By: Liz Levine

Rating: 8/11

It's difficult to categorize Austin's The Sour Notes beyond “a rock band” because they throw in so many styles and bits of sound that half the fun is having initial notions dispelled. Singer/songwriter Jared Boulangeris not afraid to entertain variety and find room for any musical idea however short, and he seems to have found kindred spirits in band members Chris Page, Travis Hackett, and Elaine Greer. Their melodies and structures are time-honored examples of catchiness and accessibility; it’s their use of these elements that’s unique, playfully experimenting with sounds and layering with no reserves. What could pass as a nice rock song for some could entice another with all the

Their latest release It’s Not Gonna Be Pretty begins with the comforting, whispery “Beyond Recognition” that features a lazy surf riff and pleasant girl/boy vocals, sounding quite like the xx. Though this track sets a nice tone, it makes the much more “Do-ers & Say-ers” into a nice surprise. Starting out as a fairly standard punk song lifted by its guitar line, it soon takes on a more new-rock form with some room for danciness, eventually giving way to swath of synth work and some outer space noises. This track sets the pace nicely for what is to be the main strength of the album: it’s not wildly experimental, but it never stays in one place for very long.

“Familiar Presence” is an excellent pop song, using an easy vocal melody to drive the synth and mild guitar to pleasing explosions at the ends of phrases. The chorus then bursts in with its 80s lean, making excellent use of Elaine Greer’s backing vocals, an element that seems underutilized on the album as a whole. When jubilant handclaps eventually enter the mix, the song has completed its mission of representing pop for all it should be.

Along with the styles already mentioned, The Sour Notes also do ballads, dance music, synth pop, electronica and math rock, none of which ever dominates a song entirely. This doesn’t come off as overindulgence, however, because an appropriate mood is always carefully maintained, be it giddiness, loneliness, or what have you. Subtlety is firmly employed so that the tone is always maintained, allowing the members to cram in their whims without assaulting the listener. When It’s Not Gonna Be Pretty closes with the cute waltz of “A Distant Knell,” it’s no surprise.

By: Sam Houghton
Rating: 6/11

It’s not that they’re bad - they’re actually alright - it’s just that Middle Distance Runner is Vespa music. The freeway opens up, the wind’s blowing in the face and your girl’s wrapped around you, and you’re zooming along America’s majestic landscape: all on your daisy covered, putt-putting Vespa. Forget booming, progesterone vibrating Hogs.

Middle Distance Runner is tight, for sure, put together like a well-equipped group, definitely fun, but where they lack is what separates artists from the others. Perhaps “daises” is too strong of an adjective, but Middle Distance Runner is too conventional for real rock and roll. They’re more like Smash Mouth than Nirvana, more Jack Johnson than Peter Tosh, and for that, they are more giddy disciples than artists.

That being said, Runner has made a large splash in their DC area, praised by much of the local press, and also some regional, more prestigious media specialists like SPIN and FILTER Magazine. They headline at places like IOTA Club & Café and the Black Cat. They are hailed as being a fun and catchy band, which they certainly are.  But as a little advocate in the large music world, I want to see struggle in my art; some real life shit transcending through the music.

The beginning of “The Sun and Earth” is Middle Distance Runner’s attempt to right this wrong, which says they have passion. It’s a heavy, psychedelic intro to their new album, boasting a dangerous feel with some real grit and power. The deep, rattling drums and the eerie keyboards provoke a wild mood beyond what the band has done before.  Yet, as the song transitions into the vocals, we are serenaded with that puppy-dog crooning stuff that adds bills to fat corporations’ wallets, but does little to stimulate the inner cavities of the body. It turns it all into cheap tricks.

But, I gave them a six, not a three or a four, or zero, because a good portion of their songs has some movement and boogey. “Unbeliever” and “Brother John” are both great driving tunes, with fast, steady bass grooves. “Momma” is a happy track that will get people dancing and features a booming trumpet chorus and a cool rap in there at the end. Where credit is due, even though I have not seen them, I get the feeling they would be excellent live – a real boost of adrenaline and happy times. And I will say that they aren’t as bad as Smash Mouth; they certainly have more soul and integrity than those clowns.

Basically, the press they receive is right: Middle Distance Runner is catchy as hell. But as a qualified music nazi, I like songs that transcend catchy as hell and add a little somethin’, somethin’ to the mix. Catchy is fine: “Brown Sugar,” one of the greatest rock songs of all time. It’s catchy, but there’s also a little somethin,’ somethin’ in it that creates a certain, weird, but amazing and empowering and salivating effect. Perhaps I’m just another lost drama queen with my heart stuck in the remains of Kurt Cobain’s vision.

By: Becky Firesheets

No sound engineer goes into the business to become famous.  The band onstage gets all the attention for an awesome show while the engineer packs up in the shadows.  “It sounded great!” fans often say to the lead singer.  But if there’s piercing feedback, an annoying buzz or a muddy mix, the engineer always gets the attention.  Rarely do we consider the constant tweaking of knobs at a typical show or the amount of hours put into mixing a solid album, yet we are quick to blame when something goes wrong.  But for an audio engineer, that’s just part of the job.  A good engineer makes the music sound great.  If the music sounds great, people should be paying attention to it, not to the dude in black hidden behind the board.  Pretty glory-less work.  But without a good engineer, a good band is worthless.

Jonathan Jacobi is a prime example of a good engineer.  Jacobi has been mixing bands since high school when he listened to a mic through headphones for the first time and knew immediately what he’d be doing with the rest of his life.  Based out of Tel Aviv, Jacobi focuses mostly on recording and mixing rock-and-roll but throws in a little funk and electronica from time to time.  And he’s not just good at hearing the technical side of things; Jacobi also knows how to listen to the musicians, to capture the sounds and vibes they want.

Read our Q&A below and make sure to say "Thanks" to the sound engineer while you're out this weekend!

BF: Do you focus on recording or live work?
JJ: Both!

BF: Do you have a preference between the two?
JJ: Well, I really love both.  If I had to choose one, I’d probably go with studio work, but I really love both.  I like the process of studio work.  When you make a record, you have a relationship with the music, with the artist, with the band.  It’s like it’s own thing, it has turns, like a whole story.  I would compare it to a one-night thing versus a relationship.  But I love both, absolutely. 

BF: You work mainly in Tel Aviv?
JJ: Tel Aviv is the artistic capital of Israel.  If you want to create music and have people listen to it, you go to Tel Aviv.  There’s support for all the arts in Tel Aviv, musicians, photographers, artists.  There are a lot of young people, a big audience.

BF: How does the popular music of Israel differ from the music you've seen while traveling in the States?
JJ: Well, I think the popular music in Israel is different because of the Mediterranean and Arabic influences.  In the States, there's more black music.  In Israel it is much more Arabic influenced.

BF: Do you choose the bands you work with, are they assigned to you, or a mix?
JJ: It’s a mixture.  Usually they will come to me.  Usually they know my work, will come to me and say, “Alright, can you make us a record?”  There were a couple of times where I approached the bands, saying, “You guys have great music.  Come to me when you want to make a record and I will help you.”  Once I was actually a part of the sound crew for the American Idol of Israel!

BF: Really?  That’s funny!
JJ: Yeah, it was… interesting.

BF: So, when making a record, I know that some engineers have a heavy-handed role in the process while others step back and let the band do their thing.  What’s your role?
JJ: Usually I’m asked for an opinion and when asked, I will give my opinion and say honestly what I think.  But, I wouldn’t say anything if I’m not asked because sometimes it can hurt or harm the flow of a session if there’s another mouth talking, if there’s another head.  ‘Cause sometimes you’ll see a band that really knows what they’re doing, they ask you something, you answer and it’s cool. Sometimes the band is kind of confused and if you say something you might confuse them even more.  It’s very tricky changing from session to session.  That’s why I always try to get to know the people, hang out with the band for a while before recording, listen to music together, see their responses, how they interact with one another.  That will determine how I will act in the sessions.

BF: For the most part, do you feel positive about the projects you’ve worked on or were there tough moments?
JJ: I feel good about it, but it’s rough!  Musicians do not usually trust people very easily.  It’s hard to gain the respect.  Every time I was mixing live for a band that I liked and the band liked the sound, it was much easier to approach them and say, “Alright, you see that I know what I’m doing, please come and make a record with me.”  That was the door in.  In everything you do, you won’t trust anybody without knowing their work.  When someone approaches and gives you their business card, you’re not going to call them.  But I have this sort of fling, this little thing with the bands, and when they respect me, it’s easier.

BF: What album are you the most proud of?
JJ: I think this record for a girl, Yarona Casbi.  I think that is the best record I’ve made.  I’m really proud of the sounds I got there.  The music is cool, it was a lot of fun making this record with a band that I liked so much.  Her backing band was great.  She came to us at the studio and she didn’t have a band.  She wanted to make a record and was like, “I have my music, I need to find a band.”  So we hooked her up with a group we thought would fit in and it was a great combination, great chemistry right away.  They started rehearsing and in two months, we started the record. 

BF: So you helped in the recording sessions, and the mixing process?
JJ: Yes, I was the recording engineer and the mixing, and then I gave it on for mastering.  I always prefer to not master my own mixes, to have another pair of ears listen to it.  Different ears, different opinions.  Non-biased ears are important, ‘cause sometimes when you hear the same songs so many times while mixing, you already know everything in it by heart.  You don’t need to hear the exact notes on guitar ‘cause you know they should be there.  You get biased, you think you can hear it but you don’t.  You listen from not a clean point of view.  So, I find that the more I listen to something, it can get fucked up because I listen so much that I don’t really hear everything.

By: Liz Levine
Rating: 7/11

Empire! Empire! (I Was A Lonely Estate) conjures up a lot to wonder about with their name alone. Are they a triumphant overlord thrilled by the heights to which they’ve climbed? Or wait, is it a glaringly personal declaration that even the grand can be sad and alone? Perhaps it’s the contrast that makes the statement. The Michigan three-piece are sheepish yet heart-on-sleeve, wary but forthcoming, and they do it all within the comforting nest that some music fans may be missing right about now: 90s indie rock. Indeed, the guitars of Keith and Cathy Latinen noodle as if that were the only way to write music.  And in listening to the intricate, jammy tracks, it feels like if that were the case, it would be just fine.

The interweaving, exploratory guitar parts display hints of Built to Spill, but the end combination of instruments, tempo, and vocals lean much more towards Death Cab. Keith Latinen’s soft, sweet whimper is both adorable and real as he slides through confusing romances and swift comings of age, reminding of Ben Gibbard all the while. The music and singing style definitely invoke a mood of desperate teen frustration or a character running confusedly through suburbia. And this mood is not the result of effects, tricks, or fancy equipment, but one brought about purely by music history; these are songs for fans of 90s college radio who aren’t afraid of being called a little emo. Empire! Empire! have a name that doesn’t make any sense, but their tunes feel warming, like you’ve been listening to them for years.

By: John Mabery
Rating: 3/11

The 15-year old boy in me will always love the punk-funk stylings of the Red Hot Chili Peppers, Sublime and early Incubus.  California's Stuntditch is a group that falls on a similar tree, only on a much lower bough and about twenty years too late.  Sometimes, particularly on a song like “Consent” in which frontman Dom Guaro talks about “smackin’ that ass” and proclaims, “fuck the law,” he sounds like the reincarnation of Bradley Nowell.  While their music can be fun, it is too familiar, in as much so one has to wonder why the boys don’t just start covering the songs of their forefathers.  If you slept through the mid-nineties, this band might be for you.  But for the rest of us, they represent a type of music that most people aren’t nostalgic for.