Articles

Random Effect Nova Show Review, By: Andrew of (Innuendo Entertainment)

UnderSound — Mon, 23 Apr 2007 03:44:00 GMT

On Saturday, March 10 I had the pleasure of watching Random Effect perform
on the world renowned stage at The Norva. The club, with a capacity of 1450,
had an audience indubitably in attendance to see Random Effect. As soon as
the lights went to a black out everyone’s attention shifted from their
drinks in hand to the four twenty-something’s on stage. It was at this very
moment that the band became more than your typical local act and transformed
into captivating performers with endless appeal.

Energy flowed off the stage and into the crowd for every minute of their six
song set. Moreover, the band wasn’t afraid to interact directly with the
crowd; even sharing high fives and handshakes after the performance. It was
clear the passion the members have for their music and they made sure
everyone in the venue was aware. Random Effect offers a unique combination
of various genres and an unforgettable high energy live show that will leave
audiences of all make-ups lingering for more.

Andrew (Innuendo Entertainment)

Truck Returns! By: Gerard Golden

UnderSound — Sun, 25 Feb 2007 01:05:00 GMT

Truck Returns By: Gerard Golden

     Newsflash bitches, guitar driven rock is back. Virginia Beach based
TRUCK has unleashed their new CD unto the world, and here at 
the Undersound we are grateful.

   There's nothing straightforward about TRUCK's musical sound. It's 2 
parts punk, 1 part reggae, and one part something else. It's quite 
evident that this isn't your typical rock band. In fact, one lead 
singer isn't good enough for TRUCK. Jeremy Lasley and Pat Lonning trade
off the duty of lead vocals. Pat's voice is a raw, powerful, nasal 
based voice that nicely compliments Truck's pop punk sound. His voice 
evokes comparisons to Sum 41, The Living End, and the Descendents. 
Jeremy, on the other hand, sounds like the love child of Barry Manilow 
and Rob Danzig. His voice is perfect for the more laid back, reggae 
sounding songs.

   The stand out track of Truck's new CD is "Monkey Dust". And no, I 
have no idea why it's called that. It begins with a funky, soulful bass
line and ends with raging, distorted guitars. Lead guitarist, Joe Graves's 
guitar solo is a salient masterpiece. Joe's rig includes 10 different 
pedals that boast a cornucopia of sounds. His multiple pedals create a 
very versatile and distinct tone. In fact, Joe's guitar rig speaks 
seven different languages including Farsi and Arabic. When he's not in 
the studio, Joe's guitar has been known to broker peace treaties 
between Israel and Palestine with its blistering solos.


    I had a chance to sit down with Eric Lonning, the drummer of the 
band, and talk about Truck's new CD.

G- How long has Truck been together.

E-We've been together several years, but the current line up with 
Jeremy Lasley is only six months old.

G-How would you describe your sound in your own words?

E- All of our songs are very different, which is bad when trying to 
categorize the band, but the upside is that there's something for 
everyone to enjoy.

G-Who would you say is your biggest influence?

E-We draw most of our influence from Nickelback, but I would never go 
so far as to say we're nearly as great.

G- And now your serious answer?




E- 311, MxPx, Goldfinger, Alkaline Trio, Unwritten Law, and Blink-182

G- What's your favorite song on the new album?

E- "There's always something" is the most fun to play drums to.

G-I noticed that the new album promotes a homosexual agenda. Any 
reason why?

E-The answer to that question is in my pocket; why don't you reach 
in and grab it?

The Genius of Savion Glover

UnderSound — Sun, 28 Jan 2007 02:34:00 GMT

“The Genius of Savion Glover”

Out of sheer luck last night I stumbled upon musical genius. I received a call Thursday afternoon from my wife, asking if I’d be interested in seeing a tap dancing show on Saturday night with her teaching buddies. Half heartedly, with no clue of what to expect, I said “Why not?” I mean the tickets weren’t even going to cost anything.

Walking up to the Ferguson Center in Newport News our group of six start to build up some anticipation. We now realize the artists name is Savion Glover, and we find out he has recently done choreography for the computer animation movie Happy Feet. Following our crowd and not paying any attention to where we were going, we suddenly pop out in the dead center of the front row of the theater. We quickly take notice of the thousands of people behind, jealous of our real-estate.

Minutes later the ten-piece orchestra begins to play, and a slim, tall, African
American man, with dreads appears on the stage. (Whom I didn’t recognize.) Wasting no time, he jumps on a mini stage with his feet moving faster and more precise than imaginable. Since we were so close to the stage and his feet were moving so fast, we could literally see the dust rising around his shoes. Covering the stage at such an intense rate, he became drenched in sweat before the first song was even over. The enjoyment he expressed on his face, the perspiration that poured from his body, and the movements that seemed to naturally flow through his build to create the vibrations beneath his feet, showed us that he was completely submerged in the music he was performing.

This is when I realized that what was going on almost in reaching distance before me was sheer musical genius. My eyes had finally cut through the razzle-dazzle and picked up on this artist who was entirely submerged in the music, becoming the complete rhythm section for a whole orchestra. Suddenly my perception changed of him from simply a dancer to a drummer and performer. His feet would accompany the hyper violins and then he would some how find his way into a hip-hop or rock beat via mouthing and moving his hand to the high-hat click. While Glover’s taps were precisely accompanying the complex music, he was then theatrically telling the story of the classical movements being performed with his body and facial expressions. He was accomplishing all this while sliding about the stage keeping the crowd in awe. Savion Glover peaked the show out by having improvised sessions with each of the musicians on the stage to a jazzy, almost Middle Eastern rendition of “Stars Stripes Forever 4 Now.” To conclude the night, he brought out a saxophonist, pianist, and drummer. While the entire band/orchestra was playing the improvised version of “Stars Stripes Forever 4 Now,” Glover began orchestrating horn lines and hits with his feet and vocal cues. The whole band accompanying his movement came to a jumping halt as his feet directed a conclusion. BAM! The concert was complete and the crowd was on their feet with a standing ovation.

I honestly believe God put me in that front and center seat of that amazing concert for a reason, and I know it will totally effect the way I play and perform music from here on out. But that is what artistic genius does and is. It has the mystical power to change minds, break barriers, and motivate. I have no way of telling whether that genius act was witnessed by everyone in the audience or me alone. However, I do know one thing; that “tap dancing guy from that movie Happy Feet” will have a direct impact on my musical future.

New! Still Pink Album..... By: Heraldo Golden

UnderSound — Thu, 14 Dec 2006 02:05:00 GMT

Opening with soaring guitars, Still Pink's "Airing" springs to a start with
a driving sense of momentum before slowing to a steady melodic drift. Like
their Indy-Rock forbearers such as Modest Mouse or Christie Front Drive,
Still Pink evokes the imagery of a space odyssey. From the initial blast-off
of "Out the door" to the sublime, weightlessness of "Stay" this album is a
journey through the cosmos.

To heighten this sensation I recommend listening to "Airing" through
headphones. The vocals, volume, tones, and overall mixing is complimented by
the dual stereo of headphones. "Airing" is the perfect travel companion for
red-eye plane rides, or back-seat car trips.

Fall Fresh Music By: AJ BUbba Some Old Jank for the Seasons

UnderSound — Tue, 24 Oct 2006 23:14:00 GMT

Fall Fresh Music

By AJ Bubba Johnson

I classify myself as a summer person, so when October and November start to approach, I normally begin to become a little depressed. It gets colder, darker, and for some reason I always seem to gain some beer belly pounds. But this fall I have a different outlook on the change of seasons. To be honest with you, I’m actually kind of excited.

I get excited because the music world seems to mimic the world around it. Music gets a little darker, but like the leaves on the trees, musicians’ minds seem to become a little more colorful. There is just something about the fall that seems to catalyze the creative spirit in the complex and sometimes strange person known as the musician. Last week I went and saw open mic night at Abbey Road. Karl Werne and Brandon from the Big Mighty were on vocals and guitars along with a sick bass player whose name I’m not too sure of. The musicians were amazing and so was the music. The part that fascinated me was the great time each player was having. All three of these musicians have probably played hundreds of shows, and yet something about the little stage at a half filled bar on a Tuesday night kept them content. Yah, the music was great, but more importantly I think it was because the music was fresh. Each song they played had probably been played countless times before, but this time it was accompanied by new musicians and expressed by different minds in a different way. Change is sometimes refreshing.

This year I’m looking forward to viewing the changes the world of music takes this fall and winter. I’m looking forward to hearing new ideas from artists expressing themselves in new ways. Even more so, I’m looking forward to the products of this cold season, when ideas evolve like the seasons of nature.

Conceive, Create, Practice, Perform

Keep it Fresh

Starting a Revival by: Brent Baldwin Richmond's "Style Weekly"

UnderSound — Wed, 18 Oct 2006 23:00:00 GMT

Richmond Roots Revival celebrates two years of showcasing Local Original music.

http://www.styleweekly.com/article.asp?idarticle=13210

Asheville Review: Veganburger In Paradise By: Jesse Chong

UnderSound — Wed, 30 Aug 2006 23:58:00 GMT

Asheville: Veganburger In Paradise
By: Jesse Chong www.jessechong.net

Here we are in Asheville, NC after another pleasant ride in Russell's
camper. There's a music festival going on, but alas I'm contracted to play
a few miles from the fun at a venue that has become a familiar home to me.
I've played in four different Paradises but they all look the same.

While we stop in town, Russell asks two hip looking girls where the local
Cheeseburger In Paradise can be found. Without a hint of the judgmental
attitude that one might expect for asking such a question in the
ultra-liberal franchise-despising land of Asheville, one of the plentifully
pierced girls tells him, "Oh, that's down on corporate row.". She gives us
directions to "corporate row" and I feel like I've been condemned to
franchise death in a town of artistic individuality.

As I'm sitting in an organic foods cafe reading the city paper, a few quick
facts about Asheville catch my eye.

"The city hosts 40,000 lesbians and is rumored to have a giant crystal
hidden in the mountains which attracts its unique inhabitants."

At this point my left eyebrow raises- is this really the city paper? I pass
over an ad for Om the Organic Mechanic, "Tune In, Tune Up, and Check Out" is
their slogan. My right eyebrow proceeds to join the altitude of my left
one. I move on to the main story about the city's official drum circle that
meets every Friday night. I do a double take. City's official drum
circle!?! It seems that there's been a few complaints about the noise, and
it's caused some static between local residents and drummers. Ok, my
eyebrows relax and the lines on my forehead disappear. Intolerance is the
standard that I'm used to. But wait- here's a quote from the police chief.

"I ordered my men to stand down because I saw no reason to intervene in one
of the city's main cultural events and I wanted to encourage a dialogue
between the residents and drummers."

I start to wonder if Russell has dosed my miso soup with LSD.

The American Music Festival is an event in Va. Beach that celebrates great
American music with acts such as KC and the Sunshine Band and Sugar Ray.
Virginia Beach loves jet noise, hates gays and apparently, good music.
(Yours truly is honored to be playing in the American Music Festival so take
my jests for what they are).

Asheville's answer to this is the Bele Cher Music and Arts Festival.
Asheville loves drum circles, gays, and must hate freedom because they've
named their festival after the French. Some of the headliners for this
weekend's event are The Codetalkers, Govt. Mule, and Galactic. When the
city hires a band like Galactic to headline its official events you know
you're in good hands.

Unfortunately for me I'm playing the one place in Asheville that hippies
avoid like a hairbrush. A few times during my set I even forget that I'm in
a different city. The layout is exactly the same as Newport News and the
requests for "Brown Eyed Girl" are just as ubiquitous. Why is it that in a
town full of vegan music lovers I get a gig in the one drab place where
carnivores stare blankly into their margaritas?

I would love to come back to play in Asheville, but if it's going to be
cheese I'd prefer soy.

The Fuzz Band, Album Review: Collision By:Lashante Goffigan

UnderSound — Wed, 30 Aug 2006 23:43:00 GMT

"Collision" By: Lashante Goffigan

There’s a few categories you might find on your Ipod, rock, R&B, jazz, reggae, ect, but now there’s a new one for you to add it’s called “Fuzz” created by the Hampton based band, The Fuzz band. On the eight member coed group’s second album “Collision” they collided with certain elements of hip-hop, jazz, R&B, and even rock The 17 track Disc starts off with “Here Comes the Fuzz”, a short introductory track where they explain Fuzz is “what you want”, and “what you need” it combines a big band sound with hard hitting metal. The second track, “Shake” has a funky feel to it, and “Change my Ways” is metal with strings at its finest. Brooklyn and Bliss are instrumental songs with a sort of jazzy feel. At the end of the CD you’ll realize they were right in “Here comes the Fuzz” it is what you want and what you need.

Band Members:

Duane Smith: Trumpet, Flugelhorn, Band Leader, Music Director
Nakia Madry: Lead Vocals
Michon David: Vocals
John Stratford: Bass, Co-Music Director
K'bana Blaq: Lead Vocals
Jason Jenifer: Drums, Percussion, Vocals
Wellington "Boo" Britt: Drums, Percussion, Vocals, Co-Music Director
Kasey Square: Keys

Kingdom of Cool: JewMa's and Quiva By: Jesse Chong

UnderSound — Fri, 04 Aug 2006 22:53:00 GMT

Kingdom of Cool: JewMa's and Quiva

Sitting in the Jewish Mother I feel as though I'm in a different city,
though I've been here many times before. There's hipness absorbed in the
walls from years of jazz notes and thick smoke. The air is clear tonight
because of the non-smoking policy, an anachronistic move proving how hip the
newly refurbished restaurant has become. Although there are only about 30
people in the club, this place is the most swingin' and happenin' joint down
here at the sterilized sodium lit beachfront.

Like any good keeper of a threatened kingdom of cool, the Jewish Mother has
her allies among the gentiles- namely Quiva productions. The underground
American jam scene is passing through town, and it's being brought here by
the hard work and faith of Quiva.

I feel sorry for the bartenders, waitresses, and promoter, but I selfishly
relish in being able to observe the funk-jazz guitar of Melvin Sparks up
close in such an intimate setting. Melvin is aging in stride and his licks
are as funky and fast as ever, he's got regal stage presence and is a solid
bandleader. The drummer must have been a recent addition, Melvin had to
guide him through changes and there were a few tempo issues, but no one
noticed.

The night started to get really good once the guitarist from the opening
band, "The Breakfast", sat in with Melvin, closing the night on the last few
songs. He was known only as Tim and was beanpole skinny, wore glasses, and
shredded on a Gibson SG. The guy played with incredible phrasing and
technique, he was intimately comfortable with the guitar. He reminded me of
a super tastycakes Tre Anastasio- a geeky cool.

Although I was thoroughly entertained, I left feeling crappy about myself
and about this town. There were two of the best guitarists I've seen in a
while, in an empty nightclub on Cinco de Mayo. It was Friday, normally the
busiest night for any bar, but the denizens of the scene were nowhere to be
found. I felt bad about myself because I knew it would take alot of
practicing to keep up with guitarists like these, just jammin on a Friday
night. I felt bad about the town because no one was there to witness it.

But those negative emotions translate into transcendence, I need to
practice, and locals need to go out and support the scene. I've got the
practicing thing down, but its up to you to do the rest.

This town is at risk of becoming some kind of Or-blando: culturally shallow
and filthy rich. The Jewish Mother is a hip life preserver in an ocean of
corporate franchise and I hate to see it go. Quiva productions is
responsible for bringing the bubbling underground to the beach and I'm going
to catch as many shows as I can.

You don't need to leave town to get into a new vibe- just look up a show on
Quiva Productions' site and go. Good music depends on it...

www.jessechong.net

Bonaroo Blog: by Jesse Chong

UnderSound — Thu, 29 Jun 2006 22:35:00 GMT

Being the music lover that I am there is no excuse for me not to attend what has become the largest music festival in North America; the ever burgeoning Bonnaroo. This is my second year attending this cultural monster and I admit it is my last.

Situated in Manchester, Tennessee, Bonnaroo hosts a quarter of a million guests and features the hottest up and comers as well as established giants of the music scene. The Bonnaroo license has been bought by Viacom, the media conglomerate that owns both MTV and VH1, and it’s a sign of the direction that Bonnaroo is headed.

I personally love the fact that Bonnaroo has such a wide variety of genres and artists, it attracts a wide spectrum of music fans- but apparently the spirit of peace and love that was once associated with music isn’t strong enough here to keep the stereotyping and schism out of the campground.

The Bonnaroo attendees seem to have split up into two camps, the jam band loving hippies, and the jam band hating alt/pop rockers. I don’t want to further any schisms by pointing them out, but the two tribes seem at odds with each other here, trash talking each other’s bands and lifestyles. It’s not as much about music, peace, or love as it is about identity and the scene. It’s like high school all over again.

Perhaps I’m naïve to believe that the societal atmosphere at music festivals should be any different than the divided populace of our nation. Left and right, white and black- I thought those terms didn’t matter at festivals.

The simple fact is that Bonnaroo has grown too large for its own good. It is extremely well organized and executed. It was nearly perfectly run. I’m not criticizing the organizers or promoters, I’m merely lamenting the change of vibe that seems to have occurred.

Festivals are usually a place of happiness and peace- But Bonnaroo seems to be getting darker with each year. Several guns were confiscated and hard drugs were easier to find than a simple joint. I witnessed someone shooting up heroin in the campground and kids trolled the area shouting for Ketamine and “pharmies” (pills). Drugs have always been a part of the music scene, but there are diabolical drugs that I feel have no place in the spirit of the music festival. Drugs that kill you aren’t good.

I don’t like sounding like a prude, but I honestly felt uncomfortable. People’s campsites were getting robbed, including friends of ours that had their belongings stolen. This was happening all over the campground and we had to make sure that we had everything locked away in my car. This is something that I’m definitely not used to.

I love to walk around with my guitar and meet people to jam with. It’s a part of the festival life that I relish. However there didn’t seem to be many jam sessions going on and as I walked around I was even told by a few kind music lovers to, “Get out of here you Chinese faggot.” I’m used to the faux pas of being called Chinese, but not often am I called a faggot, and especially not at music festival for playing my guitar.

But the main reason why I came was to see some good music, and good music there was. It’s exhilarating to walk around Centeroo and hear music coming from every direction. With a short walk one could see all types of bands, from Les Claypool to Damien Marley, Bonnie Rait to Medeski, Martin, and Wood, Buddy Guy, The Neville Brothers, Oysterhead, Matisyahu, Bela Fleck and the Flecktones, Sonic Youth, Cypress Hill, and Radiohead.

Radiohead was perhaps the most controversial band of the lineup. People either loved or hated them, they caused quite a stir. Some said they didn’t belong, while some paid the $200 ticket price solely to witness this elusive art rock band. They put on a powerful show and their dark electronic vibe took over the wide field of the main stage. Even the trash talking hippies had to admit that there was definite talent apparent in the unique music of Radiohead. The sign of great art is the strength of the reaction of its audience. Whether they found it beautiful or repulsive, no one could deny the artistry of Radiohead.

The Superjam was perhaps the most talked about and anticipated show of the weekend- It’s the surprise gathering of musicians chosen from different bands to get together for an impromptu jam session. A crowd of 15,000 eagerly awaited the surprise lineup and were not disappointed when Trey Anastasio, Mike Gordon, and the Benevento Russo duo stepped onto the stage. It was the closest thing to a Phish show that fans would be able to see and for the first half of the set they did not disappoint. Hundreds of glow sticks flew through the air in conjunction with the rambunctious jamming of the musicians.

Suddenly Phil Lesh of the Grateful Dead stepped onto the stage to thunderous applause and the superjam ran through “Casey Jones“ and “Goin’ Down The Road Feelin’ Bad”. It was a unique moment and the energy had been the greatest I’d seen so far. After the surprise guest appearance the band moved into a few new songs that Trey and Mike had written. They were well done but lacked the energy of the first few jams and the die-hard Phish fans lamented the songwriter side of Trey. That is one man that people seem to love to hate.

The greatest crowd pleaser was perhaps Matisyahu- I didn’t even try to squeeze my way to his show, all I could do was listen and hear the frenzied crowd respond feverishly to the orthodox Jew’s calls. Many fans told me they thought this was the best show.

However my favorite show all around was the closing performance by Phil and Friends. Choosing him as a headliner was homage to the Grateful Dead and showed that the Bonnaroo organizers had not forsaken the roots of the festival. Jazz guitarist John Scofield and Larry Campbell of Dylan’s band flanked the bass player and singer Joan Osborne provided the soaring vocals needed to complement Phil’s honest but mediocre voice. I’ve never heard the songs of the Dead performed like they were on that closing night of Bonnaroo. The rain began pouring during the second set and made it an official Bonnaroo weekend. Phil closed with an encore of “Box Of Rain”, a fitting tribute to his father on father’s day. I was musically satisfied and was ready to go home.

Despite the unsavory experiences in the campground, the music all but made up for whatever negativity there might have been. However I’ve been spoiled by the smaller festivals such as Sunshine Daydream, where even the mention of heroin will get you expelled and banned from the farm, and nearly every camper brings their instrument for a jam session.

Maybe I’m getting old, but Bonnaroo’s getting a bit too much for me to take- I won’t go there again. But I’ll see you at Sunshine Daydream where I don’t have to worry about getting robbed.

Soul Haven Recording Interview

UnderSound — Wed, 03 May 2006 05:10:00 GMT

Written by: Blake Guthrie

Head Engineer: Tim Roberts

Owner/Operator: Mike Pellino

Photo Album

Around the corner and up the road from the new downtown Virginia Beach a dream has been under construction. A community of musicians, friends, colleagues, carpenters, and artists got their hands dirty to help. Over a year has flown by since the first measurements and blue prints were configured. This dream, which during the challenging construction had many nightmarish of evenings, is humming and ready and willing to jam. Soul Haven Recording is a complete professional recording studio built for and catering toward the local musician, with the experience of a young and successful music engineer who has worked with every major producer in Virginia, and the knowledge of a music veteran whose insight reaches far beyond simple management.

I sat down with studio manager Mickey Pellino and head engineer Tim Roberts to discover what they were all about and their goals for their new business venture.

Writer - So Mickey, where did you get your start in the recording aspect of music, and when did you know it was going to be an integral part of your Life?

Mickey - For the past 7 years , but I have been doodling since I was 18, and started recording some of that doodling having fun, and had been playing with friends around my own place. It gave me something else to mess with while others were playing. I knew I liked to capture the music while others were into their own jamming.

Tim - Since I was 9

Writer - How did you two meet?

Mickey - At ocean Eddies, through the Big Mighty, he started coming to see the Big Mighty because a friend of his had told him to check this band out. Timmy was quite interested in recording them and knew he could get a good price through Windmark.

Writer - Why do you suppose so much time has passed since a band from Hampton Roads has made their mark in the national scene?

Tim - No one has been given hope, no one can be trusted anymore. There has never really been a love for a local artist in this area. When you’re talking about music and everything that comes with it, Hip-Hop has taken over. Look at clubs and bars, look what you are forced to listen to at those places. A band needs to learn how to properly promote their band. A recording studio needs to help mold the artist, and there has been major recording studios producing in Virginia Beach. Their main concern was to pay the bills, and they did not and still don’t focus on the artist. No one has taken them under their wings to show them what a good album needs.

Mickey - Its just record you and get you out the door.

Tim - We are different here at SoulHaven, we are trying to find the talent. We and our team are out there actively seeking talent all over Virginia. Short of Dave Mathews and Bruce Hornsby who continue to bring their music back to Virginia to be produced, everyone else might claim to love VA, and do a lot of their own work here, but locals are often left out, and that leaves a bitter taste for local artists.

Mickey - and that’s how we got started, we kept getting pushed and pushed by the people at the studio to do it and continue to do it. We stayed with them thick and thin. Anybody who has made it in any aspect of the industry has gone away from this area. They go to Nashville, they go to New York, I mean there are a lot of people in the music industry from here.

Writer - Would you say your discovery of the Big Mighty helped expedite the process of getting this studio done?

Mickey - It was all apart of the faith of this place.

Timmy - That was the gasoline on the fire, Mickey and I both wanted to find a way to build a studio, I mean I had been dying for a place of my own. I had been working in the professional field since before I finished high school. But both Mickey and The Mighty were a blessing from the music gods. They helped us build this place. A new business like this needs a spark like the mighty to kick it off on the road towards the future of new sounds and new places. Their love and devotion to music, it is their job, they have known themselves and love their work, their work everyday is their music. When I saw that, I knew I had an outlet to go forward with a new chapter of my life. It’s Mickey and my dream, to spread the music of people like them. I know Hampton Roads has more artists like them. A band that can learn from one another, and that’s what I want from an artist that record here. To learn from one another.

Writer - artists that have worked with you tell me that you are known to tell little white lies, while recording, to make their final product better. Could that be true?

Tim - Ughh, I plead the 5^th.

Mickey - That was awesome.

Writer - What could local magazines and papers do better to promote and advertise local music events?

Tim - I want to read knowledgeable reviews of shows all over Virginia. Not people who just write their own interviews, and that is what gets published it’s bullshit.

Mickey - And that’s the problem with Splash and Nine-volt, the papers lack of reporters. Its not even a Q&A like this is. I mean these are all fine people, but I know some of them and they are not professionals.

Tim - Who wants a huge newspaper size music magazine. I don’t care if you put it out once or every 3 months, make is smaller and make it easier to use. Not to mention those mags are terrible for our environment.

Writer - Does Soul Haven have any preference in the style or category of music you will be recording in the coming years?

Mickey - We are more about the people.

Tim - We want people that make music, were not into booty shaking money making, we want that kid that got beat up in high school, we want to help create music that makes a person have a more positive day. We want to make music with people that will be huge.

Writer - How may an artist contact you about recording their band with Soul Haven?

Tim - Were private, were not an advertised studio.

Mickey - We’ll find you.

Tim - And were so slammed right now, eventually well have managers that control all that. Our artists, for the next 6 months, have the studio booked. But we are going to make those the best albums they have ever created.

Writer - Finally, What do you want people to leave here with?

Mickey - I have had a lot more conversations with artists about bad studios than good.

Tim - We want them to leave knowing that those songs they came in with in their mind, the ones they wrote and dreamed about 5 years ago or 15 years ago are created. And we truly want the band to want everyone to hear it.