Outhouse United @ Centerstage

I got out to a couple local shows this weekend. Both shows were great, but they also had their issues, as every show does. I was originally going to do one post for both shows this weekend, but as my word count grew, I decided instead to address each show individually, which in retrospect is probably for the best. That said, here are my thoughts on Friday’s show; Devastation Fest’s write up will come on Monday:

(Note… this one’s long…)

Friday I went to the Outhouse United locals showcase at Centerstage Bar & Grill in Kokomo, IN. OU has recently landed a deal with Centerstage to put on monthly concerts that feature bands local to the Indiana scene. To some, this might not seem like a big deal, because there are lots of places for locals to play on not just a monthly, but even a weekly basis. However, folks in north central Indiana are quickly becoming aware of the fact that Centerstage is primed to become THE place to play in our area, both for locals and nationals, and there are several reasons why a local promoter scoring a deal that will FEATURE local bands is a big deal.

Centerstage is an all-ages venue that has a capacity of just under 700, has a great stage, great sound system, great lighting, and the owners have been busy doing what they can to turn it into a stopping point for national bands out on tour. Local bands are regularly added to those national shows (this is part, where, in the middle of singing Centerstage’s praises, I point out that I disagree with the way local bands get on those shows–they essentially buy on to them, but that’s another rant for another day, and it’s not entirely the venue’s issue… not entirely…) giving them a chance at exposure to audiences that might not ever see or hear them otherwise. Centerstage gives local bands a shot at playing on the ‘big’ stage, under pro-level lights and through a pro-level sound system. For some (okay… a LOT) of those bands, it’s the closest to the ‘big time’ that they’ll ever get. So yeah, it IS a big deal that a local promoter landed a regular gig FEATURING local bands at a venue like this.

A big deal.

Still I Rise @ Centerstage, Kokomo, IN 6/20/14 – Photo: Still I Rise (from Facebook)

Friday night was the first of these shows, and it went off as well as could have been expected. There were four bands on the bill: Voices Of Our Past, Still I Rise, Let The Trees Burn, and Seconds From Yesterday. There were roughly 50 fans through the door, which sounds like nothing considering the capacity of the venue, but for a first showcase that came together on fairly short notice, that’s not too shabby. Especially since all of those people paid. Sure, the venue looked a little empty, but the fans that showed up showed early and stayed until the end. Even better though? So did the bands.

That’s a big deal to me. I see so many bands show up a little before their set time and then bail not long after their set, which is crap. Especially when those are the same bands complaining about no scene unity, no one supporting them, blah-blah-blah-blah-fucking-blah. But Friday night I saw four bands show up and support each other for the full gig. And not only were they there, they were engaged. They were up front, at the rails, -participating- in the concert when they weren’t playing, setting up their gear for their set, or tearing down.

Outhouse United did more than a couple things right with this first show: they offered variety, they paid the bands, they treated it like any ‘big’ concert, and they got the venue itself to offer something to the people coming in the doors.

Variety – an important aspect of any show is to not bore the people in attendance, and OU got this right in a big way. They had four bands that were very different from each other. Voices Of Our Past offered a hardcore edge, Still I Rise was solid death metal, Let The Trees Burn brought a post hardcore/prog sound, and Seconds From Yesterday hit us with a straight up hard rock set. The fans were able to stay engaged and attentive, both because of the variety in sound, but also because the bands played short sets: roughly 30 minutes each. Each band walked away with a little something for their time (they were paid out of a door split… which, while I’m not a big fan of this model, it’s the current deal that OU has with Centerstage; it’s not as bad as some deals though, because with this one, the bands aren’t buying into the show other than with their own effort to self-promote, which they should be doing anyway). The show started and ended at a reasonable time, with the first band hitting the stage right around 8, and the show wrapping up around 11. And fans got to benefit, not just from a decent time slot for the gig, but also because OU has worked a deal with Centerstage to offer drink specials during these shows. Win for everyone.

So, a few comments about why these things were right:

Variety… we all love our metal. Some of us can listen to one type of metal for hours on end and never get bored with it. But the average listener, or the person new to the scene, needs something to differentiate one band/sound from the next. By mixing genres/sub-genres, an environment is created that actually -encourages- people to pay attention and stay engaged with the bands. Sure, shows should be fairly homogenous in their presentation–it would be odd to have a country band play in the middle of a show that is billed as a rock and metal show–but there needs to be enough diversity between bands that one doesn’t sound like the next.

Set lengths… Let’s face it: most local bands don’t -need- to play a set any longer than 30 minutes. Why? Fundamentally, hardly anyone knows their music. I’ve watched it time and again: Band starts their set, everyone goes up to the stage to check them out, then song after song people trickle away. Part of this is because the band might be boring to watch, the music might not be very good, but also because they simply don’t know it yet. There’s nothing holding them there. And the longer the set goes, the fewer people are left standing there at the end of it. Local bands, unless very well established and can get fans to sing along, need to keep it short and sweet–leave people wanting more, not waiting for the next band. 30 minutes is just about right for this: 5 or 6 songs (on average) they can kick people in the face with, make an impression (which needs more than the music to do… you’d better be putting on a damn show, not just regurgitating your demo/EP/album), and get off stage (then go interact with the people who were paying attention to you). There are -very few- locals that need to be playing hour-long sets, even if they’re the ‘headliner’ for the night (in which case, 45 minutes is appropriate… and while your original music is far more important to me, a crowd-engaging cover isn’t a bad idea–hell, even in a 30 minute set, it’s not a bad idea; even the nationals do it…).

Show time: National tourers don’t start a gig at 10 and play until last call. Why? They aren’t there to help the venue make money at the bar, they’re there to play to people wanting a concert. Venues have this notion that local bands are going to put bodies in seats and keep them there all night, and this isn’t true. People going to shows aren’t going to the venue to turn it into their local watering hole, they’re going to see the show. It’s a simple fact that the people who will be sitting at the bar at 2 am would be there whether or not there was live music that night. There’s also the issue of playing to the younger (under 18) crowd. Most of those kids can’t get away with being out until 2 am, because their parents won’t let them (and probably don’t want to be, if they stuck around too). By 11 or so, those kids are having to start thinking about getting home by curfew, so that they can go out again the next weekend. And for the older crowd, well, let’s face it… a lot of us have shit to do in the morning, like go to work, get up with kids or any of that other ‘be responsible’ bullshit we deal with. The nationals play early starting and early ending shows… and there’s a reason for that, (besides just moving on to the next tour stop). IT WORKS. If you want live music in your venue until 2am, hire a cover band, don’t book a local show. But don’t expect the cover band to do any better at getting/retaining bodies through your doors–the reality is that the early local shows will do better at that… especially if you’re paying the bands (bands get paid? Holy crap, we’re EXCITED to play there! Let’s make sure everyone knows!).

That said… things that could have been done better:

Promotion. Now, this is a tricky one, because beyond social media, -good- promotion is expensive. Outhouse United, as a new promotions group, is working on a limited budget to start with, and is relying pretty heavily on social media and word of mouth to get some draw to their shows (this isn’t a knock against them, just an observation). But they’re not putting up a single post on Facebook or whatever and expecting that to bring people in by the dozens. They’re regularly and constantly hitting people how they can, and through The Forge, they’re doing what they can (because I’m a nice guy and want to see these shows succeed, I make it a point to bring in promoters to talk about their shows… 😉 ). However… this IS where Centerstage falls short.

I wish I could say it was just the locals shows that they miss the mark on, but they miss with the nationals as well. I make it a point to stay up to date with who they’re bringing in (it’s part of my job as a radio guy), but there is typically little active promotion for their shows beyond flyers at the venue and posts on Facebook, and I hear all the time about people who live in Kokomo who never knew so-and-so national band was playing at Centerstage. I’ve heard the occasional spot on the local rock radio station (the one I’m not on… I’m on Radio Free Kokomo at Indiana University Kokomo), but that’s about it. Yeah, advertising and promoting is expensive, but if done right, that money will be made back and then some by the people showing up at the shows… which is kinda the point. You have to invest in the people you want in your venue if you want them to invest in you.

I’m looking for the Outhouse United shows at Centerstage to really take off over the next few months. Outhouse has an opportunity build itself up as a promoter that is giving local bands a shot at big shows, without the stress of national tourers (and the money problems that come with that), and Centerstage has the opportunity to make itself THE place to check out the local scene in a good venue–it could very well become the home of the next big underground scene. Everyone in the local scene, from Indy to Fort Wayne, is looking at Centerstage with hope–a lot of hope–that it will be that home we’ve all needed for so long. We don’t want it to cater just to us; we love the national acts that they’ve brought in and have lined up in the coming month, because they’re good bands, but also because this venue has the power to put our scene on the map–and the owner of the venue is one of US, so I know he gets it.  Let’s hope that they continue to support these shows and continue working towards laying a foundation there that is good for everyone involved in the OU (and other) shows. It’s going to take a few months for these shows to really become a big deal to anyone but the bands playing, but with persistence and A LOT of promotion, it will happen. And when it does…

…well…

…it’s going to be the greatest thing Midwesthell has ever seen.

 

Rob’s Rants: Episode I – Your Scene Sucks, And It’s Your Fault

  

I don’t get out to as many shows as I would like to, for a variety of reasons. Sometimes it’s money, sometimes it’s scheduling (I travel a lot), sometimes it’s family and other obligations. But when I do get out to a local gig, I show up as early as I can (I’m often there when the bands are loading in), and I stick around until the show’s over. Sure, sometimes I can’t make it early, or have to leave early because of my schedule, but I make it a point to catch everyone on the bill if I can. I do this for a couple reasons:

First, I’m a radio guy whose show focuses on the local and regional underground scene. To maintain any sort of cred in that regard, I kinda need to be active and involved in it, and I’m smart enough to know that. I make it a point to have a clue about who the hot local bands are, their reputations, they style of their music, and what kind of draw they’re pulling. But I also pay attention to who shows up and -really- supports the scene. More on this in a little bit.

Second, I actually care. I want to find new music to listen to, and I want to meet the people making it. I’ll be blunt in saying that there are bands out there that musically I’m not really a fan of, but the guys in the bands have won me over with their personalities, the belief in what they do, and more importantly, their work ethics.

I can get why someone who was -just- a fan would only show up to a concert to see just one band. I think it sucks, sure, but I get it. And while I would love to rail on people who claim to support their scene but only go see one band in their scene, and only show up and stick around for that band’s set regardless of how many other bands are playing, there’s a simple fact that needs to be addressed:

In most local scenes, the people that make up the ‘scene’ are almost all musicians in bands. Seriously. Next time you’re at a locals-only show, look around. I’ll bet that of the 30 people there, 20 or more of them are in bands in the local scene, and most of them are probably on the bill for the night. The majority of the other folks there are either friends and family of the guys in those bands. The rest are either fans or victims.

Now, a lot of people would complain about this, and start bitching about how no one supports the scene. “But Rob! People don’t come to our shows! They show up in droves for the nationals that come through, but not us! My scene sucks! I wanna go somewhere where it’s awesome and everyone supports each other!” Except… right there. In that venue. On that stage. On the floor. Behind the sound board. Backstage, setting up gear. There’s your support. There’s your scene. We spend so much time bitching about who’s not showing up that we tend to overlook the people that are there. This isn’t always true, but the amount of bitching we do takes for granted the people that are there, that did show up, whether because they’re in one of the bands or following one of the bands. And ya know what? The bands that bitch the loudest are the ones that have the fewest people sticking around for their sets. The fans, the -real- fans that aren’t in bands, they hear those things. They know. And they act with their ears and their feet. It’s not their fault if your scene sucks.

It is the fault of the bands in the scene.

What the fuck do you mean, “It’s the bands fault, Rob? We’re out there busting our asses and playing our sets! Who the fuck do you think you are?”

Okay. I’ll tell you.

If you’re one of those bands that shows up late to a gig (and by late, I mean with just enough time to load in and set up before your set) and then takes off not long after your set while there are still several other bands after you, you suck. You’re part of the problem. And you don’t deserve the gigs you’re getting. I don’t care how many people showed up just because you were on the bill. Your primadonna rockstar bullshit isn’t wanted, it isn’t impressing anyone, and we would all be better off without it–especially you. I’m seeing more and more of it happening lately. I’m even seeing bands ADVERTISE that they’re going to do it. “Hey, we’re playing this gig, we’re on first, so show up and support us, but then we’re going to go see this other show, and you should come with us!” If I was the promoter for that event you’d be dropped before you knew what hit you, and I’d make sure everyone else in your area knew about it. You sure as hell wouldn’t be getting paid for your time.

If you’re one of those bands that can’t be bothered to respond to gig offers in a timely manner, you’re part of the problem.

If you’re one of those bands bad-mouthing fans for not showing up, you’re one of the problems.

If you’re one of those bands that thinks you don’t need the other bands in the scene, you’re one of the problems. Why? Odds are, you’re probably getting gig opportunities because of those other bands, either through them directly offering them to you, or because they’ve put the time and work in with local venues to get them to let bands like yours play there.

Local and regional shows should be parties. Who gives a flying fuck if you’re playing a 500-person venue and the only people you’re playing to are the other bands and your mom and little brother? HAVE FUN. Enjoy playing through the full rig. Under lights. Get pics. Get vids. Get drunk. Yeah, it feels GREAT to play to a packed house (I know, I’ve done it, and I’ve played stadium gigs in front of thousands of people), but a party with my friends is awesome too. The bands that draw the fans? They do so because… wait for it… they’re having fun! They’re having parties! It’s a good time! There isn’t drama, there isn’t bitching at people for not showing up, they make everyone there glad they were there. That kind of renown spreads. And it goes from your friends who are there to support you to being those fans trying to find out why your parties are so awesome. You’re on stage to entertain. Not complain.

Pretty fucking stupid to complain about the people you’re trying to win over, if you ask me.

Album Review: Shudder – Inside My Head

Shudder

Inside My Head

http://www.facebook.com/shudderdetroit

Review by Rob Salem

 

Track Listing:

Shudder – Inside My Head

1. Intro

2. Black and White

3. Change?

4. Inside My Head

5. Come to Light

6. Here and Now

7. Clarity

8. Outro

 

 

 

Detroit, MI has a reputation for being a veritable wasteland, and there are plenty of reasons for the rest of the country to think this. But recent years have seen the city take steps towards encouraging artist growth as part of the plan to revitalizing the crumbling metropolis—these range from offering writers free homes to spending money on artistic works to improve the look of the city. Music is certainly playing its part, and bands like Shudder are absolutely doing their part to put Detroit back on the map as a place where cultural elements can grow and thrive, in spite of urban decay.

The quintet’s latest offering, Inside My Head, is, in some ways a reflection of their hometown; while they may not have meant it to come out that way, it’s only natural that environment will shape art, and that only makes it that much more honest and accessible to the average person. Musically, every track on this EP is well-written. The band provides a rock-solid foundation for every song to explore a range of emotions, from the retrospective angst of ‘Change?’ to the anger of ‘Clarity,’ both of which are solid radio-ready singles (and are staples in rotation on The Forge). Josh Day’s vocals work well with the music, and he displays versatility, power, and a respectable range, especially on the previously mentioned tracks, but also on ‘Black and White.’ There are a couple spots on the EP where the vocal lines aren’t as strong as they could be and sound little uncomfortable over the music, but in general, there’s no reason to really give this guy any grief. He does what he does well, and he’s got the right band giving him the right kind of tunes to work with.

All in all, Inside My Head is a rock-solid hard-rock album that pushes without shame into the realm of melodic metal and metalcore. Its tracks offer a diversity that keeps the ear engaged without wearing it out, and there’s a little something for everyone, from arena-rock ballads to hard-edged moments of unadulterated fury. One of the more impressive aspects of this EP is that while it is self-released, it sounds just as good as any big-label release, which inspires confidence in me that these guys are only going to just keep getting better and better. Shudder is definitely a band that is managing to make the most of its situation, and I look for them to become a staple of not only their hometown scene, but also the regional scene that we call Midwesthell.

Album Review: Signal the Revolution – Nova

Signal the Revolution

Nova

https://www.facebook.com/signaltherevolution

Review by Rob Salem

Signal the Revolution

Louisville, KY’s Signal the Revolution has delivered an impressive, hard-driving set of tunes on its latest EP, Nova. The first single off the record, ‘Daystar,’ opens with a crunchy blues-inspired riff that sets the mood for what STR is bringing to this offering: catchy, riff-driven tunes that will hook you right away and get your head nodding in time. Vocalist Josh Carter hits us with a clean melodic vocals that teases us with his potential power, and his melodies complement the musicianship of the rest of the band—guitarist Zach Bandy, bassist Jake Carter, drummer Robert Lewellen, and guitarist Chris Marple.

Signal the Revolution is definitely much more on the hard rock/melodic metal edge of the metal spectrum, but there’s nothing wrong with that at all, and I’ll be honest and say that it’s part of why I like them so much. These guys are pushing the boundary of radio-friendly tunes while dropping leads, riffs, and rhythms that echo some of the classic metal sounds of the 80’s, and makes an argument for the band being able to bring the heavy while not following recent trends in metal. I have no doubt that STR has zero problems hanging with the heavyweights they make regional touring runs with, which recently has included bands such as FLAW.

I first discovered Signal the Revolution on Reverbnation, where they had a couple of tracks available, and think that those are worth noting here—‘Dichotomy’ and ‘The I In Hate’ definitely set the stage for what was to come from STR, and ‘Dichotomy’ in particular found itself in regular rotation on my radio show, largely in part due to fan response. Nova, while only a 5-song EP, continues where those earlier couple of tracks left of and represents the development of a repertoire of original music that showcases competent musicianship and songwriting ability. And, it rocks.

There was one critical flaw with this album though:

It was ONLY 5 songs.

😉

Parental Advisory: Explicit Content

It’s no secret that metalheads are notoriously foul-mouthed, and as such, a lot of metal music contains language that is generally deemed to be ‘offensive.’ It’s my opinion that this, more than anything, is part of the reason that so much metal is overlooked and left off mainstream radio playlists. Sure, it’s easy enough for bands to do radio edits that clean up a track enough to make it acceptable for airplay, but that idea is somewhat antithetical to the very idea of metal–you know, that whole “Fuck the rules!” thing that so many of us have going on. Somehow though, metal continues to thrive, often without the support of mainstream radio, and indeed, in spite of it. The thing that gets me most though is that so often I hear bands and fans complaining that their local stations don’t support their local scenes. Yet, being a radio guy who takes submissions and -focuses- on the underground/unsigned scene, I can tell you pretty matter-of-factly that part of the problem is that metal bands refuse to self-censor.

Now, on principal, I’m against censorship, but there’s a simple fact at play here that the scene likes to forget: the FCC controls the airwaves, and if we want to hear our favorite metal bands, whether local, regional, national, or international, and regardless of ‘status’, we (they) have to play ball. The FCC levels pretty hefty fines against stations that air ‘offensive’ material, which isn’t good for business. And quite frankly, I’d rather see the bands comply by releasing one or two tracks that are compliant with FCC regulations. On a personal level, it simply bums me out that I have to not play something on my show that I really dig, just because there’s one (or a lot of) F-bombs in it. And yeah, while I have the capability to do edits in the radio studio, to be blunt, it’s not my job. Fundamentally, it is the band’s (or label/management/publicist/producer/whatever) responsibility to provide material that is acceptable for airplay–strangely enough, at the local level, bands seem more interested in saying “Fuck you!” to the rules but then complaining because they can’t get any attention from guys like me.

Internet radio has provided an alternative solution to the problem of FCC regulations, since internet traffic is not (currently) controlled by the government. Sites like Pandora, Last FM, Spotify and more offer fans the opportunity to hear un-edited tracks, but stations like Radio Free Kokomo, the station that The Forge (my show) airs on, aren’t as easily accessed by mobile users, and it’s often harder for local and regional acts to score addition to those other streaming sites.. Terrestrial radio still has the edge over internet and streaming media, though internet radio is beginning to make strides through the use of apps that allow users to listen on the go through their phones, tablets, and cars. Even so, scoring terrestrial radio airplay is something that almost every band dreams of, and a lot of bands will brag about getting a single play on their local ‘X’ station’s locals only show, which are usually relegated to some shitty time slot in the middle of the night when listener volume is at its lowest.

I read something recently about bands not caring if they make music that’s radio friendly. There are plenty of bands out there for whom that is an accurate statement for (as evidenced by the number of bands who like to use ‘fuck’ as the root word for most of their lyrics), and there’s NOTHING WRONG WITH THAT. But I happen to know (because I’m a station manager and a DJ) that there are more bands who want the airtime. It’s almost a stigma in the metal scene to be considered ‘radio friendly,’ yet so many fans and bands complain that they can’t get any action on their local station. They want to do things their way, and while I admire that sentiment at its core, so many of them miss the mark on finding balance. You can be heavy, you can be ‘teh most brvtvl cvlt trve’ metal band out there, and still be acceptable to radio stations like mine, who WILL take a chance on the underground (ya know, that’s whole point of The Forge…). But you have to follow the rules.

As long as the FCC controls terrestrial radio, the simple fact is that we, the underground metal scene, will have to play ball if we want to take advantage of the power of radio to reach new fans. Radio Free Kokomo has the benefit of being a college radio station, which means that not only can we play music from the underground, we PREFER to–but we still have to comply with FCC regulations (yeah, we’re currently internet only, but we’ve been granted our FCC license and are currently making plans to broadcast FM in the coming months), as well as university codes of conduct. So we have outlets, we have avenues for exposure, but I see a lot of bands bitching about not benefiting from them while slapping the hand that’s offering to help.

We can change things, sure. Look at the way what’s ‘offensive’ over the last few decades has changed. But change takes time, it takes persistence, and it often means playing by the rules until you’re in a position to make change happen. Me, I’m less worried about changing the already vague definition of ‘offensive’ that the FCC uses; I’m more concerned with giving the underground a home, and a place to be heard–but I can’t do that if all you’re going to do is call me a poseur because I won’t play your unedited tracks containing ‘offensive’ material. I’m not going to cost the scene what I’ve been able to give it with this show (which I don’t get paid to do, by the way).

It’s as simple as this, and I guess this is really the point of this thousand word rant:

If you don’t want to play by the rules, don’t. But don’t bitch when the rule makers ignore you for it.

 

This Thing We Call Midwesthell

So, there’s this thing. An idea. A reference. A thought.

It’s known as Midwesthell.

The Hand of Midwesthell

Admittedly, among a few of us in the local Indiana rock/metal scene, there’s an understanding of exactly what that is, and while some people have managed to pick up on it, and even better, make it their own, there tend to be questions surrounding this thing called Midwesthell. I think maybe it’s time to answer a few of those questions.

So what the hell is Midwesthell?

Well, the short answer is that it’s the Midwest. Specifically, the Midwest underground music scene.

The extended answer involves an attitude, an idea, an understanding, more than a little booze, and a whole lot of smoke.

Sitting in the heart of the Midwest, Indiana has had for the last decade and then some, a pretty dismal music scene. There are a lot of reasons for this, and they include everything you could think of – crappy bands, crappy venues who don’t pay artists, crappy fans who don’t go to local shows, crappy promoters who leech off the bands they’re ‘helping,’ labels ignoring the few good bands we’ve had, etc, etc, etc, ad nauseum. As a few of us in the IN scene began to network out and explore the other states around us, it became clear that it wasn’t just Indiana that sucked, it was everywhere. Indianapolis. Chicago. Cincinnati. Cleveland. Detroit. Milwaukee. Louisville. St. Louis. Each of the major markets around the region were the same – shitty scenes, each dealing with the same things, and all the stupid drama and politics that such things bring. The Rust Belt above us, stretching from Chicago Cleveland, the Bible Belt below us, we came to understand that we, the collected musicians of the Midwest, were in Hell. And so, a couple guys–Dan and Jamesus from Born Under Burden–amidst the haze of smog that marks the northern border of Indiana, the dust of corn, wheat, and soybean fields (and other hazes) coined the term, “Midwesthell.”

At first, it was sort of an inside joke, but as such things tend to do, it was picked up by guys like me, and it spread; in the course of the past year or so, it’s become a sort of mantra, a reminder of where we are, and also an inspiration. It’s also, under James and Dan’s careful planning, become the name of a new independent DIY record label: Midwesthell Melodies. MWMH, like The Forge, and other entities in the scene, were born in part out of the recognition that the Midwest scene has sucked for a long time, and that the only people who were going to fix it were the people in the scene: US.

There wasn’t anyone coming to save us from ourselves, there weren’t any local bands suddenly making it big and working to breathe life into their home scene, and there sure as hell weren’t any big labels sniffing around looking for the next big thing. All we had–all we still have–were ourselves and each other.

And then it happened: Several of us, though knowing each other for years, independently began to take stock of the situation, take stock of our resources, and we began to -do- things. We evaluated outdated business models, we looked at other supposedly ‘successful’ scenes, tried to learn what worked and what didn’t, and why, and we did our best to try and understand all of those things in the context of our modern society, seemingly so far removed from even just a decade ago. We paid attention to the industry, the mainstream, the major labels, the national and international touring bands, and we listened and we learned.

Gone are the days of major labels making rockstars out of nobody kids who honestly worked their fingers off learning to play–now we get ‘reality’ TV game shows to find the next big pop star, bands built by labels to fit an economic paradigm that they created; gone are the days of New York and Los Angeles being the place where bands can go to win their fame and fortune. Seattle and New England taught us that the DIY ethic works, and with some adjustment for current trends in technology and social media, the current generation of musicians and bands can ‘make it big’ even easier than ever before.

We realized that the industry didn’t care about us, and we accepted that. Why should they? The majority of the underground isn’t offering the next Nickelback or Madonna, and we don’t want to! Sure, we all dream of a stadium gig playing in front of 50,000 people, but we’re all just as happy playing a house show with 50 kids that are there for us, and giving as much to us as we are them. The music, the craft, the performance all matter more to us than the money or fame, and most of us would just be happy to just pay our bills by making and playing music–you know, to reap the benefits of the work we do, just like every other job does. So we started to change it.

What happened was that a core group of us came together and began to share our resources in such a way that we have all benefited, while taking nothing away from anyone else. We have a label, we have a radio outlet, we have several venues who treat the bands like the working artists they are (that means they PAY the bands GUARANTEES), we have promoters who bust their asses for their take of every show they book, we have bands who self-promote AND cross-promote, and we have fans who SHOW UP. Individually, we are a group of independent entities and organizations who would fare all the worse on our own, but collectively, we have become a force of action, a force of change, and we empower each other.

And change is happening. More and more bands from not just Indiana, but also the surrounding states are starting to see the change and benefit from it. Bands from other regions are starting to pay attention to what’s going on here in Indiana specifically, and the Midwest at large, wanting a piece of our action. Why? Because we have something to offer that goes beyond dollar signs – we have a sense of community, a sense of family, a sense of being that this scene, this thing we call Midwesthell, is mine, and yours, and ours.

It’s not perfect, but it’s ours. Our scene. Our voices. Our hands. We are building this thing, one piece at a time, one band, one venue, one promoter, one label, one station at a time. It’s mine. It’s yours. It’s ours.

It’s Midwesthell.

Album Review: Catalytic – The Voice Of Reason

The Voice Of Reason

Catalytic

Release Date: 14 June 2014

https://www.facebook.com/CatalyticMusic

Review by Rob Salem

 

Catalytic – The Voice Of Reason

One of the perks of working in radio is getting advance copies of upcoming releases. I was recently privileged to get a copy of Catalytic’s soon-to-be-released debut album, The Voice Of Reason, and I’ll be honest—I’m glad I did. I’ve not made any secret out of the fact that despite having not seen Catalytic live (yet—I intend to remedy this ASAP) I’m a fan. This comes in part from the fact that I’ve been playing a couple of their demo tracks on The Forge for a while now, but also from the fact that these guys are active in the Indianapolis metal scene, and big advocates of not only themselves, but of other great bands in the scene. With that said, I took the time to listen to The Voice Of Reason a few times through, and to make sure that I was listening not as a fan, but as a critic. Here are my thoughts:

 

The Voice Of Reason is a solid album from start to finish. The production quality is great, making it easy to listen to, but also to hear everything that’s going on. These guys aren’t super-technical, and they’re not necessarily doing anything innovative with their sound, but that’s okay; they know their music, they know their sound, and they know what they’re good at. One of the things that they demonstrate is diversity in their sound while maintaining consistency. The songs range from thrashing shredders to down-tempo ballad-feeling tunes that succeed at evoking the introspective ear (‘Believe’). Dustin Strole gives his vocals a workout as he moves back and forth from melodic cleans to gut-wrenching roars, but he does it well; he obviously knows his range and sensibly works within it, while never sacrificing any of his power. The guitar work of James Donner and Dustin Chavez is tight, but I think only hints at what these guys are really capable of. Tracks like ‘Red Stained Plains’ evoke the riffing of Amon Amarth at times, while other tracks definitely pull from the New England metalcore sound; these guys obviously have talent, and I’d like to see them stretch their wings a little more by writing some riffs that push the boundaries of their comfort zones and really challenge themselves and each other. Jesse Curtis on bass and Jason Dinwiddie on drums lay down thunder as a tight-as-hell rhythm section that drives the rest of the band while maintaining an unshakeable foundation that gives the guitars and vocals the elevation they need to soar.

 

All in all, The Voice Of Reason is an impressive first offering. The original demos that Catalytic released in 2013 were good in and of themselves, but hearing those tracks get that studio polish and go through some of the evolution that is expected of produced studio work demonstrates that these guys take their craft seriously and are always looking to improve upon and perfect things that are already considered good. The Voice Of Reason is going to stay in my personal rotation for a while to come, and I can guarantee you’ll be hearing it regularly on The Forge; I only hope that there’s a label somewhere smart enough to pick it up for distribution. Catalytic is poised to help put the Indianapolis metal scene back on the map, and I’m proud to say that you heard it heard it first on The Forge.

Review: Fivefold – Hold On

Hold On

Fivefold – Hold On

Fivefold

http://www.fivefoldband.com

 

Review by Rob Salem

 

Veterans of the St. Louis underground, rock band Fivefold delivers a quality set on their 6-song EP, Hold On. The album reflects the maturity that you’d expect from band that’s been together for 7 years, slowly working its way into being one of the biggest local draws in its hometown. The songs are well written, and while the track ‘Step Back’ offers itself up as the most-likely radio single, every track on this EP is an attention getter. From the introspective ballads ‘Til Death’ and ‘Hold On’ to the energy-driven ‘Falling Into Circles’ and ‘Liars’ to the blunt and angry ‘Worst Mistake,’ Fivefold’s sound is consistent with much of what’s going on in modern rock, yet there is a gritty edge to it that suggests that if these guys wanted to get really heavy they could, and would be perfectly comfortable doing so. I wouldn’t be surprised if Fivefold ends up in the mainstream in the near future,and I’m already looking forward to hearing what they come up with next. If you’re into edgy rock that very carefully walks the line between the mainstream and underground sounds with intelligent, well-crafted lyrics and music, then Hold On by Fivefold is definitely an album you’ll want to check out.