Aloud: All about vinyl but “A Little Bit Low”

Fiery, vintage rockers Aloud,are huge fans of vinyl.  In fact, lead vocalist/guitarist Jen de la Osa almost exclusively listens to music on vinyl, and the band plans to release their forthcoming album on vinyl as well.
With a sound reminiscent of Alabama Shakes, Dr. Dog, Fitz and the Tantrums, The Black Keys, and The Love Language, Boston-based Aloud is known for their lead pair’s, “tight male/female vocals, exceptionally strong songwriting, and energy-filled live performances.” (Boston Music Live) . Henry Beguiristain (lead vocals/guitar) and  Jen de la Osa (lead vocals/guitar)  have been writing songs together since they were teenagers.  They moved from their hometown of Miami, FL to Boston, founded  Aloud, and began touring extensively in early 2008 to support their album Fan The Fury. It was during this time their constant rhythm section departed due to conflicting priorities, but in 2009, Aloud welcomed aboard Charles Murphy (bass/backing vocals). In 2010,Aloud released the folkier-edged Exile and toured the U.S. coast-to-coast to promote it, rocking major venues like  Paradise Rock Club (Boston), Mercury Lounge (NYC), The Double Door (Chicago), and Exit/In (Nashville).  Frank Hegyi (drums/percussion) joined as Aloud’s drummer in early 2012, and the four feature their refined, songwriting sensibilities on their forthcoming album It’s Got To Be Now, out 4/1/14.

The first single, “A Little Bit Low” is the perfect example of Aloud‘s signature “refined, well-crafted rock songs that still have that loose, shaggy excitement that made all of us fall in love with rock & roll to begin with.” (Elmore Magazine) It’s “catchier than a cold and equally contagious to those who listen. ” (Revolution 360)

“Raw, honest, and, in the end, a damn fine rock and roll band doing it on their terms,” (Boston Phoenix)
Aloud welcomes their energetic, guitar-driven single “A Little Bit Low” (released on Mother West Records), showcasing their, “tight male/female vocals, exceptionally strong songwriting, and energy-filled live performances.” (Boston Music Live)

Black Keys “Tighten Up” Their Grip In Pittsburgh

Real old electric blues had a specific tonality and sound. Robert Johnson, Muddy and even Buddy Guy didn’t have any Bonamassa, or Hendrix “Red House” tones, like any of the big “blues” guys today. Missing was the “Dumble” sound or any of what I would call contemp-blues tones in their guitars. Doyle Bramhall III maybe one of the few guys that goes back and forth between contemp-blues and old electric-blues along with Clapton.

Ole school electric-blues is thin in it’s presentation. Auerbach steals a page out of SRV’s book when we discuss tone…obviously not style or even choice in guitar for that matter. Auerbach is the king of “dumble” sounding blues. Influencing new hitters like Gary Clark Jr. I always refer to his really cool rig rundown being a player myself. Gotta love the squishy tweed deluxe Japanese fuzz-wah sounds.

The guitar in those bands (often with piano, mouth harp, or other instruments in the mix) just totally stood out. Dan Auerbach is a traditionalist and fails to completely conform to modern blues sounds. Many people were confused with the muffled sound of his guitar.  People who know The Black Keys realize this is the palette that Auerbach paints from and we dig it!

Nobody seems to go for that sound anymore. Yet a lot of covers of the originals do it with a more mid-rangy, chirpy, OD sound. In fact, a lot of the old electric blues wasn’t even close to being in OD territory.  This territory was fantastic when Carney and Auerbach went two piece during the early middle part of the show doing down home versions of Thickfreakness, Girl On My Mind and Your Touch.

I can see where in today’s world, we have changed our tastes, and it could wear thin over a whole set, but for those of us “chasing the tone”, it might be a cool idea, for authentic blues sound, to play a couple of songs on the bridge pickup, and let the bass and drums (and maybe piano) cover the low and mid ranges. This would be my only complaint after watching The Black Keys rip it up last night at Consol Energy Center, Pittsburgh PA.

Tempo discussion was also thrown around the crowd. Patrick Carney always charges out of the gates like a bull at Pampalona.  He leads and very rarely follows. So when Auerbach starts most of the songs you have an unpredictable dichotomy between chase and follow.  Now don’t be misled by my observations which tend to be highly critical when analyzing live music. I truly loved this show and everything about it.  The magic is never lost in their set which is listed below (thx to “Setlist“).

Little Black Submarines was a highlight for a lot of people starting off with great acoustic sound similar to the record and eventually morphing into it’s muscle flexing power rock ending.  The rest of the set lived up to it’s billing and The Black Keys deserve the success they’ve garnered in the past 3 years. They’ve always seemed to carry that blue collar swagger with them and they truly appreciate their fan base.

The rule being that if you really dig at least 3 releases from a band you may be hooked. I loved the Magic Potion CD the first time I heard it and everything they put out after it.  I guess we must concede the fact that Ohio is the home of one of the best bands from the rust belt.  Maybe there’s another Black Keys in the making, in some basement in Pittsburgh. We can only hope.  But, I have a feeling that those guys from Akron will be around for a long time.

All photos ©2013 AWeldingphoto and Pittsburgh Music Magazine

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Flaming Lips Bring The Space Opera To Pittsburgh’s Consol Energy Center

“The promoter wanted me to tell everyone in the seats way up there that this building has an excellent ventilation system,” Wayne Coyne began to express to the Pittsburgh crowd, “and he said it’s okay that you guys smoke pot up there.”  Wayne Coyne is a funny dude, not in a comedic sense, although that comment sure got the tuned up Steel City audience in high gear for a night of melodic celebration.  Coyne is just well, ‘different’.

Coming out onto a high rise platform with snaked light up tubes wrapping around in some space ship Matrix 2001 Odessey love ship, taped up with aluminum and tubing reminiscent of pulsating organisms, Wayne literally clutched a baby doll for at least the first three and a half songs, often caressing it, sucking its toes and hands, as though it were a living child in his hands.  His outfit of metallic leather, silver metallic beads glued near his eyes, with the look of a blue bearded cross between Jim Morrison and Bob Dylan playing with toy trumpets and bellowing out for the crowd to make more noise from behind the thick smoke was like an alien presence before all.

Even if one were not truly familiar with the band that has been around since their hit in the nineties with, “She Don’t Use Jelly”, the surrounding light show, the atmosphere, the showmanship and the sheer magnitude of the presence that the band exudes combined with a musicianship that is rarely found in many popular groups is enough to keep most concert goers enthralled.  The Pittsburgh crowd appeared more like stunned.  With a true understanding of how integral the visual is with the visceral and the cerebral and the soulful much like in the vein of Pink Floyd, The Flaming Lips have that certain something that puts one into an otherworldly state without the use of chemical enhancement (although it may not hurt).  It’s surrealist art for your ears.  With any luck they will bring their space opera back to visit us again soon to explore their new effort “The Terror” further and Mr. Coyne can continue being ‘different’ because that’s what makes him and his band so exceptional and beautiful and confusing.  Babydolls, toy trumpets, and all.

Setlist: Look…The Sun Is Rising ,The Terror ,The W.A.N.D. ,Virgo Self-Esteem Broadcast ,Silver Trembling Hands ,Try to Explain ,One More Robot ,Sympathy 3000-21 ,“Heroes” (David Bowie cover,) Do You Realize?? , Always There, In Our Hearts

All photos © 2013 AWeldingphoto and Pittsburgh Music Magazine

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KATE EARL’S Rendition of The Black Keys Song ‘Little Black Submarine’

Kate Earl’s remarkable new album, Stronger, is out today via Downtown Records. Featuring a rootsy brand of all-American 70’s pop-rock, the album echoes the timeless era of west coast singers like Stevie Nicks, Linda Ronstadt, and Joni Mitchell.

To make for an extra special release week, is featuring a rare cover of ‘Little Black Submarine’ by The Black Keys. Fans can also stream Stronger in full this week on AOL’s and download the album track ‘Loyalty’ on

Stronger is available on iTunes, Amazon and stores nationwide in CD and vinyl formats.

Written and recorded with an expansive crew of well-respected Californians-including Brett Dennen and Blake Mills- Kate’s new collection shows off the careful development of a singular voice. Stronger also introduces a deeply thoughtful songwriter coming into her own. “Maybe I’m a late bloomer,” Kate admits with an infectious chuckle, “but I think I’ve reached such a place of honesty with this album. It’s me coming out and telling my stories. This is where I came from.”

Kate Earl Tour Dates
Nov 29 – Los Angeles, CA @ The Hotel Café
Dec 06 – Boston, MA @ Café 939 at Berklee*
Dec 08 – New York, NY @ Santo’s Party House*
Dec 09 – Philadelphia, PA @ World Café Live*
Dec 13 – San Francisco, CA @ Slim’s*
Dec 14 – Los Angeles, CA @ Troubadour*
*With Passenger



The Man With The Iron Fists soundtrack and score will be released on October 23 via Soul Temple Records/STAX/RED Distribution. In addition to making his debut as a big-screen director, co-writer and leading man for the action-adventure, RZA also acted as executive producer for the soundtrack and score albums along with Quentin Tarantino and others. RZA enlisted The Wu-Tang Clan, Kanye West, The Black Keys, Corrine Bailey Rae, Pusha T and more for the soundtrack. The first single, “Built For This,” by Method Man, Freddie Gibbs & StreetLife will be serviced to mixshow radio today.

RZA recently discussed the making of the film’s unique score at Comic-Con 2012, explaining: “We went and got some of The Wu-Tang original songs…we took out a lot of stuff that was in it, and we re-orchestrated it.” “STAX also came on board to help us out, and they gave me about 10 of their famous STAX cues, songs from William Bell, from Isaac Hayes, from Mable John.” “So you’re going to have a great time listening to this movie as a soundtrack.” RZA chose to launch the soundtrack and score albums via his latest music industry venture, Soul Temple Records. Soul Temple releases will reflect independence, authenticity and artistry, engaging all elements of the creative community.

The Man With The Iron Fists Track Listing -subject to change
1. The Black Keys / RZA “The Baddest Man Alive”
2. Ghostface Killah / M.O.P / Pharoahe Monch “Black Out”
3. Kanye West “White Dress”
4. The Revelations feat. Tre Williams “I Forgot To Be Your Lover”
5. Talib Kweli / RES “Get Your Way (Sex as a Weapon)”
6. Raekwon / Ghostface Killah / Kool G. Rap “Rivers of Blood”
7. Method Man / Freddie Gibbs / StreetLife “Built for This”
8. 24 Carat Black “Poverty’s Paradise”
9. Killa Sin “The Archer”
10. RZA / Flatbush Zombies “Just Blowin’ In The Wind”
12. Corrine Bailey Rae “Chains”
13. Pusha T / Raekwon “Tick Tock”
14. Frances Yip “Green is the Mountain”
15. The Wu-Tang Clan “Six Directions of Boxing”
16. Mabel John “Your Good Thing Is About To End”

Quentin Tarantino presents The Man With The Iron Fists, an action-adventure inspired by kung-fu classics as interpreted by his longtime collaborators RZA and Eli Roth. Making his debut as a big-screen director, co-writer and leading man, RZA–alongside an exciting international cast led by Russell Crowe and Lucy Liu–tells the epic story of warriors, assassins and a lone outsider hero who all descend on one fabled village in China for a winner-takes-all battle for a fortune in gold. The film arrives in theaters on November 2, 2012.

Motometer Serves Up Addictive Self Titled Debut

Did you ever find yourself surfing YouTube and watching the “Will it Blend?” segments for hours on end? Imagine taking two very talented “guns for hire” musicians who met at NAAM and putting them in a blender with influences such as Queens Of The Stone Age, King Crimson, Cream, The Black Keys, Deep Purple, Audioslave, Animals As Leaders and Frank Zappa. What comes out is Motormeter and the taste is addictive.

Motometer is the duo of Stephen Dusenberry (drums, samples, synthesizers) and Adam Fagelson (frankenbass). The group has played with some well-known artist including Peter Cetera, George Clinton, James Brown, Steve Miller, George Benson, Maynard Ferguson, Foghat and Molly Hatchett. And this Sunday July 7 you can catch them doing their own thing at Altar Bar at PM with Protomen, Tracksploitation, and Dethlehem.

As Pittsburgh Music Magazine played their self-titled debut “Motometer” at maximum volume it was found that the blend of genres kept a groove that could be explained as the feel of watching an evil science project unwinding into something out of control and dangerous yet you can’t stop staring at it’s beauty. The instrumental tracks that are punctuated by ‘movie-like’ snippets for vocals throughout felt like being in a sports car driving top speed at 2AM with no headlights on a mountain with no guardrails. In short: We dug it. There are so many layers to their music and so many little nuances to pick up on. The rhythmically based tunage has funk, jazz, metal, and rock all over it. Songs such as opener ‘Mexi Pepsi’ and follow up ‘Cuda’ have a gorgeous atmosphere that is reminiscent of Rush, Joe Satriani, and late night horror flicks from Japan. As the effort progresses there are hints in ‘Flint’, ‘Hwood’, and ‘The Eight’ of ZZ Top, Chick Corea, White Zombie-ish/Queens of the Stone Age style vocal clips, all topped off with a feeling of having becoming more broadened yet secretly dirtier for listening. The whole piece goes together like a finely orchestrated meal- many courses all tempting your listening buds in different ways.
What you really get is something quite familiar yet entirely unique at the same time. When musicians create for themselves rather than for the masses you get an artistic purity that can’t help but rub off on those who love music and not just what is marketed to them. In these dog days of summer Pittsburgh Music Mag will be grabbing the ice and liquor and hitting the “Motometer” button on the music blender full blast.

Motometer has already caught quite a buzz. Check out some of these quotes:
“They really have something unique happening”
Will Kennedy (Drummer) – The Yellowjackets, Quincy Jones
“{Fagelson} weaves pop sensibility with dynamic, rip roaring rock and roll bravado.”
Charleston City Paper
“Dusenberry’s precision and melodic sense are flawless across the heavily complex material. The drummer’s intensity, innovation, and rhythmic complexity are constantly showcased.”
Modern Drummer
“Motometer are one of the coolest bands to come out in a long time. Their debut release is sure to garner them a lot of attention.”
GW Hill (editor-in-chief) – Music Street Journal

Be sure to check them out here:
Reverb Nation:

And download “Motometer” here:

To book Motometer:

JERMAINE ROGERS Prize Pack Contest Featuring Led Zeppelin and Foo Fighters Art

CLUTTER MEDIA GROUP and CLUTTER MAGAZINE once again team up with an amazing artist to bring their fans/collectors opportunity to expand their collections with specialty items, toys and artwork. This time, CLUTTER MEDIA GROUP and CLUTTER MAGAZINE are in cahoots with famed artist JERMAINE ROGERS for a very special FACEBOOK CONTEST, running now until Friday May 25th, 2012. The winner of this contest will be chosen at random and will receive a special limited edition (1 of 40) print by Jermaine Rogers that celebrates the anniversary of Led Zeppelin 4, as well as an Allepin Sane vinyl bust, created from a poster he designed for the Foo Fighters and produced by Plastic City Toys.

Jermaine Rogers is recognized as one of the pivotal artists in the modern resurgence of Gig/ Pop poster Art. In the last 15 years, he has created nearly 900 commissioned works for a variety of artists, including Radiohead, David Bowie, Tool, Deftones, Morrissey, The Melvins, Neil Young, The Mars Volta, Public Enemy, The Black Keys, Queens Of The Stone Age, and hundreds of others. His artwork has been featured in various books and publications, and is in the permanent collection of the Rock and Roll Hall Of Fame. Since 2003, he has also been a player in the Western Vinyl and Art Toy movement. His vinyl projects include Dero, Squire, and Veil: Specimen 129, among others. These works, as well as his various collaborations with Jamungo, KidRobot, StrangeCo, etc, have received critical praise within the industry and are collected worldwide.