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(128kbps 16mb mp3 file) AUGUST 2006 ISSUE #86 
Hanz
Erik And The Hims
A few years ago I went gaga over Hanz Erik's first release, Closet Pop, which was released under the ill-found name Hanzsolo. After some personnel changes and some legal wrangling over the Star Wars-inspired moniker, he's back with a new band name and an amazing new album. The first disc was drenched in unflinching acoustic guitar pop, where Erik showed off his penchant for catchy hooks and even catchier, soulful melodies. It didn't seem as though he could possibly top it with a sophomore effort. Well, somehow he outdid himself. Copay finds Erik brandishing an electric guitar, turning up the volume and the beat into a power pop frenzy. The melodies and the soul are still there, but they are delivered with punchy guitars and a pounding backbeat. It's a solid combination that wins from beginning to end, and it's honestly one of the best independent albums I've heard in a long, long time. With that having been said, I decided it was time to get in touch with Mr. Erik and find out the secret to his musical magic. Tell us about the transition between HanZsolo and the new band. My writing had been changing a bit since the HanZsolo record came out. I was growing away from the singer-songwriter idiom and more into an electric pop rock vein. Copay is an extension of this. Even towards the end of HanZsolo I found myself putting down the acoustic guitar far more often and replacing it with my electric guitar or my keyboard. So when Ollie left the band (and we had the whole thing with George Lucas) I decided it was time to kind of start again and reframe the whole thing. Did you really get a cease & desist from George Lucas, or is that just a good story? So here's the story on George Lucas. If I could have only been so lucky as to have received the actual letter. It came to me in an email! So around the beginning of 2005 we were generating a bit of label interest but nearly all of them were a little leery of the name. I can understand, why sink a bunch of money into a name that was possibly trademark infringement? But one of them suggested that I talk to a lawyer so I did. Well, he said it probably was trademark infringement, after all, it was George Lucas who had built the equity in the name, but just to see he suggested I contact Lucas Licensing. So I wrote them an email explaining the situation, my name actually is Hanz and this is my solo project etc. etc. and they wrote back stating that, "we cannot grant you a license for use of the name Han Solo" and that I should cease all activity as such or face litigation. So, they did give it to me, but I was kind of asking for it. The new album seems to be more rock focused. Did you set out to make this one a little louder, or did it just happen that way? Yeah, like I mentioned, as time went on and my writing developed I found myself attracted to louder and more electric sounds. Part of this may have been the fact that I was gigging a lot and the quiet, thoughtful stuff just never seemed to work in bars. I actually hate to say that that influenced me, but in all honesty it probably did. I know that gigging the material on Copay has been great. People seem to really connect to the energy. And if I could plug the Hims here, I have never worked with tighter more dynamic musicians. Your influences seem to be all over the map, mainly from power pop and soul. Anything in particular stand out for you? True, I really love sound and all the things people do with it, so I don't have to look far for inspiration. I grew up on my parent's record collection (60's and 70's), 80's pop radio, and classical music. I first realized I loved music when I was 4 listening to Bach. Michael Jackson "Thriller" was the first album I bought. The Beatles were what made me want to play guitar and I dropped everything in High School to learn jazz. So I can't say there is one particular current to my interests other than they are pretty diverse. I agree with the pop and soul reference, particularly for this latest album, I was imagining what it would sound like if Hall and Oats had a little more scruff. Your first album brought out some comparisons to John Mayer (although I personally don't really see it)---what do you say about that? It's funny, I never set out to sound like John Mayer, I actually thought John Mayer was Dave Matthews when I heard him the first time. The funny thing is, I knew John in college. We both went to Berklee. I was friends with his girlfriend at the time. I had heard his demo there and thought that is was ok, but nothing special. Then I ran into him in Minneapolis right before he blew up. He had this enormous tour bus and all the guys in his band were guys I knew from Berklee. It was kind of strange. So someone could really build quite a case for how and why I want to be John Mayer but the truth is he hasn't influenced me much. I admire a few turns in his writing, and am happy that he has garnered so much success (he's a great guitarist) but that's really it. If I saw him now I'd love to pick his brain about how he's done what he's done. Any chance of you guys touring outside of your home area? That is the goal with this record. We're in the process of finishing up a promotional video that should help get us into colleges around the country. I will be heading up another college radio campaign like I did for "Closet Pop". There is a simmering possibility that we will be doing some touring in Europe, someone thinks that we'd do well there. I'd love to find out. Anything else you wanna talk about? Huge thanks to Mish Mash for being my first record review ever! I have to say it was pretty thrilling to work so hard to create something and actually have someone who's never heard of me like what I've done. I've since checked in with Mish Mash occasionally and have become a huge fan. I can tell you're in this because you love music and frankly that's why I'm in this, so thanks for everything and here's to love! MISH MASH Mandate:Powerful Pop
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The House
That Trane Built: The Story Of Impulse Records
As every jazz fan knows, some of the best and most adventurous jazz albums of the 60s and 70s are easily identified by their orange and black spines; the eye-catching calling card of Impulse Records. Created in 1961 by ABC Paramount, the Impulse legend has grown in stature over the years, accentuated by the longtime association with label resident John Coltrane. In honor of the 45th anniversary of Impulse, author Ashley Kahn takes a look back at the history of the label and its roster of celebrated musicians. Kahn does a great job bringing the early days back to life, showing how the label came about in the midst of jazz's peak of popularity, how producer Creed Taylor established the look and attitude of Impulse releases, and how Coltrane was brought on board from Atlantic Records. Kahn then moves on to show how the label grew into one of the most innovative and cutting-edge jazz labels of all time, examing different artists and their albums in depth. There are extensive interviews with those involved -- a veritable "who's who" list in jazz -- including Taylor, Bob Thiele, Alice Coltrane, Rudy Van Gelder, and one of the last interviews given by Ray Charles. In addition to the book, there will be a 4 CD box set collection with selections spanning the history of Impulse, along with 10 separate "best of" discs from various Impulse artists, including John Coltrane, Chlares Mingus, Sonny Rollins, among others. A jazz lover's dream come true. MISH MASH Mandate: Jazz And The Abstract Truth
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Apollo Up!
When I first popped this one into the CD player, I could have sworn it was Urge Overkill. So much so, I checked the liner notes to make sure our old friend National Kato wasn't fronting a new band. Now after a few listens, I'm assured enough to say that that UO could only wish they sound as good as these guys. This is some killer power pop, through and through. The band dives right in with Walking The Plank, a driving track that leans hard on big guitars and blistering drum riffs. It's catchy stuff, but not enough to turn into a rock-n-roll cliche. The band continues on this warpath, building their songs around classic rock-styled guitars, infusing them with infectious power pop hooks that never let up. They shake it up a little bit more on the funky groove of Cut Up, which inventively features a horn section on the refrain. MISH MASH Mandate: Uncontrollable Urge
Between 1945 and 1947, University of Alabama music professor Byron Arnold traveled around the state to record traditional folk songs as sung by the general population. This collection pulls together 42 different children's songs as sung by mothers and grandmothers, who were recorded live by Arnold while he was out on location. The recording techniques used by Arnold were rather primitive, and this shows in the overall low fidelity of the tracks included on the disc. Instead of detracting from the music, it adds a thematic natural quality which could not be captured in a studio setting. You can almost picture these women singing The booklet includes an overview of Arnold's recording project, along with song lyrics and short biographies of the actual singers. Overall, the set is a beautiful piece of work, a valuable insight into the folk music of the South, providing a rare-first hand glimpse into America's rich musical past. MISH MASH Mandate: Hop Into History KS The Tinnitus Made Me Do It KSFilms 23 song CD
Here's a fun one to round out the last dog days of your summertime. KS keeps it positive with this funky bunch of electronica-based tracks, all sure to get you up and moving to the beat. The tracks are all short and sweet, so KS makes his statement with each one and moves on quickly to the next. There is absolutely no time to get bored, with every song full of cool sound effects and varying rhythms to keep you on your toes. As far as the sound goes, it has a retro 80s synth feel, with plenty of modern-styled beats to bring it up to date. Part of the concept behind the album is to raise awareness about tinnitus, as it is something that KS suffers with on a daily basis. So let's all remember to turn it down (just a little) and hang on to the hearing. KS CDBaby Webpage Full Circle Ruf Records 13 song CD
MISH MASH Mandate: How Blue Can You Get? Ruf Records Website Yesan Damen The Never Beginning Story New Wine Records 12 song CD
The overall sound is pretty laid back, as the band takes its time to dwell upon each tune. While on the surface this may sound a little on the depressing side, it actually works in spite of itself. Certainly more of a sit at home on a rainy day kind of album, more so than one that makes you want to hit the highway. So put on a pot of coffee and let's talk.
Various Artists US vs. UK PUNK Sanctuary Records 16 song CD
Even with those limitations, the album does a pretty good job of doing a classic punk compilation without using the most obvious, over-used tracks. For example, the Sex Pistols are represented with a gloriously sloppy live version of "Anarchy In The UK," and the Ramones are represented with "Beat On The Brat". Some of the groups aren't worn out either: Generation X, The Undertones, The Buzzcocks, Black Flag, and Dead Boys. So at the very least we don't have to hear "Blitzkrieg Bop" or Iggy Pop's "Lust For Life" for the upteen-millionth time.
Sanctuary Records Website Carey Ott Lucid Dream Dualtone Records 12 song CD
© 2006 Mish Mash Music Reviews, All Rights Reserved
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