Tuesday, September 16, 2014

WATCH: Andrew Rinehart - "Doin What We Have To Do (Feat. Cheyenne Mize)

Andrew Rinehart & Cheyenne Mize
Andrew Rinehart (formerly known as Rinehart and Saredren Wells) is two EPs into a three-part series called Everything (Parts I, II, and III). A track from Part I is getting special treatment with a new music video showcasing his song "Doin What We Have To Do," a folksy fingerpickin' tune that also features the voice of Cheyenne Mize. The two are shown walking around the Highlands and shopping at Value Market. Not a lot happens aside from that, but the simplicity is kinda sweet and refreshing. Check it out:

Listen to Everything" (Part I & II) now on Bandcamp. No word on when Part III will be released, but I understand that a new video for Andrew Rinehart's second single, "You Can't Break My Heart (Pretty People Make Graves)" will be ready soon.

Also, Andrew Rinehart will be performing live on October 5th at Haymarket Whiskey Bar where he'll be opening for Dent May.

WATCH: Allen Poe - "Old Street" ft. Emma Shaheen

You know, I kind of hate phrases like "I'll be real," or "to be honest." Both imply that the speaker has a tendency towards dishonesty, like this caveat here is to illustrate how currently not-lying shit is about to get. But I'll be real here and say I don't know much about Allen Poe, although I should. And I'm being real here to prove that despite evidence to the contrary, sometimes dope shit happens under my radar. It's sad, but true (like this garbage link I just found), although not a Metallica song, which is just sad.

What I do know is that the "Old Street ft. Emma Shaheen," the video linked above (doy), has a sweetly laid back vibe that reminds me "Feel That Way"  by Blackalicious, which is an all-time banger. Seriously. Watch that video and tell me you aren't in a better mood. That's the feel that Allen Poe's music has too, the kind of pleasing and thought provoking beat that would make Ivan Drago want to lay up in a hammock and drink a mojito. Rounding out the song is the sublime voice of Emma Shaheen, who I know even less about, but who has nice voice perfect for this track.

Be sure to watch for the new Allen Poe record, "How Garden's Grow," set to drop very soon.

Monday, September 15, 2014

Seven Sense Fest is happening THIS SATURDAY! And it's probably going to be awesome!

This Saturday, September 20th, two blocks on Preston Street will be blocked off to play host to the first ever Seven Sense Festival, a free event that will feature music, food and drinks aplenty. The fest, which kicks off at noon, will be spread accross four venues: The New Vintage, Zanzabar, Greenhaus and Purrswaytions. The roster of bands is pretty hefty, but a few that stick out to me include Pujol, Brian Olive, Old Baby, Graffiti and Johnny Berry. The lineup over all is pretty damned good; check it out in its entirety here. The actual performance schedule hasn't been released, which is odd considering this event is happening in five days. When it surfaces, we'll let ya know.

Aside from the music, there will be plenty of food vendors on hand, as well as several microbreweries. Kentucky Ale will be tapping their limited release Pumpkin Barrel Ale at 5PM. I certainly won't miss that. I'm also looking forward to drinking beer from NABC, West 6th and Upland. With all of the great beers to be had, I have a bit of anxiety that I might end up like this guy. As far as food goes, I'm looking forward to the headache that comes along with having to choose between all of the stellar options to decipher from.

While this festival is free, there are VIP passes that will set you back $50, which will get you perks like preferred seating, bathrooms, and bars. For more information on these VIP passes, click here.

UPDATE: The full schedule for bands has been released on the official facebook event page.

Saturday, September 13, 2014

WATCH: The Cropped Out 2014 Commercial!

The annual Cropped Out commercial is here, and per usual it does not disappoint. I don't know who edits these things, but I wish they would get an award for doing so. Is anyone from the Louisville Music Awards reading this? Because I'm dead serious here. We need to get whoever put this commercial together a goddamned award, and have a ceremony for them and everything. This commercial is like a testament to the 80's: garbage effects, and cocaine fueled nightmares, like that one Taco video that terrified me to no end as a child.

Anyways, if you weren't pumped for Cropped Out before, I suggest you check yourself and watch the hell out of this video to get all the important details. Well? Stop reading this and get to it. And buy tickets already.

Friday, September 12, 2014


If you could imagine a high school reunion made into a mixtape, then you already have some idea of what Slamdek A-Z has to offer. For the uninitiated, Slamdek was a hometown label that ran from 1986-1995 with Scott Ritcher at the helm with a rotating who's who of Louisville music luminaries either working with or for the label. Slamdek A-Z was a book that Ritcher wrote to catalog the labels achievements, and for whatever reason when I was a teenager that shit was like the bible to me. From my perspective, Slamdek was the Louisville label, quintessential in turning me onto all sorts of important Louisville bands like Crain and Rodan, bands I still have a fondness for. But does any of this stuff hold up? Well, that's depends on how much you still gravitate to music you rocked out to in high school.

Much of the earliest part of this comp is made up by material that sounds like someone's first basement band. That's a fair assessment though, because it's true, or if not, then some of this stuff (I'm looking at you Substance) was definitely one of the earlier stabs at music. In some cases this comes off as playful and fun. I love to remind myself that "Bardstown Road," was written and performed by Drew Daniel, who went on to form Matmos, and who has played with Bjork. It's a nice reminder that a) having a good sense of humor is always a plus, and b) who knows what the future holds. I still sing that stupid Spot song "Skate For Fun," which despite it's ridiculous premise is pretty catchy. I mean, who doesn't want to skate for fun? Besides my fat ass, that is. If I rewrote this song it would be titled "Sleep For Fun," because, you know, I would sleep the shit out of a nap.

There are plenty of tracks on here that never really worked for me, and that includes 15-18 year old Syd with his rotten taste in music. I feel bad writing that, as I fear that this will shatter everyone's image of me as a monocled teenager, wearing a smoking jacket (but not smoking, because yuck) and reading Academic Articles about Rockism. Sorry to crush that belief, since, I know, so many of us had such refined tastes when we were kids.  Opening track "Dreams," Ritcher's stab at synth pop, never really hit with me, and still holds that distinction as one of the tracks I feel obligated to skip, as does "Souls" by Ritcher's brother Mark's band Hopscotch Army. I get why they're on here, but they just don't fit. Likewise, the joke track "Mexicana Mama" by Slambang Vanilla seems like an unnecessary addition here, or maybe again it just feels odd in the midst of so many angsty/comparatively serious songs.

Regardless, I appreciate the exposure, and there was plenty to like. I challenge anyone to listen to "Freakazoid etc.," by King G and the J Crew, the Midnight Star/Slint mashup, and not get wound up a little. Or the sublimely beautiful "Automatic Pilot" by The Telephone Man, which is as vital to my interests today as it was, sigh, 17 years ago. I liked the Jawbox song so much, that I went to see them on their last tour despite only knowing this one song, which they unsurprisingly neglected to play. It was at that show that I first saw The Dismemberment Plan, who blew the fucking door down opening that show, going on to become one of my favorite bands for years. So Slamdek even managed to effect me tangentially, in some very tangible ways.

So does it hold up? I'm not sure that it matters. As a cross section of Louisville Punk and Indie it's pretty phenomenal, and does a lot to fill in the blanks that would be otherwise missed by focusing on titans like Slint or Will Oldham, both extraordinary in their own right, but only one piece of the puzzle. This is a snapshot of a time when DIY was the only game in town, and when shows were well attended and populated by a diverse array of bands, where Rodan might play a show with the kids in Ennui or Drew Daniel would rep Kinghorse. Of course, you can attribute some of this to time and place, that grunge and alternative had just blown up in a major way around this time, so folks were more apt to go out for this sort of thing, whether your band was amazing, or just some band.

As an addendum here, if you want to check this out, you can find the entire thing on Spotify, which is what I did, even though I don't really care for that service. I'm conflicted though, between my desire to see an artist get paid in proportion to their plays, and the usefulness of the platform as a vehicle for reaching new potential listeners. But I digress. Anyways, I think this exercise is worth it alone for that YO! Line Commerical, which is hella catchy. I still sing it.

Thursday, September 11, 2014

LISTEN: Exacta Cube wants you to hear their debut cassette tape!

Exacta Cube is the new collaboration of electronic bleep-blop wizards Introvert and Nicholas Daniel. We're big fans of what both of these guys have done as individual artists, so it's easy for us to get excited about Exacta Cube. Their debut cassette, which features two improvised 9+ minute tracks is out now via City State Tapes. Pick one up at Astro Black, Guestroom, and Modern Cult.

Watch them perform tomorrow night at the City State Tapes Launch Party at Dreamland, a show which will also feature Shedding and Connor Waldman from St. Louis. Doors open at 8PM, and admission will cost you 7 bucks. For more information on this event, visit the facebook event page here. Listen to the new cassette from Exacta Cube below:

Tuesday, September 9, 2014

SCENE ETIQUETTE: Rep Yourself Before You Wreck Yourself.

Pictured above: Play that goddamn Street Harp like you mean it, boy!
My career as a musician is spotty to say the least. For my first couple of bands, I really hustled to get our name out, maintaining high hopes that something would click, and that John P. Columbia House would knock on my door with a fat record deal, and studio time booked with Bob Rock. You know, like how all major labels were scrambling for mostly instrumental indie in the late 90's/early 00's. It's a shame that that kind of energy was wasted on my youth, as I firmly believe that everything I've done in the interim has only progressively become better, though this is likely the sentiment of every musician everywhere; why would you not want to believe that your best stuff is ahead of you? But after a while, my efforts atrophied. I was either too busy, or not invested enough to work for my music, and as such, I garnered exactly that reward, which is that a lot of my bands fell to obscurity. Were they bad? No, or at least not by my estimation, but I didn't put in the work to get them out there, to get people interested in caring about what I made.

The question then becomes about what you deserve. Why should anyone seek music that they've never heard of, and that is in no way being presented to them? Do I deserve some special attention from an audience that I don't purposefully try and inculcate? I don't think so, and I don't think you should either. Growing up, I remember plenty of folks giving lengthy diatribes about the virtue of supporting the scene, made more to be an obligation than the volunteer work that it needs to be. Why should I or anyone want to essentially become the street team for any musician?

The short answer to that question is found on this site. I became invested in Never Nervous to try and help people that want to help themselves. I mean, not invested like Wu-Tang wants you to be with your stocks and bonds, but just interested in helping people who love what they do, and want to share that with the world. Whether I actively love your band enough to seek it out, or if you've reached out to me, I appreciate anyone who has made that special effort to move beyond the confines of their niche micro-community (read: playing in their basement). And I definitely want you to get the coverage that you're after. I love it when people love what they do, and want to support that all the way. Unless you're Screwdriver (read: nazi horseshit... not linking that garbage on our site) or something. Then fucking see ya.

The etiquette here though isn't just a terse reminder to send us emails or to put up flyers, etc., but that you reap what you sow, so don't be a fucking baby. If you don't put the time and energy into it that you want to get back, then you need to have a realistic understanding of how that will play out. If you put up one flyer today at the coffee shop that you just so happen to get coffee from for the rad show that you plan on playing tomorrow, well... you should expect a low turn out. No one owes you anything to come out to your show, and you don't deserve anything.

Too harsh maybe? I don't care. I used to believe that only a musician had the right to judge these situations too, like these feelings of disappointment or ability to "properly" assess someone else's music are unique to someone within the field (so to speak), until a friend set me straight. That shit is whack. You are no more or less special for the time you spent to write a song than anyone else, and I promise you that your plumber doesn't get pissy if you don't give him or her a standing ovation when you can flush your shit properly.

Do I respect the effort put into your work? Absolutely. But don't be a prima donna about it, especially when you aren't getting yourself out there. You want to find success at whatever it is you do? Be nice. If I've learned anything from Patrick Swayze over the years, it's be nice until you can't be nice. Be cool about what you do. Share it with the world. Let people know about what you do, and don't be pushy. You don't have to make it your full time job. That's what show promoters are for. But you can't expect anyone to want to work for you, just because you feel like you're somehow owed that. You aren't owed anything ever, even if you do work hard, but anyone who isn't an asshole can definitely respect diligence, and while that may not pay off now, I believe that hard work and perseverance pay off in the long run when you love what you do. Unless you're Screwdriver. Fuck those guys.

*editor's note: It was brought to our attention that "Screwdriver" should be written as "Skrewdriver." While we usually make every effort to correct any mistakes we find, in this instance, we hope the band Screwdriver or whatever dumb-dumb mispelling they have finds this blog, and cries because after realizing we can't be bothered to properly spell their name, even after learning of our mistake. Because still fuck them.
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