A Conversation with Overlake's Thomas Barrett

Overlake's highly anticipated debut LP "Sighs" has been one of 2014's most treasured and praised releases. The band, featuring  Tom Barrett (guitar/vocals), Lysa Opfer (bass/vocals) and Scotty Imp (drums),  formed in Jersey City, NJ in early 2012, and since forming they've built a loyal and growing fan base through intimate gatherings at local clubs and watering holes. As the trio returned from touring, I decided to reach out to Tom to talk about the band, their tour and their very impressive debut Lp "Sighs". Here's what transpired. JD (Interview and Images by James Damion)

James: In recalling a recent conversation outside the Bat Cave. I mentioned when we first met. (During an interview with No Pasaran) You seemed the least likely person to be fronting a band. The most unlikely to become this multi instrumental singer song writer.
Can you fill me in on all the reasons I was wrong?

Tom: You're not wrong for thinking that. Up until just a few years ago, I'd sort of accepted that I'd always be anything but a lead singer in a band, despite having a constant desire to do my own thing since I was 19 or 20, when I was obsessing over bands like Sebadoh and Pavement. I had and still have a lot of confidence issues, but I'm also not getting any younger so I have to do this now, while I only look partially ridiculous, haha.

James: Was there anything specific that make you go from the back beat to the front seat?

Tom: Nothing specific, just feeling the pressures of time and age, you know?
I'd also reached a point where some major life changes were starting to occur, my girlfriend
(now fiancée) and I moving to Jersey City together at the end of 2011 being the most major one. Shortly after, I just decided that it was the right time to start focusing on something more reflective of my own personality.

James: So did NO Pasaran run it's course? I think it's safe to say, the band left a lasting impression on a lot of people.

Tom keeping the beat with No Pasaran.

Tom: Yeah, that band ran its course. We talked very fleetingly about getting together and maybe playing a couple of shows, but we all agree that we wouldn't want to do it unless we were at 100 percent, and no one in the band has the time to bring it back up to that number. Eric is also about to get married and devotes so much of his time to his educational career, Romel has a job and a family and plays in Life Eaters, and I have all of my own nonsense. We'd only end up half-assing things and we don't want things to happen that way.

James: How did you and Lysa bond. How long before you realized you wanted to make music together?

Lysa rocking out at The Batcave.

Tom: Lysa and I played together in WJ and the Sweet Sacrifice.
I was on drums, she played keys. Before then, we knew each other only in passing, but in that band we came to realize we had all these different tastes in common, primarily shoegaze bands and some post-rock stuff. One of our first hangs was seeing Broken Social Scene at Webster Hall. She had been working on her solo record (Big Lake) and asked if I'd play drums on it, so I did and it turned out alright. Later on, we just sort of started exchanging song ideas that we'd been working on. This was three years ago or so. The initial idea of forming a band together came shortly after, but I was reluctant only because I'd had all these other musical endeavors I'd been entertaining and/or fantasizing about, plus I was still playing drums in No Pasaran. It was only when our drummer friend Michael DiTullio posted a Facebook status looking for people to play with that Lysa and I came together and the
band was formed. The ideas for first three songs on the record were hatched from those sessions.

James: Can you take me through the song writing process like for Overlake?
What inspires what  your writing? Where does it come from?

Tom: There isn't one set process, there's a multitude. The songs on the record are the results of a variety of different processes. There are the aforementioned first three songs which came from jams and songs still can happen that way, but everything else on the record came from demos I'd done by myself on the old Tascam 4-track. "Our Sky" and "We'll Never Sleep" came literally from nowhere. They were just floating around out there in the ether and managed to find me somehow. "Fell Too Far" and "Is This Something"
I struggled with a bit. There was a period when we thought "Fell Too Far" wouldn't make the final cut. A lot of nitpicking and fine-tuning went into that one. It's not my favorite,
but Lysa's vocals sound great. I wrote the lion's share of the lyrics on this record, but that song was a fifty-fifty split; Lysa wrote her part and I wrote mine. "Back to the Water" was a song from 2008 that just played well with the others. "Your KS" is literally just a demo.

James: I have this terrible habit of telling bands what influences I hear in their music. I hate it, but I always find myself thinking "They remind me of..." or "I hear a heavy ... influence there." The first time I saw you live, I definitely felt a My Bloody Valentine vibe.
However, Elliot Smith seemed to dominate my thoughts. Would my kooky comparisons hold any weight?

TB: They do. I personally don't hear it, but Elliott is one of my all-timers. I could never come close to approaching anything that possesses the majesty of an Elliott Smith song.
He's as singular as singular comes. It's still so upsetting because he should be here, making music or not. It's nice to hear that's what you take from it, though. Everyone's got their own set of ears.

James: What are some of the bands key influences? Inspirations musically?

Tom: My favorite period of music is the American indie rock of the mid-90's: Pavement, Sebadoh, Guided By Voices, etc. My two favorite bands of all time are Dinosaur Jr.
and Sonic Youth. I wasn't really having a lot of British music that was happening back then,
but would later fall in love with bands like Ride, Slowdive, Lush and My Bloody Valentine, obviously. I try not to cop other guitar styles too much, but I can't help myself.
Some sounds are just too much fun to make on an electric guitar with some distortion and delay thrown on top. Watch out for the Bendies, they're very addictive.

James: What do you like to listen to at home when you're by yourself?

Tom: The War on Drugs' latest is my current go-to. It's nearly a perfect record. I think about it when I'm not at home, how I can't wait to get there and throw that delicious-looking purple record on the turntable and just soak in all the sonics. It's epic-sounding. And it is delicious-looking. Like a giant piece of raspberry-flavored hard candy. Same with the last Kurt Vile record, except it's blue. I also recommend the new Big Ups and Dead Stars records.
And Sharon Van Etten, of course.

James: I keep hearing about The War on Drugs. What draws you in as a listener?

Tom: I just love them. Their music is so visual and dreamlike. I wish I could rattle off words as effortlessly as Adam Granduciel does, or at least that's how it seems. He's up there with Stephen Malkmus or Isaac Brock as far as being a truly singular and fluid vocalist.
There's a lyric in the song "Best Night" where he says "I'm a thousand miles behind with a million more to climb." How can you not connect with that? His band also manages to sound futuristic while harkening back to old classic rock reliables like Dylan or Tom Petty.
They bridge a generation gap. People of all ages are into them which is cool.

James: There' been a lot of praise for "Sigh's"..... I'm certain it will make a lot of "Best of 2014" Lists.
How do you feel about the finished product.

Tom: I feel great about it, ultimately. I can't allow myself to listen to it too much because I'll eventually tear it to shreds, but I've honestly never been more proud of a recording that I've done. Just taking in everything that led up to it,
you know? A lot of sweat and sleepless nights went into this record. We're monumentally happy with the end result. There are some things I would change, but that's what second records are for.

James: Have you been writing new material since it's release?

Tom: Yes. I've got a batch of songs I'm trying to finish, and Lysa has some ideas she plans on bringing into the fold. The goal is album number two. Since this record is sort of mysterious and in B&W, I'd like the next one to be a bit more direct lyrically, and bursting forth with all kinds of fantastic bright colors. If the first record sort of quietly eases its way through the crack of an unclosed door, then the next one should just push it wide open without knocking. It'll probably be a while before we start playing new songs live, though.
We haven't even started learning them yet. Maybe a new song here and there down the line, but we don't want to give too much away so far in advance of the record becoming a materialized thing.

James: You just recently went out on tour to support "Sighs". Where did you go?
What were some of the highlights and specific spots worth noting?

Tom: Philly, Columbus, Nashville, Memphis, Lawrence, Denver, Lincoln, Des Moines, Chicago, and Morgantown, WV. The performances themselves were all pretty solid.
By the end we were kind of on autopilot, in the best way. Attendance was pretty light most of the time, but those who did come out all responded positively. Highlights... Well, we had some time to kill in Nashville, so we went and visited Third Man Records where Scotty, our drummer, recorded a birthday song for his son in Jack White's recording booth. It costs fifteen bucks and you get your record pressed then and there. That was sweet. A personal highlight for me was getting to meet Bob Nastanovich from Pavement in Des Moines, where he and his wife Whitney live. They came and greeted us not long after we arrived, he unfortunately couldn't stay because of work, so we just hung out with Whitney all night.
She was super-gracious and took really great care of us. Just one of a whole lot of folks we
met out there who were all just very welcoming and made you feel completely at home.
Lysa and I also got to reconnect with some folks out at the Lion's Lair in Denver, which was probably the tour highlight. Good stage, good sound, lots of people.

James: Like most people, the thrill of getting out and exploring different cities, town and cultures is addictive. Yet, there always come a point when you look forward to going home. What were the things you missed most?

Tom: I missed my lady. I missed my cats. I missed my friends. There were also a couple of local shows that happened that I'd read about on Facebook and be like,
"Damn, I wish I could be there," like the Wax Darts show at Lamp Post, or that metal show at Moonlight Mile. That looked like a real hot and sweaty time. Also, Mikey from
The Everymen got engaged onstage at Pianos while we were away. I was seriously bummed to have missed that. And Nick Cave.

James: You mentioned missing that Everymen show at Pianos. Did you have any prior knowledge to the engagement announcement?

Tom: Haha, I did. I was so bummed to not be there for that, but I seriously would've been a hot mess. It would've been embarrassing.

Tom spreading the positive with The Everymen

James: Looking back, I think I really began to notice somewhat of an evolution, both musically and socially during your time with the band. Was it a hard decision to leave the band? I would assume they left the door open for a possible return in the near to distant future.

Tom: Exactly. The door is open. Mikey just asked if I'd be able to play the Hopscotch festival down in Raleigh, NC with them again. I don't know if I can yet, but I'd like to make it work. I do miss touring with those guys, but I want Overlake to achieve the same goals that those guys seem to be. They're putting out records, touring a lot and reaching all kinds of different people all over the country. I need to stick around and focus on making these things happen with my band.

Scotty puts a lid on it at The Batcave.

James: What's next for Overlake and in particular, Thomas Barrett.

Tom: More and more touring for Overlake, hopefully. We have a West Coast jaunt happening in October, we're planning some weekend jaunts in November and maybe December, and then a two- or three-week trip in the spring. Like I said, we've been working on some new songs, but it'll be a while before we start playing them live. I've also got a solo album coming out very soon that I'd like to do some things with, maybe some short tours if I can. I posted it very briefly on Soundcloud and people seemed to enjoy it. It's very stripped-down, just acoustic guitar, my voice and some piano. They're songs I've been playing around for a few years, but it's nice to finally have a document that I'm happy with and put it out there for folks. We'll see what happens.

Overlake:
Bandcamp

Band Page

The Everymen - Givin' Up On Free Jazz.

For the band's sophomore full length, "Givin' Up On Free Jazz". New Jersey's
The Everymen team up with Ernest Jenning's Records. The nine piece, multi instrumental band, originally formed in 2009 and has since established itself as one of the hardest working band in show business.

The album opens like a rocket launch with a forty-seven second instrumental "Bl'ast Off". Mere seconds that prove, once and for all, that in reality, the "V" in guitarist Michael V.'s name stands for Venom.
The band quickly changes gears on
"A Girl Named Lou".

A song that puts a well deserved spotlight on Catherine Herrik's boundless vocal range.
The albums fifth entry and personal favorite, "AnotherThing to Lose", features a meaty bass line and overall vibe that immediately brings to mind Golden Earring's classic "Radar Love".
The Everymen invite Springsteen to the party with their cover of  "Ain't Good Enough for You." (No, Bruce does not physically contribute here.) The spirited homage is part E Street Band, part Asbury Jukes, all Jersey shore.
Overall, this is about as much fun as you can get without risking lengthy incarceration.
From the Metallic opener "Bl'ast Off" to the dark, deep and soulful closer "Izzy".
The Everymen put their uncanny ability to change up and switch gears effortlessly on display. The romp and the bomp we've come to love about the band is evident throughout and though the bands is as varied as it is retrospective. They seem to have created their very own genre here.
Each of the eleven songs featured on "Givin' Up On Free Jazz" cement The Everymen's reputation as one of the most loved bands out there. A pure celebration of drunken debauchery. One thankfully void the nagging hangover that often follows.
How can you possibly refuse? James Damion

Ernest Jennings Records  Get it Here

Killing Horse Records Streaming 2014 Sampler

Our friends over at
Killing Horse records are currently streaming their 2014 Sampler. Featuring sixteen tracks from the bands you love to the bands we know your going to love. As I listen,
I become very excited for what the summer is going to bring. Featuring songs from
The Life Eaters, Cicada Radio, Overlake, Wreaths, TV Sound, Cold Fur, Secret Country,
The Everymen, Desir Decir and more.
Streaming Here
Killing Horse Records

TV Sound - Amber Glass High

With an ancestry deeply routed in Kearny, New Jersey's infamous and secretive Punk Rock Mafia. TV Sound have resurrected their late 90's Rock Punk to stake a claim to the throne.
'Amber Glass High' seven song blast of high octane Rock n' Roll marks their second release on
Killing Horse Records and their first newly recorded material since the original release of
'Record Jacket Life' back in 1999. Review Here
Guitar driven Rock and working class anthems resonate throughout each song. Favorites like the rousing and anthemic
'Get Your Gear on' and
'The Girl You Never Got' highlight the band's blue collar appeal. While the live version of
'We Laughed at the World' cement the bands presence as a band of the people and for the people. In listening to TV Sound, I find myself drawing comparisons between label mates
The Everymen and Dromedary Records The 65's. 'Amber Glass High' serves as the soundtrack to dirty hands and scraped knuckles. A perfect fit on the jukebox of your local pub, tavern or watering hall.
James Damion

Killing Horse Records Get it Here

Dromedary Records Celebrates it's Twentieth Anniversary By Giving Back

This weekend friends and family gathered at Asbury Lanes for the two day event Camelfest III. An annual benefit that raises money and awareness for the Roots and Wings foundation. An organization that, since 1999, has been providing nurturing support, safe housing, educational support and practical life skills to young adults who have aged out of the child welfare system. The celebration also marked the twentieth anniversary of Dromedary Records and it's release of 'From '93 to Infinity'. A compilation featuring various artists covering  songs released during that fateful year. 

With the recent closing of Maxwell's. The event was moved from it's original home to Asbury Lanes. A full service bowling alley located  about a block from the boardwalk. Though Lanes host many a music event. Camelfest III was the one that broke my cherry. The first night featured The Everymen, Cinema Cinema, The Coffin Daggers and The Wax Darts. A rather eclectic and balanced mix that included Indie, Surf, Noise and Party Rock. Check out Dromedary Records and the new album 'From '93 to Infinity' Here. Below are some pictures and links to the bands pages. Most important is a link to the Roots & Wings Foundation Here. Be sure to take a look at what they are doing in your community. Until the next time, thank Al. James Damion

The Wax Darts

The Wax Darts

Instrumental Surf Rokers 'The Coffin Daggers'

The Coffin Daggers

Brooklyn's Cinema Cinema

Cinema Cinema

The Everymen

The Everymen

The Everymen - New Jersey Hardcore

With several EP's and a drunken live cassette under their belts; The hardest working band in show biz delivers it first full length and as far as these ears can tell, it's a mixed bag of everything worth celebrating in life.
The band has a way of covering the entire musical map without leaving any embarrassing stains along the way.
The album hits all the sweet spots, drawing inspiration and energy from everything  50's Doo Wop and 60's Phil Spector inspired heights to Springsteen meets the Ramones while getting lost on the way to the beach.
"Dance Only, Only Dance" is a perfect example of my somewhat confusing description. It covers miles of ground with Michael Ventutolo's inspiring vocals and Scott Zillitto's amazing sax play.
Zillito's inspiring play on the  Saxophone come to the fore front on a regular basis but are most noticeable and noteworthy on the track "Novocaine".  Summoning the ghost of Clarence Clemons and remembrance of "On the Dark Side" from the cult classic
"Eddie and the Cruisers" The overall vibe on this track in particular, perfectly captures that moment at the bar where you realize you've had way too much to drink four drinks ago and that, eventually, you'll have to find your way home.

Having seen the band a handful of times over the last couple of years I can say with confidence that this album really manages to capture the spirit, energy and drunken mirth that their live shows are so known for.Though the albums title "New Jersey Hardcore" may have you lacing up your boots and practicing your best version of the "Creepy Crawl" or "Picking Up Change". This album offers more than just a spin kick and a doc marten impression on the skull. "New Jersey Hardcore" is a record to celebrate and to celebrate to. Forget about inviting the Everymen to your party. The Everymen ARE the party.

.James Damion

Get it Here  KillingHorse Records

The Everymen  Facebook

The Everymen "Coney Island High" Video

The Everyman and Johnny Komar of 'Village Basement Sessions' have produced one of the funniest videos since Cicada Radio's "Oceans". It's the first single of their debut album entitled "New Jersey Hardcore". Check it out and keep check, check, checkin'. 

James Damion

Pre-Order The Everymen's - "New Jersey Hardcore"

Pre-orders are now available for The Everyman's "The Everyman Presents New Jersey Hardcore". The record release date is set for October 9th and will be released on KillingHorse Records. Pre-ordering the record allows you "The coolest kid on the block" street cred award for the first week of October and an immediate download of the lead single "Coney Island High". Pre-Order  Here

The Everymen Give Us A Taste of What's to Come

Here's a peak at the Everymen's upcoming release entitled "New Jersey Hardcore". Due out this fall on Killing Horse Records. 

Killing Horse Records

An Interview with Everymen's Tom Barrett

Photo courtesy of Mark Townsend

Tom Barrett is a Jersey City musician best known for his work with ¡No Pasaran!,
WJ and the Sweet Sacrifice and
The Everymen. I first met Tom in 2010 when I interviewed the band ¡No Pasaran! in Clifton. Since then our paths have crossed numerous times but due to my own shyness, I've rarely gotten further than a passing hello or a friendly nod. In talking to Tom a bit more over the past weeks; I've grown to learn that shyness is a characteristic we both share. Here's my shot of changing that for at least one of us.
James Damion

You very recently had some of your gear stolen. Can you share what happened and what was taken from you?

Yes, somebody broke into the trunk of my car across from our apartment in Jersey City while we were sleeping and stole my keyboard, electric guitar and suitcase filled with pedals and cords. It sucks. I'm still reeling from it.

Were you at all surprised by the outpouring of support from friends and in particular the members of the Tiny Giants Collective?

I was kind of surprised, just because apart from  playing in a couple of TG-affiliated bands and chiming in with the occasional comment on the TG Facebook page, I'm not very participatory in that world. I haven't been to any meetings and don't make it out to a lot of the shows, only because I've become a homebody and don't go to a lot of shows in general anymore. I was definitely moved by all the gestures, though. It speaks volumes about their character. They're good people.

One of the things that took me a lifetime to embrace was accepting help from friends or family when I needed it the most. You seemed pretty reluctant with the idea of us possibly chipping in. May I ask why?

That's just my nature. I'm stubborn. It's the same thing as when someone offers to grab my amp or something at a show, I'm real quick to say no thanks most of the time. It's a
knee-jerk reaction. Simple as that.

I missed your fairly recent solo experience but was very touched by the video recording. You're pretty used to being the guy behind the drum set. Was it a challenge for you to get up there and put your heart on display like that? I ask that because the performance was quite touching and real.

Thanks, I appreciate it. I wouldn't really call it a challenge because by the time I played that show, I'd already spent the previous few months cutting my teeth at open mics around NYC. Those were a little terrifying. I just tried to have fun with it and enjoy myself, and it seemed to go over well. I didn't think of it too much as putting my heart on display or anything, I just treated it like a normal gig. If there was anything I was nervous about, it would be that I don't have a ton of songs and had to play a 30-minute set. It wasn't too hard. I played a few covers.

How did that come about and what inspired the move from the drums to the keys?

Well, I'd been wanting to do this for a long time, to write songs and get up and play them for people. I'd spent many years wandering around the house playing Beck or Lou Barlow songs or whatever, trying to write my own all along.
I've always been very self-conscious about my low, warbly voice, though. I'd hardly play anything for anyone, even covers. It was only last fall that I'd finally thrown some caution to the wind and let some friends in on some songs I was doing. They gave good feedback so I started playing out and doing some more recording.

I'm actually in the middle of making a record with my friend Tommy Unish right now, whom you've seen jump onstage from time to time with No Pasaran. He recorded our
"Porter in the Making" EP, and he's manning the controls on this one as well. It'll be finished soon.

The move to keys was inspired by a combination of wanting to change things up and being sort of bored with the drums. Mikey had asked me in the past to play keys with The Everymen, but I was always too busy. Now with No Pasaran on hiatus and being out of WJ, I finally have the time.

The last time I saw you perform was with The Everymen. Are you in the band now or was this a fill in situation? Is this the first band you've played in where your not keeping the beat?

This is not the first band I've not played drums in. I started out playing guitar, so that's what I was doing in the first bands I ever played with, back when I was like 16 or 17. Mikey and I kind of got to know each other from playing in American Watercolor Movement together five years ago. He played guitar, I played guitar and keys.

With The Everymen, I'm as much a part of that band as I can be. They have what I refer to as a very strict open-door policy, which is nice for me. I'm very committed to the band, but also free to do what I want outside of it. I can't make it to all the shows, but try to be around for as many as I can. So far, it's been a blast. I've only been a part of it for a few months and I've already played like 20 shows. It's very active. Mikey's a driven dude.

In mentioning The Everymen and your solo performance I can't help but wonder about
¡No Pasaran!. I was kind of shocked when I heard the band had decided to go on hiatus.  What was the reason behind it and is it a break or a break up, so to say?

It's a break. It's sort of my doing. We met up one night back in December to talk about our plans and I kind of sprung it on them that I needed some time off, at least a few months. I don't think they were too surprised. There were a few reasons why I felt it was necessary, the main one being I wanted to devote some time to something new and different, like the acoustic stuff. They understand, it's completely amicable. Maybe we'll get it together at some point, but right now Eric and Romel are happy in Life Eaters, and I'm happy doing my own thing and playing in the Everymen.

One of my favorite musical moments of the last year was your performance with WJ and the Sweet Sacrifice in Newark. I had been hearing great things about the band but that was my first opportunity to see them live. Do you still perform with them?

Nah, I left in the fall. I was a part of that band for two years. It was a lot of fun and I had some great experiences with them, and I became closer with the members of that band than I ever was before, but there was some serious frustration going on. I won't go into any details, but it had been brewing for a while. Again, they weren't surprised by my decision. I left on good terms and on a high note. That Brick City show was a fun one.

Is there a special bond that band members have that people outside the group can never quite break or fully understand? I ask this out of pure curiosity because I've always sensed it. This impenetrable force that remains unbroken.

Definitely. I've been in a few bands, sometimes simultaneously, and each had its own set of quirks and idiosyncracies that outside folks probably didn't get, for sure. A band relationship is a relationship like any other, though. I have friends with whom I share this strange senses of humor that might be completely lost on other people, but they understand it perfectly at the same time. Maybe not the quirks themselves, but why they exist. It's the same with bands, though I've never taken any kind of us-versus-them stance on it.
You just stick with the people you're attracted to and hope things work out.

In the times we've talked I've mentioned social awkwardness/anxiety and the sense of being just outside. You've always struck me as a shy, kind of introverted person. How would you describe yourself?

I'm pretty moody and mostly like to keep to myself. I think some people might think I'm sort of hard to approach, but it's not really true. I've come out of my shell a bit.