill Chill music fest one year.  When I talked to him about my idea he was on board right away.  I’ve also always enjoyed the music he’s been playing with “Sweet Earth” for many years now, so to be able to have him play his side project tunes for the first class is an honor!  I think that a class with his ambient songs will be just what the doctor ordered for all of us!

 I have already had a few other musicians reach out to me about playing future events and also know many local Pittsburgh musicians that could be perfect for a future class.  I’d love for any musicians that are excited about the idea and are interested in contributing reach out to me so we can line something up.

5. If an artist is interested in playing this event, how can they contact you? 

Any interested musicians can either message me through the Live Music Yoga Facebook page here: https://www.facebook.com/livemusicyogaPGH/ or email me at LiveMusicYoga@gmail.comI’m open to the idea of any kind of music that might be cohesive with yoga, so don’t be shy and reach out to me if you’re interested in playing in a future event!

6. How do you think music and yoga are connected? 

I believe yoga is all about finding your perfect flow at the same time as keeping your mind focused on the pure elongating movements.  I think that adding the right music to yoga practice really aids in finding a smooth transition between the poses. Also, when you’re used to constantly being on the go, it can be hard to stop your mind from constantly thinking about what’s next on the “list” of things to do.  Having music playing really helps keep your mind clear and focused on what you’re doing right then and there.  

7. Why do you think this event is important to the larger Pittsburgh Music Scene and Community? 

Any event that brings people together is important in and of itself.  I’ve found a wonderful love for the sense of community Pittsburgh has to offer in the local music scene, and to have the opportunity to strengthen it is tremendous.  It’s exciting to be able to introduce the local music community to the local Yoga community.  Hopefully this will be a continued growing bond to create an even stronger sense of community throughout Pittsburgh.

To learn more about Joanne and Live Music Yoga check out https://www.facebook.com/events/1698970353674530/

The first Live Music Yoga event will be held on April 10, 2016 at the James Street Gastropub and Speakeasy in the North Side! 

Blind Pilot @ Stage AE 3/24/2016

We’ve had nothing but radio silence from Blind Pilot since their 2012 tour ended. They’ve done a few one-off shows here and there, but no mention of a new album, or new tour aside from sporadic, unclear social media posts. When they showed up as a supporting act for Vance Joy, we were certainly surprised but also very curious to see what the Portland-based sextet had in store for the evening.

From the moment frontman Israel Nebeker’s better-than-recordings-can-capture voice soared through Stage AE’s sound system, it was clear that the hiatus from touring hadn’t set the band’s live performance back at all. As the rest of band joined in for the first chorus of second album favorite Half Moon they left no doubt that Blind Pilot was back and better than ever. 

First album favorite The Story I Heard followed Half Moon, sounding more like the iTunes EP version of the track, produced by legend Ticker Martine, than the first album version. The primary difference being that the band is presented as a cohesive sextet rather than the original duo, Nebeker and drummer Ryan Dobrowski, with accenting parts from the other four, as the first album put forth. 

Surprisingly, Pittsburgh seemed like it was just holding its breath waiting for Blind Pilot. Stage AE was packed long before their set despite the show’s early start time. When the band came onstage the crowd erupted in cheers and immediately started singing along to Half Moon. While the audience had certainly come to see Vance Joy’s music, they were no strangers to Blind Pilot’s discography and were thrilled to see the band back in full force. 

Throughout the set, Blind Pilot played a few new songs and mentioned that they’re going to be dropping a new album over the summer - news that was met with thunderous applause. The new tracks fit right into Blind Pilot’s brand of cozy, thoughtful, well-arranged folk music, showcasing the entire band as a very cohesive whole supporting Nebeker’s sensitive songwriting. 

The band closed the set with crowd favorites Three Rounds and A Sound and We Are The Tide. The crowd exuberantly sang along to both, despite the somber nature of the former and the triumphant tone of the latter. Blind Pilot then left the stage to go meet fans at the merch table, where they were inundated with requests for pictures and autographs. For Nebeker and his band, it must’ve felt good to be back. Judging by the roar of applause after Blind Pilot’s set, their fans were similarly excited for the band’s bright future.

Interview: Dan Styslinger

What doesn't Dan Styslinger do? As the keyboardist of the Delicious Pastries, Old Soles and Seedy Players, and the mastermind behind the Notable Music podcast, Dan is a force to be reckoned with. FoundSound Music sat down with Dan to talk influences, podcasts, and music. 

1. When did you get involved in the Pittsburgh Music Scene?

I've been playing in and around Pittsburgh since I was a kid. My very first gig was opening for the pop punk band Squirtgun at The Rex when I was 13. I started getting more into the scene in 2011 when I joined Delicious Pastries.

2. How are you involved in the Pittsburgh Music Scene now?

I try to keep myself busy by playing in as many bands as possible. As of now I play in 6 bands all around the city and I'm constantly keeping an ear out for new and interesting local music. Since August of last year I've been producing a podcast featuring interviews with local musicians called The Notable Music Podcast (formerly Notable Dudes Podcast)

3. What was your inspiration behind The Notable Music Podcast? 

I've always been a huge fan of podcasts and was growing increasingly frustrated by the lack of in depth conversational podcasts focusing on music. I wanted to create something similar to WTF with Marc Maron or You Made It Weird with Pete Holmes but for specifically music.

4. What have been some of your favorite interviews on the podcast? 

I hate to sound cliché but I love all of the interviews I've done so far. Pittsburgh has so many interesting and talented creative people and I feel really lucky to be able to do something like this.

5. You have a great knack at naming bands (The Delicious Pastries and Old Soles Seedy Players)- where do you get your inspiration? 

I wish I could take credit for Delicious Pastries but that was the brain child of Jesse Ley (drums) and Jonathan Chamberlain (vocals). As many of my friends know, I love word play and I am constantly looking to make cheesy puns and terrible dad jokes. OSSP is just a name that I thought sounded funny and included some dumb puns. It basically means Old Shoes and CD Players.

6. What does the writing process look like for these bands? Are they similar, or different? 

With the Pastries, Jesse and Jonathan do most of the writing. They usually come to me with the songs just about done and I might come up with keyboard parts on my own or they'll show me ideas they have in mind for me to play. With Old Soles I'm the primary songwriter but my process isn't very structured when I sit down to write. Normally I'll come up with a progression and a melody will come to me. Once I have the melody I just try to find lyrics that rhythmically fit the melody and phonetically sound pleasing to me.

7. The Delicious Pastries is about to release a new album- can you shed some light on that whole process?

My first show with the band was the record release show for Pretty Please which I didn't really have anything to do with the recording process. This time around I was a little more involved. This record has been four years in the making and I'm so excited for people to hear it. 

8. As a piano player and singer, who have been some of your biggest influences? 

As I piano player my biggest influence is Ben Folds and also Ben Thornewill from Jukebox the Ghost. When I was about 15 my brother introduced me to the self titled Ben Folds Five album and that same week I played a show with a young Jukebox the Ghost (they were going by The Sunday Mail then). After that I was hooked and knew that I wanted to play piano. Vocally my influences are people like Paul Simon and James Taylor. I like how both of them have soft but powerful voices.

9. What have been some of your favorite shows in Pittsburgh? 

Delicious Pastries opened for Kishi Bashi a few years ago and that dude is incredible to watch. Another memorable one was Dawes at the Arts Fest a few years ago.

10. What do you think makes the Pittsburgh Music Scene unique? 

The amount of talent per capita is really astonishing. I'm constantly amazed how many creative, unique musicians are out there.

11. Where do you see the Pittsburgh Music Scene heading in the future?

I see big stuff happening in the future for Pittsburgh music. Like I said, there are so many talented artists in the city and its only a matter of time until the national stage takes note.

To learn more about Dan and his work with the Delicious Pastries, Old Soles and Seedy Players, and the Notable Music Podcast check out: 

https://www.facebook.com/deliciouspastries/?fref=ts
https://www.facebook.com/Old-Soles-and-Seedy-Players-1667549226794575/?fref=ts
https://www.facebook.com/notablepodcast/?fref=ts

Make sure to come out to the Delicious Pastries' album release show 3/18 at SPIRIT: https://www.facebook.com/events/941918625857474/

Old Soles and Seedy Players will be playing 3/19: https://www.facebook.com/events/521601848019405/

The next Notable Music Podcast will feature Jeff Betten, Brash Teeth, and Arlo Aldo on April 1st! 
 

RJD2 @ Mr. Small's - 2/27/2016

In 2016 it’s a rare to find an artist whose weapons of choice for a live performance are a classic four turntable and mixer setup only occasionally augmented by digital technology. Instead of hiding behind a MacBook, as most DJ’s do, RJD2 prioritized his audience, feeding off of the energy of a very receptive crowd and creating a continuous, engaging dance party. 

RJD2 - Photo: Chelsea Dickson

RJD2’s catalogue is immense, spanning 10 studio albums including the yet to be released Dame Fortune due out Mach 26th and several more EP’s, mix albums and collaborations. RJ played tracks from his entire, expansive career, creating a holistic canvas of his journey as an artist that he expertly wove together to create a seamless, bouncy set.

In addition to putting on a great show of his own, RJD2 chose two local openers who played phenomenal sets, showcasing his dedication to advancing the musical careers of others. Chalk Dinosaur opened the show, and Badboxes playing before RJ. Bandboxes featured modulated, autotuned, harmonized vocals played over shimmering synths and drums. They notably covered The Cars’ Drive, resurrecting the 1984 classic slow jam that sounded almost more complete with Badboxes’ modulated vocals.

Badboxes - Photo: Chelsea Dickson

A few songs before the end of his set, RJ took to the mic to thank the exceptionally diverse crowd of ravers, college students and young professionals for sticking with him throughout the show. Apparently just hours before taking the stage, RJ came down with food poisoning, a fact which shocked the crowd given the energy with which he bounced around his turntable battle station.

RJD2’s show demonstrated the meticulous effort he put into his own live show, his dedication to his music, and his desire to advance the music of others. RJ’s set created an image of an artist with unbounded passion for music in addition to a fun and refreshingly accessible dance party.

Interview: The Hawkeyes

The Hawkeyes play rock and roll music. Nothing more. Nothing less. But they do it in a refreshing way. They know exactly what they're putting out into the world and they're doing it deliberately. Their honesty makes their music very refreshing and you can't listen to them without getting the feeling that they're just four guys who love music trying to have a good time on stage. We met up with The Hawkeyes after their performance at the Strip District Music Festival.

FoundSound: You guys live all over the place.  So, how’s meeting up to practice? Do you guys, just practice at someone’s house, or find a central location?

The Hawkeyes: We have a central location. It’s a big storage unite that we’ve appropriated for our devices. We brought some extension cords, because where our unit’s at, the power is a complete three hundred yards down to the end of the building. Hence the name of the record. “One plug in the wall.” That’s where that came from. That old practice spot. It’s like that whole concept of, where does a band start get started? In a place like this. That’s the whole attitude. We’re still there.

FS: Yeah, absolutely. So, you mentioned the record. How was the recording process for that?

HE: It was, you know, it was for me, long but it was necessary. Because you hear stuff and you want every little nanosecond to be perfect, in your mind. It all needs to work and be cohesive. But, the producers we work with, they did a bang-up job.

FS: What does the writing process look like for you? Is it all collaborative? Does someone do more of the front-end work?

HE: Jay will bring in a skeleton. He sits home, he fleshes out a lot of songs, he’ll play then at his solo gigs, test them out, see if they survive the live stage, and if he thinks they’re ready he brings them in and we just throw in our parts. It’s very collaborative. You can tell what song packs an audience. We went in with maybe 15 songs and we whittled it down to 9.  You just could tell which ones worked. You know, there’s no formula. If there is a formula, then I think you’re doing it wrong.

FS: Who would you count amongst your influences?

HE: Oasis, for sure. Drive by Truckers, the Black Crows, Cracker. Mellencamp, Springsteen. Jason and the Scorchers, a lesser- known band. We all like them. Wilco, Ryan Adams.

FS: Did you guys all get together and decide, we want to be this kind of band with this kind of style? Did you form to make a certain type of music? Were you friends beforehand?

HE: That wasn’t the original plan. It’s evolved into what it is purely by accident and by grinding it out, fortunately. Two of us played together years ago. Our old guitar player had a band. We were a country music gas station. We were Hank Williams, twice as loud, twice as fast. And then, Colin was like, you know, Jay, why don't you come jam with my band? Because Jay could get shows, but he couldn’t keep a backing band. We were a great backing band, but we couldn’t get shows. We really just stemmed out of that. And Jay was just straightforward Americana rock. And We were more Sonic Youth old country. And it wasn’t necessarily a train wreck.  We wrote a few songs at our first jam session.  But we were definitely marketing ourselves as a country Americana rock band, whereas now, we are more straightforward American rock ‘n’ roll. We’re by no means gonna fix a truck, or you know, harvest corn. We’re kids from suburban steel towns. It’s a really tired term, ‘Rust Belt,’ but that’s exactly where we’re from, and that’s what we write about.

FS: Do you guys play out a lot in the city, or more since you guys are scattered throughout, you guys play more outside of it?

HE: We don’t play in the city. Maybe once a month at most. We don’t go maybe more than two months without playing in the city because if we play too much in the city, our crows will thin out. We’ll do something like Strip District Music Festival, then we’re not in the city until like the end of March at Thunderbird. So, in the mean time, we’ll do something like Youngstown. Especially in the winter. Keep the trips short. We might do something in Beaver County or Butler County. We’ve got a show at the end of the month. It’s a radio station up in Butler that we’re playing an event for.

FS: Do you have a favorite city you’ve played?

HE: Indianapolis is a great place to play. We have some really good friends out there and we have a good fan base there. I mean, I’d say a close second is Milwaukee.

FS: Do you have any stories from Indianapolis in particular that you guys really like, or from touring anywhere else?

HE: The first time we played Indianapolis, well we used to do the whole “Who” thing when we opened shows. Smash a few guitars. Well we took it one step further, our drummer took a broken cymbal and wheeled it around like a tomahawk and it went right in the drum. I mean, just, - crckkk- There’s a facebook video on our timeline of the aftermath, he’s picked the drum up, kicked the handle off the drum. And there were all these people in the front and I was like looking at it and I thought, if that thing had just skimmed the wrong way, that would’ve been really bad.  But the whole place went bonkers. It was a great finish. We had to really work to get that finish. It was an accident the first time we broke our instruments, but then we didn’t do it one night, and people were bummed that we didn’t break anything. And then we started doing it every show. And that was the dumbest idea. I lopped off part of my finger in Michigan. One of us took the cymbal to the eyebrow in Canton. We don’t do that anymore. We just want people to like us for our music.  I said, you know what guys, maybe people are only showing up to see the end of the show. Probably the next, the CD release of Thunderbird was a real good memory because it was jam packed, crazy, you know, guys taking their shirts off. You dream of playing shows like that, with people right up in your face, you know, singing along to every word. We hope we have more like that.

We also opened for The Clarks which was nice of them. They didn’t have to do that, you know. They don’t do it all the time. They do whatever they want. So they were gracious enough to just give us a shot, put us in front of their audience.

FS: Yeah I feel you. So, with this event, you guys played last year and stuff. How do you see, especially because you guys tour and go out to other places, how do you see the music scene in Pittsburgh compare to other cities?

HE: It’s grown a lot since I started about ten years ago, I mean, it was nonexistent ten years ago, at least it seemed like it was, and it has just grown exponentially since then. I mean I’d say it has some catching up do to with Milwaukee, and Indi, but not by far. I mean, it’s a hell of a lot more supportive than Philly and New York. Those are cutthroat places. Some other towns we’ve played like Columbus, I think we’re a little bit, not even, but ahead of the game. There’s just more venues at Columbus. College town, definitely. I actually played there a couple times. I was in another band before this one, and my favorite memory is a Laundromat that had a bar inside of it for college kids. So you could stay near your laundry and get hammered.

Interview: Ziggy Sawdust

Ziggy Sawdust is a force to be reckoned with. The man behind "Ziggy Sawdust Productions", and most recently "Project Progress", Ziggy is known for his unique shows and active work within the Pittsburgh Music and Art Scene. FoundSound Music sat down with Ziggy to talk about his work, his music, and Pittsburgh Music Scene. 

1. How did you get involved with the Pittsburgh Music Scene? 

I actually came into the Pittsburgh Music Scene by way of the Pittsburgh Art Scene. Back in 2012, I was living in Bedford, Oregon and decided I wasn't really happy there anymore and wanted to move back to Pittsburgh. Initially, I was just thinking of moving back to Pittsburgh and then decided to come back to visit. Whenever I living out on the West Coast, I would come back and go to this place called The Shadow Lounge in East Liberty. It was after going to see live music shows at The Shadow Lounge that the seed was planted in my mind that there was a lot more going on in Pittsburgh then when I had left around 2007. So when I decided to come visit Pittsburgh last time, I decided to take a train all the way back to Pittsburgh. That visit ended up with me staying. 

After moving back, I decided to pursue my visual work, which was woodcarving. I started managing a gallery, and from there I began to work with other visual artists, and soon the general field of artists within Pittsburgh. I began to meet a lot more musicians, and began organizing shows. I never stopped and made this decisive choice about organizing shows- it was really just a progression culminating from all my different experiences. 

Most importantly, I really try to run shows and do my work with integrity. It's something I found to be lacking in some parts of the Pittsburgh Music Scene, especially with other promoters. There are a lot of good promoters, but there are a few bad ones that can be really damaging to the overall scene.

2. You talked about the ethics of the scene. Do you think ethics and the music scene are connected? Should they be? 

There should be some kind of ethical standard with organizing music. For example, if a show is not successful for me, with bands on a bill that I put together, and I take on that responsibility as a promoter, I'm not going to say "sorry guys, I tied your band to my name, but I can't compensate you." I could never do that. If someone is taking on the role of putting together a show, they are getting their name out there by having those bands on that show. So they should always do good by those bands. It's different if you went up to those bands before the show and told them they weren't going to be paid. At least then you're being upfront and everyone's expectations are the same. But no one should be invited to something where it's going to be a negative, losing enterprise for them. 

On the other end of the spectrum, I do think it's important that bands put in the time to promote themselves. Especially nowadays, no one will be able to sell your product better than yourself. That's why I always ask the bands that I work with to put in their end of the work as well. 

Another place where it's very important ethics are taken into account is with traveling bands that come through Pittsburgh. If a low-level national act comes through Pittsburgh and is treated poorly, the likelihood of them wanting to return becomes less likely. So let's say a band plays "X" venue, don't get treated well, and have a negative experience- they don't want to come back. This ultimately hurts the Pittsburgh scene, and really reflects on the Pittsburgh scene poorly as a whole. It's something that I take really seriously. 

3. You started Project Progress, which combines entertainment and social activism. Can you elaborate on that whole project?

Honestly, it was something where I knew I wanted to start a fundraiser for John Fetterman, who I'm a big fan of with his track record in Braddock. I needed a name for the event, and decided on Project Progress. After meditating a bit more on what that meant, I decided to use it as a way to name my events that are meant to promote shows with progressive values. I've done other events in the past that have worked toward a very specific progressive cause. With the name Project Progress, it's a way to brand those kind of events and put them under one common name in order to create recognition for them. 

4. How did you come up with the name Ziggy Sawdust? 

Ziggy Sawdust was born from an obvious pun on Bowie's Ziggy Stardust. I worked in wood-sculpting, and I went with that as my artist pseudonym.  I decided to stick with it in a much more literal way, because I found that the more one removed the ego of self from the equation when working with others, the more it allowed one to focus more on keeping with their ethical standard. It really ensures you don't lose the purpose or the goal of working with people in the process, and personally helps me stay true to my values when working within all my different projects. 

 5. How do you discover new Pittsburgh music? 

Oh, in a bunch of ways. A lot of times people find me. People are always saying, "Hey you should hear this." That's honestly how I find about 60% of my music. A lot of times, I'll put the word out for different causes and the artists find me. Initially, I used to seek out a lot of new things, but nowadays the music really just gets to me. 

6. Are there any venues you like to work with specifically? 

There are some venues that I really do enjoy working with. Spirit and James St. Gastropub are two of my favorite because of the people who work there, and the quality of the sound. I've never had anyone, guest or performer, who've had bad experiences there. They also are very flexible with their accommodations in terms of capacity, and I can really accommodate any type of show that I want to put on. I'm not saying that there aren't any other venues that can't provide that as well, but those two specifically are great. 

Also, I would throw the Rex and The Thunderbird Cafe in there as well. I'm a big supporter of everything Grey Area does, because they have a high standard of they treat the artists they work with, so I just wanted to let people know about that. 

7. What advice would you give up-and-coming artists from a promoter's standpoint? 

Be mindful of the people around you. That's the kind of thing that's really got me far as an artist and a promoter. One of the main lessons I've learned was how to promote the art of others from opportunities without getting any benefit myself. 

For instance, if someone wanted to commission a piece from me, I didn't just do it because I could. If there was an another artist that I thought could better execute the vision of the work, I would just recommend them instead. It's not like I would try to hold that connection hostage and try to get something from the other artist- for me, it was just a way to provide the best experience overall. 

That definitely works within music as well. Paying it forward, recommending other bands, and helping them be successful is how you build a strong fabric for the Scene. Sharing a resource is much better than being divisive and holding connections hostile from other people. It's not good business. It's more about working with a benevolent mindset than one that is cut-throat and competitive. 

8. What do you think is the biggest challenge facing the Pittsburgh Music Scene? 

Getting to other markets, and getting meaningful shows in other markets. One of the ways I'm addressing this now is with the Layer Cake Festival. What I'm hoping to do is really expand the Layer Cake Festival to other markets, like Brooklyn, Philly, etc. Depending on the scale of this expansion, what I would really love to do is get 20-30 Pittsburgh acts on board, pay them, and then fill the rest of the lineup with local acts from the respective cities. 

That way, there's attendance because of name recognition from all those local acts, and it also gets a lot of attention back to Pittsburgh. From there, we could get those local acts to play shows in Pittsburgh, and make it a way of pooling everyone's resources together. That way we can circumvent the traditional ways of getting exposure, and instead build networks more organically without using hostile power-structures. 

9. What do you think makes the Pittsburgh Music Scene unique? 

I think the camaraderie is really what distinguishes us. People are always welcoming, and are a lot less pretentious than in other scenes. There's very little egoistical behavior, and people aren't in a competition. I really think that if people work in a cut-throat manner, they'll be self-eliminated, because no one would really want to work with them. They may do well for a while, but their reputation will go to shit and they will factor themselves out. 

10. Where do you see the Pittsburgh Music Scene heading in the future? 

I think in the next few years you're going to see a lot more Pittsburgh acts getting national recognition. You've seen it in the hip-hop scene a bit with acts like Mac Miller and Wiz Khalifa, but you're starting to even see other acts branching out. There are a lot of things where all the connections are being made, and things are starting to happen, so it's really growing. In terms of what I'm all about, I see it is my responsibility to help get local acts out there and really promote their work. 

If you want to learn more about Ziggy Sawdust and his work, check out: 
https://www.facebook.com/ziggysawdustproductions/?fref=ts
https://www.facebook.com/projectprogresspgh/?fref=ts

Interview: Jake Stern

Jake Stern is a DIY Renaissance man. Along with playing in several bands, Jake is an artist, a booker, and an avid music listener. FoundSound Music got the chance to chat with Jake about music, house shows, and the scene as a whole. 

1) How are you involved in the Pittsburgh Music Scene? 

I play in Meridian, The Otis Wolves, and Same. I also book DIY shows for touring bands looking to come through town. Besides that, I draw show posters for a lot of gigs that happen in the city, and try to see as much music as I can.

2) What have been some of your favorite shows that you've put on? 

Lets see here, a few come to mind.

Back in September I booked a show for my friends Abi Reimold and A Day Without Love from Philly at my house, Bates Hardcore Gym. It was just a beautiful late summer evening, tons of really great people came out, and all of the acts that were on the show really brought something unique to the table. Abi writes these expertly crafted, haunting alt/folk songs, and she played out in the middle of my back deck while all these people gathered around and politely listened. It just felt like a really special evening.

Later on in October, me and my roommate Sam decided to put on a Halloween show at our house cuz we'd always wanted to have one. We booked five local bands to play a cover set of their choice, they ended up being Nirvana, Outkast, The Bee Gees, The Beastie Boys, and My Chemical Romance. As soon as we announced the show, there was this crazy overwhelming response--like almost 400 people RSVP'd within a few weeks, which is pretty unheard of for a Pittsburgh DIY show. Then about a week before the gig, we got a knock on our door from the state police saying that we had to cancel the show--they'd found the public Facebook event and said we were operating as an illegal venue. So, we decided to call it off because the risk of being evicted and arrested didn't seem that appealing to us. Luckily, another house that does DIY shows offered to pick up the gig cuz it was way too good not to happen--when we announced that we had to cancel people were really bummed. Not to mention all the cover bands had put in so much work getting ready to play. So, we publicly cancelled the original Facebook event and secretly got the word out about the venue change, and the evening went off without a hitch. Tons of people showed up and went crazy for all the bands, it was such a fun time even though it was a massive fire hazard. DIY prevails I guess.

3) What advice do you have for someone trying to put on their own house shows? 

I'd say that if you're looking to put on some shows, just make sure to be as smart as you can about it. We learned the hard way not to have a public facebook event get out of control. Don't have loud shows go late on weeknights if your neighbors live close. I dunno, there's not much of a rulebook for things like this, haha. Probably above all just don't make promises you can't keep and respect all the members of your household.

4) What have been some of your favorite shows in Pittsburgh? (local or touring) 

Last winter I saw The Sidekicks in an Oakland basement called Sharkweek. The house was really cool, it had this tall stage in the basement which was really unique. A lot of people came out and were really going off by the time The Sidekicks played. One kid was crowd surfing and unplugged an extension cord with his feet, cutting all the power in the basement. So that kinda sucked but also totally epitomized the madness that was that evening.

A few years ago Meridian played our first full band show at 222 Ormsby, a now defunct DIY venue that was in an old grocery store. We played with a band from Australia called The Smith Street Band, who were on their first US tour at the time. That night we became incredible friends with them, which served as our introduction to many of their Australian counterparts who I've worked with over the years. Since then, Smith Street have gotten massive, doing huge tours in the US and even bigger ones in Australia. It's just really cool to think about when we met, playing to like 20 of my friends who I had dragged out to a DIY spot up Mount Oliver.

5) Do you a split between the DIY scene and more "professional" venues? If so, how? 

Organization and quality of equipment is definitely a big difference. With a lot of DIY shows the sound setup is less than ideal and kind of a pain to get everything necessary together. But that's because these shows are much less of a money-making opportunity than shows at real venues, which exist to pay out a lot more people than just the band on tour. People make sacrifices to make DIY shows happen--someone has to sink in money somewhere down the line to get a PA system, microphones, stands and cables--and chances are it'll just get broken and misused, or people will walk off with stuff here and there just because everything is a lot less regulated than at normal venues. However, these shows have to happen, because most lower level touring bands would eat shit financially and get very little exposure if they were booked at bars and venues every night. DIY shows allow them to tap into a really supportive and musically diverse community in most cities they go to.

6) What is the biggest challenge facing the Pittsburgh Music Scene? 

I'm not sure if there are too many right now, I feel pretty confident that Pittsburgh musicians are continuing to make great innovative music, and that promoters are doing a good job at making shows appealing and fun to attend. I do wonder how long it will last, like whether or not integral people in the community will leave the city and if new people will take their place.

7) What do you think makes the Pittsburgh Music Scene unique? 

The Pittsburgh music scene is very tightly knit, which is a really cool thing. There's a really great web of promoters and concertgoers that have the best interests of the music scene at heart and are willing to give people contacts or make sacrifices and agreements to make shows happen. Whether it's lending someone a PA system (thanks Nathan) or combining a show, people seem very willing to lend a hand to someone that needs it. I don't know if that really makes us unique, as that kind of seems to be how DIY scenes operate on a fundamental level in most cities, but it's certainly one of the things that I find the most enjoyable and comforting about the Pittsburgh scene.

8) Where do you see the Pittsburgh Music Scene heading in the future? 

It doesn't seem like the Pittsburgh scene has gotten lot of exposure on a larger scale in the past, people from other places don't really know about our city and how great of a music community we have here. Word seems to be getting out though--the past year or two have really been exceptional. A lot of bigger shows are happening and coming through town which has been super exciting to be a part of. I think that people will be hearing a lot about this city in the future. And hey, even if that doesn't happen, I'm pretty content having Pittsburgh be this sweet little hidden gem in the midwestern touring circuit.

To learn more about Jake and his work check out: meridianohio.bandcamp.com
theotiswolves.bandcamp.com
Make sure to check the Otis Wolves on 3.8.16 at The Shop: https://www.facebook.com/events/225526254449956/

Interview: Randy Jarosz

Photo credit to hugh tyman of hughshows

Randy Jarosz is the man behind Sound Scene Express, a local music outlet dedicated covering the regional scene and supporting live music. Randy can be seen at events across the city, interviewing bands, covering shows, and taking incredible photographs. FoundSound had the opportunity to chat with Randy about Sound Scene, local music, and his love for the Steel City. 

1. How did you start Sound Scene Express? 

Sound Scene Express was created about two and a half years ago with the idea of creating an all music newspaper. I figured I would put my love of concerts and photography skills to good use. I have two scrap books filled with concert stubs, articles, and memorabilia over a fifteen year period. I stopped keeping up with that around the time I started the blog, so the website is almost an extension of the scrapbooks I started at fifteen! 

2. What are your primary responsibilities at S.S.E? 

I am photographer, writer, editor, publisher and designer. 

3. So is S.S.E. a one-man job? Or do you have a team to help you out? 

Sound Scene is 90% me. I get occasional writing and photography help. More volunteers are always welcome! 

4. What have been your favorite shows to photograph for S.S.E? 

Pittsburgh band Bastard Bearded Irishmen are always fun to cover. They bring so much energy and the songs are great. Deutschtown Music Festival, R.A.N.T. and the Strip District Music Festival are always a blast and remind you just how talented Pittsburgh musicians are. Some recent notable national shows covered were My Morning Jacket, Gary Clark Jr., and Lake Street Dive. 

5. S.S.E. has an annual "best of" list- how did that get started, and how are acts judged? 

The "best of" list was just a recap of the year with a chance to recognize those who put so much into the local music scene. This year I decided to put together a concert to commemorate the list. Many large cities have music awards, so why not Pittsburgh? This year I have nine categories, four of which were a fan vote, and four were decided by Sound Scene Express with the final award being another fan vote at the concert. The four fan vote categories included: Breakout Band of the Year, Best Local Music Video, Coolest Music event/ Series. Sound Scene Express decided Best LP, Best EP, Best Concert, and Best Single based on countless submissions throughout 2015. Photo of the year will also be decided at the show. I chose to do it this way to get the community involved, but at the same time I didn't want the categories to turn into a popularity contest. The concert will be held February 6th at James Street Gastropub in the ballroom. Bands include Nevada Color, The Commonheart, Balloon Ride Fantasy, and Chase the Monkey, all of which had a huge 2015. Danny Rectenwald of the Bastard Bearded Irishmen will be the guest host. 

6. How did you get involved with the Pittsburgh Music Scene? 

When Sound Scene Express was created, I had intentions of shooting all the big national touring acts. That didn't quite happen. Having a professional camera and website didn't qualify me as "Press" to some. Content is key and at the time I had very little. I started covering some of the high profile local acts in the area and just fell in love with the scene. Local independent artists are more appreciative to see pictures and read about their show than a touring band. It didn't take long to find out how much talent there is throughout Pittsburgh. 

7. What have been some of your favorite concerts in Pittsburgh (both local or touring acts?) 

As far as shows I have attended in Pittsburgh, The Rolling Stones (both at Heinz Field and at PNC Park with Pearl Jam) were memorable. AC/DC at Mellon Area in 2009 was also fantastic. In my concert hey-days, I had seen concerts in ten different states including The Doobie Brothers in Hawaii, Crosby Stills Nash & Young at Red Rocks in Colorado,  Paul McCartney at the Hollywood Bowl in California, and Michael Jackson at a benefit concert in D.C. 

8. What do you think makes the Pittsburgh Music Scene unique? 

What's unique about the Pittsburgh Music Scene is that you can name me any genre and I can give you a band that is as good or better than a touring act in the same genre. 

9. Where do you see the Pittsburgh Music  Scene's future heading? 

It will only grow from here! With HughShows monthly TV show featuring local musicians, three all-day music festivals with local bands, record labels like Misra, Get Hip, and Future Oak, and the Sound Scene Express newspaper which launched in January, the future is extremely bright! The list of reasons go far beyond the few I just pointed out!

To learn more about Sound Scene Express, check out their website: http://www.soundsceneexpress.com and follow their Facebook Page: https://www.facebook.com/sndsceneexpress/?fref=ts

Check out the Sound Scene Express Best of 2015 show at James St. this Saturday, February 6th! Poster below: 

Interview: The Spectres

The Spectres are a two-piece Garage Punk act stompin' their way around the Pittsburgh Music Scene. Known for their catchy melodies and energetic live shows, The Spectres are becoming a staple of the Pittsburgh Music Scene. FoundSound Music had the opportunity to talk to guitarist Dan (DS) and drummer/ guitarist James (JT) to talk influences, music, and what lies ahead for this musical powerhouse. 

1. How did The Spectres get started? 

DS: I had just moved to Pittsburgh for graduate school and was looking to get back into making music. I didn't really know anyone at the time, so I posted an ad on Craigslist with some silly demos and got a few responses. James sent some recordings from his one-man-band and they were really good, so we met at Crazy Mocha and talked about music for a bit. We started writing songs in his apartment soon after. 

2. What are some of your biggest influences as a band? 

JT: For me it's anything off early Crypt records, Get Hip, Sympathy, and early Rock-n-Roll, Blues.  

DS: I wouldn't be playing music without The Ramones. I think they taught me that I could even do it, so they're a really big influence. As a band, we've been recently talking about Lou Reed and how he was an expert at the two-chord song. Recently, we've been challenging ourselves in a similar way, to try to do more with less. Besides that, I agree with James. Also stuff on "In The Red." 

3. Being a duo is an interesting choice- what are some ways this limits you, and what are some ways this helps your creativity?

DS: I think it started out of necessity and ended up as a stylistic part of the band. There are limits in the amount of layers we can add to a song (especially because we want our songs to be completely playable live, so we don't really overdub); we can only have two guitar parts and two-part vocal harmonies at most! We are experimenting with using organs and baritone guitars now to diversify our sound a bit, but for the most part we have a limited array of sounds at our disposal. One way I think it helps is that there's only one other person you need to have chemistry with for the song to "click." One of my favorite songs that we've written was polished off in 15 minutes because we were able to feed off of each other's ideas that quickly. I think it also lets us take on opposing/ complementing roles at times; we can take turns playing the pop elements of the song vs. the more strange/dissonant elements, and really establish that dualism. Also, being a two-piece makes it really easy to tour and get to shows! 

JT: I like the fact that, in a way, we are deconstructionist- we don't get to hide behind anything when we play, which I think adds to our artistic integrity. 

4. How did you come up with the idea to play drums and guitar at the same time? 

JT: I didn't really come up with it! Years ago I opened for Hasil Adkins and always loved that stripped down sound. When I got tired of trying to play with other egos, I just started playing by myself. 

5. What do you think makes The Spectres unique as a band? 

DS: I think our band draws inspiration from a lot of the same source material as other bands we admire, from early R'n'B and rock 'n roll, to doo-wop, punk, pysch, gospel, country, and surf music. The difference between us and other garage bands mainly lies in the proportions of each of these individual elements. It's like in baking how every recipe needs flour, egg, sugar, and butter, but the preparation and quantities of each of these can make many different pastries. Another thing that sets us apart is the difference between James and I in terms of life experiences and how that affects our song writing. I think it's very odd to be a duo where I'm this ex-suburban kind from Long Island and James has lived all over the place, but we both somehow met up in Pittsburgh, which has its own unique story. Our approaches to music are so different- I've done some studies in music theory and he's been writing music for a lot longer than I have, so we each have our own strengths and limitations. In a way, we are always teaching each other. When I listen to our music, I think this weird mesh of two different styles becomes apparent. 

6. What have been some of your favorite shows to play? 

JT: Definitely Bob Log III is up there for me! He is a one-man-band and while he does use a lot of electronics and over-dubbing, it was still a great time to talk to him about time signatures and messing with time in music. Plus I just love slide and finger-picking. 

DS: Yeah, Bob Log III was awesome! It was really cool of Manny to take a chance booking us on that, because it was one of our earliest shows! I'd also add the Lexington, KY stop on our last tour! I think the crowd was really into our style and the bartender was super excited we we pulled out a Gories cover.  

7. How did you guys get involved in the Pittsburgh Music Scene? 

DS: When we started playing music, James hadn't been living in Pittsburgh all that much longer than I had, so we didn't have a lot of connections to go off of. Manny Theiner and Jackson Boytim actually booked a couple of our first shows, which I'm really grateful for, and then other people started hearing about us and asking us to play. I know a couple of people that booked us later on said they first heard of our names from show flyers and such, so those initial shows were pretty important for us. I've also recently started getting into booking shows to help friends out and meet new people, both local and from out of town. It's been fun to get involved in this way, but at the moment I don't have too much free time to book more than one show every month or so. 

8. What are some of The Spectres' goals for 2016? 

JT: To have as much fun as possible! We really want to branch out and do more with country-surf- and film! For me, the end goal would be to make a soundtrack for a silent Spaghetti Western, so if any film students are reading this, please hit us up! Oh, and to record our second album when we find the time. 

DS: We have a lot of new material that we need to get out there. I'd like to play an acoustic set locally sometime doing just country stuff because we haven't shown anyone those songs yet. I'd also like to start planning our next tour for this summer. I think our main goal is to eat more pie at Dean's Dinner and drink more Ale-8-One. 

9. What do you think makes the Pittsburgh Music Scene unique?

DS: This question is hard for me because I've only been observing and experiencing these things for the last 2-3 years I've lived here. One thing I've noticed is how diverse the music scene is here for a city of this size. I also think that new bands and new music can spread around very quickly in Pittsburgh because we are a smaller city. One thing that really impresses me about Pittsburgh is our desire to catalog and preserve our past, and that extends to our local music scene. If you watch the three-part documentary series of the Mind Cure Records story on YouTube, you can see the dedication they all have put into releasing these classic Pittsburgh records to a proper audience. Another good example of this is the Building a Better Robot book that the Mr. Roboto Project released a few years back, cataloging their early history before they moved to Garfield. 

10. Where do you see the Pittsburgh Music Scene's future heading? 

JT: I'm hoping to do see a hillbilly-surf mashup! We need to embrace the coal mining roots of the area and the close proximity to West Virginia. 

DS: I'm hoping that within the next few years that Pittsburgh can continue to pull more prominent national acts. I am already seeing things heading in that direction due to some of the awesome people we have booking shows in the city, but there are still a lot of acts that pass us up for Cleveland or Columbus. In general, I'm excited to see our reputation as a local music scene on the rise!

To hear more from The Spectres, check out their Facebook page: https://www.facebook.com/thespectrespgh/?fref=ts

The Spectres upcoming shows are:
        2/6-The Night Gallery with Dollys, Pachyderm, and Necrotizing Fasciitis. 
        2/19- Station P with Tongue Party, Skeletonized, and Brian Disanto

Interview: Jackson Boytim

Jackson Boytim is a well known DIY promoter within the Pittsburgh Music Scene. Best known for working under the moniker, "Fine, I'll Do It Booking", Jackson has established a name for himself in the local scene with his prolific amount of shows. FoundSound sat down with the legend himself to discuss his work, Pittsburgh music, and the DIY scene. 

1. How did you get started with booking and working within the DIY scene? 

Well, I just kind of started doing it! I was going to a lot of shows because it was something to do, was inexpensive, a way to meet new people, and a space to be free of constraints. I just met a bunch of people doing it by showing up to shows and getting to know local bands. Soon people thought I was a promoter and would ask me how to get onto a show in Pittsburgh, and then I would direct them to my friends who were actually booking. 

Eventually, I just said yes to helping people. It started out with me just slotting bands onto existing shows, and then I got into habit of making my own full shows. Usually it started by asking someone if I could use their house or securing some other venue, like Roboto, then getting bands or local acts. My big job during a show now is securing the things needed to get the show running- a PA, getting the money at the door, etc. 

2. So how do you find time to do all of this stuff? 

It's a lot, honestly. I'm always getting messages of people trying to get onto shows, trying to organize shows, or (god-forbid) bands jumping off shows right before they are scheduled. 

Honestly, I have this weird anxiety about finding venues and asking people if I can use their houses and stuff. Another challenge is getting the right combination of bands that will do it, that will mesh, and that will fit the time constraints. The five-band-show used to be the way to go, but now I like the three or four-band show, cause five can be a little much sometimes. Four acts is a good benchmark for me to work around. 

3. What does a normal day of booking look like for you? 

I wake up at 9:30, don't get out of bed until 11:30. Sometimes I'm working things out, but sometimes I just stare at the ceiling thinking, "oh my god I have so much shit to do." I try to go back to sleep then can't go back to sleep. 

But in all seriousness, I do a bit of messaging, catching up on people, making sure shows are locked down, making sure there is art for the show promotions. I do a lot of art for the shows. I get shit off Tumblr or Google to use as the background or I'll use my own mediocre Photoshop skills to get a piece of anime or a picture of a cat to make a flier. Occasionally, I'll outsource the art to cool people. 

On a day-of-show I do all this, make sure the show is good to go, then sometimes go out for a walk and try not to look at my phone or deal with the messages sometimes. But then I'll look into my phone and I'll have like eighty messages and I'll be thinking, "Holy Shit, everyone just messaged me back in the same one minute" and try to respond to them.

Then I'll usually get a ride into town, make sure the bands are all loaded into the venue correctly. We usually say doors at 7, and the usual kick-off time is about 8....22? I wanted to say 8:20 but I'll always get a random message asking for the address so I try to make sure those people catch the show. The aim is to get done by 11. 

4. Do you get paid at all from doing any of this? 

Not really. Sometimes there are really good nights and I'll take five or ten bucks to recoup money I spent on beer or something, but I'm really just trying to repay the locals or touring bands. Sometimes the money stretches, and sometimes it doesn't. One venue that does a really good job at that is Bates Hardcore Gym. The guys there sometimes tell me, "I'll give you twenty bucks to work the door"- and you know, I'll work for it. At some more "established" venues they'll pay you to do things like work the door and whatnot. But the money is not my motivation for doing this. 

5. Do you see split a scene between the DIY scene and the non-DIY scene? What do you think those differences are? 

I think there definitely is a split, and there are a few differences. One, quality of organization. Not that a DIY can't provide that, but at a lot of these professional venues you'll have someone who is hired to do that. There's just more money in it. DIY, unfortunately, can be conducive to unscrupulous persons sometimes. But DIY centers about helping bands, and getting the touring band paid.   

Often times, the sound quality at these non-DIY venues is better because they have the money for it. Sometimes that means you'll get a  better show, but sometimes it doesn't. I just feel that some of the artists that play these shows, but not all, can come off as "Wow, we are all so good at our instruments, listen to us play"- and I'm thinking "Yeah guys, this is nice I guess." DIY is definitely a bit more sloppy but that may mean more passion that can develop into something else, or more experiential takes on ideas. 

Honestly, I think there is a place for both of them. More people should focus on smoothing over the transition between the two, like giving DIY musicians who are good and polished opportunities to play those more established venues. 

6. Have you ever worked with non-DIY promoters and venues on shows? 

Sort-of. Insofar as bands that I worked with that are more professional, Nevada Color is one that sticks out. They are good dudes- I recently did a show with them at Roboto and they were great guys about it. Some of the guys have also asked me to place touring bands on shows, which is actually how I met Dragon King, who are really nice people. 

7. Do you think the DIY space can be used for all kinds of art? And is that something you see coming up more in the Scene? 

I think there are definitely people in the area that are working to incorporate different forms of expressions into the scene. For example, I've tried to sometimes incorporate visual art into my shows and have artists hang their works in spaces where I'm holding shows. I think there is a little bit of a separation sometimes, but I feel like more people need to ask if it's cool to show their work in a space.  I think shows in shops are a really cool way to start doing that and add to the ambiance of the event. I think that it's really cool when people can showcase their art and music at the same time. But you need to make sure no one's going to be spiking their PBR through someone's canvas, you know? That's kind of a horror story! 

8. Do you believe personal ethics and politics have a place, or should have a place, into the DIY scene? 

They all have their places, and can all be used to really help people. First, let me just put a giant qualifier blanket over this entire response: I am straight, white male who's had a fairly privileged existence and allowed to be himself and been afforded some opportunities that may not have been offered to others . But, again, I really think it depends on the context. For example, if you're a band that is a queer, gender non-conforming type band and more outspoken, that have something to say and are using your music to change the discourse of society, than those people absolutely should be doing that and trying to create an ethic within the community that dissuades oppression that hurts people.

Of course, people can always point to examples of individuals being "sensitive" or applying trigger warnings. I think that a lot of people may have a problem with what's being expressed, but the blow-back is that people call them "so PC". But those PC-critics are not allowing people to critique ideas that have roots in things that are problematic or nonsensical. . 

The DIY scene is a community, one that has been rocked by allegations toward certain individuals in the past. But we always have to consider those ethical questions, and we should excise people who are toxic in the scene.

9. What do you think makes the Pittsburgh music scene unique? 

It has certain elements of things that are unique to it. I think Pennsylvania is geographically really cool tour-wise. Pittsburgh is a choke-point for touring in the Midwest, and has a lot of different influences and sounds regionally and nationally. We also have a lot of different neighborhoods that have their own sounds and styles. We are not the biggest town but we aren't the smallest town, and people by-and-large are pretty friendly here. The downside is we have dumb beer laws. 

10. Where do you see the Pittsburgh Music Scene going in the future? 

I don't know, I guess people are going to keep making music and it's going to become more democratic in the making.Hopefully there isn't some kind of crackdown on DIY shows, but who knows? I mean we just got marijuana decriminalized.  All in all, as long as there are bands, there will always be people wanting to have shows. 

To learn more about Jackson and his shows, check out the Fine, I'll Do It Booking Facebook Page: https://www.facebook.com/fineilldoit666/?fref=ts

Interview: Pierce Marratto

                              Taken  at Farm Kammalamma

Pierce Marratto is a Promo and Marketing Head, Graphic Designer and Webmaster at Grey Area Productions. Grey Area is a  local promotions company known for operating The Rex Theater and bringing a huge variety of artists to our city. Outside Grey Area, Pierce is a talented artist who showcases his work around the city. FoundSound Music sat down with Pierce to talk about his musical history with the Steel City. 

1. What are your main responsibilities at Grey Area? 

My title is Graphic Designer and Webmaster; this entails doing all kinds of graphic design like posters, calendars, print stuff as well as any web design, like Facebook banners, etc. I also keep all the social media platforms and the website up-to-date. Grey Area is a small company-there's really only four of us- so we all split duties and do production shifts. 

2. How did you get started at Grey Area? 

That's a pretty long story, so I'll give you the short version! I had been running a company called "Touch Faster" that did a lot of similar things as Grey Area, but also had a media side with photo and video production. In doing those Touch Faster events, I started doing shows at The Rex and through that I got to know Ben and Scott. When the position for graphic designer opened up, we already had a professional and personal relationship, so I jumped on! That was a little over a year ago. 

3. So what are the main venues that Grey Area works with? 

We completely run The Rex Theater's calendar. Not all the shows are Grey Area shows, but all of them go through us. For smaller shows, we use the Thunderbird Cafe for developmental acts that we are trying to grow on the market. Lately, we've also been working at other venues like Spirit and James St. Gastropub. There are also some plans for a future, larger venue in the works. 

4. What kind of artists does Grey Area look for? 

Everyone at Grey Area is a music nerd, so we all really listen to everything! I would say we are a boutique promoter and are one of the only promoters in the city that deals with jazz, funk, soul artists. However, we are really open to anything- good music is good music! 

5. How did you get involved in the Pittsburgh music scene? 

I'm from Pittsburgh, and I started really young. I started playing in bands when I was 14, and played some small kid shows. But I knew right away that this is what I wanted to be doing, and these were the people I wanted to spend my life being around. I moved away for a while to South Florida but I came back around 2009 and fell right back into it. I was always involved on both ends in terms of performing and graphic design. But there came a point that I realized that I wasn't very good at playing music. Whereas I was mediocre at best, everyone else around me was getting really good. So I decided to focus all my energy into what I was really good at- visual art and the other end of the industry.

6. What have been some of your favorite concerts in Pittsburgh? 

Let me narrow down to recently just to make it a bit easier on myself. Tama Impala blew me away last year. Turkuaz played at The Rex Theater and they always put on an incredible show. Sufjan Stevens was the closest I've been to being brought to tears by live music: it was earth-shatteringly beautiful. 

7. What local bands would you recommend? 

This is a tough one because I love a lot of the locals these days plus a lot of them are friends so I don't want to play favorites. That said, I will just stick to some of the newer acts I have been into. Ok...been a big fan of Spacefish and The John Trumaine show on the psychedelic side of things. Also The Clock Reads, The Bleil Brothers, and the various projects that you are involved in (editor's note: Eastend Mile and Dhruva Krishna and The Family Band) are all holding it down on the jam/funk/soul tip. And of course the myriad of bands that are connected to both Ziggy Sawdust and Jeff Betten (Misra Records). There are a lot, but individually and together Ziggy and Jeff are doing great things for the local music community and the bands that work with them seem to be flourishing because of that.

8.  What do you think makes the Pittsburgh Music Scene unique? 

One of the things the haters have right is that we are a smaller market city- we will never have a warehouse party randomly like you might have in New York City. But what the haters don't understand is that we are a different kind of intimate market. The artists here are all supportive and helpful for each other. In other music scenes, it's cutthroat. Here, there is so much camaraderie among artists. Also, the people who do come out to shows are real fans. They are there to support. But, I really do think we are on the upswing. I think a lot of people moved away but came back, and brought a lot of energy to make things happen. 

9. Where do you see the Pittsburgh Music Scene going? 

I would love to see it continue on its upward trajectory. If you look at recent music history, I think the best comparison would be Athens, Georgia when R.E.M. was coming up. Smaller, working-class with a lot of people dedicated to it- but eventually it fizzled out. I'm hoping it doesn't fizzle out here. I think Pittsburgh is going through a mini-Renaissance right now, and it's great! Across the board people are opening and doing new things here. 

To find out more about Grey Area Productions and their shows, check out: Greyareaprod.com follow them at  facebook.com/greyareapgh and @Greyareapgh on both Twitter and Instagram

To find out more about Pierce and his work, check out: Marrattoart.work, follow him at facebook.com/pierce.marratto and @Piercemarratto on both Twitter and Instagram. 

Interview: Josh Bakaitus

Josh Bakaitus is the Vice President of Drusky Entertainment, which has been named Pittsburgh's Best Concert Promoter three years in a row. Josh has been making headlines in the local scene with his involvement in Drusky Entertainment and the Strip District Music Festival. FoundSound Music interviewed Josh to learn more about the man who is dedicated to putting Pittsburgh on the map. 

1. How did you get involved in the Pittsburgh music scene? 

Back in the year 2000 I ran a local music website called PittBands.com. Although I was too young to really go to shows or involve myself in the local music scene, this is what really started it all. From there, I began networking with bands and started promoting shows in the city limits in about 2003. In 2005, I stopped promoting shows in my hometown and moved everything to Pittsburgh.  

2. What are your primary responsibilities at Drusky Entertainment? 

Primarily I book shows,  but everybody within the company has a lot of different responsibilities. We're actually a pretty small company, so we all pitch in anywhere we can. I book shows, design our posters, deal with marketing, production, show settlements and also oversee the whole operation with my partner Brian. It's tiresome at times but I enjoy it very much. 

3. How do you find and connect with local bands? 

Various ways! I have a large database of active and inactive local bands. Most of the time I have local bands in mind when I'm booking a show; when that doesn't work out I send out alerts to our local bands. In addition, I frequently scan Bandcamp and Soundcloud for good local music.  

4. Are there any local bands in particular that people should check out? 

Oh man, there are so many local bands right now that are great and on the way up! But, if I were to mention a couple in particular, I really like what Cid is doing. They have a this IDGAF attitude and just play the songs they want. I like that. Eternal Sleep are also one of those bands coming up nationally but are from Pittsburgh.  

5. What are some of your favorite shows (both nationally and local) that you've seen in Pittsburgh? 

That's a tough one; I've seen a lot of shows over the years. I'd say honestly that the most powerful shows for me happened when I was younger. I remember every single moment of when Thursday played Roboto supporting their album "Full Collapse" back in 2003. They opened up with Piebald. That was a really special show for me. I really like July Talk from Canada. One of the best live bands I've ever seen. Do yourself a favor and go to their live show the next time they're in town.  

6. Where do you envision the Pittsburgh music scene going in the future? 

It's been on the rise since since 2010. As long as there remains a stage for youthful artists to express their emotions and to share their music, there will continue to be a local scene on the rise. More all ages shows to fuel us all! With events like the Strip District Music Festival, Deutschtown Music Festival, Skull Fest, and R.A.N.T.popping up, more people will come to the city and be exposed to local musicians. These events are great shows for people who are interested in the local music scene but cannot go to every single show. Pittsburgh's local music scene is strong right now. For people who say we have a bad local music scene, they really need to educate themselves on what's actually happening right now. They need to go to more shows and listen to a wider variety of music. 

7. So how did the Strip District Music Festival start? 

Although the idea of doing a neighborhood-wide festival was something I've considered for a few years, it was not clear to me until last year that then was the time and the Strip District would be the place. I was trying to fill sparse winter dates at Altar Bar when the idea of bringing Pittsburgh to the entire neighborhood rather than just to the club crossed my mind. From there it happened pretty quickly and organically. 

8. What's new about the Strip District Music Festival this year? 

What's different this year is that we're programmed nearly double the amount of bands and venues than 2015. We've introduced more genres for a wider range of music fans as well as a comedy / podcast stage at Maggie's Farm Rum Room. 

9. What are some of your hopes for the Strip District Music Festival in the future? 

Most importantly, my main agenda is for it to maintain the local aesthetic. I want this event to be a driving force for the local music scene in Pittsburgh. Beyond the attendance numbers, I look at this event and think to myself; "How is this impacting Pittsburgh?," "Is this inspiring people to play music," & "Is this something that anybody who lives here would find enjoyment in?" If I can maintain those elements, I look at this as a successful venture.

10. What do you think makes the Pittsburgh music scene unique? 

It's certainly helps that Pittsburgh music community is actually rather small (but thriving). Everybody knows everybody and there is a strong sense of comradery among all musicians here. I find it rare where musicians are not supporting and enthusiastic about peers releasing new albums, going to their shows and just generally supporting each other.

To find out about Drusky Entertainment's upcoming shows, check our their website: http://www.druskyentertainment.com/

To learn more about the Strip District Music Festival, and the full lineup check out the Facebook page : https://www.facebook.com/events/888264744583346/

Interview: Dhruva Krishna

It seems like Dhruva Krishna is everywhere. The man literally lives, breathes, eats and sleeps around his music schedule. We say down with Dhruva early on a Tuesday morning to talk shop about his involvement in the Pittsburgh music scene.

FS: How’d you get started playing music?

Dhruva Krishna: I started playing music when i was really young. I started classical piano when I was six which was a classic case of Asian parents wanting their kid to play classical music. I hated for a long time but I started getting into in when I started playing ragtime - Joplin and 1920’s entertainer music. I started liking music then but I really started getting into it when I started playing drums. That was my first love and really my only love in life. That was in 4th grade. From there I picked up guitar around 8th grade. Having the guitar, drums, piano combo is really useful because you hit all of the bases of playing in a band.  I can noodle on bass and I recently picked up the banjo. I keep going from there. All the people I look up to musically were multi-instrumentalists so I figured I should as well. That has also given me a lot f opportunities to play in different bands because I can finagle my way into anything I want.

FS: What projects do you have going on right now?

DK: There’s about 3. There’s Eastend Mile which is definitely my biggest commitment and I play drums for that. I joined Eastend earlier this year in January. That’s the most serious project I have going. I have The Family Band which is my personal thing. That came out of my commitment to Eastend Mile because I wasn’t playing guitar as much. Eastend is very rigid and strategic as a band. We practice twice a week, we’re very nitty gritty about getting everything right. The Family Band is the opposite. We’re based on the premise that it’s just about having fun. Not that Eastend isn’t, but The Family Band is all about playing fun songs. It’s mostly covers with some of my original stuff thrown in there. The main people behind that are me and Shane McLaughlin who also plays in Bergman. It’s very Allman Brothers, southern rock style. The idea is also that we change members every time we play. Shane is almost the only consistent member with me. For the show coming up we have three guys who will be the backing band. That changes the game because even though we might play the same set each show, the different band members can really change the feel of the tracks. 

My third commitment right now is Manic Soul which is my project with Shane. That’s a very old school blues shred trio like Jimi Hendrix and Jeff Beck. All about that live crazy sloppy blues music. That came about recently, but we’ve played a few shows already. That’s mostly Shane’s baby and I play drums. Then next semester I’m starting a solo alum. It’s been a while so I wanted to get back and explore some country and bluegrass stuff.

FS: How do you have time for all these projects on top of school?

DK: I think time management is interesting. When you find what you love, I think you just find time to make it happen. At least nowadays all of my activities have something to do with music. AB Music gets me on the other side of the equation since i’m booking and organizing music. In terms of playing shows, you have a schedule and you just work your way towards that goal. Usually I book shows and then schedule rehearsals around that. Eastend practices regularly though, so we’re always ready. Family Band is the opposite and Manic Soul is in the early stages of figuring out how we want to work. Also my basement is soundproof so practices are easy when I just have to walk 5 minutes downstairs to practice.

FS: What about drums makes you like them best?

DK: It’s not that I don’t love guitar. But when you talk about yourself as a musician, at east for me, I say “I am a drummer.” I don’t qualify myself as a multi-instrumentalist. I’m just a drummer. I also think I come off as a drummer. I’m pretty ridiculous and goony. I’m all over the place and that’s what being a drummer is sort of about for me. The guys I look up to like Keith Moon and those crazy old drummers who are bombastic people who just played their hearts out until they died at like 35. They did what they had to do until they couldn’t. I love drums because they’re the most peaceful thing ever. When I’m playing drums I’m trying to find order in chaos. It’s bringing rhythm to something that didn’t have it originally. Drums unify the band and it’s something that brings pure structure to the song. It links everyone together. If you don’t have a good drummer the music falls apart. Having the responsibility of creating that structure is something that I really love. 

FS: Was there a pivotal moment that made you decide to do music?

DK: The first one was when my sister gave me Revolver. I was listening to Fall Out Boy and thinking it was amazing so my sister told me I was a fool and gave me Revolver. That blew my mind because the album was so old but so modern sounding and amazing. That was one of the first things that got me invested in music. I grew up a bit because it had me playing music that wasn’t simple. Also I used to watch Palladia and those channels that had classic rock music videos like crazy. I binge watched that stuff. It was such a contrast to high school band which was very ordered and regular. Then I’d watch these videos of crazy dudes go insane and burn their guitars. Keith Moon drunk as shit throwing stuff and I realized that’s what I want to do. During the years when I was 10-16 that was incredible pivotal. I also love Dr. Dog and Pet Sounds but the biggest things were watching my heroes play and also getting Revolver.

FS: Have you played any shows in the past that stand out?

DK: The Thrival Kickoff show was awesome. That was just a great time. We had a lot of energy. I was solidly drunk but just having a fun time, but that’s what it’s all about. It wasn’t the most technical performance but we were having a great time and the audience could see that, which made it awesome. Recently we opened for a band called The Aristocrats. It was weird opening for them because I used to watch their videos to learn my instruments. They were some my early heroes. I got to hang out with them and talk with them but not like an interview, just sort of like musician to musician. That was a big boy moment when I realized how real my music was getting. They absolutely loved us which was weird because I was revering them like gods and they didn’t know how to take it. This last weekend Memphis Hill had a release party which was awesome because the community of my friends that play music were all together and we all jam together and love each other. I’ve played so many shows with those guys and its was awesome get the squad together. The guys from Beauty Slap came and watched, so it was a great time.