The Goodness

I had an interesting conversation with my boyfriend the other day about what "emo" really means.  It is very often that we hear people say things like, "I'm feeling emo today so I'm going to listen to Fall Out Boy."  Statements like that seem to drive us music lovers crazy.  So while sitting at dinner, my boyfriend and I talked about the characteristics of "emo," so I have compiled a list for you about the myths of emo.

MYTH NUMBER ONE:  Emo bands wear makeup and nail polish

The first band that comes to mind when thinking about makeup and nail polish is My Chemical Romance.  My Chemical Romance is NOT emo!!  Their first album, I Brought You My Bullets, You Brought Me Your Love, is somewhat close, but everything else is not.  Don't get me wrong--The Black Parade was a great album.  Everyone I know has gone crazy for "Welcome to the Black Parade" since sixth grade, but My Chemical Romance is basically pop punk with makeup.  Honestly, the best I'll give them is "mall emo," which is music that you would hear at Hot Topic.

MYTH NUMBER TWO:  A band is emo if they make you emotional

This is a tough one because emo is short for emotive, so to be fair, the term "emo" is overall very subjective, which is why you see bands falling victim to the stereotype more often than they should.  But let's consider music as a whole for a minute.  Think back to when you were younger, when you were first appreciating the theory and composition of music.  What was the first song that made you cry?  I don't remember mine, but it was probably something by a Classic or Baroque era composer.  Do my emotions make G.F. Handel emo?  Even though, like I said before, the decision is technically subjective, stylistically Handel is not emo.  So what do I mean by stylistically?

The definition, in terms of style, changes depending on the "wave of emo."  Emo wasn't even a term in the '80s, so the first wave of emo was the early '90s, when it was pretty much punk music.  The second wave came in the late '90s and was much different than the years preceding.  This wave was more quiet but had more complicated guitar parts.  And finally, the early 2000s was close to being pop-punk without really getting all of the way there.

MYTH NUMBER THREE:  "They're emo because they SCREAM in their songs"

The biggest reason why the above statement is a myth is because over the years, people have attached characteristics to emo music simply because they didn't know what emo was and probably just wanted to sound cool.  Screaming should have never been associated with emo.  The screaming that kids were probably actually referring to was metalcore screaming, which is in its own genre completely, which is fine because I'm not touching that with a ten-foot pole.  Think of it this way:  A band that has an excess of emotions is not going to scream in the way that A Day or Remember or Converge does.

MYTH NUMBER FOUR:  If a song has a heavy guitar, then it's emo

We're at the one I have been waiting for, and it's is another one where I have absolutely no idea where it came from.  The guitar has been a staple of music since the 1950s when rock and roll first hit radios.  Years and years of development eventually led to guitars producing heavier sounds from different pedals and fuzzboxes.  With all of this in mind, how does a sick guitar make a band emo?  The Rolling Stones weren't and never will be emo, and the same thing can be said for Led Zeppelin and Jethro Tull.  All-American Rejects, even though they had very few heavy guitar parts, still managed to make it onto some emo lists, along with Pierce the Veil and Escape the Fate.  I don't really understand the All-American Rejects one, except for the fact that maybe people thought they were emo due to their look?  The Pierce the Veil and Escape the Fate one is easier though... scene bands have commonly been confused with being emo.  If you aren't sure what "scene" is, think of the girls who shopped at Hot Topic and wore plaid skirts, awfully layered and colored hair, peace signs with their tongues sticking out, and very heavy eyeliner.


I know, I threw a lot of information at you, and if you're unfamiliar with this topic, you're probably a little overwhelmed.  I have seen so much of this lately, though, with the early and mid-2000s being so far away now... people are "reminiscing the days of 'emo.'"  Just thought I'd nip it in the bud now while it's still relevant.


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Zodiac

My boyfriend's band Mom Fight released their first EP a little while back, and everyone around us has been pretty stoked about it.  Hailing from Central Jersey (I'm not arguing--Central Jersey EXISTS), this band has provided everything needed to set the record straight in the hardcore scene.

[Photo: Mom Fight]

Hardcore is known to most as "screamo" music, a phrase that grinds the whole genre's gears.  The technique of hardcore is quite more complex than that.  Screaming is usually referred to as the vocal technique used in metalcore.  The yelling that is used in hardcore typically has more of a growl in it.  However, these are just basic generalizations.  One of the best things about hardcore is there is no "right" way of performing.  If you listen to "Under Duress" by Converge, and then to Mom Fight's "Destroy," you'll notice major differences in the sound and vocal style of each band, even though they classify themselves under the same genre.  It's very important to a lot of these bands to sound different from other groups in order to retain individuality.

Mom Fight underwent major changes this past summer.  Not long before they started recording their debut EP, lead vocalist Joe announced his departure from the band.  "It saddens me to say this but I will no longer be the vocalist of Mom Fight," Joe wrote in the official statement.  But as they say, the show must go on, so my boyfriend, Nick, assumed the role of vocalist, while continuing to play the guitar in the EP recordings.  His unique vocal and guitar styles, Evan's heavy bass levels, and Steve's relentless drumming, each characterize the songs in different, yet complementing, ways.

Last year, I sat down with former bassist of Flammable Animals, Pat, and discussed their EP.  After getting such a great response, I have decided to do the same here to provide a true feel for what Mom Fight was going for with this record.  Here's a piece of Vacant with Nick.

Pat's 2016 Interview for 'All These Wolves'

You guys, back in February of 2016, released two sets of two-song demos.  On Vacant, you only recorded two songs from the demos, "Pain Within" and "Destroy," and then wrote three new ones.  What made you not include the other two songs in the process?
When the time came to pick songs to record, we wanted to pick the songs that best represent Mom Fight at the moment.  The three newer songs that made it on the record were the obvious choices.  The two demo songs that were picked were picked because they meshed best with those three songs, resulting in a cohesive EP.

Were the three new songs written before Joe left, or did you group together and come up with those once the thought of an EP crossed your minds?
Joe had written only a handful of lyrics total for the three songs, "Ren," "Zodiac," and "Songbird."  Most of the lyrics were improvised during the gigs we had, and gave me his blessing to write over anything he had previously come up with.  The day before tracking vocals, I rewrote the songs entirely, creating themes out of the working titles we had chosen already.

Which was your favorite song to record both vocally and/or instrumentally (remember, Nick does vocals and guitar)?
For both instances, "Ren" was my favorite to record.  For the vocals, even though it wasn't the first song I tracked on vocals, it was the first song I got to see take shape with my lyrics on it.  I felt as though the lyrics sat on top of the instruments so naturally.  As for guitar, "Ren" was the first song that we tracked as a trio, and it was also the first song that we really experimented with to get the tone that we desired.

What about live?  What song do you love performing the most?
I think "Songbird" is the most fun for me in a live setting because my vocals mimic a really cool rhythmic groove in the instruments.

Is the answer the same for what you'd love the audience to hear?
I think the answer's the same, but the reasoning is different.  There's a certain way I want the audience to perceive us, and I think "Songbird" does that best.  It's dark and heavy, but also somewhat chaotic. It doesn't sound like a stereotypical hardcore song--it's heavy in its own way.

This was a short interview, but I only wanted to give a brief view from their end, rather than just always throwing my opinion out there.  The EP is available on Bandcamp and Spotify.

Eldorado

I am writing this post as I am lying in bed.  These cold days and nights are somewhat weakening, making the nighttime a place to unwind and get into a different element than you were during the day.  I have spent most of the night just hanging around, but as I usually do, I went on Spotify to listen to some relaxing instrumental music.  Some include Disney/Disney-Pixar scores, Alan Silvestri, etc...  But since I have been listening to the same songs for a few days now, I looked elsewhere to find nighttime comfort.  The biggest go-to for me is Electric Light Orchestra.  Jeff Lynne's chilling yet soothing vocal effects, his use of orchestral accompaniments, and transitions between tracks, are all perfect for submitting your mind into a different thought zone, allowing for the dismissal of problems and situations of typical every day life.

Despite these feelings of content and satisfaction, I am never one to listen to an album straight through.  I get distracted and will end up pausing and skipping to the tracks I love the most.  But my tiredness got the best of me tonight, and I did what my dad has been telling me to do for a month:  I am listening to ELO's Eldorado from beginning to end with no interruptions.

[Photo:  Electric Light Orchestra]

It's an album I've known my entire life, but knowing each song individually is different from knowing them all as one piece.  The opening track "Eldorado Overture" flows unnoticeably into the second, "Can't Get It out of My Head."  So unnoticeably, as a matter of fact, that when you are listening to the vinyl, you  would think it is one long track.  So unnoticeably, that when you are listening, your heart and time somewhat stop ticking.  But unlike some other heart-stopping music, your heart doesn't begin again at all until the album is over, and it's only because of the realization that it's over, and life doesn't actually flow that way.

The whole album has one main theme, and the songs are connected somehow, whether it be by the overture or the song before, it almost feels as though you are reading a book.  I have noticed a lot how several albums don't have something tying all of the songs together.  Either the songs are too different in sound or meaning, or they could even all sound too similar, blending all of the pieces together so no songs stick out.  A common occurrence with ELO is balance between differentiation and similarity between tracks.  While "Boy Blue" and "Nobody's Child" sound different within, what connects them is their similar intros (they're also several tracks away from each other).

The album comes to a faded end, with the second to last track being "Eldorado," which is much slower than some of its predecessors.  But once again it transitions flawlessly into the final track, "Eldorado Finale,"  which is symmetrical to the overture; the beginning of the overture is the end of the finale, and the end of the overture is the beginning of the finale.  Lay down, close your eyes, and listen to this album (with headphones, not earbuds) from beginning to end with no interruptions.  It will almost feel as though you are watching an opera, each song presenting a different scene with different emotions being presented and provoked.  Even though there are different emotions, the whole opera makes sense because of one ongoing theme and message.  And if Jeff Lynne and the rest of ELO did not do a phenomenal job of this, then maybe music isn't the field for me.

Christmas in L.A. (... in June)

Funk music peaked in the 1970s with bands like Kool & the Gang and CHIC, who both centered their music on bass lines and even fused the genre with disco.  Recently, there has a been a funk revival that is represented through bands like The Meters and Snarky Puppy.  Leading this revival is the Michigan-born band Vulfpeck.

Vulfpeck is currently considered one of the best and most original funk bands.  Rather than sticking with classic elements of funk, they shift between adding different pieces of jazz and soul, giving their work a unique take on the timeless genre.  A large portion of their songs are instrumental, which represents how talented they are.  All of their songs, both instrumental and vocal, showcase all of the elements equally as to not mask the abilities of the band members individually, along with how well they mesh together.

[Photo:  Vulfpeck]

Very minimalistic, each member and their respective instrument play their role and their role only in the songs.  In "Game Winner" from their 2015 album Thrill of the Arts, singer Charles Jones and guitarist  David T. Walker feature in the song.  The two of them, with Charles also on the rhodes, gives the track a gospel swing.  While the track can appear to be too packed with elements, everything from the synth to the background vocals are distributed evenly, leaving no room for confusion, only room for complete amazement.

The group's talent does not stop at instrumentation and delivery.  They seem to be masters at strategically placing samples throughout their songs.  In "Game Winner," leading out of the bridge with the line "Give me the ball," there is a sample of a basketball swoosh.  Also, the one-minute-long instrumental track "Walkies" on Thrill of the Arts has a dog bark sampled alongside a groovy bass line and a rhodes.

"Christmas in L.A." was first released as an instrumental track on their 2014 EP Fugue State.  The same track was used on Thrill of the Arts, except this time with vocals and the most Christmas-y instrument of all--sleigh bells!  The vocals are often sung by featured artists, however on this track it is sung by Vulfpeck drummer Theo Katzman, who happens to have the perfect funk voice.  The track is also backed by some more gospel-like vocals, giving them a funk-soul fusion.

Vulfpeck is available for purchase and streaming everywhere because they're awesome.  I HIGHLY suggest listening to their albums and EPs in tracklist order.  I mainly say that because "Welcome to Vulf Records" (the first track on Thrill of the Arts) will get you extremely excited for the rest of the album.  The track has an insane piano introduction that really just screams "Opening" and "Listen to me first!"  Listening to it first will only benefit you in the end... I'll place that song below for your convenience.

[Courtesy of Vulfpeck on YouTube]

Purple

Joe Parella, Chris Donofrio, Jon Rodney, and Jozii Cowell may not be familiar names now, but if you wait around a little bit longer, you will know them as the successful and up-and-coming group, Deal Casino.  This alternative rock band has formulated a sound that is unique to them, rather than conforming to the norms of the genre.

[L-R:  Joe P., Jozii, Chris, Jon / Photo: Cody Cutter]

Between 2014 and now, Deal Casino has held residencies at the most popular venues at the Jersey Shore--specifically Asbury Park--quickly earning them recognition as one of the hardest working bands in the scene.  All of their hard work has paid off, giving them a whopping 612,000 streams of their song "Anything That's Bad" on Spotify.  And if that wasn't good enough, their songs have been streamed on Spotify over 1.5 million times.  With a following as large as theirs, what is it about Deal Casino that has drawn so many people in?

Over the past five years, the band has recorded five EPs:  Cocaine Love, The Runaways, Heck, Nika, and their most recent, Human Cannonball.  All recorded at Asbury's Lakehouse Recording Studios, their team includes audio engineer Erik Kase Romero and producer Jon Leidersdorff (aka the owner of Lakehouse).  It is not uncommon for bands to venture into different studios with different producers and engineers to help release their work.  With Deal Casino, however, keeping things consistent has definitely helped their sound naturally progress and mature.  Since the beginning, their recordings have achieved a polished sound, despite their desire to have them sound as if they are live recordings.  For a four-man band, they put out a sound that is well-developed, rich, and are as high in quality as any monumental rock band.

One of my favorite songs by them is "Purple" off of Human Cannonball (the new video was just released so I'll post it below for your convenience).  The song is lined with country-like guitar licks between the stanzas, and pulled together with "Ol' '55" Eagles harmonies in the chorus.  While their musical style is no where close to that of a southwestern / country rock band (like the Eagles), they have strategically placed elements of those genres in their songs.  "Panama Papers" (my personal favorite) has obvious '70s and '80s rock influences, with blaring guitar bends throughout the chorus as well as in individual parts of the song.  The guitar existence in all of their songs is very prominent, which was a common characteristic in 1970s music, regardless of genre.  "Bare Hands," from 2015 EP Nika, the guitar in the chorus and second verse has a groovy vibe, which when followed by "Purple" on a playlist, it is apparent that their signature style has merely just matured, rather than changed

You can purchase their EPs Heck, Nika, and Human Cannonball on iTunes, Amazon, and Bandcamp, as well as stream them on streaming services.

["Purple" Official Video / Courtesy of Deal Casino on YouTube]