Behold the amazing, yet true, story of the third Titus Andronicus LP, LOCAL BUSINESS.
It begins with a plan of action. While the first two LPs were elaborate concoctions, requiring the contributions of 30+ musicians, the most advanced computer wizardry and transmissions from an alternate universe, LOCAL BUSINESS would be of the earth, the handiwork of a living and breathing entity. No more would Titus Andronicus the studious recording project and Titus Andronicus the raucous touring machine be two distinct beings; there would only be Titus Andronicus, rock and roll band.
At the center of the band remained, as ever, singer-songwriter Patrick Stickles. Flanking him was the dynamic duo of Eric Harm on drums and Julian Veronesi on bass, rhythm section and principal backup singers. Returning to the fold was recent college graduate Liam Betson on guitar, whose studies kept him off the road but not away from the recording of the first two LPs. Rounding out the band was the latest addition, guitarist extraordinaire, and founder of Brooklyn DIY haven Shea Stadium, Adam Reich, moving gracefully from the position of live sound engineer to band member following the abrupt departure of keyboardist David Robbins.
With an album's worth of new songs in their pocket, Titus Andronicus took to the road in March of 2012, hashing out their new material night after night on tour, throughout the eastern United States and at the SXSW music conference. It would be the energy of the stage that they would strive to recreate in the studio.
The studio in question was New Paltz, NY's Marcata Recording, domain of master producer and engineer Kevin McMahon, whose credits include the first two Titus Andronicus LPs. Beginning on April 1st, the rare confluence of Palm Sunday and April Fool's Day, the converted barn became the band's home for the next two months. The first phase of recording found the band amassing hundreds of performances, playing together without headphones, three guitars strong, day in and day out, striving in pursuit of "the perfect take." A lengthy selection process followed, where the takes deemed most worthy of preserving for the ages were chosen. On top of these were placed much singing, still more guitars, and the contributions of an elite group of special guests – longtime Titus session keyboardist Elio DeLuca, famed violinist and string arranger to the stars Owen Pallett, and Eric's father, Steven Harm, blowing on a harmonica. This tight-knit group is just one of the meanings behind the phrase LOCAL BUSINESS. By the end of June, Kevin McMahon completed the mixing, and the mastering of the world famous Greg Calbi at Sterling Sound capped off the whole process.
But what of the songs themselves? While abandoning the linear narrative of The Monitor, the songs of LOCAL BUSINESS aim to make explicit the implications of the first two LPs, that the inherent meaninglessness of life in an absurd universe gives the individual power to create their own values and their own morality. This individual is celebrated throughout LOCAL BUSINESS's ten songs, though surrounded by a world that pressures endlessly to consume and to conform. The title LOCAL BUSINESS speaks to this anti-consumerist agenda, but fear not; the contradiction of the LP as a consumer product speaking against consumerism will be discussed at length therein. LOCAL BUSINESS should also indicate an interest in contemporary affairs, moving away from the historical content of The Monitor. Along the way, we witness a devastating automobile wreck, a food fight (that is to say, a battle with an eating disorder), an electrocution, a descent into insanity, and ultimately, a forgiveness of the self for its many faults. Titus Andronicus even finds time to broaden its emotional palette to include moments of pure positivity, brief respites from the usual doom and gloom.
LOCAL BUSINESS will be released on October 22nd, 2012. The release will be followed by a tour of the United States, which too shall be unique in the history of Titus Andronicus, as the band taking the stage every night will be the same band which made the record being promoted. So shall the story be complete, from tour to studio to tour again, the same band of brothers executing a singular vision. Five men, ten songs, no bullshit. LOCAL BUSINESS.
Up from the trenches of the Jersey Shore, The Everymen conjure punk rock of a non-era, like the soundtrack to a '62 acid frat party.
Bikers and beauty queens, sluts and delinquents, pretty girls and sissy boys, junkies and lovers, fools and fantastics. It's a traveling freak revue, a psychedelic soul sensation and we're all Everymen. So wax up that sax and rev up that Hemi, let's take a ride baby, let's take a ride.
The Everymen are Mike V on rhythm axe and lead thunder, Catherine Herrick on the sexy croon and broken tambourine, The Connecticut Kid with the flaming guitar, The Zillitones Scott and Jamie on honking horns and 4-stringed guitar, The White Tygah on keys, Four On The Floor Fiedler and The Zen Master on drums.
Pop Zeus is the project of one Mikey Hodges. Mikey's grandparents bought him a guitar for Christmas when he was 9, then he taught himself bass and drums before he turned 12. Sometime before any of that happened, Mikey was informed that Prince, Stevie Wonder and Todd Rundgren played everything on their records, which young Mikey thought was pretty fucking cool. Fast forward to about a year and a half ago, Mikey finally put to use a 4-track he bought for $75 and started writing some serious jammers with one mic, a drum machine and a few guitars. He narrowed nearly 30 songs down to 10, borrowed a couple nicer mics and used someone else's drums and amp. Now Burger Records is going to release a cassette tape of those 10 songs. They don't really sound like Prince or Stevie or Todd. This is pretty much power pop if you need to see words before you listen. There are tons of hooks and some ripping guitar solos. If those are things you enjoy, you're gonna shit when you hear this record.