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David Croley Broyles blasts off with his energetic rock anthem, “Hot Water,” a powerful two minute rock jammer that he wrote for the critically acclaimed feature film Ham on Rye, a coming of age story about a bizarre rite of passage at a local deli that determines the fate of a generation of teenagers. 

 

“Hot Water” is Broyles’ first solo release and the first with his indie label, Major Six Records. He produced the track with Ham on Rye director Tyler Taormina and Jackson Wargo (Snowball ii), who also engineered, mixed, and mastered the song. This is the first solo release by Broyles after writing and performing with LA acts The Planters, Cloud, and Winter. Having shared the stage with the likes of Luna, The Relationship, DIIV, Broncho, and played historic venues including The Troubadour, The Roxy, and The Echoplex, Broyles brings a storied musicianship to his songwriting, and we’re thrilled to experience his newest work.

 

The compact song starts with an unforgettable “Yeah!” that ropes the listener immediately in. With thumping drums and driving guitars, the song is an irreplaceable rock anthem for the ages. It has an insane guitar solo that, paired with revelatory chorus harmonies, makes this track an instant classic. It’s like an amped up sister song to Big Star’s “In The Street” and sounds like it would have come out of a Led Zeppelin jam session. 

 

Broyles portrays the character of Ollie in Ham on Rye, who is seen driving his brother and friends to the all important prom-like event, all while blasting his “Hot Water” song throughout the neighborhood. “My entire character was created after principal photography… we knew we needed more energy in the film.” Broyles spent a few days rummaging through Hollywood’s various wig shops for the perfect – but not too expensive – wig. The rest is history. Ollie’s memorable “No milk in the car!” line in the film is sure to earn its place in cult film circles.

 

The writing of the song came easily for Broyles. “When we filmed the scene, we  played along to Misty Mountain Hop by Led Zeppelin. But we knew we couldn’t afford to license the song, so when I got home, I sat down and channelled the energy of the film.” Though the song wasn’t a sure bet for the movie. “I initially played the song for Tyler on the piano and the acoustic, but he just wasn’t buying it. It wasn’t until I fully demoed out the song that he was won over.”

 

Broyles’ artistic skills go beyond the guitar: in addition to acting and composing  “Hot Water” and other trailer music for the film, Broyles produced and first assistant  directed the picture. Ham on Rye is the first feature film from Broyles’ collaborative production company, Omnes Films. The film is a true independent project, shot for under $30,000 in roughly two weeks. It has gone on to capture the hearts of filmgoers and critics alike, with K. Austin Collins of Rolling Stone praising the film as “one of a  kind and completely unforgettable,” and Glenn Kenny of The New York Times calling the film “impressive” and “poignant” in his Critic’s Pick review. It was listed as one of The New Yorker’s best films of 2020. The film toured festivals throughout 2019 and was released in 2020 via Factory 25.

 

The music video for “Hot Water”, directed by Broyles, features a hilariously massive band behind Ollie, and most notably a cameo appearance by Brian Bell of Weezer. Broyles says, “I always wanted Brian to be in the video, but I figured he wouldn’t be interested, so like a fool I didn’t bring it up. Happened to be that the day we were shooting, he asked me what I was up to! So we got him over as soon we could and shot his bit after everybody had left. It was meant to be.” Bell, hearing the music, comes out of his trailer and immediately demands someone sign the band.

 

It all plays into Ollie’s fantastic aura. “We had to take the idea of Ollie’s band to the audacious end. Of course he has two drummers, two bassists, two keyboardists, four guitarists, a banjo player, percussionist, horns.” The lively music video also features clips from the film projected on an outdoor screen, jokingly playing off music videos like Nickelback’s “Hero” from Sam Raimi’s Spider-Man.

 

Broyles says that his Ollie character is “larger than life.” And we couldn’t agree more. “Hot Water” is just the beginning of this exciting chapter for Broyles, who shows us just how much talent he has with his first single. He plans to release a lot of music under his solo act and label, including another rock & roll song “Alright with Me” early this year. And there are plenty more films from Omnes Films on the horizon. For someone as talented as Broyles, we’re delighted to see where he brings us next.

Upon hearing the sprawling, shimmering music on The Wirelight’s Megaturquoise, you’d be forgiven if you think it to be the work of a well-established rock band. In actuality, The Wirelight is the recording nom de plume for Atlanta-based musician Lewis Beard, who combines singer-songwriter profundity with studio ingenuity on an album that represents nothing less than a tour de force.

Perhaps it’s no surprise then to hear that there was a protracted gestation period for this album. “I’ve been working on Megaturquoise probably way longer than I’d like to admit,” Beard says. “I guess I got going on the album in mid-2018. The problem was I got so much better at what I was doing while making this album that I had to keep going back to the first couple songs and patching them. It was kind of like a snake eating its tail.”

Although the playing on the album is about 90 percent Beard, he did reach out to certain specialists for help with some of the more ornate instrumentation, like trumpet or banjo. “Most of my songs start out with myself on acoustic guitar,” he says. “But once I hear it, it’s like there’s so much more that I can do with this. I don’t just want to record a two-track song with my vocals and guitar. These songs sort of ballooned out into much more than what they started out as in every single case.”

While you can hear the acoustic origins of many of these songs in their early moments, they rarely stay in one place for long. Moody strumming in tracks like “Part Of This” and “Everything’s Cool” eventually give way to crunching electric guitars. “Mostly Rain” incorporates Americana touches like steel guitar but morphs into a Beatlesque bridge. And Beard is particularly proud of the massive closing track “Cardinal Red,” which seems to throw everything but the kitchen sink into the mix while maintaining cohesion.

“For me to cobble together a song that’s five-and-a-half minutes long felt like an achievement in itself really,” Beard says of “Cardinal Red.” “Once I realized that I had these multiple tiers in it, it became a quest to see how big I can build up a song, before I can dial it all the way back. It has two big cresting waves in it. It’s so big, so long and so dramatic, I don’t know how I could ever play it live. It would need ten people to play it.”

Lyrically, Beard manages to tap into emotions that are both strikingly personal and big-picture relevant, with an overriding sense of wistful regret hanging over everything. “When the end comes, there is no communion/Everything breaks down, everything bends,” he sings on “Bend.” “You were the closest call, and now you’re gone,” laments the narrator of “Miss You.” And the album’s final lines seem to sum up an entire generation’s doubt: “All the best things we intend/Now I don’t know.”

Beard honed his craft even as a teen, when he first received an acoustic guitar and gravitated toward the creative side of music. “I started writing songs almost immediately, which I’ve since learned is not that typical,” he says. “For me it was like I don’t even want to learn covers that much. I want to write my own stuff. I like music so much, so I want to write my own. I’ve got demos and notes and songs from me at age 15 that are just fucking terrible. But they do exist. I got going pretty early.”

After playing in a variety of bands and releasing music sporadically both solo and with others, Beard feels that, with Megaturquoise, he has reached a new level in his career. “I think it’s a matter of confidence,” he explains. “I’ve become so much more confident in my songwriting. At this point, I feel like I can sit down and write a song and feel pretty good about it. For a long time, there was a lot more second-guessing about it. Like ‘Oh, is this melody any good? Does this have any legs? Is it going anywhere?’ Now I feel like I know what I’m doing more than I ever have before. That’s a pretty big step forward for me.”

And he’s also OK that the album took a while to create. “I think it’s a double-edged sword for sure,” he admits. “It can be a lot. But I think the ultimate outcome was a good one because I’m more proud of this stuff than anything I’ve recorded before.”

Besides this wonderful new album, the other good news is that Beard feels we won’t have to wait so long to hear more from The Wirelight. “Eight songs in three years every time won’t get you anywhere,” he laughs. “Hopefully, this is just the liftoff point for more expedient recording in the future.”

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