Penny The Dreadful marks a turning point for Those Mockingbirds, who have spent the last few years carving a steady path to the forefront of New Jersey's sea of rock bands on the strength of exceptional live performances and promising EP Fa So La. It was difficult to predict the sound of long-form Mockingbirds, as this is a band whose devotion to the hook always belied a deep, varied pool of influences among its five participants and a knack for arranging them super-creatively. Penny captures this band successfully satisfying either impulse, meeting their potential, and injecting life into a style that some seem to think is approaching anachronism status.
Above all, because it plays so well from front to back, I'm really pleased with Penny as an obstinate defender of the album format. The first three tracks carry the feel of singles, with "A Ballad From Hell" standing out for its chilly vocal-violin combo and the steady build to the tempo boost halfway through, totally cinematic and terrifying. Loud mode then kicks in on
"How To Rob A Bank" and "Teenage Fantasies," which hit quite directly and leave me feeling divided. These songs overflow with grimy riffing and thick textures, flaunt finely-tuned choruses, and benefit greatly from the big production. All the same, once
"Loose Leather" unfolds next,
it gives the sense that this band is looking toward bigger things than just a carefully-trimmed single or two for summer rock playlists.
Its Cave In-sized chunk, slick leads, and beyond-catchy vocal interplay between singers
Adam Bird and Tory Anne Daines bring me much closer to my alt-rock happy place.
The absurdly-catchy chorus of the pumping "Bodies on the Road" is probably my favorite on Penny, with the runner-up going to bittersweet pop-rocker "The Reckoning" and its declaration,"I don't wanna know what it's like to be happier." Elsewhere, where it'd have been easy to succumb to filler, the band toss us track after track with fresh flavors and elegant arrangements. "Destroy My Love" recalls the eerie indie-rock saunter of some of their
pre-Fa So La jaunts for a song packed with interesting contrast: The bass's stomp in the verse against Bird's feathery falsetto in the chorus; the timbres of the guitar and plucked violin as they both play the hook; the meditative bridge giving way to an embittered, explosive climax. "S.A.L.T." switches to downtempo shuffle with a gorgeous, mourning violin melody and layers of soaked guitar. Penultimate ballad "Model Myself" and closer
"I Feel Like I Died" turn toward a pensive mood with great effect, especially on the latter as Bird gives a crushingly frank morning-after reflection that creates an odd peace together with gently-fingerpicked acoustic.
Clearly a labor of love, Penny The Dreadful covers a lot of ground, and deftly so. Simultaneously blunt and subtle, simple and nuanced, Those Mockingbirds have struck a careful balance without sacrificing an ounce of passion. Like every strong debut, the feeling of satisfaction comes with imagining what they might try next. Penny doesn't provide any obvious answers, and I wouldn't have it any other way. Darrel Norrell
With a couple of new singles, a tour behind them and a debut full length on the horizon,
I decided to reach out to Those Mockingbirds violinist / keyboardist Tory Anne Daines
to get the scoop on the band, the music and how the year's been treating her.
James: You just finished a short tour. Where did it take you? Did you head out alone?
Tory: We took ourselves out for a tour of New England and surrounding areas, which subsequently turned into a farewell tour for our guitarist Jon Gianino.
We kicked it off at WDHA with an interview by the fantastic
DJ Lindsay Klein
and ended in our hometown of Montclair NJ.
The road from start to finish was eventful for sure. We played, gambled, and encountered everything from ribbon dancers to goats to sugar gliders to frat guys so drunk all they could do was roll on the ground and ask for ‘Kishes' (Kisses). We lost Jon but we gained a fantastic new guitarist, that we’re set to perform our first show with Saturday March 3rd at Mexicali Live in Teaneck with Trophy Scars.
James: Was Jon’s departure sudden, unexpected? Is there now a contract out on his life?
Tory: No contract but Jon left to pursue other avenues of his life. He told us about halfway through the last tour he was out but he played out the remaining dates with us.
We even made a farewell show for him out of the last show on the run. It's sad but we're all excited for what Kyle is bringing to our writing style.
James: You got sick just days before the tour. How did that turn out? Did it affect you overall performance?
Tory: I got sick far enough out that I was better by the first date but I was still only halfway through the antibiotics so I had to watch my drinking because beer would affect me much differently. I’m glad I caught it when I did because it could have easily affected my singing.
James: The videos you've produced in the past have been impressive to say the very least. While "How to Rob a Bank" showed off the bands sense of humor and ability to make fun of itself. "A Ballad from Hell" exhibited a darker, more sinister side to the bands personality. Can you fill us in on what went into the planning and execution of both?
Tory: Both videos were well thought out, but only one of them was intended for release.
Our video for “A Ballad From Hell” was initially shot as a music video for “Coast to Coast” that was never released. We didn’t want to simply scrap it so we made it into something just for us, leaving behind the initial plot we shot the video around. I’m going to keep that plot private because it’s interesting to see how this video has taken on a life of it’s own.
With “How to Rob a Bank” we wanted to tell a complete story, beginning, middle, and end.
It wasn’t just us doing everything though we needed someone to help us flesh it out, film it, edit it, and tell us if something wasn’t working; John Komar couldn’t have been a better to work with on that.
We also released a video for “Destroy My Love” that we filmed in a warehouse.
The song is actually the first song Those Mockingbirds ever wrote.
James: You also ran a successful campaign to get "How to Rob a Bank" on MTVU.
In all honesty, I had no idea MTV still provided a platform for music.
How did that opportunity come about?
Magic and a whole lot of fan support. We were up against some serious competition for the spot, including some bands we really liked prior to going into this like Red Fang, and
Steven Wilson. The Freshman competition was the first time I really felt the weight of our fans. They were the ones that tilted the scales for us.
James: Your EP "Fa Sol La" was released by "Star Beat". Are you working with any labels at the moment? When can we expect to see the album?
Tory: We are not working with any labels at the moment but we’re working hard to introduce this album to the world in the right way. We’ve already given away a few secrets, including the fact that cellist Daniel de Jesús from Rasputina guests.
James: "Coast to Coast" had been my go to song for so long, my wife threatened a cease and desist order to keep me from repeatedly singing the chorus.
Is there a song on the new album worthy of taking it's place? What are your favorites?
Tory: There is definitely more than one you’ll like. “Penny The Dreadful” is a different beast from “Fa Sol La” and also one that translates very well live. If you don’t walk out of one of our shows with a new favorite song I’ll sic some ferrets on you.
Photo: Shawn Arlington Photography
James: I think it's safe to say, you've had a trying year.
Tory: Oh yeah definitely instrument problems. With the exception of my five string electric, I've been playing on the same instruments for more than fifteen years. The glue dried up on the fingerboards of two of my acoustics and in one great act of defiance they just fell off. The big plus out of this year, were all the Helicore strings D'Addario thrown my way.
I've been making great use of them.
Instrument debacles aside this year has been full of so many highs and lows as a band.
I feel good about it though because most of this year was full of highs. We recorded our first full length album, won mtvU's "The Freshmen" because of our incredible fans, and did quite a bit of touring. We got a new van with working heat & A/C and in the same respect a new practice space with a window and working A/C. It's the small things.
As for personal problems, my cars comes to mind. Back in June, a man with dementia took his family's car out for a spin, only to total my parked car. Ever since then I've been trying to buy a working car. However, the universe had other plans. Including neighbors totaling my next newly fixed parked car and four months of loaner cars. When I sat "loaner cars",
it just highlights the fact that no one seems to be able to sell me one that actually works.
I'm glad to have been mobile and I did get to drive some sweet rides through all this. Including a brand new jet black Dodge Challenger. I recall thinking "Really, you're gonna let me drive this thing?" "That's how it is?" "You know, I do know how much this costs."
Those Mockingbirds will be performing this Saturday, May 3rd at Mexicali Live with
Trophy Scars, Science and NettyRose. For tickets, go Here
Montclair New Jersey's Those Mockingbirds are streaming the first single
"A Ballad from Hell" from their upcoming, yet to be titled debut full length on Soundcloud ClickHereto listen and download. For added visual stimulation, be sure to check out the song's You Tube video. James Damion
As I parked the car and headed across the street to the Clash Bar. I immediately noticed a small crowd of familiar faces. It had been a long time since I last walked through the doors of Clifton's favorite watering hole... and for the life of me, I can't think of one good reason why it's been so long. The easily accessible rock bar owned by former Let it Rock proprietor "BOB" has been a go to place for booze, rock n' roll and a laid back vibe that sets it apart from the handful of music related bars in the area. On this particular night we were all gathered to celebrate the birthday of our favorite Viking, Papa Reese. The Clash Bar was in such high spirits on this particular night that the gods, whoever they may be, had to look up to Harding Ave. for inspiration and instruction.
I made my way inside just in time for Those Mockingbirds. In truth, I might not have made the final push to get off my ass and go if it weren't for the message Adam Bird had sent me earlier in the day "James, be there if you can. Everyone will be amped with your presence."
I've become somewhat of an introvert these last weeks and it's shit like this that help me want to fight my way out of whatever I'm going through. I hadn't seen the band since the beginning of the year and to hear a mix of old favorites amongst songs from the yet to be titled upcoming album, including the single
'How to Rob a Bank'. In my history of show going it would seem that just about every band I've ever seen has a cover song they like to drag out. I've seen bands do this since day one and I'm all in for a good cover song to get the goosebumps bumpin'.
Those Mockingbirds rendition of Fleetwood Mac's "The Chain' is one for the ages. For me personally, it rivals that of Seaweed's version of 'Go Your Own Way'... and that says a fucking lot. One of the most remarkable elements of any TM set has always been the presence of Tory Anne Daines (Violinist / Keyboard). However, on this particular night, the level of confidence coming from her side of the stage cannot go without noting. She brings an extra element of sound to the band that helps to set them apart. It's good to see her basking in the glow. Those Mockingbirds
Reese Van Riper followed with their bluesy, whiskey soaked rock.
Birthday boy Reese had the whole place in the spirit. Making their Clash Bar appearance more than a show or a simple birthday bash.
Their set and the entire night took on the markings of a family reunion. I first met the band through the Tiny Giants Artist Collective and remember being introduced to their sound at the launching of of Lamplighter Magazine. Though it wasn't love at first site. The bands sound brought me back to the things I loved about soulful blues and whiskey soaked ballads. If memory serves, this was the first time seeing old friend and handsome guy Paul Beier (Pour the Pirate Sherry,
The Vapor Apes) on bass. The chemistry between Paul and Reese is instantly recognizable.
There was a lot of love for Reese and the band on this particular night. It was well earned, as far as I'm concerned. We all love the rock and live music. That much is a given. Seeing a band who puts their heart out on the stage while engaging everyone in the crowd just makes it all inclusive. Reese Van Riper
Throughout their set Reese took every chance he could get to warn everyone that if they didn't stay long enough to see and support the band Science. There would be serious repercussions. Punishments that would include beatings and public scorn on any and all social media outlets. Not wanting to have my tires slashed and my camera sodomized.
I decided to stay put and see what all the hubbub was about.
As the band set up I made the social rounds. Saying hello to some familiar faces while making friends with a few new ones. Before long Science had assembled and launched into their set. All the mouthwash Reese had been sharing about the greatness that is the band Science didn't even begin the describe the energy and electricity Science delivered.
I give major credit to Reese's threats for keeping me from sneaking away to my car and heading home. Comparing the bands manic stage energy to it's overall musicianship is like arguing the whole chicken or egg question. The bands set was amazing and the impact their performance had on me leaves me speechless. Science
This was a show I really needed to be a part of. As much for myself and just feeling about life in general as it was to help celebrate a friends life and the music that's being generated in this area. I'm going to be look back on this one as one of thse special nights for some time. I may be fucking old, but I ain't dead yet. James Damion
This past week I went to my first show of the year in attending Star Beat Music's first anniversary shindig at the Lamp Post in Jersey City. Though I had a shot at a last minute ticket to see Quicksand I wasn't quite in the mood to attend a big and somewhat impersonal show. I'm sure I'll have the chance to see them again when the weather gets warmer. Getting back to my night at the Lamp Post. I had gotten a message from my buddy
Adam Bird of Those Mockingbirds a few weeks earlier, inviting me to a "Secret Show'.
My mind immediately conjured up thoughts of some sexy loft show with suggestive lighting, fancy drinks served in knee high hooker boots and a cast of shady hipsters dressed in their best pimp wear. Upon hearing that it was being held at a tiny bar where the band is pinned between the bathroom and the kitchen door. Any such visions quickly faded. Regardless, the bands were excellent, the crowd responsive and the vodka tasted just as good in a glass as it would in a boot.
Melissa Luciolla
I got there just in time to see Melissa Luciolla open the nights event. Melissa, best known from Melissa and Paul, (One of New Jersey's most deservingly notable acts.) had been doing some solo work as of late and I was eager to listen to what she had to offer. Melissa's soulful, bluesy voice and inspiring guitar work was just what this old man needed to shake the cold off and get the late night off to a roaring start. You can check out Melissa's solo work as well as her Melissa and Paul releases and news here. melissaandpaul
Brooklyn two piece Hilly Eye followed and didn't really leave the best impression on me. After just a few songs I headed to the bar for a refill and some conversation with a few friends. Hilly Eye
Those Mockingbirds Adam Bird
Soon after, the nights secret band was revealed as none other than
Those Mockingbirds.
The band just finished recording their new album and performed a set that gave us a nice taste of what's coming. I really like this band a lot. They've got a great rock sound. One that seems to been completely ignored by FM radio for some time.
The band combines excellent hooks and rhythms with notable songwriting and structure.
The bands singer/lead guitarist Adam has excellent charisma and stage presence
(Though the Lamp Post lacks anything remotely close to a stage.) I always look forward to seeing them live. Can't wait to hear the new album. Band Site
Ralph Icastro of Boxed Wine
Putting the perfect end to an almost perfect night was Boxed Wine. I first heard about them through none other than a above mentioned Adam Bird about a year and a half ago. At the time, I couldn't decide if "Boxed Wine" was the worst band name ever chosen or the absolute best. I'm still kinda on the fence. Ask me any given day and you'll probably get a different answer. Regardless, Boxed Wine are an elixir to be savored and appreciated if not danced to spastically. As much as I loved the bands self titled EP See Review Here, the bands just released "Cheap Fun" EP is a nice step forward.
Prior to the bands set I had the pleasure of meeting the bands guitarist Ralph Icastro.
We had been friends on Facebook for sometime and had been exchanging pleasantries as of late. However, like it is with many of my acquaintances on social networks. I wouldn't know them if I walked past them on the street or if I had to pick them out in a lineup. Getting to put a face to the Facebook picture is always a step in the right direction.
Boxed Wine
As the band set up I was surprised by one thing. In listening to the bands quirky and very danceable rhythmic beats, I couldn't help but think I'd be watching keyboards, samplers and
Mac Books roll into the bar. While instead I watched in respectful awe as guitar, bass and drums began to fill the space. It was great getting to finally catch Boxed Wine in a live and intimate environment. One simply cannot be mad, sad or surly when listening to what this band has to offer. Pure mirth with nerdy melodies that would have even the grumpiest feet looking to spring into action. It was an extreme pleasure getting to come out and support these guys, no matter how cold it was outside. Congratulations to the bands and to Star Beat Music on their first anniversary; I can't wait to see what year two brings. Check out the new EP here Boxed Wine
See you guys when the weather gets warmer. James Damion
It was a year ago September when I first saw Those Mockingbirds perform at the Brick City Riot Festival in Newark, New Jersey. I was covering the three day event for Jersey Beat and experiencing many of the bands for the very first time. I recall standing in front of the stage. My energy sapped from hours and days on my feet and running between floors to catch the bands performing on two separate stages. As I stood there, Roz Smith of the
Aquarian Weekly, a woman I had just met hours before leaned forward and said,
"You're going to need to wake up for this." "Those Mockingbirds are really something else."
I learned two important things that night that have served me well since. 1. Roz Smith has very good taste in music. 2. A band can still kick some serious ass with a full time violinist in the mix. Since that night I've seen those Mockingbirds perform numerous times, had their record in heavy rotation and had a sit down with the bands lead singer. Still, Tori remained a point of interest. So one day recently, I reached out to the bands violinist/keyboardist to find out a little more about her background, influences and just what makes her tick.
Here's what she had to share. James Damion
James: Give me a little background on your involvement in music and how you became one of Those Mockingbirds.
Tory: I joined Those Mockingbirds back in 2009.
Our frontman Adam Bird called me up and asked if I could play keys, I said yes and showed up with a keyboard AND a violin. That's what I play in the band now. I initially didn't sing for this band either, in fact I wouldn't even get in front of a mic.
This is the first band I've ever sung in.
James: Most kids I've come across think it's their worst nightmare when their parents give them a violin to learn.
What led you to pick up the instrument?
Tory: My mother was an opera singer and because of that I didn't want to sing but instead play the violin, I guess I was a spiteful child. I chose the violin because I thought they were the coolest instruments played in the pit orchestras at the opera rehearsals I frequently had to sit through. When I was 3 I decided that I HAD to play that instrument and convinced my family I was ready for lessons. I was so excited I can remember my first lessons clearly, where I marched around the music studio proudly screeching out the note A, over and over.
James: What was the hardest part about learning the violin and how would you compare it to learning other string instruments?
Tory: Any fretless instrument is more difficult to pick up initially than a tempered one like a piano or guitar. Much of playing the violin is muscle memory, muscle memory you use to place your fingers on the fingerboard so they're in tune. It's called memory for a reason too- you really just have to play those scales and etudes to the point where it's automatic, and that will take years. When you learn to play the instrument in tune you can begin to manipulate the sound, like you would with your singing voice , by adding in vibrato, dynamics, and phrasing. When you get to that level you REALLY fall in love with the instrument, but getting there does take a lot of patience.
James: Did you have any specific artists, classical or modern, that influenced you or moved you enough to want to master it?
Tory: My mother and my Godfather, Michael Sylvester, really inspired me from the
get-go because they had already mastered their craft.
My Godfather used to sing the tenor roles at The MET in NYC, so when my family went to sit in on his dress rehearsals I used to sit and watch the violins in the pit orchestra.
Seeing good music on such a grandiose stage would inspire anyone. The bands that initially inspired me to play rock are the classics. Zeppelin, Fleetwood Mac, Bowie,... basically all those bands you need to play loud on your stereo to work through High School hormones.
It wasn't until college I really started listening to new bands.
James: Would you say you have a certain style or approach to the violin that others might not have?
Tory: When I was learning to play the violin I spent a lot more time shaping my sound than I spent learning technical pieces. If you listen to a lot of very good players, they'll hammer out some really fast pieces well but if you ask them to play a simple melody it will sound dry. I'm not trying to knock those players, it's really all in how you approach the instrument.
The fact that I can play a simple melody well and play technically sets me apart from many players, also the fact that I play in a rock band and use effects- but that's a given. As far as style goes, I'm a classical player with some Spanish influences.
James: You went from a student to a teacher. What was that like? I can't begin to imagine how rewarding it would be.
Tory: It's weird for sure... you spend so much time questioning yourself after your own lessons that when it comes time to teach someone else, you really have to flip a switch and be confident in what you have learned. The most rewarding thing about teaching for me is watching kids fall in love with music. When your young students have been working on something for weeks and finally get it, their faces are brighter than the sun.
James: There aren't many Rock bands that feature a violin player as a full time member. The bands that do feature them often wait for that epic ballad or swan song if they ever do include one. How do you approach playing it like a rock instrument?
Tory: It depends on what I think the song calls for. If it is a ballad, I'll write like it's a violin.
If it's a quirky song, I'll write like it's another lead guitar. If it's a hard rocker, I'll try and mimic some of the vocal lines- or I'll just pretend like I'm writing strings for Led Zeppelin's "Kashmir." Also bringing effects into the mix this past year has added a new level to my writing.
James: You have a very captivating stage presence.
I could be totally off here but you almost seem to take on a persona on stage. How do you see yourself when you're performing? How do you think you are perceived? How would you describe yourself off stage as opposed to what we see at a Those Mockingbirds show?
Tory: I don't think I necessarily have a persona, more so I'm just really happy. I'm kind of a stressed out person by nature but when I step onto a stage I leave behind whatever issues I have going on in my life and just play.
The stage is also a place for me to dress as I'd like to dress; I usually don't get the opportunity to wear a sheer cape and 5 inch heels teaching kids.
James: You also play the keys in the band. How much of a challenge is that and which do you feel is your stronger instrument?
Tory: The keys are a bit of a challenge for me because it is my secondary instrument.
I've been playing the violin for over twenty years and studying the whole time. I played the piano when I was a kid and really only picked it up again a few years ago in college.
James: A lot of people are noticing the band. The record received stellar reviews, your playing out on a consistent basis and you have a shot of getting on Letterman.
How has playing in the band affected your every day life?
Tory: Sometimes I feel like working for success in a band is as frustrating as trying to explain a circle into a square, and it feels good to get some positive feedback and to have new venues open up to us. Knowing that people really like what we're doing has made it easier to handle whatever comes at us.
James: I understand you'll be heading into the studios with Those Mockingbirds in a few days. What's in the works? Tory: We're heading up to New Hampshire in a week to track with Dean Baltulonis at The Wild Arctic Studios, with Howard Willing mixing the record. Traveling out of state and camping in studio to record is a first for this band. I'm really excited to work with my bandmates out of our element; with no work, no bills, just focusing on our music.
James: You recently stopped in at Hoboken's Water Music to record with Dyvekah. How did the opportunity come about? Tory: It's all John Agnello's fault! He texted me the night before the recording asking if I was available to track violin for an artist he was producing, and the next morning I was at Water Music Studios in Hoboken tracking with engineer Sean Kelly. It was great working with such talented people, John, Sean, Dyveke and great sharing the track with Steve Shelley, Heather McIntosh, and Tad Kubler. I had a wonderful time and I really can't thank John enough. James: Were you familiar with her work? I heard the two of you really gelled quickly. Tory: I had never heard of Dyveke before the recording and I really don't know why, because she is very talented! Dyveke and I got along really well in recording and became friends during the whole process. After the tracking was done, the whole lot of us at the studio went out for some drinks. Dyveke and I discovered that we are both terrible at pool, and that we both started out with classical training and went "dark side," writing and playing rock. I was surprised how well we got on and I wish that she was closer, not all the way out in Norway.
James: You mentioned earlier about the struggles of balancing the band with work, teaching and paying the bills. When your having doubts and wondering if it's all going to happen.
Is there someone or something specific that makes you realize that it will?
Tory: Nothing in the music industry is certain. If you're in this industry to make something happen, you're just going to let yourself down. There is no 'making it' and there is no miracle in signing to a label, there are just the fans and the music. I was born to play music and it's what I do, no matter how tough things are, I will always be playing music.
Upcoming Event:
Those Mockingbirds @ Asbury Lanes Friday Sept. 21st Asbury Lanes in Asbury Park, NJ
A blueprint for a good Saturday night: get a friend and head for the comfortable dinge of the Meat Locker, especially when there's a Tiny Giant showcase on tap. We were way early, so we found a bar and sat in outdoor Montclair for a beer. Construction zones, crowded sidewalks, diesel engines - an odd recipe for a moment's peace, but that it was.
By the time we got back, opener Science was just about done setting up.
Science; Image James Damion
Science made the most of their short set, quickly justifying their band name by showing a tendency to experiment. Each of their four songs toyed around with a different style, from
four-to-the-floor indie rock to chugging post-hardcore, all done convincingly. Tying it together were their blippy keyboards, pining vocals, and a steady backdrop of churning guitar. It was brief, but this was a promising performance from a band that only seems to be scratching at its musical identity. I'll be staying tuned to see what they do next.
Reese Van Riper; Image James Damion
The next act was described by my friend as "southern sludge pouring off a hot redneck's body," and I'm guessing Reese Van Riper & company wouldn't take issue. The Ringwood-based trio played some new songs from their upcoming record, which step a bit further towards the anthemic while preserving all their grime and swagger.
The familiar tunes, meanwhile, were absolutely towering. "Pitchfork" and
"Whiskey Queen" sound arena-ready. Reese himself was on as usual, imposing and charismatic, never missing a step. If you can, catch these guys at a bar. I felt displaced without a glass of bourbon in my hand, but, at least they were offering up beer-chicken at the merch table.
Meet Pause w/ Adam Bird: Image James Damion
Meet Pause were next. Their recordings bring an earnest, expressive sort of alt-rock, upbeat but with gravity ... the performance Saturday night had a different aftertaste. Leading man Scott Thompson came through the Meat Locker PA with a newfound snarl, and the band was loose, raw, happy-go-lucky. It was my first time seeing them, so I shouldn't say whether this is their usual live sound, but it's always worth noting when a band delivers something at shows that you don't get elsewhere. The new bassist looked quite at home on stage, as the band mowed through almost-sinister sounding versions of Cluster Cascade mainstays like "Coworkers" and "(Don't) Get the Fuck Out of Jersey." Adam Bird joined onstage for the closer, a surprise Cheap Trick cover ... why not?
Cinema Cinema; Image James Damion
Cinema Cinema is another band I had yet to see. This is a two-piece that fills the room with sound and drags you utterly into their set until it's done. First of all, Ev Gold's guitar-playing palette never seems to tire. The moment he's through with the bottomless bag of riffs, he turns out a left-field melodic passage here, a pitch-shifted squeal and groan there... it's unpredictable and beautiful. This was a good room to see them in, too. Gold's vox were tucked neatly behind the band, fighting vigorously for the top of the mix. Occasionally, when the music settled back, he'd slip into an Ian MacKaye-esque croon before charging back up, making their peak volume hit with satisfying chest thwack. If you like a loud band that gets both your blood and your brain going, Cinema Cinema are must-see.
Feudalism; Image James Damion
The penultimate group was Feudalism, one I've been wanting to catch since hearing their EP Consonance/Dissonance. By now I have got to be late to the folk-punk train, but, whatever - count me in.
Their reckless energy and downtrodden lyrics are a marriage worth witnessing first-hand. "Venture Capitalist" stood out best to me, highlighting the accordion/trombone combo as well as the mad-genius structural turns. All goes down with a self-aware grin. There's no gimmickry here... just a spirited live set that does their excellent music justice.
Those Mockingbirds; Image James Damion
And so, the closer. Every time I think Those Mockingbirds have reached a new level as a band, they grow again.
They took the stage at 1 a.m. and treated us all to better-than-record versions of their finest earworms, such as "Don't Stray," "Honest? Honest," and recent single "The Difference Between Love + Addiction." The highlight of the whole night might have been hearing unfamiliar TMB. "Salt" sounds like fresh ground for the band, a slick groove drowned in atmosphere, while in another still-untitled tune, frontman Adam Bird insists that "maybe we're both going to hell" - as far as I'm concerned, that might be their most memorable chorus yet. I'm still jonesing to hear these again.
Six bands played this one, and no two brought the same thing to the table. If nothing else, TG made the Meat Locker a playground for music geeks, with a lineup as diverse as it was loud. A majority of these groups have new albums in the works. You're gonna want to watch out for those. Darrel Norrell
New Jersey Rock Gods Those Mockingbirds have launched a very impressive new website. The site features News, info on shows, video, downloads and all the rocking' excellence you've come to expect from the band. Be sure to check it out and bookmark so you can visit on a regular basis. Tell 'em James from United By Rocket Science sent ya. James Damion
This Saturday Those Mockingbirds assembled at Hoboken's Tunes to play an acoustic set in conjunction with Record Store Day. I stopped in to say hello and listen in before heading to the city. I really enjoyed the intimacy of the set and the surrounding happy faces. The band has a brand spanking new single which you can listen to right here. Click below to download. James Damion
Adam and I had been talking about getting together to talk about the band and music for some time. Those Mockingbirds had been pretty busy touring and getting ready to finally release the vinyl version of their EP 'Fa So La' via Star Beat Music. It was the first time in years I had been inspired and intrigued by a straight up Rock band and to be honest, it kind of weirded me out. Being that I had seen them a few times and spent many a day with the chorus and tasty riffs of 'Coast to Coast' as my personal sountrck. I knew that this meeting had to nailed down. So on a windy day I headed up to Fine Grinds in Little Falls to finally sit with the man who's music had quickly become part of my every day life. The result was over an hour of good, caffeine fueled conversation that helped me get to know both the band and Adam himself. I'm really glad I had the opportunity. James Damion
James: My history with Those Mockingbirds only goes back to September of 2011 when I saw you for the first time at the Brick City Sound Riot festival. Can you fill in the blanks for me as far as how the band started and its evolution as to where you are today?
Adam: I had been writing some songs called up my friend who used to sing in Escape Engine and asked if he could play bass. I even called my ex girlfriends current boyfriend to play guitar because I knew he had been playing and wanted to start his first band. I wasn't really serious about starting a band. I just had some songs and wanted a band to be playing them. I wanted to take the band seriously but I just wasn't at the time. It was a strange situation. I knew I wanted to have a keyboardist in the band so I called everyone looking for someone with real piano ability. The thing is that being in New Jersey you'll notice that there's an endless list of trend bands. Everybody wants to play in a trend band. At the time the trend was having a keyboard with these single note runs and nothing else. That's what the keyboardist does. Either I couldn't find anyone or the ones I did find we so far on the other side of the spectrum that they didn't want to play in a band.
I decided to call Tory who I had just known randomly over the years. We weren't friends so to say, I just knew that girl Tory. She was going to music school so I asked her if she had any friends who played the piano. She replies "Actually, I play piano." I thought she only played violin but she tells me she's also playing piano now. "Cool, come on down to our practice."
So she comes down and she knows like two God damned chords. Something she had failed to let us in on before we invited her. So she tells me she's taking this "Piano101" course as a requirement and can basically do the bare bones shit on the piano. Wait, I'm not done. So she also brought her violin with her. She pulls it out and says, "Hey, look what else I can do!", "Oh, and I can sing too.".It was crazy. So basically it comes down to the fact that she really sucks on piano but she's really great on the violin. Here I am thinking to myself, "I don't want a fucking violin in the band." We're going to be the band with a fucking violin. Ultimately we practiced with her a second time and the focus of that practice was that she had to, had to play this one song on the piano or we weren't interested. Lucky for us she was able to do it so… she was in the band. In the beginning I had this fear that she was going to end up in the band and just be playing the violin and that really scared me. After Tory joined everything started to come together.
We put out an EP out with that first lineup and went on tour with it. We had the record distributed by Side Show Records and it was just a cool start for us. It was the way you'd want your band to start out. The EP debuted at #1 on the Amazon "Movers and Shakers" chart. It got us a lot of press early on.
After that we started to write new songs and were talking about putting out a single but the other guys in the band just weren't carrying their weight at all. They had mentally checked out. They just didn't like how serious things had gotten. One night after we had rehearsed I sat down and asked what was going on. I couldn't carry the band myself. I wanted them to be excited about the band. Before long, with the exception of Tory, they were all gone. It was a scary moment but I looked at it as a great opportunity because the casual nature in which the band started turned Those Mockingbirds into some that was too loosely patched together.
So we got Rob and that turned everything around for this band musically, professionally and business wise. He taught us about making decisions that were smart for the band on a long term instead of making decisions on impulse. To many bands today just say yes to everything. They'll play any show at the drop of a dime. When we stopped doing that we really noticed our band was drawing more and building an audience in New Jersey.
The big sold out show we did at Maxwells last month is a good example of that.
That show was a great success because we've decided to pick and choose what's best for the band. That was just an example to the kind of mindset that Rob brings to the band.
Our current drummer Kevin is a rock solid musician. I really can't say enough about him.
He's had a tremendous part in shaping this band. If Kevin had never joined the band I don't think we would be able to as accomplish nearly as much as we have as a band.
James: Tell me about the new single you're debuting. What inspired it? Is it part of a new record the band's working on?
Adam: The new song is called "The Difference Between Love + Addiction" its about the deterioration of 2 relationships in my life that were happening at the same time, but for different reasons. One ended for reasons based in love and respect, the other ended because it felt like an addiction and wasnt good for either party to be involved anymore.
We wrote the song when we were recording 'Fa Sol La', our most recent EP, but didnt finish it in time to include it on the record. We ended up playing the song live for the last few months, even performing it on Fearless Music. When we started talking about making the next record, which we are working on now, we found ourselves wanting to put something out before heading into the studio. "TDBL+A" felt like the right choice because it is the orphan in our catalogue. It wasnt written within a group of songs, it appeared live as the only "new" song we did for awhile, and it just felt right that it should be released into the world on its own as well instead of tacked onto a release with a group of songs it has nothing in common with. It's a loner and we hope it prospers as such.
James: How has being a part of the Tiny Giants Artist Collective and networking with other bands and artists helped Those Mockingbirds and of course, you personally?
Adam: Tiny Giants has been helping with all of that in the sense that it’s been giving me the chance to talk to other bands about what their struggles are and what they’re going through as well. Those struggles are such a big part of being in a band. It’s a lot like being in a relationship. When you’re in that relationship and you’re having problems you need to talk to friends about it. If you don’t talk about it, that relationship is doomed to fail. When you don’t talk about the issues you have you tend to feel very isolated and those problems tend to snowball. I feel that bands never talk about these issues they may be feeling. It’s the nature of the beast. Musicians might want to be private about their bands. Being able to talk to other bands and realizing that a lot of them about what they’re feeling is incredible. That communication goes a long way. In the least it makes you feel that you’re not so isolated in what you’re experiencing.
James: With all the genre and sub genre overkill music has experienced for what seems like decades. Pure Rock Music seems to have gotten lost or buried somewhere on the side of the road that is musics landscape. What was it that inspired you to start a band that was unapologetically ROCK?
Adam: It was a natural thing for me. Growing up, the first band I liked was Aerosmith. From there I moved to Sonic Youth, Nirvana and Green Day. Throughout my entire music education I always turned on to the bands that hooked me. Not until recently did I realize it but it was always the hooks. It’s not like I was shopping for NSYNC cd’s but I always appreciated the hooks in a good, classic pop song. I loved Fleetwood Mac and I loved The Bee Gees and certain ABBA song. I even loved Ace of Bass to a certain degree. I may have looked like a kid who listened to nothing but Nirvana but bands like the ones I mentioned had those hooks that I initially fell for.
The modern rock stations give you only one aspect of modern rock. They have a whole bunch on Nu Metal. My favorite bands have always been ones that hadn’t been defined by genre. They’ve always been genre-bending bands like the Smashing Pumpkins, Foo Fighters, White Stripes, Led Zeppelin, The Beatles. They put songs first. They added hooks and built a song around them. When I started playing in bands it seemed that every kid in Jersey was into Emo, Hardcore or Pop Punk. I wanted to like it because my friends were so into it but it was fucking stupid to me. I tried really tried like to like it. I love The Get Up Kids and a few Thursday songs but for the most part it was a pretty forgetful time for me musically. I found that I was still listening to the Foo Fighters and I was still listening to the Smashing Pumpkins “Melancholy and the infinite sadness”. Then I got into Soundgarden and The Melvins. I wanted more of it instead of changing gears to some other branch of the tree I wasn’t interested in. I started writing music in the sense of wanted to see where that early nineties rock sound could have gone. It could have gone the way of bands like Nickleback but for me that was the impotent version of what it might be. I wanted Those Mockingbirds to sound like a direct line or branch of the tree that created that.
James: I guess I'm a bit of an Independent music snob so it's not everyday that I cover a band like
Those Mockingbirds. You're one of a handful of bands I've heard lately that I can see getting a lot of attention from major labels. As someone who has always run with the "Corporate Rock Sucks" crowd, I wanted to know how you feel about signing to a major. Say, surviving as an Independent (hard work, no real money) VS surviving on a Major (harder work, making money for someone else).
Adam: It’s complicated because when it comes down to it, the band isn’t something that’s inaccessible. Know that, why wouldn’t we want the whole world to hear us? Any artist who says they don’t want the whole world to accept and appreciate what they’re creating is a fucking liar. If I told you something you wrote was going to be passed around to every one on the planet you’d be ecstatic. When you create art you’re doing it for yourself but you’re also doing it because you want to connect with other people.
There are definitely pitfalls with any label you sign with and the bigger the label the deeper the pitfall. But I understand what our band is doing and Matador Records is not going to sign us. We write Pop songs. The majority of what we write are Pop songs. Even our song “The Bloodiest of Gums” is a Pop song. There are a lot of labels out there that don’t mind if we write Pop songs. That’s what I write. It may be the bare bones of what it is. They’re Rock & Roll songs but I know there are a lot of labels out there that wouldn’t give us the time of day because of that. We’ve just got too many hooks in our songs. We’re the kind of band that has to be open to major labels because our options are a little more limited. There’s an entire network in place that are signing bands that are out of key and are playing Punk and dissonant stuff. It’s a juggernaut that’s been around since the 80’s and it’s awesome. It’s created some amazing bands, but it’s not for us. We love the music just as much but decided we heard stronger melodies in our heads and wanted to put something different out there. It just seems the window is a little more closed for us.
I honestly can’t think of a single indie label that has a roster of bands that sound like us. It’s almost to the point that we would almost have to consider a major label. Because if all I ever want to do is play music for the rest of my life. That may be my only shot at it. Saying no to a major label just because I want to be respectful to the indie community would almost be insane for me because there likely wouldn’t be any other option. With that said, I’d have to say I’m one of those people who’s goal is to leave the biggest fucking mark on the tree as possible. With every song that’s written and every extra ear that hears it. I’m scraping a little deeper into that tree and marking my place in history.
I feel that most art is basically recycled versions of what came before.
James: The way we make and share music is forever changing. Here you are a musician who's been around long enough to experience those changes as they were happening. What are some of your thoughts and how have you adjusted to the way things are being done?
Adam: It was frustrating for me at first. People in my age group (twenties to mid twenties) The Internet didn’t play as much of a role when we were first coming up and starting bands. There was a set path that we had seen for generations. Then as soon as were getting ready to put out our first records, everything collapsed. We had to figure out how to do things an entirely different way.
James: You've spent a lot of time touring and away from home. What do you think are some of the keys to surviving on the road? Getting paid, keeping your sanity in between shows and staying physically healthy.
Adam: The best way to make sure you get paid or at least insure the chances you will is to make sure you book with a promoter that supports touring acts. If they are you’ll know they’re going to do their best to pay you. It’s also to your benefit to take care of those things ahead of time. Don’t show up the day of and tell the promoter “Oh, now we need gas money”. Get a confirmation. Get it in writing or through an email and know that at the very least they’re going to take care of you at the door. So if there’s an issue two months down the road you can print that email and show them. Money is the last thing people want to talk about. No one wants to talk about money.
On the subject of physical health, Forget it, you’re going to get sick. Everybody gets sick on the road, end of story. Think about it, you’re on the road, you’re eating shit, there’s absolutely nothing I can offer as to how to stay healthy physically on the road.
Maybe I’m weird but when I go on the road I feel healthier mentally. I’m not surrounded by the daily bullshit of my everyday. Over time you start to miss everyone you love but that’s about it. I always bring a few books out with me. I try reading and meeting as many people as I possibly can whatever show we happen to be at. Have conversations about the area and learn about the town or city you’re in. Those are natural things to do that later on when you’re in your 70’s you could be that crazy Grandfather that happens to know everything about every city on the East Coast. That’s how you find people like that. It’s because they didn’t have phones or ipods attached to their ears everywhere they went. I have this opportunity to be visiting all these little cities all of the time and really experiencing them on a regular basis.
James: When you're starting out and you're on tour. Most of the people who come to the shows are there to see the other bands and probably never even hears of Those Mockingbirds. Is there anything you do to engage the crowd or grab their attention? How do you go about leaving your mark on the crowd?
Adam: For me it’s all about breaking down the walls of communication between the band and the audience. Letting them know that we’re not pretentious. You’ve seen the way I conduct myself when I’m playing a show. I try to take little aspects from what I’ve seen work. There’s a lot of talking and being funny involved. A lot of getting to the crowd, if that means throwing myself to the floor, so be it. If it works for the World Wrestling Federation then why not. The best way I can out it is; you have to sell the song as much as you possibly can. We played this one show in Atlantic City that had these open windows at the side of the stage that went into the other room where the bar was. During the break in “We’re Animals” I climbed through one of the windows to the other side by the bar while still playing my guitar. Everybody fucking loved it all eyes were on me but when I climbed back I got stuck. I couldn’t fucking get back to Mike. So for the rest of the song and the rest of the set Rob and Tori had to sing. As funny and embarrassing that was… it worked. Everyone remembered that. So anyone who was there that night is going to remember that set. Even if it was that one incident, we still stood out to them. We weren’t just some random Rock band who played our songs and left.
We were playing a show in Scranton the other day and there was this girl was up front, center stage on her cell phone and her Facebook for the entire show. Didn’t look up once. If you want to be on Facebook, fine. Go fucking home. Why are you even here? I’m realistic though. It’s cool if you get a call or shoot a text. I check my FB during the day, but I don’t sit there on it all day. Check your messages later. Not when the band is playing. This girl paid to get in to the show. Why is she sitting there on her Facebook? On most occasions, if a crowd is unresponsive at first I can connect with them if I try hard enough. This girl was open to that.
James: As artists we can't be on the stage 24/7. We can't always be writing that song or coming up with that killer riff. As a photographer and writer I often have a very hard time dealing with myself and the people around me when I'm not being creative. How do you deal with the down time?
Adam: I try to talk about whatever issues I’m having. Talking about the things that are bothering me with the people I trust. The only way I know how to get past it is to let that thought process take itself to an extreme and as you start to dig that hole deeper and deeper I start to realize where things are going. That alone can help calm me down. I wish there was a set way to deal with things but that’s how I deal with it. I might force myself to work on a song or just distract myself with something completely unrelated. It’s really fucking tough and I wish I had a better answer as to how I deal with it.
James: I've been to a few Those Mockingbirds shows now and to be honest a lot of the focus on the band is directed towards you and Tori. You being the frontman and Tori being this goddess behind the keyboards or rocking out on an instrument that isn't exactly prominent at Rock & Roll shows.
Tell me a little about the personalities and the chemistry in the band.
Adam: Rob is very much our patriarch. While I may be the emotional leader of the he band, he’s by far the brains. Our drummer Kevin is probably the most levelheaded in the band. If he feels something’s wrong in the band, it probably is. If he thinks it’s a good idea we’ll usually go with it. He’s the no nonsense guy in the band who when he speaks up he really has something to say. His opinion holds a lot of weight and he’s really earned that. Our guitarist John is in a sense our comic relief guy. When John and I are together our IQ’s drop drastically. He and I have the dumbest sense of humor. Toilet humor is classy compared to what we come up with. He also happens to contribute a ton of that
Rock & Roll approach to the band. He loves bands like At the Drive Inn and the Mars Volta. He comes from a slightly different spot than the rest of us in the band. He’s really well rounded when it comes to what he’s into. John’s the go to guy when it comes to bringing those edgy elements into the band. Where as Kevin and me pretty much listen to all the same influences. Tori is everybody’s little sister in the band. We pick on her pretty badly.
James: I’ve only known you for s short time but I think its safe to say that you’re a fucking character. How do you think people see you?
Adam: I think when people don’t really know me they consider me to be a dick. As soon as they get to know me they’ll know me for the rest of their life. Throughout my entire life people have always said they were intimidated when they met me. Not that I was intimidating in a physical way. They somehow felt I had this threatening nature about me.
James: That’s how I felt.
Adam: I’ve heard it my entire life and I never understood it. Anyone that’s gotten past that and became my friend never felt that way again. They saw me, as I am, this loyal, funny dude.
It’s made me go a really long way to be very blunt with positive things from the very start. I will go a very long way to break down certain social barriers that certain people aren’t ready to deal with. The other day I got together with an old friend I hadn’t seen for a year or two. We were sitting there and she asked me “Why did you call me anyway?” It made me think that anytime I meet somebody that reminds me of someone from my past I’ll immediately make it a point to reach out to that person. I guess I still haven’t really figured out the connection between who I really am and who people think I am; but I’m getting there. The more I’m understanding that. The more I’m putting it to my use.
James: That leads to my follow up and final question. How do you see yourself?
Adam: I’m hyper aware of coming across the wrong way. I think I purposely cut through a lot of formalities with people. It works for some and for others it doesn’t. I know that I’m not out to hurt anybody. I’m a really levelheaded person. I have a pretty big fucking mouth and I’m very opinionated but as opinionated as I am. I’m also one of the most open-minded people you’ll ever meet. I’ve been swayed on many issues I thought I was right about because I was willing to listen. That’s something that I have a hard time balancing. Balancing the idea that I always think I’m right with the fact that I might not always be right. I’m brash, confrontational and opinionated but I don’t see those things as negative characteristics. I’m just willing to speak up. People who are willing to listen and at least give me the time to see that I’m not an asshole; That I’m actually basing the things I say on intelligence will probably end up being friends for a very long time. A good example of that is that I’m close friends with any girl I’ve ever dated. Everyone I know thinks that’s the weirdest thing in the world. It’s because I’m willing to meet in the middle ground with just about anybody in order to make a relationship work. Be it friendship or what have you. That sums me up.
