Indie rock quartet Aloha have come out with the perfect segue into the holiday season with a seven-song EP entitled “Light Works,” out Dec. 4.

Past Aloha recordings, particularly those done earlier on in the band’s history, have been heavy on instrumentation, with so much going on that an untrained ear might become overwhelmed. On first listen, “Light Works” might uphold itself as slimmed down, but on the contrary; the amount of thought and innovation put into each song is vast as only Aloha know how to make it.

Where jazz influences were once, almost transparently, the trademark sound of Aloha, they have now been replaced by woven layers of acoustic guitar backed by the gentle, deep bottom of the bass. Add to that the embellishments of keys, marimba, vibes and various other percussion instruments, and what you’ve got is a brilliant patchwork of songs, complex in character but palatable as ever.

The golden thread which ties it all together comes in the form of the soft, gauzy voice of guitarist Tony Cavallario. His stripped-down vocals are clear, smooth and more vulnerable than ever before.

Although it consists of seven tracks, “Light Works” is only an EP in name because of its long, windy passages of sound that creep into the room and subtly take over, so much so the listener is disarmed and swept away in the music.

The album consists of intricate, floating, repetitive guitar lines – which labelmate Joan of Arc is famous for – incorporated into the post-rock jazz structures the band has mastered, with swells and cadences adding tension and character throughout.

“The state of mind was like, ‘Let’s make something nice that stands out, with a very specific atmosphere – something warm the people will have a use for this time of year,’” Cavallario said.

And so it stands – the perfect soundtrack for winter, which emanates quiet passion through the use of simple lines and unpredictable turns.

“Body Buzz” comfortably begins the album like a letter to an old friend, with a sound reminiscent to the Aloha of recent years. The momentum then slows, leading into “Broken Light,” where the melody wanders in whimsical patterns of tonality and texture, never settling on anything too familiar.

“The End” marks the midway point through the album and is a lively, gaiting piece with a straightforward tune and a folky, strummed chorus boasting vocals not dissimilar to The Shins’ singer James Mercer.

The stand-out gem of the album is “Passengers” in which Cavallario lightly treads upon his words as he sweetly sings “you’re a growing presence in my ever-shrinking universe” above the echelons of the song.

The music on “Light Works” emulates the geographical tendencies of the band members. Although the four are spread throughout three states, they have moved closer, distance-wise, to one another in the past year and it’s evident in “Light Works,” as they have created something much more cohesive and intimate than ever before.

“In my mind, it is fitting that we would release songs of this nature, now,” bassist Matthew Gengler said. “It makes perfect sense to me.”

The band, which is planning on releasing a full length in early 2008, threw a kink into its track record of bi-annual album releases since 2000 by sneaking this EP in at the close of the year. The reason could be boiled down to a simple defiance of the norm.

“We could have just recorded a single for the forthcoming LP,” Cavallario said. “But we wanted to do something outside the cycle of tour/album/tour/album.”

As a whole, Aloha are incredibly focused and detailed about their craft. Ask any member of the band what makes a good show and they will most likely all answer “sound check.” So it makes sense that particular attention to the intricacies of the music is central to their album presentation.

It’s not evident which works more in their favor: their relevant backgrounds, the meshing of the respective members, or perhaps a little bit of both, but it seems as if this quartet was born to make music together and each person functions as a separate but equally important part.

While each band member contributes substantially to the overall composition and sound, lyric-writing duties are the responsibility of Cavallario, the resident journalist. Gengler, who recently completed his masters in library information and science, has taken up creating the song titles, a job which he says suits him.

Percussionist Cale Parks, who earned his degree in percussion jazz studies from Bowling Green State University, shares duties of drums and other ambient instruments with the band’s newest member, TJ Lipple, who has been with the group since they began writing 2004’s “Here Comes Everyone.”

They approached the album in a much more minimalist way than past years, but their use of silence interspersed throughout communicates volumes.

“The instruments are lighter, but the words are heavier,” Lipple said.

He also added his own special touch, as he and engineer Nick Anderson recorded the album at Arlington, Va.-based Inner Ear Studios. It was then mixed, mastered and produced by Silver Sonya, Lipple’s own entrepreneurial venture housed within Inner Ear.

“I love this band and am honored to work with the music in every capacity,” Lipple said. “Whether it’s helping write, deciding what mic to put on the beater head of the kick, or deciding how much silence to enter between the songs.”

Aloha have been with the Illinois-based indie label Polyvinyl Records since they first began sending out demos in the late ’90s. Along those lines, the quartet is typically unfaltering in style and sound but still manages to come out with something new and more evolved with every step.

The trick Aloha have mastered – and other bands should take note – is the ability to expand on their sound and make each new release a step up from the last. The band’s sound has clearly evolved, but the influence of its older music still persists.

“The way this band works is very fluid and confusing,” Lipple said. “Things rarely happen the same way twice. I don’t know what instrument I play. I love it.”

“Light Works” is one of those albums that starts out at the highest point possible and only exceeds expectations from then on. These four boys from the East have made their most delicate, honest album to date, certain to carve its own special niche into the listener’s heart.

(Originally published in The State Hornet on December 4, 2007)

After what can only be described as a five year definite break, Oakland punk rockers American Steel have surprised fans by unexpectedly reuniting to release their fourth full-length, “Destroy Their Future,” which came out Oct. 2 on Fat Wreck Chords.

“Destroy Their Future” is characterized by the same gritty guitar style and grating vocals that first caught the attention of the Easy Bay scene in 1995. It features 12 new tracks in a clean, but not overly produced, 35-minute package.

Unfortunately, it seems with these boys, the arrival of something good always comes with a cost – in this case, the sacrifice of another great band. When American Steel first called in quits in 2002, the result was a new band, Communique, which boasted three of the members and figured in a couple new faces.

Since American Steel’s reunion in the first half of 2007, the Moog-ish, new wave sounding Communique has been set on the back burner. In both cases, singer/guitarist Rory Henderson had realized the songs he was writing for the respective bands just didn’t fit. While starting a new band to fit a new sound might inspire accusations of selling out, Henderson felt the need to distinguish between the two styles by creating a clear boundary between them.

What has come about as a result of splitting creativity between the bands is instead a brilliant meshing of the two. American Steel is still American Steel, but there is no denying a certain Communique-esque influence which carried over into the new incarnation.

In spite of what a loyalist might say, this is a good thing; it would have been disappointing if the reunion of a band didn’t really give the fans anything different or new.

The basic elements are the same. Lead singer and guitarist Henderson’s voice can take the most serene moments and inspire you to take action – whether it’s punching someone in the face or changing the world. Guitarist Ryan Massey is capable of jarring even the most agreeable tune. Bassist John Peck skillfully drives the songs and drummer Scott Healy carries the band through with his solid, unwavering punk rock beat.

Following a rowdy introduction to their new sound in the opener “Sons of Avarice,” the album evolves into a piece of work which successfully attempts to branch out and diversify on each track while remaining heavy in both sound and substance.

The dark, discordant progressions of “Razorblades” are certain to provoke deep thought, as Henderson attacks right wing Christians. Yet even in the midst of his anger, there is a certain amount of respect due because Henderson is intellectually capable of differentiating between Christians who are respectful and those who are zealots.

Pop sensibility is not lost on these boys, but neither is the ability to dish out the rock ‘n’ roll. In “To the Sea,” American Steel’s sound crashes head-on with Communique, seamlessly but miraculously, without any bloodshed or broken glass.

“Old Croy Road” begins with a muted, garage-rock vibe, which explodes without hesitation into an energetic dance-inducing piece, boasting an up beat guitar riff and vocals reminiscent of an American Joe Strummer.

Finally, toward the end of the album, “Hurtlin’” takes a different approach, boasting an acoustic folk-inspired feel, clad with – is that a tambourine or accordion I hear? It also provides the listener with a rare opportunity to witness the stripped down, tender and vulnerable side of Henderson, both vocally and lyrically.

The overall tone of the album is somewhat similar to the controversial 2001 release, “Jagged Thoughts,” which received negative criticism for its abrupt and somewhat aimless style shift. However, unlike its predecessor, “Destroy Their Future” comes across much more purposeful, while still managing to be a notch up on the unpolished scale. At the same time, it also moves and feels similar to 1999’s “Rogue’s March” which makes it a perfect middle-ground between the two releases.

Overall, “Destroy Their Future” is a buffet consisting of the musical ideas that have been housed in the minds of Henderson, Massey, Peck and Healy the last half of a decade. The songs are punchy and driven, and the choruses and refrains run like melodic fight songs bound to get stuck in your head all day. For newcomers to the American Steel, it is certain to find a place in the collection of Against Me! and Alkaline Trio fans. For the old-school, die-hards, it will naturally fall into place in the discography of the band, as though it were the previously undiscovered, newly released, American Steel album of 2000.

When it comes to American Steel, one thing has always been clear: This is a band with a mission. The only question that remains is whether or not this is simply a reunion tour or something with lasting power. Let’s hope it’s the latter, and if “Destroy Their Future” is any indication, American Steel has a long run ahead.

(Originally published in The State Hornet on November 7, 2007)

Formed in 1997, The Blood Brothers is a multifaceted band that is constantly challenging themselves and reinventing their sound. Young Machetes, the band’s fifth full length, is no exception to the rule, as it embarks in yet another, unexplored direction. Shortly after the album’s release, singer Jordan Blilie took some time from his busy schedule and impending touring to answer a few questions.

Tell me about “Young Machetes”, your new album released on October 10. Stylistically, the album as a whole sounds a lot more cohesive than “Crimes”. Did you take a specific approach when you began writing material for the album?

We don’t have a specific method to writing–it’s kind of all over the map. Sometimes an individual will come in with a batch of parts that we’ll put together, sometimes a song’s the result of a person coming up with a single part in the practice space. It can be spontaneous, it can be well laid out beforehand. It just kind of depends. We do try to progress in some way every time around, though. A large part of deciding if a parts gonna stay or go is whether or not it feels like old hat. We change as people as years go on, so it wouldn’t make much sense if our music stayed in one place.

How does this album rank overall for you? Do you have a particular Blood Brothers album that will always stand out as your favorite?

The most current record is always the favorite for me. By the time we get to writing a new record I’m usually tired of the songs off the one prior.

You and Johnny (Whitney) both sing but have very distinct styles and vocal ranges. How did you both come to sing with the band, or decide who sings what? How would you describe your personal singing style?

It just kind of happened the way it did. We started when we were about 16 years old. We were heavily influenced by a band called Area 51. They had two singers – male and female. I would describe my personal style of singing as, “trying my best and sometimes succeeding in what I’m going for.”

Your merchandise styles and art on all your albums is unique, and simultaneously aids in reinforcing the music’s message. How do you figure out what artistic concept works best?

We just try to keep it new/different each time around. We’ve all had a part in doing record covers, shirt designs, etc. Sometimes we’ll enlist friends whose art inspires us to help us with design work on singles or shirts or website stuff.

How do you pass around writing duties? Is it a separate experience which you then come together on, or do you initially try to write songs collectively?

We get together about 5 times a week when we’re writing. Whoever has a part at the time we meet up is what we’ll work on. If no one has anything, we’ll just play until something feels right.

What is the band’s favorite place to play? Do you prefer the hometown crowd in Washington, or are there particular venues along the road that you just have to hit up every time?

Yeah, Seattle’s always fun. I love places like Philadelphia, Chicago, Minneapolis as far as stops on tour. New York’s always a fun time, too.

You all have incredible energy when performing. When you went on tour last fall to support “Crimes” you played with other bands that were more mainstream (Coheed and Cambria, Dredg, Mewithoutyou) with followings and fans that didn’t quite “understand” your style. What do you do when you play shows in front of a crowd that doesn’t “get” you? Does that affect you when you’re performing, or do you tend to fend it off fairly well?

We just play our songs like we would any other night. Heckling or whatever doesn’t really affect us. It’s pretty easy to outsmart/embarrass a heckler.

The only live band that I’ve seen that matched your energy has been The Plot to Blow Up the Eiffel Tower. What would you say your most exciting, in-your-face show you’ve attended was?

Botch were always super intense. Behead the Prophet N.L.S.L., too.

What bands do you consider to be influences? Do you have your own influences vocally? What bands do you respect and/or love playing with?

Early influences were Dead Kennedys, Monorchid, Rye Coalition, Swing Kids, Angel Hair, Shellac, Jesus Lizard. I don’t really have a vocal influence. Maybe Bowie or Leonard Cohen as far as delivery or lyric writing. I love playing with Against Me!, Liars, The Plot, Yeah Yeah Yeahs, Kill Me Tomorrow.

It seems you all have been playing music since an early age. Did you all have visions of albums deals and tours, or was it something that just kind of happened?

That stuff just happened. We really only wanted to write songs and get a show. I think if you have visions of album deals when you start a band you really shouldn’t be starting a band in the first place. Your motivation’s already corrupted.

It was a big deal (for the critics) when the band worked with Ross Robinson on “…Burn, Piano Island Burn”. Many even went so far as to accuse you of “selling out”. It seems as though every band goes through that at some point in their career – what was your response?

I think that putting out the record would probably answer any question of selling out.

For “Young Machetes” you worked with John Goodmanson again, who produced, engineered and mixed “Crimes”. However you also had the help of the famous Guy Picciotto, who I understand to be a hero of some of the band members. What was that like for you all?

It was definitely the most fun we’ve had recording a record. The group dynamic/bond between the seven of us was very strong. We laughed a lot. We played a lot of dice. We ate sushi almost every day. Good times.

Do you have any collaboration you’d like to do on future albums?

No, just Guy and John again.

Earlier this year you released the “Love Rhymes with Hideous Car Wreck EP” that included some previously unreleased tracks. Any reason why you put them out in this format instead of waiting for “YM”?

Those songs weren’t really anything we wanted to have on the new record. They were old, they’d been sitting around. Some were available on a 7″, but we wanted them available on a format that most kids could get.

V2 has such a strange mash-up of artists on the label. How do you see yourselves fitting in with the likes of dissimilar bands, such as (to name a couple of the more household name groups on the label) The Crystal Method and the White Stripes?

We don’t fit in, I guess. I wouldn’t want to fit in with Moby, though.

What is your favorite song to perform and why?

Set Fire to the Face on Fire has been a real fun time. It’s pretty immediately gratifying.

The boring cliché question, but what music are you currently rocking? Or, if you’re feeling ambitious, what albums would you put in your top five or ten of the year 2006 list?

A friend of mine made me a comp of his favorite Bad Seeds/Crime and the City Solution songs. I’ve been heavy into that lately. The new Liars is great, the new Oneida, Mika Miko, Erase Errata.

When you finally settle down and quit the music business, how do you want to be remembered?

We did whatever we wanted and stayed friends while doing so.

(Written in Fall 2006)

The Phoenix Theatre by day is a picture reminiscent of an after school daycare program. Inside the main auditorium kids are skateboarding on the multitude of wooden ramps set up against the walls. The lobby is filled with youth hanging out, and searching their pockets for change to buy candy or soda from the concession stand. Next to the snacks is a room full of video games for some cheap entertainment.

If you walk up to the front and backstage, you’re likely to be greeted with a scene of junior high and high school aged children lounging on the couches and working on homework. Those with nothing to do are found hanging around manager Tom Gaffey, eagerly seeking out small tasks they can do to help him out. Scenes similar to this have earned it the nickname of the “Petaluma Youth Center”. These kids though – they prefer to call themselves the “Phoenix Family”.

By night, the sight seems merely an extension of the afternoon; perhaps much more concentrated and intense. Young mix with old on the corner outside the front entrance of the Phoenix. Kids hang out in small clusters, huddled together in the cold, talking.

Others are on their way to or from the 7-11 up the street, compiling makeshift dinners to replace the ones they skipped to come here. Young 20-somethings smoke cigarettes, excited that their friends who went away to college are back for the Thanksgiving weekend, and ready to dance to and sing-along with their favorite bands.

Seated against the side wall is a collective of older men in their late 30’s and early 40’s. These men, who in another setting might quickly be dismissed as bottom-feeders, are punk rock’s veterans. They were the kids who graced the Phoenix’s location during the 1970’s and 1980’s. While many of them are accompanied by stories of homelessness and drug addiction, they serve as living testimony of the music lifestyle, and the power it has over us.

The Phoenix Theatre – the name which is derived from the meaning of the word itself, “to rise from ashes” – is what most Sonoma County residents consider to be the heart of the music scene.

“I prefer to be on tour,” Micah Suard of the band Aitch said. “But I love the Phoenix.”

Most Sonoma County musicians echo this sentiment. Alexis Faulkner, of the now-defunct band Girls in Suede agreed.

“The Phoenix Theatre is a wonderful venue with a very dedicated staff and a long history of helping local bands,” Faulkner said. “[It] has steadily welcomed several different kinds of music to their venue. They are the most loyal and greatest supporter of local music in Sonoma County.”

However, other people have somewhat different reasoning behind their choice. Paul Hoffman, of the bands One Horse Town and The Listening Group, said that if there are enough people in attendance, he enjoys playing at the Phoenix the most.

“Primarily because of the closing of so many great venues [like] Magnolia’s, Hot Spots, Cafe This, Cotati Cabaret, Inn of the Beginning, The Old Vic, etc,” Hoffman said. “There are so many talented musicians and bands in this area, it’s a shame that there aren’t more places to play/see bands.”

Faulkner agreed. “Sonoma County doesn’t offer many places for local bands to play. It is exceedingly difficult to operate a venue specifically for teens, where they cannot serve alcohol and food. The lack of support for youth events and venues in our area has been a major contributor to the downfall of our scene. It is difficult to find venues/people willing to contribute money to putting on local shows. There is not much money to be made, and there is a lot of effort needed.”

Not only is the Phoenix Theatre so desirable because of its ambiance, but it’s one of the only remaining places left for people of all ages to entertain and be entertained.

Built in the late 1800’s, the Phoenix was first opened in 1904 as the Hill Opera house. Over the years, a series of natural disasters threatened its demise, including two fires and an earthquake. Each time, the building’s ownership has changed hands, along with its name and main purpose. In the mid 1900’s it was used as a movie theater, and then later, theatrical productions were put on within its walls.

Sonoma County native Chris Cercone recalled his junior high years when he would attend late-night showings of the cult hit “The Rocky Horror Picture Show” at the venue He said people would dress up and act along with the parts on-screen, much like at any other showing in the country.

What Cercone remembers the most though, is the attitude of those in the audience. Many of them were regulars who could be seen at the Theatre as many as three or four times a week. They would be talking, eating, laughing, dancing, and singing along. Indeed, for the disenfranchised youth of Sonoma County, the Phoenix was their home away from home.

In 1982, Tom Gaffey, who worked as an employee at the Phoenix in his teenage years, took over as the building’s new manager, which he remains to this day. A quiet and soft-spoken man, Gaffey seems to recognize and appreciate the human plea for sympathy, as well as one’s desire to connect with people and be understood. Youth speak of him as a man wise beyond his years. Maybe it comes from the environment – being around so many teenagers and young adults, he naturally comes across as more experienced and intelligent.

But for so many, it goes further beyond that. Something in his eyes demands respect and attention. This man has experienced it all; he lived the Phoenix during its zenith. Without the support, dedication, and attention to detail he has put into it, the Phoenix Theatre wouldn’t be what it is today.

When asked his thoughts on the type of person his boss is, Stephen Smith, a former employee of more than four years, had nothing but good to offer. “As a boss… Tom is very understanding and fair, but just like any boss he doesn’t really take too much crap from – well – anyone really,“ Smith said. “He’s good at very calmly alleviating possibly devastating and/or dangerous situations.“

When asked to differentiate between Tom the boss and Tom the human being, Smith continued. “Tom is a very caring and loving individual. He’s a very intellectual and quick witted man, a good father figure to some, a best friend to everyone, and just an amazing person. He gives all he can.”

Then there is Matt Sangervasi, who has worked at the Phoenix for nearly five years. He said Tom is “one of the best bosses I have had. He has his stuff down, he knows how his building needs to be run, and he knows how to treat everyone well. He is more like a friend than a boss ‘cause you can talk to him just like you do a friend and he won’t get offended”.

The musicians who have played there offer a similar perspective. “Tom Gaffey is always willing to put on a show if you are interested,” said the bassist of Girls in Suede. “He makes it easy to communicate and never flakes out on you.”

In addition to being a local favorite, the Phoenix Theatre’s fame as both a landmark and a venue is widespread. Famous bands whose beginnings trace back to the Phoenix Theatre include Metallica, Primus, and Mr. Bungle.

East Bay Hardcore’s darlings, A.F.I. (which stands for A Fire Inside) got their start at the very location on 201 Washington St. in Petaluma. Frontman Davey Havok was born and raised in Ukiah, Calif., and before his band played at the Phoenix, he was known to attend punk rock shows there on the weekends. The venue has made an important impact on both his life and musical career. Such things are evident in the group’s song “Days of the Phoenix” a bittersweet dedication to the building and its legend.

Then there are the bands in the independent scene. In addition to being fantastic contributors to the musicality that the Phoenix provides, they were born, raised, and still live in Sonoma County. Not only are they personable, but they’re easily accessible. This fact makes them specific targets as role models. The only thing more desirable than to meet your role model is to live in the same town as your role model, know they experienced the same things you’re experiencing, run into them downtown, and at times, even share an occasional taco at Taqueria Mazatlan with them.

A particular favorite group in town is The Velvet Teen, a group currently signed to Slowdance Records. TVT started as two friends in two entirely separate bands writing songs together in secret, under the penname The Secret Band. Eventually they broke the news to their former bands, and joined together, to become The Velvet Teen.

The current lineup of Judah Nagler on vocals and guitar, Josh Staples on bass and vocals, and Casey Dietz on drums and vocals, originally boasted drummer Logan Whitehurst up until early 2004.

Logan, the brother of Emily Whitehurst (singer of punk rock band Tsunami Bomb), is immediately likeable. His antics onstage, both in The Velvet Teen and in his solo project, Logan Whitehurst and the Junior Science Club, quickly made him a favorite of locals. However, in a smaller setting, he is, surprisingly, just as personable and charming, if not a bit shy.

I sat down with him one evening in December of 2003 at a Lyon’s on J Street in Sacramento and we talked over a midnight snack. “Do you ever have any qualms about eating waffles?” I questioned, referring not only to the food on his plate, but more open-endedly to the song “Waffle of Death”, which he’d used to open the evening’s set. He glanced up from the consuming task of strategically pouring syrup on his meal, made eye contact with me, and with a slight smirk, answered softly and casually, “not really”.

Logan left The Velvet Teen due to a strange illness that plagued him the first half of 2004, which eventually culminated in a cancerous brain tumor. He underwent numerous surgeries and treatments, and after a long and courageous fight, passed away on December 3, 2006.

Former girlfriend Alison Davis described him and her eyes lit up. “I don’t know how he keeps smiling” she said during the cancer ordeal. “Though things have changed a lot in our worlds, I know some things won’t change, and I know he will still let me hold his hand when the lights go down.”

Clearly, it is the wonderful and committed people like Logan who have kept Sonoma County’s music scene thriving.

As for life in The Velvet Teen, the band more than gets by with the addition of Dietz. Singer Nagler once was voted as one of the hottest musicians by the teen magazine, ElleGirl, a title which he awkwardly denies. “I think I’m stupid,” he said in response to the situation.

Dietz, who also regularly rocks out in the Chico based band The Americas, adjusted quickly to the mega-stardom of being in a band that not only tours the United States with frequency, but has already toured Japan more than once, and has a large following there.

In spite of all this fame, the band still makes it a point to kick off and end every tour at the Phoenix Theatre. This gesture is not only one of familiarity and comfort, but a tribute of sorts to the place that helped to kick-start their career.

Then there is Josh Staples, who not only plays bass in The Velvet Teen, but is now the frontman of his own band, The New Trust, also on Slowdance Records. In addition to being in the band with Matthew Izen of the band Polar Bears, local Julia Lancer brings her percussion prowess to stage alongside Sara Sanger, Josh’s wife.

The two, who have been married since 2000, are seemingly a match made from heaven. Staples’ soft and serious blue eyes shine brightly when he gets excited about something, and the 33-year-old (who often playfully claims to be a mere 21 years) possesses a demeanor that leaves one feeling a mixture of something in between thrilled and humbled.

Sanger, who turned 25 for the fifth time this past year, is quiet, and much more reserved. She seems to consider her choice of words with great eight. Her long dark black hair, often styled in dreadlocks, covers up part of her face so that her dark eyes peek out in a demonstration of candid beauty. Together, they serve as much more than the poster couple of Santa Rosa Rock; for they are two of the most determined, creative, and inspiring people in the scene.

Staples in particular knows a lot about performing at the Phoenix. He has shared the stage with his former bands, dating back to 1990, including but not limited to The Morticians, The Conspiracy, Edaline, and The Wunder Years. His boyish good looks and eager approach to music often send conflicting signals – while his musicality is entirely sophisticated, watching him offstage one gets the impression that he is hardly the veteran his reputation claims.

Sanger, who is a photographer first and a musician second, but an artist overall, is sometimes featured in the Modesto based independent music publication, Devil in the Woods and has a photography resume which boasts various national acts. With a knack for using film to capture the beauty in nearly anything, combined with a fresh and somewhat pessimistic outlook on the world, Sanger makes what she does look easy. When she grabs hold of her guitar and rocks out on stage with Staples, the two look like they could move mountains with their talent and ardor.

It’s easy to see why so many more young people in the 707 are scrambling to begin a relationship with music. The Phoenix has made it a priority to cater to fantastic musicians; in turn they inspire the younger generation to take hold of music on their own.

It’s no wonder why I speak so highly of the place; in part, the Phoenix helped raise me. Having moved to Sonoma County at age fourteen, I was desperately seeking to relate. In the Phoenix I found a place to spend time where I was accepted, new friends and companionship, a venue for my own musical endeavors to perform, and an introduction to a world of music I never knew existed. The scene consists of the same people it did when I first moved here. More have joined as they’ve come of age, but the ones that grew older with me helped to reinforce the sense of community that we all feel.

Will Butler, a high school student who goes to the Phoenix once every couple of weeks, spoke of what it is about the building that keeps him coming back. “I like the Phoenix ‘cause it kind of represents stability in the music scene, as well as all things ‘younger-generation’ related,” Butler said. ”I mean it’s been there through a lot. I can talk to my 28-year-old cousin about his days going to the Phoenix, you know? I mean, it’s been through a lot and it’s pretty weather-beaten, but it’s remained there through a hell of a lot”.

Rachel Carr, a Santa Rosa-born transplant to Spokane, Washington has a somewhat different take. “I really like the Phoenix because I think it provides a good environment for teenagers to hang out and explore music,” Carr said. “Like finding out what you like and what you don’t, knowing more about music in general. Going to the local scene is important because that’s where it all starts.”

Michael Bean, former member of the bands Life in Braille and We Attack At Dawn suggested that in general “everyone is really into the music and art scene around here. People are conscious – they have passions. We get along well because we all are in this together“.

Faulkner echoes that sentiment. “The Sonoma County music scene often has shows where the same bands play together over and over. I think most musicians around here are friendly to each other and have a similar goal: to play shows, gain fans, and make it big.” She pauses to think for a moment, and then continues. “Or not, maybe not everyone wants to be famous. We all just want to put on a good show.”

However, testimony can’t say enough. Perhaps Havok put it best when he penned the lyrics for the aforementioned song, “Days of the Phoenix”. He depicted the details of being caught up in the moment of playing and performing and participating; the feelings that anyone who has been to the Phoenix can easily share. He captured the moment where the history and purpose of the historical building collided with the anthem of our teenage years.

“The girl on the wall always waited for me. And she was always smiling. The teenage death boys. The teenage death girls. And everyone was dancing. Nothing could touch us then. No one could change us then. Everyone was dancing. Nothing could hurt us then. No one could see us then. Everyone was dancing. No one could see me. I fell into yesterday. Our dreams seemed not far away. I want to, I want to, I want to stay. I fell into fantasy.”

(Written in 2004/2005)

The self-titled debut album from this dancecore band is still, as of yet, an undiscovered jewel in the underground indie rock scene.

The album’s opening track, “Overture,” introduces a nineteen second world of cacophonic chaos which explodes into “2nd Gun,” a hip-shaking blast of melody.

The remaining fourteen tracks follow in a similar fashion, making it clear that this Texan and New York hybrid three piece isn’t afraid to experiment with fun.

One of the highlights is “New Brad”, a song which paints a picture of a distraught ex-lover regretting his actions, calling to mind images of John Cusack in “High Fidelity,” with lines such as “I‘m breaking inside your window / Won‘t you open like you promised? / I‘ll turn into that guy / They told me this would happen when I broke up with you“.

Another charmer is the driven “Fisticuffs,” which is heavy on harmonics, double bass drum, and plenty of Casio organ.

The album follows a somewhat predictable pattern of pieces that utilize chord suspension and resolution to create a tension that all but falls apart, before scooping up the pieces and throwing them back in your face. This seemingly conventional method is juxtaposed by the interlocking tempo changes throughout the tracks and within the individual songs themselves. The beautifully spoken piano interludes contribute to this end, turning the standard into something much more capricious.

In the end, a complete listen gives the feeling that this is not so much an album as it is a continuous stream of a light conscious bliss. If I could sum this masterpiece up in three words, I would call it Pure Aural Jubilance. It is perhaps one of the most refreshing releases to come out of its genre in quite some time.

Volcano, I’m Still Excited!! leaves the listener with feelings of wonderment over all that has been crammed into a 40 minute and 5 second listening experience. More so, it instills an excitement that, true to the band’s name, lasts up until, and through, the next listen.

(Written in Fall 2004)