Makeup For The Silence

The digital home of music writer Jesse Richman

Makeup For The Silence

Tag: cartel

Simple Math 2015: Simple Math Is Dead; Long Live The Gospel According To Saint Me

Simple Math 2015: Simple Math Is Dead; Long Live The Gospel According To Saint Me

Veruca Salt – The Gospel According To Saint Me

In October, a catastrophic hard drive failure cost me my entire iTunes library – more than 85,000 songs collected over just shy of two decades. (Really! I started building my digital library way back in 1996, with live Husker Du bootlegs acquired from online trading communities and handfuls of punk and ska rarities downloaded off of sketchy FTP servers.) It doesn’t seem recoverable, not without a small fortune, and very possibly not with one either. I haven’t quite decided if I intend to try and rebuild or not. The real value of the collection was the stuff that can’t be found online anymore (or ever); the parts I could replace are the parts that it might not be worth replacing rather than just resigning myself to streaming from now on instead of ownership. Fortunately, my life has been far too busy to spend time worrying about, or even contemplating, what to do.

Not that iTunes would have been much use for my tallying this year’s Simple Math anyway – over the last few years, it’s largely become an archive of non-digitally-accessible tracks and a repository of star ratings, something to track what I’ve listened to and whether I’ve liked it, but not how much I’ve listened to it. And the one thing it was most useful for – keeping track of which albums I listened to over the course of the year – fell by the wayside when I ceased to add albums to my library post-crash. Meanwhile, my Spotify “Year In Music” feature didn’t, so far as I can tell, include anything I played offline, and certainly doesn’t include anything I loaded onto my account locally. And my, by dint of not scrobbling Spotify plays on mobile, is essentially useless in providing any kind of accurate stats about my listening this year.

Even if I were able to get accurate stats, I’m not entirely sure what I’d find – this year has been one of change and upheaval, and my listening habits have been as chaotic as the rest of my life. The latter half of 2015 saw the bittersweet end of PropertyOfZack; a relocation from the urban hum of New York City to suburban south Florida; a farewell to six years of steady employment and a hello to a whole lot of question marks; and, six weeks ago, the birth of the most beautiful baby boy in the whole world*. Heck, truth be told, I’ve probably listened to more lullabies – played via Lionel’s sleep machine, by way of a decade-old iPod – in the last month than music the rest of the year combined.

The bottom line is that, after a four year run, the yearly tabulation post I’ve been dubbing Simple Math is, for all practical purposes, dead.

That said, Makeup For The Silence has, from the start, been about music and storytelling and the places where those intersect. And if 2015 is the year I stop quantifying the music side of the equation, it is also the perfect year to shine a light on the storytelling I’ve done. While 2015 marked the end of PropertyOfZack, it also saw me making my presence felt more than ever at Alternative Press, as well as opening up new doors at Myspace and the Broward-Palm Beach and Miami New Times. And though things are currently a little to busy to focus on pitching elsewhere, I’m hoping that 2016 sees my writing finding its way into even more new spaces.

But it wasn’t just my reach that grew this year – I think I’m more proud of the writing I did in 2015 than any year prior. So, instead of recapping my musical stats, I thought I’d instead share some of the highlights of my year behind the keyboard. Welcome to The Gospel According To Saint Me. It’s gonna get loud; it’s gonna get heavy.

It Just Isn’t Like The Old Days Anymore – Mayday Parade [Alternative Press Magazine 328 / November 2015]

My first cover story for a national publication would have been the highlight of my year in any year. Mayday Parade, pop-punk’s ultimate play-it-safe band, bucked all expectations by growing darker and more daring at the exact time when most career-minded bands would have dialed back on the Risk-O-Meter. I suppose the jury is still out commercially – though it’s hard to imagine the band’s camp wasn’t disappointed by the precipitous fall-off in album-over-album sales, the band’s first in three outings – but Black Lines is an artistic triumph, and I think I did justice to the story of the album’s genesis.

Sting, Bon Jovi And More Help Celebrate 80 Years Of Overtown Legend Sam Moore [Miami New Times]

Writing for the New Times might not come with the paycheck or the prestige of other publications, but the access it’s granted me to big-name artists from across the pop spectrum is priceless. This year I had the good fortune to chat with everyone from piano-pop legend Ben Folds, to Emily Haines of Canadian indie heavyweights Metric, to up-and-coming tropical house DJ Bakermat. But none topped interviewing Sam Moore, one half of Sam & Dave, the voices behind “Soul Man,” “Hold On, I’m Comin’” and a dozen more hits that defined the sound of Memphis Soul at the turn of the ‘70s. I don’t really have a bucket list, but if I did, chatting with a member of the Rock And Roll Hall Of Fame would have been near the top.

Crawling Towards the Sun: The Hush Sound’s Bob Morris Starts Again, Again [PropertyofZack]

It’s easy to forget that 90% of the hot new buzz bands you’ll have served to you on a platter this year will be the ones flipping the metaphorical, and often literal, burgers a decade from now – talent (and, often, fanbase) be damned. Morris is back with a new project, Le Swish, but he’s also got a new outlook on life and some new ideas on where and how music should fit into it. His story isn’t unique, but you might think it was for how rarely it gets told.

SXSW Wrap-Up: These Things Happened. These Things Mattered. [PropertyOfZack]

South By South West is a strange chimaera, a beast of many looks that serves many masters, but it often only gets photographed from its “good” side. Truth is, there’s a lot more than happens at the industry’s yearly bacchanal than the anointment of next big things and the grousing of never-will-bes. There are other stories to be told and, while they’re not sexy, they’re frighteningly easy to find. But when the hype-makers are the ones charged with creating the official record, they develop a nasty habit of only recording what’s hyped. SXSW is so much more than anyone seems to talk about, and it deserves better treatment. With what will be a 3-month-old son, I’ll be missing out on SXSW 2016, but you can be sure my heart will be there, in all the corners the cool kids aren’t.

Andrew W.K. Isn’t Partying Hard Anymore, He’s Got Too Much Else Going On [Myspace]

Conversing with Andrew W.K. was everything I could have imagined it would be; the man is a whip-smart deep thinker and a master of introspection, and better yet, he uses his powers for good. It felt almost criminal to have to edit down Wilkes-Krier’s soliloquies on art, feeling and life into interview-sized snippets.

Start Today: Bad Religion [PropertyofZack]

Bad Religion aren’t only foundational figures in SoCal punk and stalwarts of the current scene, they’re a remarkably consistent machine that’s churned out excellent album after excellent album for more than 30 years. That voluminous output makes their catalog as intimidating as it is deep, and made them the perfect candidates with which to launch our Start Today feature.

Matisyahu Spent The Past Five Years Discovering His True Self [Broward-Palm Beach & Miami New Times]

When your bizarre musical schtick is just a reflection of your unusual real life, what becomes of your career when that life drastically changes? It’s a question to which Matisyahu’s fanbase is still working out the answer, even if the man himself seems more certain than ever of who he’s supposed to be.

10 Things You Should Know About Phoebe Ryan [Myspace]

Pop singer/songwriter Ryan’s star is on the rise, but with only an EP to her name to date, it doesn’t seem that anyone has really plumbed her backstory yet. There’s nothing groundbreaking in our conversation, just some fun and revealing anecdotes that I haven’t seen told elsewhere – and really, isn’t that what this is supposed to be about? Sometimes the workaday pieces are the ones you’re happiest with.

Matter Of Time: A Chroma Q&A With Cartel’s Will Pugh [PropertyOfZack]

I first saw Cartel live in 2004, opening for Brandtson and the Rocket Summer in support of their debut EP. The full length they were writing at the time, Chroma, would top my very first Yearly Top Ten list in 2005. I’ve interviewed Will before, but sitting down with him before the band played that album in full, on occasion of its 10 year anniversary, felt especially significant. What followed was a marvelously candid discussion of not just the album’s stratospheric rise, but the band’s slow and steady descent over the decade that followed – one that’s landed them at a true career crossroads today.

Links to everything else I wrote this year after the cut.




Live Performance Previews:

Other Music Writing:

If you enjoy these, as always, you can find a complete archive of everything I’ve written on the Clips page.

*every new parent says this about their child. All of them are correct.

POZ Interview: TEAM



TEAM is Caleb Turman of Forever The Sickest Kids’ new band with a rotating cast of other musicians you know and love. We’ve been hearing about the supergroup for a while now, so PropertyOfZack Senior Writer Jesse Richman decided to sit down with Turman from the band and Will Pugh from Cartel, who has been involved in writing and producing the new EP, for a new interview at South By South West this past month. 

We spoke with Caleb about the birth of the band, finally a date for a new release, a hiatus time for Forever The Sickest Kids, and more. Will also spoke up about taking the year off for Cartel, a ten year Chroma tour, and future plans. Read up on everything below!

Can I get your name and what you do in the band?
CT: I’m Caleb Turman, I play guitar and sing.
WP: I’m Will Pugh, I guess I produce and play guitar.

Read More

The first of my SXSW interviews is up. There will be something like 14 more of these coming in short order – keep your eye on the Clips page and I’ll keep it updated.

Wipe That Sad Sad Feeling Away Mix cover art

Wipe That Sad Sad Feeling Away Mix

Wipe That Sad Sad Feeling Away Mix cover art

I really haven’t forgotten about this blog, I swear. Just, you know, sometimes the urge is there, sometimes it’s not.  In the meantime I thought I’d post another mix.  This is one I made for a good friend a few months ago; she was feeling down one night, and I decided I was going to make the ultimate cheer-up mix for her.  She seems to be much happier lately, so naturally, I’m going to take all the credit 😀

  1. Smile – Vitamin C
  2. Dr. Huxtable – Mercy Mercedes
  3. Luckie St. – Cartel
  4. Just Stop Believing – Lady Gaga vs Journey
  5. Sir Duke – Stevie Wonder
  6. The Motown Song – Rod Stewart
  7. Hot Air Balloon – Owl City
  8. Don’t Worry Be Happy – Bobby McFerrin
  9. The Life Of Riley – The Lightning Seeds
  10. Omfggzz We Like To Party! – Nickasaur!
  11. World In Fascination – Machine In Motion
  12. Good Stuff – The B-52s
  13. Higher And Higher – Jackie Wilson
  14. Three Little Birds – Brendon Urie
  15. Lovely Day (Gap Remix) – Ben Liebrand
  16. Killin’ It – Foxy Shazam
  17. Skin And Bones – Motion City Soundtrack
  18. The Rainbow Connection – Kermit The Frog
  19. Lullabye – Fall Out Boy

Also, credit to Jessie for the drawing I stole for the cover.  She’s a phenomenal creative talent, I strongly encourage you go check out her work, you won’t be disappointed!

(click to download)

Fuel – “Nothing”

Fuel – Nothing

I went to see Frank Turner play an in-store tonight at Generation Records.  If you follow my blog closely (I’m pretty sure nobody does, and I couldn’t blame you) you’ll remember that Frank’s Sleep Is For The Week was one of my Top 10 Albums of 2007.  I discovered him via a tour he did with a longtime favorite artist of mine, Jonah Matranga, and the subsequent split 7″ they released.  Frank’s solo career was just getting off the ground then; I believe it was one of his first solo tours after parting ways with his hardcore outfit, Million Dead.

Since then, he’s released two subsequent albums (the most recent on Epitaph) and has played to progressively bigger audiences, opening for folks like The Gaslight Anthem. He’s actually in NY right now in the midst of a tour with Flogging Molly.

All that said, I was still caught off guard by the size of the crowd that turned up to the in-store; had to be well over a hundred folks in attendance. I guess the secret is out, and I’m happy for Frank, I can hardly think of an artist more deserving (for one, this was – by his count – the 801st show he’s played since going solo four years ago).  But as always, it hurts a little to have to share your secret treasure with the world.

Along with Andrew’s post earlier today, it got me thinking a little. I’ve never really been a collector of musical stuff. Sure, I had a massive CD collection, but that was because it was the only means to the end of having all the music I wanted to hear. As soon as the world moved on to MP3s, I dropped the CD like a bad habit, and I look forward to the day where all the music on earth will be streamed via always-accessible wireless connections and I don’t even need to own an mp3 collection and a storage drive. So I don’t really have much in the way of “proof that I knew them before…”

One thing I suppose I do have are my Top 10 lists and other blog posts. I guess those prove, in a timestamped way, that I was there first. There are some fun ones on my lists, from my inclusion of Frank’s first album on my 2007 list, to Cartel’s Chroma topping my 2005 list pre-major-label rerelease, to Vampire Weekend’s “blue CD-R” making my 2007 list a year before their real debut set the blogosphere abuzz. And if you want to go real far back, check this Livejournal Entry from 2003 after a show featuring Minus The Bear touring behind Highly Refined Pirates and My Chemical Romance on their first national tour, the opening act on a four band bill.

But the truth is, I catch on to a lot of stuff early just because I eat new music like a fat kid eats cake, and often go to more shows in a week than most folks go to in a year.  It’s just a numbers game. What REALLY stands out isn’t the number of bands I’ve discovered before they were cool – it’s the number of obscure acts I’ve found (and become a huge fan of, and crowed about loudly) who went on to be massively UNCOOL.

Where does it get me that I was head-over-heels for local-boys-done-good Live’s Mental Jewelry, two years before “Lightning Crashes” would become a smash hit, propelling Throwing Copper to the top of the charts and somehow inspiring (tragically) a generation of midwestern mooks to pick up guitars and launch bands like 3 Doors Down and Hinder and Daughtry (who actually appeared onstage with Live during his American Idol run)?

Do I get cred for having been crazy into The Shamen’s En-Tact before they became UK rave-pop radio superstars?  Am I cool because Our Lady Peace’s Naveed has been one of my favorite albums since I was 14, when I paid $30 for an import copy since it hadn’t yet had an American release, seven years before “Somewhere Out There” became a radio rock staple?  How do I cash in on the fact that I own (and loved (and still love!)) Fuel’s self-released Porcelain EP?  That I was really really into Jewel back when she was playing coffeehouses?  That I saw The Higher open for Rufio in a video arcade, and later attended their Histrionics CD release show opening for Taking Back Sunday?

Do I have to rewrite history to pretend that none of these ever happened?  Do I need to pretend that I don’t still love some of the above-named, and that all of their music still holds an important place and special memories for me?  Being honest means I can’t have it both ways, I suppose. Really, I’d rather own it all anyway. I have no shame.


(feat. track – Cartel – “Save Us (Alternate Take)”)

So for the next 4 days I’m going to post my Top 10 lists from the past 4 years, along with one cut from my choice for top album of each year.  Remember, these were the lists as I made them at the time.  In retrospect, there are a lot of great albums from some of these years that I didn’t discover until later, and some of my choices haven’t held up, but that’s the danger anytime you try and make a list I suppose.  These things naturally change over time. So consider these lists a snapshot of my view on each year in music, right at the conclusion of that year.

So with that said, my Top 10 Albums Of 2005 (originally published Jan 2006)

Top 10 Albums of 2005:

10. Bloc Party – Silent Alarm
9. Mae – The Everglow
8. Gratitude – Gratitude
7. Bright Eyes- I’m Wide Awake It’s Morning
6. Bob Mould – Body Of Song
5. The Rocket Summer – Hello Good Friend
4. Fall Out Boy – From Under the Cork Tree
3. Adam Richman – Patience And Science
2. Gatsby’s American Dream – Volcano

and the number one album of 2005 is…

Honorable Mentions:
Alkaline Trio – Crimson
Coheed And Cambria – Good Apollo, I’m Burning Star IV, Vol. 1: From Fear Through The Eyes Of Madness
Death Cab For Cutie – Plans
The Higher – Histrionics
Marathon – Marathon
Maria Taylor – 11:11
The Mountain Goats – The Sunset Tree
Pitty Sing – Pitty Sing

Song of the Year:
Maria Taylor – One For The Shareholder
Death Cab For Cutie – I Will Follow You Into The Dark

(I should also note, I’m cheating just a tad here.  The version of Save Us I posted was originally recorded for Chroma, but it was later rerecorded in a different key.  My understanding is that vocalist Will Pugh couldn’t sing it in the original key night after night without shredding his voice – listening, it should be pretty clear why, and also clear why this version not only destroys the album cut but might also be my favorite thing Cartel has ever done).

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