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Indy Week – Drivin’ N’ Cryin’: How veteran bands once on large record labels can recharge by launching their own
Scott Hill never minded making substantial sacrifices for Fu Manchu, his iron-willed California stoner rock band for the last quarter-century. In the late ’90s, after several popular albums for Chapel Hill label Mammoth Records put Fu Manchu on the path toward the radio and larger stages, Hill finally sold his successful car repossession business to fund the band’s full-time touring commitment.
“It was the only company like that in Orange County, around where we lived,” remembers Hill. “I did pretty well selling it, so I was able to invest the money.”
Fu Manchu has been active ever since, releasing another album of loud, languid rock every few years and outlasting several sea changes in the recording industry itself.
In fact, in 2009, Hill and his bandmates made another deliberate decision to put the band’s finances and future in front of their own personal priorities. This time, most of the profits they took in from touring and selling merchandise went directly into a savings account, meant not only to pay for the recording of their next album but also its release. Century Media, a large metal label with offices in California and across Europe, had offered to release Fu Manchu’s latest album, but after two decades, 10 full-lengths and six labels, they finally decided to do it all themselves. Their own At The Dojo Records issued Gigantoid, the band’s most vibrant and risky effort in years, in late April.
“A record label has done everything for us every time. We wanted to take a chance and do it ourselves, to see if we could do this,” he says. “It takes a lot of work, but between the four of us and a manager, it’s not that hard. We know what to do.”
As the record industry continues to search for stability in an age of decreased sales and increased streaming, more veteran acts like Fu Manchu are turning to the notion of self-releasing their music. Without the substantial recording advances of previous decades but with the cheap duplication and distribution methods of cassettes, compact discs and the Internet, bands with established audiences can take control of their release schedule and take responsibility for letting people know they still exist. READ MORE…
Get the lowdown on how Baby Robot Media hometown favorites The Head, ZONERS, Pillage & Plunder and Gringo Star will be spending their summers in this week’s Creative Loafing Atlanta…
Summer is here, which means it’s time to kick out the jams and beat the heat with some local music. This week, eight Atlanta rockers weigh-in with what they’ve got going on this summer.
The Head has been hard at work on two new singles for this summer. Mitch Easter (R.E.M., Pavement) is producing one, titled “It Ain’t Easy,” and Big Star drummer Jody Stephens is producing the other, titled “I’m Lost.” The group is also playing as the house band in the Georgia Shakespeare’s production of One Man, Two Guvnors throughout the month of July.
Zoners‘ song “Take It Back” was recently added to rotation at Sirius XMU. This summer the group, which includes bassist and CL Art Director Wes Duvall, will be recording, touring, and shooting a video directed by former CL music intern Kelly Stroup. In September, the group is heading to LaFayette, Ga., to play Andy Ani Male Meltasia Music Festival (Sept. 5-7) alongside Black Lips, Curtis Harding, and many more. Party in the woods!
Pillage & Plunder recently premiered a new track on Absolute Punk, titled “Keep Dreaming (It’s Not Gonna to Happen),” from its forthcoming LP, The Show Must Go Wrong. Since then the P&P crew has been working to finish up its first music video from the new album and preparing for a pre-album release regional tour in June. An extensive late-summer tour will coincide with the album’s release.
Gringo Star has signed a deal with Waxploitation Records (Gnarls Barkley, Danger Mouse, Broken Bells) to rep the group’s entire catalog. To celebrate, the Gringos are hitting the road for a 15-date summer tour around Brooklyn’s Northside Festival on June 14. The group also recently received the masters for a new 7-inch due out later in the fall and is finishing up the remaining songs for the band’s fourth album.
Under The Gun Review interviews City Tribe’s Duncan Nielsen about the band’s forthcoming LP, Undertow (out July 29), and offers a first listen to new track “Green Eyes.”
City Tribe are a fantastic band when the listener’s end goal is to be sent into a blissful wave of melodic trust. The band paints a picture through the music with soothing delivery, whilst not being so mundane that the noise is lost amongst mediocre competitors. Today, Under The Gun brings you “Green Eyes,” a number off of the band’s debut full-length record, Undertow, which is due out July 29. The song is a passive, clairvoyant track, that gives the listener just a mere taste of what is to be expected from this band’s full-length effort. LISTEN HERE…
City Tribe
Bio
The new record from San Francisco band City Tribe rolls in triumphant, as if a cresting wave—the open hi-hat the sound of the surf, the vibrant harmonies classic California beach music transported instantaneously to the indie-pop now, re-imagined, resplendent. Pounding toms give way to a hypnotic yet eager bassline and blasts of spring-reverb Stratocaster, unfolding iconic visions of the Bay-spanning Golden Gate Bridge and, alternately, the raw and wild beauty of the Northern California coast. There’s something opulent yet primal about the way the voices of co-lead vocalists Duncan Nielsen and Jacob Jones coil around each other, as if each a sparkling strand of DNA. Their melodies seem excavated from some long-lost Paul Simon classic. In more contemporary terms, they’re a Vampire Weekend for the West Coast.
On the band’s debut LP, Undertow (out July 29), there’s a striking balance between two moods; a pensive, fog-shrouded turn for every blissful hit of Sunshine pop. And through it all, the band submits willingly to the vibe, being carried by the current of the music spilling out of them. “Undertow really reflects being pulled under by a force you can’t see or control,” explains Nielsen. “To me, it’s about being overtaken by something.”
For Jones, the album’s title references a very specific memory from an evening the band spent at Butterfly Beach while on tour in Santa Barbara. “It was getting dark,” he says, “and there was this swell coming in—this powerful undertow. It was so strong it was bouncing these big boulders along, and there was this tense feeling being in the water there. I related the physical experience to a mental state—uncertainty. Having rocky times, being unsure what’s going to happen, and feeling that same tension and pull in your life. But I’m not just talking about a depressed feeling—there was this hectic thing going on in the water, but at the same time it was so beautiful on the beach.”
City Tribe formed in 2010, though its roots go back a few years earlier to 2007, when Nielsen and Jones were a couple of young musicians kicking around Santa Barbara. They cut their teeth playing riff rock in a post-hardcore band, with Jones—who hadn’t really learned to play guitar yet—on lead vocals, and Nielsen—who hadn’t really learned to sing yet—on guitar. But the group was short-lived. By the end of the year, both went their separate ways, Jones to San Francisco and Nielsen to Berkeley, losing touch in the process. After a few years, though, Nielsen, who’d always wanted to live in the city, ended up in San Francisco, too. And as it turns out, his new apartment was just four blocks from Jones’.
So the two former bandmates started playing together again, this time stripping down to acoustic guitar and vocals. Both had come a long way, musically, and found they had a particular knack for locking in on vocal harmonies. Once they’d written some songs, they got a gig hosting a monthly show at John Colins, the downtown bar where Jones worked, and City Tribe was born. The night—curated by Nielsen and Jones—was billed as Dig Music, and fast became a showcase for top local talent. Before long, they added electric guitars, and expanded from a duo to a quartet, recruiting their old Santa Barbara friend Eric Wallace on bass as well as drummer Scott Tarango, and in 2012 recorded a self-titled EP.
“Playing those big music nights at John Colins really gave us a jumpstart,” Nielsen says. “It got people excited about the band, motivated us to write new songs, gave us time to get tight, and allowed us to connect with just about every good band in town.”
When City Tribe finally broke beyond the bar scene, they began playing with respected artists such as Rachael Yamagata, and getting booked at legendary venues like San Francisco’s Great American Music Hall.
In late 2012, the band underwent a personnel change when Tarango departed and was replaced by current drummer Cody Rhodes, whose meticulous, inventive playing is rooted in marching-band fundamentals and jazz improvisation. “Cody is always innovating,” Nielsen says, “always tirelessly looking for fresh ideas. He’s probably the most talented musician in the band.”
Rhodes fell in seamlessly with the fluid, tasteful bass playing of punker-turned-jazzhead Wallace, providing a simpatico rhythm section for guitarist and melodic mastermind Jones and lead player/principal songwriter Nielsen.
The lineup once again solidified, City Tribe began sessions for their forthcoming debut LP, Undertow, in May 2013. The album was recorded by Andy Freeman at Faultline Studios and historic San Francisco jazz studio Coast Recorders, as well as Freeman’s home studio. The band cut everything almost entirely live, standing in the same room together, and the album’s nine tracks showcase City Tribe’s penchant for spontaneity and their prowess as a live band.
The result is pure Highway 1 music. A soundtrack for Romantic California. Which is only natural, considering every member of City Tribe was born and raised in the Golden State, save for Jones who—while originally from landlocked Phoenix—says he often spent childhood vacations at Southern California beaches and bolted for the Coast as soon as he turned 18. He and Nielsen love to surf, and Wallace is a skimboarder.
“We’re watermen—we love being out on the ocean,” Jones says. “If I could live on a boat, I’d do it. If I had enough money to buy a sailboat and sail down to South America and surf all the way down, I’d be there in a heartbeat. And so would the rest of the band.” For now, City Tribe will have to settle for the fact that, with Undertow, they’ve created the sonic equivalent.
Links
Paste premieres City Tribe’s new song, “Wildflower” off of their debut LP Undertow
San Francisco band City Tribe has been together since 2010, but lead vocalists Duncan Nielsen and Jacob Jones first played music together in 2007, testing out sounds with a post-hardcore band. When this project fizzled out and the two went their separate ways, serendipitous circumstances found the pair living a few blocks away from one another years later, and the two tried again: this time, though, scaling back to just vocals and acoustic guitar. LISTEN HERE…