brick beats magazine issue three

WILLIAMBECKETTExclusive Brick Beats

Interview

Country NightWith Chris Cavangauh

Brick Beats Reborn

Meet the New Brick Beats

A Decade at DonkeyAcoustic Venue Turns Ten

BrickIssue 3 Spring, 2012

REBIRTHAfter a hiatus and some major changes, Brick Beats magazine has made some major upgrades.

Now, get ready to meet the new mem-bers of the Brick Beats family and see the people responsible for making this magazine come into life for a third time. Things don’t get any better than this.

page 44

REVIEWSAre you looking for new music to listen to? Well, you’ve come to the right place. If you dare to try a new genre, then go on ahead and check out our album reviews.

Mobius B-Side12

16 Bricks and Bones

bustedBASS

Matt Moore

6

8

Opening Act

Decade at Donkey

Hear Here

18

Eddie Ashworth

Mentor Musicians

22

Headliner

WIlliam Beckett

Chris Cavanaugh

26

32

Awe Snap

34 The Lost Boys

Reviews

Mindfish

Skeletonwitch

40

42

TABLE OF CONTENTS

Last September, our staff was in shambles. The head designer bailed, my co-editor followed suit, and the remaining members of a once eager organization were getting sick of waiting for a third issue. Brick Beats was doomed to become nothing more than senseless alliteration and throwing in the towel seemed like the most sensible option. Two issues in six months; that’s not too bad, eh? We had a good run. It’s been fun, sort of. Then…BAM – I got well-deserved kick in the ass, just what I needed to keep Brick Beats beating. It came wrapped up in an email from Tess Stevens, a former writer who was deeply concerned with the magazine’s wavering longevity (much more so than I was at the time). She was interested in claiming the vacant co-editor spot. The writing in her email had a rare passion to it, the kind that reminds you that there’s always someone out there who cares more about something than you do.

But she was a college freshman. What would our audience think? How would the remaining upperclassmen on staff handle a first-year student telling them what to do? Could she handle the pressure?

I thought about these questions for a couple days. Yeah, she’s young. So what? She cares more about this publication than anyone else I know. So I made my decision, choosing passion over practice. Tess Stevens would be the new co-editor of Brick Beats magazine.

And you know what? It couldn’t have worked out better. Thanks to Tess and our devoted staff, we’re back on track, providing you with our passion: Athens music. You wouldn’t be reading this without them. But being a publication comprised of poor college students, how could we possibly provide compensation for all the hard work that went into this? Hours spent in the library editing and designing, hours spent on Court Street selling grilled cheese and hours spent at home thinking about more, impending hours in the library…

Our answer is this: a full spread dedicated to the Brick Beats staff that made the third issue possible – you can find it on page 44. We are rebranded and reborn. This is our way of proving it. We’re back and it feels good. See you next issue. Until then, it’s back to work.

Letter from the Editors: A NEW ERA

Bb

Welcome Back,Phil Barnes

Letter from the Editors: A NEW ERA I’m Tess Stevens the new co-editor-in-chief of Brick Beats maga-zine. Here is a little bit about our journey to putting out this issue. Brick Beats is a publication that was started with a lot of vigor, good intentions and amazing ideas. The thought of an exclusively music magazine here on campus was revolutionary. Yeah, other publications cover music, but in very minimal, dry and unenthusiastic ways. There was hope in Brick Beats to establish a new perspective on music here in Athens.

People who eat, sleep, breathe and cover music could finally have a voice on campus. After establishing that voice in just two issues Brick Beats had seemingly fallen through the cracks. With no PR team, no advertising and unenthused staff members the publication that had once prided itself on individuality had become just another face in the crowd. The music that had once powered the passion of the publica-tion had now been silenced.

Now that I have become co-editor-in-chief of Brick Beats, I now un-derstand what it is like to be the captain of a sinking ship. You know that when your ship was built it had such potential. People came from all over to look at your gleaming sails and streamlined design. Now you’re floundering in the water, watching people catch lifeboats as your dreams fall from the bow. But what if there was a chance that you could save the ship. You can plug the hole in its bow, call the Car-pathia and save everyone aboard. You’re now a hero.

I don’t want you to see this issue as a plugged hole in an old ship. I want you to see this issue a new ship entirely. This publication is now one with a small, hardworking and passionate staff that can do just about anything. Without a graphic designer, public relations team or photographers we have survived. This issue has come together in just a few short weeks, and I cannot be happier of the writers you see here in these online pages. They have assumed roles of advertisers, photog-raphers, editors and creators. They are the heroes of this sinking ship.

With a few new faces, some major public relations work and a whole lot of strict and short deadlines you’re now about to read the third is-sue of Brick Beats magazine. There are some exciting things inside this issue including an exclusive interview with national artist Wil-liam Beckett former lead singer of The Academy Is…, introductions to our staff and a directory of some great untapped talent from Athens.

We will be featuring musical content as well as video, blogs and links to all of the bands we cover. This is the new Brick Beats.

Welcome Aboard,Tess Stevens

Brickbeatsmag.com | 5

Legalize bustedBASS.” Stickers with this label can be found plastered throughout Ohio Uni-versity’s campus. So…what is bustedBASS?

The design of their sticker is colorful; regular black text over a white background splattered with splotches of red, blue and yellow. The wild design reflects their techno-infused philosophy: dancing, having fun, and going crazy. Seniors Arthur Henke and Joe Sherwood formed their band two years ago in Ath-ens. After meeting in high school over a ‘70s punk group project, the two reunited a few years later at Ohio University and found they both had the desire and ability to create music. Their sound is an electronica house mash-up style that uses

unexpected mixes of samples to demand listeners’ at-tention. Drawing on musical cues from GirlTalk, Soul-wax and The Avalanches has led bustedBASS to make music that breaks traditional molds. They mix instru-

mental dance beats with popular pop songs for a dose of familiar-ity. Even though you won’t see Henke and Sherwood on stage with traditional instruments like guitars or a drum kit, they still love to bring the “band experi-ence” to all their shows and hype up the crowd by injecting energy and movement into their perfor-

mance. At bar shows, the goal of the band is to make everyone hit the dance floor and have a great time. Generally bustedBASS can be found shaking the stage at Jackie O’s or rocking house parties around Athens.

“ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “ “

“Drawing on musical cues from GirlTalk, Soul-wax and The Avalanch-es has led bustedBASS to make music that breaks traditional molds.”

bustedBASSby: Emma Kelley

Opening Act

photos by: Jesse Etsler


”

Weekends, the band’s first album, was released Au-gust 29, 2011 in Sherwood and Henke’s attic. While walking up a flight of narrow sticky stairs, the last thing one expects to see in the room at the top is a record-ing studio but that’s how Henke and Sherwood’s place is decked out. Having interned in New York under DJ and original Public Enemy member Keith Shocklee, Henke learned the ins and outs of recording. He also spent time in Brooklyn working closely with Shocklee and Public Enemy’s producer, Kirk Yano. These two veterans helped Henke develop the techniques he uses in his software setup but more importantly, gave him insight into how professionals approach their work and use all their creative energy towards making music.

“It gets to the point where you see everything as relevant to your music and your art,” he says.

Henke was able to draw on this experience to model his current home studio and to help direct bust-edBASS’s approach to making music. Since Henke and Sherwood had total control of the Weekend’s re-cording process, they said it went smoothly and with-out surprises. Because of their success, bustedBASS

have already started working on a next album. Yet to be named, their sophomore album will feature all original compositions and more instrumental songs.

Although bustedBASS is trying to spread their music internationally, they appreciate the Athens lo-cal music scene. Sherwood says that the variety of styles and collaborative efforts on the part of other local bands keeps Athens a “musical melting pot.”

“The environment here is very friendly, ev-eryone just wants to help one another,” he says.

Collaborations between bustedBASS and artists like DJ AA and Brothertiger have highlighted the growing popularity of dance music throughout Athens and how OU is becoming a sort of mecca for electronic music.

“Check out Weekends for a groovy album and keep an eye open for bustedBASS’s stickers promoting their beats that break musical molds.”

Matt Moore

Opening Act

by: Alexander Terlecky

Song writing remains an art form that is often lost in today’s aggressive, stylistic music-place. Ranging from the greats of music’s

past, such as John Lennon and Bob Dylan, to today, where artists are blurring the lines between straight-forward and experimental --the words that fill each song still have the same goal: to convey message, tone, and story. In Athens— where one can walk into an “open mic” any day of the week—the search for distinctive songwriting is easy. Take the “Songwriter Showcase” at Donkey Cof-fee for example. Last fall, three, unacquainted mu-sicians came together to analyze each other’s music before performing together for the first time. Acoustic folk artist, Matt Moore, a 2011 graduate from Ohio University, was one of the three.

Matt Moorephotos by: Dylan Sams


easy way for me to express what I’m thinking or feel-ing.”

As his song writing transforms, Moore’s loose method takes a personal turn.

“Song writing is very soothing for me,” Moore says. “I can make sounds with a guitar for a long time. It’s so fun for me; I just want play a song over and over and sing it. I find that if people enjoy it too, I really like sharing it.”

Many emerging artists are constantly evolving, finding their voice and adapting to their own strengths and weaknesses. But Moore creates his music while making sure not to fit any preconceptions. He believes that his song writing must remain a pure, accurate representation of himself.

“Sometimes music will be heard and loved because someone worked hard, or because someone needs it,” Moore said. “I try not to sculpt things around what other songwriters are writing about. While those things can be inspiring, the feelings you’re feeling, those things should definitely be poured into your song writing.”


“[The sound] of us all playing together was all very, very different, but it meshed together well,” he says.

Before graduating Ohio University and settling in Athens, Moore was born and raised in Wheeling, W. Va., (he calls it “the middle of nowhere). Growing up, he was surrounded by a family that loved playing music in his small country home. Though opposed to taking piano lessons as a kid, things changed as he made his way through college.

“I came to college loving metal, hardcore music, but sophomore year I felt like I wanted to write songs that were about what I was going through,” Moore says. “I wanted to complete a song with just a guitar and me.”

Moore’s decision to go solo led him to embrace a sound reminiscent of Americana roots. Currently, he has released one full-length album, IPO, which he orig-inally never intended to share.

“I’d be playing around the house or the dorms, and people would ask me to play and record.”

Still, he continually thinks of songs and writes his thoughts down whenever they pop into his head. But song writing remains an elusive process for Moore, who doesn’t have any magical lyrical formula.

“It’s always different,” Moore says. “Sometimes I’ll sit down and see something. I’ll know that day; I’m going to write a song. I’ve written songs in 15 minutes, and I’ve also had songs stretch over a year.” Trying to create a mood or tone and have it effectively translate to the audience, or even back to the writer, can be a har-rowing process for any songwriter.

“I feel like for fun, bouncy songs, the lyrics need to be fun too,” Moore says. “If it’s a serious song, specific to a time or place, it needs to mimic that too. Tone and lyrics and music have to match.”

For any avid music fan, one of the most tedious parts of writing a song is the attempt to decipher the artist’s true intent. But when successful, it’s also one of the most rewarding. In Moore’s case, he tends to craft his music around the happenings and experiences of his everyday life.

“Most of the people I know have some part of me in them, and some of them are half-me, half-someone else,” says Moore. “Even if songs are supposed to be autobiographical, I will make sure that it’s simple, and not just specific to me.”

The process of song writing is different for every artist. Moore notes hisown process as having nothing specific to it, aside from a need to be enjoyable.

“It’s not really a difficult thing,” Moore says. “I only really do it when I want to; no agenda. Music’s an

Mobius B -Side

On a campus where events such as “Dave Rave” and “Dance or Die” have a fervent following of young people who dance all

night until sweat drips down their backs and their legs go numb, the arrival of a DJ specializing in party music is welcomed news. Freshman Geoff Backstrom, or DJ Mobius B-Side, as his Facebook friends know him, is an artist with an adrenaline-pumping, floor-shaking style. In reference to his attention-grabbing stage name, “Mobius B-Side”, Backstrom said, “It’s an oxymoron referring to a mobius strip—a continuous strip that only has one side.”

“You’d have to Google it,” Back-strom said. “And the fact that it’s a b-side (like old vinyl records), is impos-sible.”

The thoughtful-ness and creativity behind Backstrom’s name is also heavily integrated into the songs he produces; so much so that his work has been dubbed “undefin-able.”

Mash-up music, similar to house and techno, is cre-ated by mixing two or more songs together to create an entirely new one. Depending on the artist, a mash-up song can overlap music from several genres into a single sound. The same songs can be altered in many different ways.

“The beauty of mash-up is that it is easy to make all different sounding music,” said Backstrom. “Depend-ing on my mood, a track can either be slower and more laid back or upbeat to get people moving.”

The Bethel Park, Pa. native has been experimenting

with mash-up for the past four years. “I always wanted to make my own music throughout

my life, but didn’t decide to give it a serious effort until my freshman year of high school,” said Backstrom.

After futile attempts to put together a band, Back-strom resorted to solitary ways of making music.

“I’d always been searching for a genre I could work with and mash-up gave me one I could do by myself,” said Backstrom.

Mash-up artists such as Girl Talk (whom Backstrom has seen four times live), E-603, Legion of Doom

and Easter Egg sparked interest and have been influential to his work. “Watching Girl Talk perform gave me the moti-vation to actually work on an album of my own,” said Backstrom. Us-ing music mix-ing software such as Audiomulch, Ableton Live and Adobe Audition, he engineered his own songs and

began performing shows. Since performing his first show in a garage at his best friend’s graduation party, Backstrom has performed at several graduation and house parties and has even performed alongside mash-up professionals.

“The biggest event I’ve ever played was opening for Dubstep producer, Comic Strips, at Mr. Smalls (a stage) in Milville, Pennsylvania,” said Backstrom.

Despite his extensive show résumé, Back-strom said that his performance persona could use a bit more spark.

Mashin’ up Athensby: Kellie Rizerphotos by: Lauren Holle

Opening Act


Mobius B -Side

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“I’ll be honest, my stage presence is kind of lacking,” Backstrom said. “I try to make up for it by speaking through the music.”

In order to further compensate for his shyness, Backstrom wears flashy hats and clothing so he can make himself visually appealing. He also adds lighting racks and strobes for effect.

Despite his online music plays reaching 460 listeners in the United States in addition to achieving international listeners through a “Mashers” Facebook page, Backstrom re-mains unfazed by his growing number of followers. He said that his music will con-tinue to primarily be a hobby.

“I make the music for personal pleasure; it’s a great way for me to escape,” he said.

His lack of interest in expanding a fan base may be a positive outlook for mash-up artists considering the style isn’t considered legal due to its use of copyrighted music. However, Backstrom does not feel guilty about using others work to make his own.

“I like to think that I’m paying homage to artists whose songs I use and put my own twist on it,” he said.

Whether his mash-up style is viewed as

theft or tribute, Backstrom plans to con-tinue to make songs and begin performing around Athens. He has gotten in contact with the producers of Dave Rave through his involvement with the Electronic Mu-sic Club and hopes to eventually perform at upcoming events and house parties.

Backstrom sees the future as an op-portunity to get his music heard and is ready to make a name for himself in Ath-ens.

He plans to continue making songs and begin performing around Athens. In early September, he finished a mix tape track, “Swagged Out: Vol. 2.”

“Music is my passion and translating to my listeners is a feeling that I hope will continue to grow during my years at OU,” Backstrom said.


Strongly rooted in this university town, Bricks and Bones are launching their career in the Athens music scene. Performing at bars such as Jackie

O’s, The Smiling Skull and Casa Nueva, the energetic rock band have been establishing a fan base since last year. After moving into Sergeant Hall their sopho-more year, Matt Brooker (guitar/vocals) and Andy Bowling (keyboard/vocals) learned of each other’s in-terest in music and soon created a band. Brooker is also the main songwriter for the band, with some collabora-tive help from Bowling. When it comes to the band’s name, Bowling is the sole creator. “I figured Athens has a lot of bricks and a lot of graveyards,” said Matt Brooker.

The two started performing acoustic sessions at Donkey Coffee’s open-mic nights. They then met Justin Kirschner (drums/percussion) and James Christ-man (Guitar/Vocals) who were referred to Bowling and Brooker. Karl Henkel (bass) rounded out the band, who is a good friend of theirs. Bricks and Bones have an enormous amount of passion rattling in their bones and they get acquaint-ed with every inch of the stage when they perform. Whether it is performing uptown or in backyards, each member displays all their energy on stage, making it apparent that the band loves what they do. They are especially attached to the atmosphere at The Smiling Skull and view it as their second home. “When we perform at The Skull, it is always

Bricks and Bonesby: Lindsay Citrarophotos by: Alli Bertke

Opening Act


them and can name songs they have played. “When people that we don’t know are request-ing our originals during shows, it is the coolest feeling ever,” Brooker said “It’s amazing when they sing back our original lyrics.” Budding bands and musicians usually have hopes and dreams of what they would like to ideally achieve in their music careers. Bricks and Bones is no different, and aim towards ambitious goals. “If we are being as ridiculous as we can be, I would say selling that out Madison Square Garden would be pretty cool,” Bowling said. Brooker said that he would love to play at The Royal Albert Hall, where a lot of well-known musicians have performed, such as Eric Clapton and The Rolling Stones. Finding available practice time for all five of the band members has been the most difficult aspect of their musical journey together. The band members have jobs on top of being students, which sometimes allows them to only practice two full sets a week. The boys of Bricks and Bones have been hard at work recording their first full-length studio album. Most of it was completed in a four-day block consisting of 14-hour days this past summer. The album is self-entitled and will include nine tracks, two of which will be acoustic bonus songs featuring instruments like the mandolin, guitar and banjo. Loyal fans will be able to enjoy the band’s music outside of raging at fests and crowded bars.

like a welcoming back party and it’s nice to have that in a big university,” Bowling said. “The people are great and they are ready to rock with us right at the beginning of our set.” The Rolling Stones, Collective Soul and Sub-lime influence their sound, along with a little blues. As for performing covers, both Brooker and Bowling said that it is fantastic to have the crowd so engaged in the performance. Brooker said that his favorite artist to cover is The Rolling Stones. “For me, ideally, they are what a rock and roll band is all about,” Brooker said. “They have a little country twang, but at that the root of it, it’s just blues and soul.” Bricks and Bones also played a lot of house shows last spring, especially during fest season. They performed at High Fest, Mill Fest and Palmer Fest. During High Fest, Bowling kept a tambourine on stage to give someone in the audience. The girl who caught it is currently his girlfriend. “The fests were awesome,” Bowling said. “It was so crazy performing for 600 to 700 people and we look forward to doing it again. We covered ‘Semi Charmed Life’ by Third Eye Blind. They are my fa-vorite band to cover now because everyone in Athens knows the words to that song. It made it special.” After playing at numerous bars uptown, the fests and even Homecoming 2010, the band mem-bers said they frequently get recognized on the streets, which is a humbling experience. They said it is an in-tense feeling for them to know that people remember

Hear Here

Chris Pyle is a self-acclaimed music nerd. Even when I was giving his interview, we had to do it over the phone as he was on his way to

a Bruce Springsteen concert with his son. Ten years ago, Pyle created a space where music, art, and coffee lovers could congregate and cogitate. This was Donkey Coffee and Espresso Shop, located just off of Court Street in Athens, Ohio. The shop celebrated its ten year anniversary, celebrating its friends, fans, and family with the community. The shop attracts a variety of customers who gather for debates surrounding music, social activism and justice, politics, religion, and any other topic that can be brought up without violence ensuing. Customers are encouraged by the friendly, open atmosphere to share their opinions, study, or just relax with friends. Patrons can also enjoy the setting of the coffee shop. Donkey is a proud supporter of local artists. There’s a wide variety of art displayed for customers to view. One of the largest works, however, is the Rock and Roll Mural. Pyle says that that is his favorite room. “I could just sit there and stare for hours.” He has a man come from Portland every year to revise his “...version of the Rock and Roll Hall of Fame. It really shows who I think should be in it.” The mural features album covers, record company logos, and icons of early rock and rollers, as well as other inspirational artists. One such patron, Helen Cothrel, finds great appeal with the shop. “It’s a comfortable atmosphere. What I like most is the art they showcase, though.” Besides contributing to the visual art scene in Athens, Donkey also helps provide a stage for aspiring artists and bands to play their music in an encouraging environment. Donkey Musicians’ Open Stage is held

every Thursday, creating the opportunity for musicians to show case their talents and songs, while also providing entertainment that everyone can appreciate. “It provides the proverbial ‘15 minutes of fame,’” said host Troy Gregorino. There are also the weekend showcases for local artists and traveling groups on Friday evenings. In addition, the Designated Space on Tuesday evenings allows writers to share their poems and essays to the public. Appeal also comes from the other rooms of the shop. Donkey just opened an upstairs patio for the patrons to drink their coffee and relax. There’s also the second room, which is called the Hat Room, where customers may repose and enjoy the company of an operating 1958 Wurlitzer Jukebox, which Pyle says still receives a great amount of attention. The last room is the Social Justice Room, which is decorated with several quotes meant to inspire people who are searching for the inspiration to give back or a purpose in life. The Social Justice room also displays a list of over 30 different justice movements. People can find information on these varied charities and organizations on Donkey’s website. Being a coffee shop, the store does in fact sell coffee. They get their coffee from fair trade farmers and providers. Essentially, the people who work hard to harvest the beans necessary for the shop’s revenue are paid a fair price for their labor. “It was perfect for us,” said Pyle. “We take care of their family, village, and community.” This kind of awareness is fitting for Athens, especially because of all the pushes for locally grown and supported products the student activists push for. Donkey just celebrated its tenth year anniversary

A Decade of Donkeyby: Barrett Lawlisphotos by: Ryant Taylor


“We take care of their family, village, and community”

with a week of specials on coffee, food, and desserts. Chris Pyle had the idea for a social forum in his head since college. He wasn’t the biggest fan of coffee, but he knew that it was a great thing to have when large d iscuss ions were going on. So he decided to open a coffee shop. Working with his wife, Angie, and friends, Matt and Jessica Moore, they created the coffee shop. Angie Pyle first saw the space

and imagined it as a “cave...a hole in the wall.” She found it hard to believe that they would attract any business to the store at all, since it was some walking distance

from campus, and there were other coffee shops closer for the students to go

to. But it took just seven minutes for the first customer to walk into the store and since then, the shop has had great success, receiving many awards, such as the

Athens News Best New Business award, or the Best Coffee for nine years in a row. Ohio Magazine claimed Donkey was the Best Coffeehouse in Ohio. The shop won such prestigious awards because the shop had won the hearts of the community, and it remains a vital part of town for everyone Chris Pyle set out to create a place where people could discuss openly the pressing issues of social life, or even the not so pressing matters. He was successful in creating a forum for society to debate the importance of super heroes, charities, politics, and religions. “It’s humbling, when we opened, I didn’t know how

successful it would be. And it’s really the fault of the customers and the employees that we are so successful... I hope it stays around for another 10, 20, 30 years. I’d like to pass it along to my kids, if they’d be interested in it.” Whatever the kids decide, it’s very apparent the community loves Donkey Coffee and Espresso Shop. Whether you go for the coffee, the music, the art, or the atmosphere, everyone is sure to find something to appeal to their nature. So why not enjoy a cup of coffee among friends at this great, locally owned shop?

I could just sit there and stare for hours, says Chris Pyle in reference to the Rock and Roll Mural, pictured here.“ “

The Man Behind the Music

A young Eddie Ashworth casually picks up the phone in his office at a California recording studio. It’s the owner, calling to pass off a

recording session that he’s not particularly interested in. “Hey Eddie, can you take over this project?” his superior says. “There are these guys in here – they smell like smoke, they’re not wearing shirts, there’s a dog running around. They’re called Sublime, have you heard of them?” Fifteen years later, Eddie Ashworth modestly leans back in his chair as he reminisces about the first

day he worked with the cult-classic that would go on to produce a five-time platinum self-titled album along with a catalog more popular than Led Zeppelin’s. His office -- filled with framed records, VIP passes and enough music memorabilia to fill a record store – is situated in the corner of Ohio University’s Radio/Television building, behind a door that displays his reason for coming from Cali to Athens, Ohio: “Professor Ashworth.” The mustached and relaxed music aficionado laughs as he mentions that he was originally an English Literature major at the University of California. A love

by: Heather Farrphotos provided

Mentor Musicians


for records and a knack for working with recording gear led him to search for work in a recording studio. The search didn’t last long, as limited competition and perfect timing scored his first job in the music biz. “I took my one page resume into the studio – I was totally unqualified,” Ashworth recalls. “The only qualification I could offer was that I had a collection of over 2,500 records. It was sheer dumb luck that I got that job.” A little luck, combined with a lot of on-the-job training, led Ashworth on a globetrotting recording stint with the likes of Fleetwood Mac, Pennywise, Izzy Stradelin of Guns N’ Roses and Great White. After countless 100-hour workweeks, involvement with a documentary program and the opening of his own studio, Ashworth got another call – this time to interview with Ohio University. “I remember after my interview, I stopped in this record store on Court Street,” Ashworth says. “The kid behind the counter was a real fierce looking punk

rocker with arms full of tattoos, a Mohawk - the whole deal. And he was listening to Crosby, Stills, Nash and Young. That sort of sealed the deal for me.” The school hired the music industry veteran and encouraged him to keep producing music after moving to Athens. Although his current connections and recording knowledge are viable assets to students, Ashworth considers himself to be the lucky one. “I learn so much from my students – whether it’s a new website or a different way to interact. It’s a real two-way thing that many producers don’t have. I feel very privileged to have access to the people who buy the records I work on.” Ashworth’s favorite part about producing music is getting the opportunity to work with great artists. “I am a musician myself, so I can relate to putting your soul out there. Music really is the most personal thing you can do – you make yourself very vulnerable,” says Ashworth, who plays the mandolin and keyboard in addition to engineering. “As a producer, you become

almost an unofficial part of the band. You’re brought in and trusted, and the instrument you’re playing is the studio.” Ashworth believes he has made the best records of his career in Athens. “Athens is a great incubator – an artist can find a certain kind of acceptance here. They have the ability to grow their sounds. You see them one year and they’re okay, and then you see them the next year and they’ve really progressed,” he says. Ashworth gets the same gratification from working with passionate students. “When a student comes in – eyes wide like a dear in headlights -- and they feel so intimidated by the process, you follow them until their final project and it sounds great. That’s what it’s about for me,” Ashworth says. Ashworth fidgets excitedly as he segues into conversation about the current state of the music industry. According to the seasoned producer, we are knee-deep in a new golden age that music-lovers haven’t seen since the ‘60s. “People haven’t stopped making music. In fact, people are listening to music now more than ever. The removal of the old industry has created a huge boom in consumption,” Ashworth says. “The past era of expecting free music is out – people want to put money

back into things they enjoy.” Ashworth believes that the market has moved from physical objects being bought and sold to online streaming outlets such as Spotify and Pandora. Fans don’t listen to and buy CDs. They listen to intellectual property – property that should be paid for. However, even as a self-acclaimed music streamer, Ashworth is convinced that there is something about the sound of an old-school record that digs at people’s consciousness. “Vinyl has tactile presence that I want from bands I really love,” Ashworth says. “That’s one thing that’s lost with digital mp3s. Music used to be a ritual – there was a communal aspect to listening to records. There’s just something about picking out a record, taking it out of the cover, lifting the needle…”When he’s not listening to his vinyl collection, Ashworth works with upcoming Athens talent. Both In Silent Movies and Duke Jr. and the Smokey Boots have released albums mixed by Ashworth, and just last month, he produced Mindfish’s newest album: “WATCHOUT!” With a past full of success, experience, and a little bit of luck, Ashworth spends much of his free time basking in the glow of his green lava lamp – waiting for the next big thing to come through his door.


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When a student comes in – eyes wide like a dear in headlights -- and they feel so intimidated by the process, you follow them until their final project and it sounds great. That’s what it’s about for me,

“

“

William Beckett Goes Solo

Headliner

William Beckett Goes Solo

by: Tess Stevens

photos provided

Compromising Me:


Today in pop culture being yourself is often frowned upon. The cookie cutter images of movie stars and millionaires plague our under-

standing of what is truly unique about humans, and the music industry is the worst part of pop culture in that respect. You can work hard, write good songs and still get turned down because you are not willing to com-promise, take a lyric out or produce your music with auto-tune. William Beckett is an artist that has never compromised his vision to sell an album. This passion-ate musician has a promising solo career on the rise and does not intend to compromise now. His former posi-tion as lead singer of pop-rock outfit The Academy Is… catapulted him into the spotlight. After the band mu-tually split up to pursue other endeavors fans of The Academy Is… had been asking themselves, ‘what’s next?’

After members joined other bands, took breaks from music and started up new projects all together William Beckett announced that he would continue as a solo art-ist. Fans rejoiced and rumors swirled and now William is ready to take on the world. In this exclusive inter-view with Brick Beats magazine William talks about the future, his transformation and what it really is to be a musician.

William was set to call me at 1:45 Central time, which would be 2:45 Eastern time. I had waited all day to talk

with him. I made sure everything was right. I had my notes ready, my computer recording the conversation and I had all of my homework done on his new project. As a fan of TAI since I was 14, I was already up to date on the information that we would talk about. I saw TAI 6 times and cite them as one of my main musical influ-ences. I used to sing all three of their albums 2005’s “Almost Here”, 2007’s “Santi”, and later 2008’s “Fast Times at Barrington High” backwards and forwards in an attempt to become half the vocalist that Beckett is. Being able to speak with him was a dream come true.

The phone rang at about 2:00 p.m., I answered the phone and became nervous. He said, “Is this Tess?” I gulped a bit and said the dumbest thing I could have, “Yes! Is this William?” And we were off.

He said he had been doing a lot of interviews and was extremely excited to talk with us. “It’s gonna be fun…thanks for having me.” He said before I asked my open-ing questions.

William has ascended to great heights with his up-coming effort, Walk The Talk and the EP’s lead track “Compromising Me.” The sound is reminiscent of Butch Walker’s later work laden with synthesized keys, catchy melodies and a punch of punk. In this single Beckett calls you to arms to stand up for your ideals and never compromise who you are. When I asked him if he intended the song to be anthemic like a calling card

“I can play new songs, old songs and I can do whatever I want. It’s a cool and mutually benefi-cial way to connect even further with my fans,” - Beckett says

about stageit.com.

for his new direction he replied casually, “Yeah I mean absolutely, and it abso-lutely reflects where I am and who I am, that’s the reason why I chose that song as the lead song for the E.P, and the first song that I release a video for, which is going to be pretty awesome. I’m excited for the video to come out, it’s going to be out in a few months. That being said it’s exactly my statement, it’s exactly my mantra.”

Beckett has slightly changed his sound, but his song-writing is prolific as ever. With thought provoking lyr-ics, catchy hooks and rhythmic verses “Compromising Me” has captivated old The Academy Is… fans and a new crop of people as well. Junior English Educa-

tion major Meghan McComb and long time TAI fan expressed, “I couldn’t help but listen to this song on repeat for a few days. I am infatuated with this song. Yeah, it’s a different move for William Beckett, but it’s a new career he’s going for, it’s a new direction. I ap-plaud him and his success, he’s definitely changed my life and helped me through some rough times. I’m to-tally pumped for what’s to come.”

He has brought this new sound to light by engaging with his fans on an intimate level, describing that en-gagement as, “the most important thing outside of tour-ing and good music.”

The new sound is not that much of a departure from TAI’s catchy choruses, sneaky synth and pop-punk roots. When asked how everyone would respond to the new sound Beckett replied, “Well so far it’s been great! And at the end of the day…It’s not like I’m doing Death Metal…” I laughed.

He was witty and poised about the new waters he would be testing in the upcoming months, “I know that it’s a progression and it’s different, but it’s natural. It’s where my taste is and my growth as a writer and my vi-sion reflects that as well. It is truly who I am.”

Beckett is a great visionary from his lyrics, to the melodies he comprises, to the way he has kept true to who he is as a person as well as a musician. With fame, there also comes responsibility to those who follow you and Beckett understands that very well. The positivity that emanates throughout, “Compromising Me” is re-markable. He is not trying to upset people or put down anyone’s way of life. He is only trying to help people own up to who they are, and to be proud of that fact. As a fan, and a journalist I complimented him on put-

ting out such an advan-tageous message to the public. He humbly re-plied, “Yeah, thank you! Definitely!”

In addition to his posi-tive music he also has a positive online persona. He prides himself on be-ing an artist that truly has

a personal and intimate connection to his fans. Through his blog: thewilliambeckettblog.com he has created an entire community of people who can get together and mutually share information. Fans share with other fans, fans share with William and William in turn shares with them. This mutually beneficial relationship can re-ally have a favorable impact on a fan base for an artist.

“Don’t be afraid to be yourself. Have your own voice and your own vision. Do it your way, don’t try to be someone else. Don’t try to fit into something else.”


Beckett interacts with his fans through the blog and the creation of a what he refers to as a secret group called The William Beckett Society.

“It’s essentially a place where I give even more. I have a bunch of exclusive content and we have chats all the time. All of that is incredibly impor-tant to me,” he said.

This intimacy makes Beckett one of the few artists who is truly accessible. The reason why I got the opportunity to interview him was due to a brief Twitter exchange, which I was floored by. Could you imagine someone from one of your favorite bands replying to your humble request? I can, and it happened because of that personal connection that William Beckett keeps with fans like me.

This connection is constantly evolving too, this is where his mastery of the social media re-ally comes into play. He has big plans to conduct streaming live chats about the films he chooses for a segment on his blog called “Films on Fri-day” where he chooses a movie to share with his fans and blog audience. “

“I always try to pick something that is thought provoking or something that means a lot to me.,” said Beckett. “I mean this past week was crazy busy so I chose Dumb and Dumber as the movie.” He laughed.

Other films include: Carnage by Roman Polan-ski and The Big Lebowski by Joel Coen. These streaming live chats are now up on his blog.

“I mean this past week was crazy busy so I chose Dumb and Dumber as the movie, and what I’ll do is on the “society” website now, I’m going to start engaging in conversation with people while we watch the movie streaming in real time. It’s pretty fun. That’s what I do on my Friday nights instead of going to…party.”

He chuckled very slightly and I thought to myself, if only some of the kids here at the “Num-ber 1 Party School in the U.S.” could hear this. I laughed too.

The constructive nature of what Beckett does undermines what many ‘rock stars’ have aimed to be. They seem prolific but there are a lot of things they do not do, connecting with fans, understanding their connection to the music, creating a home and a community for them and engag-

ing with them as you’d engage with friends, because they are friends. These so called ‘stars’ can never dupli-cate the vivid and real experiences that Beckett creates for his fans.

Another aspect of the intimacy that Beckett provides is streaming concerts on the new music site: Stageit.com. On Stageit artists can sign up, sell tickets for any

price and open up a custom, streaming online concert to their fans. It’s simple, it’s easy and it opens up many doors for artists today. Beck-ett explained how he discov-ered this new technology, “My new manager actually told me about it and he said,

‘Hey you should do this thing, it’s absolutely brilliant.’ And it is, and for me the best part of it is that I can play in one location for people all across the globe and pretty

much change it up every time I do it. I can play new songs, old songs and I can do whatever I want. It’s a cool and mutually beneficial way to connect even fur-ther with my fans. It’s beneficial for the artist because there’s more exposure, and for the fan. And it’s a great idea that I wish I had come up with it first…it’s my idea,” he joked.

This new format can help out big artists like Beckett and newer artists to get exposure. This interactive cus-tom format takes out all of the pressure and formality of being on stage. William expressed that it’s a casual but exciting setting to be performing in.

In addition to these performances online Beckett in-tends to carry over the intimacy to his Walk the Talk tour starting May 4th of this year, and Beckett is defi-nitely excited.

“The tour is going to be awesome. Tickets are on sale now and they’re moving quickly because of the size of the venues, because I want that personal intimacy in the shows for this first tour back. Because this is especially how I started: with an acoustic guitar and a bar stool driving my dad’s minivan at 17 years old. That’s when I fell in love with performing, and that just feels right for the setting of my resurrection.”

As with many artists those crucial first moments are the most important. Countless times have I hauled my equipment into my mother’s minivan and drove it to a dive bar where I’d hope someone would like my music. These first moments are what surrounds the Walk The Talk tour and with the strong feeling of ‘resurrection’ the intimate setting should make the experience jaw dropping. “It just feels right.” He said. “I’d like to build it from the ground up rather than put a roof on a shaky foundation.”

Although the right feeling for this tour may be the smaller venues Beckett iterated, “I love to play in a huge place in front of a hundred-thousand people, that’s a great feeling as well; it’s just a different feeling.”

The difference as a fan is the feeling you get from the artist. When you’re 20 feet away, behind a barricade it’s a lot harder to see the band as accessible, but when you’re up close without a barrier, without the pyrotech-nics, the set and the Marshall stacks you really get the energy of each artist on stage. You can see their ex-pressions clearer, hear the words in a different way and understand how well written their songs are when they stand on their own, and Beckett’s can stand strong.

This seasoned writer has gone a long way from the foundation of The Academy which later turned into The Academy Is… He now has an entirely new vision in

front of him that has endless potential. I thought it only fair when closing out our time together to ask him what his advice would be for the aspiring musicians at Ohio University and the world and he replied hopefully,

“Don’t be afraid to be yourself. Have your own voice and your own vision. Do it your way, don’t try to be someone else. Don’t try to fit into something else. Be-yond that the most important thing is the songs. You have to write great songs. Really take it seriously and focus on it. Know what you’re going to say before you open your mouth and you’ll be fine by yourself to at least be able to produce music that really reflects who you are as a person.”

At the end of our chat I thanked him for talking to, “little old Brick Beats magazine from Athens, Ohio.” And then wondered why I had said that, because it is in his very nature to encourage and help the most obscure of publications in the most obscure college town, be-cause he respects work from those big and those small. I then informed him that he would be on our cover and encouraged him to come to Ohio University some-time. I thought he’d love Donkey Coffee or The Front Room’s personal settings.

William’s philosophy can apply to anyone doing any-thing. If you are not true to yourself then you cannot have honesty in your work or in your being. Compro-mising to fit into a mold is a “don’t” in the music world and in life. True success and happiness comes to people who exude positivity and value relationships with the people who got them there. And if you doubt that at all take a look at all of the success, positivity and endless possibilities that lie before William Beckett and you can be sure that being yourself is not a mistake. It works.

William’s “Walk the Talk” EP is avail-able now through iTunes, you can buy new merch from williambeckett.merchnow.com

Keep up with William at http://www.thewilliambeckettblog.com.

Country Nightby Phil Barnesphoto provided

When I first saw him I was sitting at the bar by myself, awkward as hell. He didn’t look like a typical country

star but from the posters I knew it was him – slick, straight black hair with a touch of beard, wearing a pair of blue Levis and a gray v-neck: a simple, refreshing look that lacked any gaudy cowboy tacks. He was hanging out by the back door making small talk with a bartender. I waited patiently for a break in their conversation. And then I sprang. “Hey Chr-“ Before I could finish, the host took to the stage-mic. His voice swallowed the room. “Chris Cavanaugh everybody!” Shit. Noise exploded from the beer-soaked, plaid blanket of people behind me; a rowdy bunch of Ohio University’s finest. My words were lost in the blast but I was digging it. My chat with Chris could wait. So all I could do was clap as he brisked past me on his way toward stage. He threw his guitar over his shoulder and grabbed a Bud Light. “Man, this is my kind of place. ATHENS, OHIO...Who’s ready to party?” Hands shot up through the blanket. Girls screamed; guys tried to do the same without sounding like girls. Chris Cavanaugh had them hooked and he hadn’t even started. “This first one’s called Girls with Girlfriends.” I left my inhibitions on the barstool before wad-ing through the crowd. I stopped when I could see him, smiling wide, conjuring up his voice: deep and soulful, topped off with that unmistakable Tennessee twang. “Damn,” I thought. “This guy sounds nothing like he does on the phone.” I had called up Chris three weeks prior for an interview. He was doing the dance of every ambitious musician, driving from bar to college campus to cof-fee-shop. Luckily for me, I caught a rare break in his schedule. He had just finished a run on the west coast

– seven shows in ten days, from San Miguel all the way up to San Francisco. An awesome drive no doubt. But sleep comes before a pretty view, especially when you’re staking a claim as a country rocker in a land where nobody knows your name. “Touring all the way over here has been fun and stressful at the same time,” said Cavanaugh. “I need to play shows with three hours of sleep, so I’m always resting on the road. It’s crazy man.” But Chris wouldn’t have it any other way. It’s the life he chose years ago, back when he was just a shy middle-school kid with a guitar whose first talent-show performance ended in a standing ovation. The applause, the smiles, the energy – Chris soaked it all in. He was only twelve years old and at that moment his mind was already made up. After high-school, Chris high-tailed it South from his Springfield Ma. hometown to the country-bedrock of the United States. Nashville. He was going to be like Chesney, Brooks, McGraw…or better. Country was his calling. Ever since he got his first CD: Garth Brooks’ The Hits; the simple themes of love, beer, heartbreak and home gripped him tight and never let go. After graduating from Middle Tennessee State University, Chris embarked on a two-year song writ-ing binge with some of the best in the business (Josh Thompson and Luke Bryan to name a few). But it wasn’t until last June when Cavanaugh released his first EP, One of Those Things -- his first stab at brand-ing his name on the big-city billboards. It didn’t happen, though. He was missing some-thing…the crowds, the adventure, the open road, the admiration. Yeah. That was it. His time in Nashville was up; it was time to tour. And so began Cavanaugh’s massive game of U.S. hop-scotch. First to Missouri, Alabama, and Kentucky as an opening act for Jake Owen and Luke Bryan. Then up the east coast, playing for Marines in

Chris Cavanaugh’sHeadliner


Country Night

North Carolina and snacking on fast food in between stops. His entourage fluctuated from state to state – it was Josh Thompson in Illinois, the Eli Young band in Tennessee, and Jarrod Niemann in Athens, Ohio. “When I opened for Niemann and Lee Brice last January, the show was absolutely amazing,” Cava-naugh told me. “I played in the auditorium, in front of a thousand people or something like that, and everyone was so supportive. I’ve been wanting to come back ever since.” He did; but it was much more personal the sec-ond time around. He wasn’t performing for a packed auditorium. He was playing in the Red Brick’s base-ment. It was “country night” and this time Chris Cava-naugh was the star of the show. He finished his first song, downed the rest of his Bud Light and kept on going. He was probably running on three hours of sleep and a dollar-menu dinner, but I couldn’t tell. I was sweating and he wasn’t. He played a few off his newest self-titled al-bum, “Fishing for Beer” and “College Years.” Everyone knew the words so I distanced myself a bit, knowing that slowly mouthing the word “watermelon” instead of singing along wouldn’t cut it in the front row. But the

lyrics were simple and I caught on quick. “We were young, life was good, I’d go back and do it all again if I could / We had time, we had beer, and that’s all we needed in those college years.” Amen, man. And then came the cover-songs: “Friends in Low Places,” “Mary Jane’s Last Dance,” “Country Roads,” “Jack and Diane,” and “Wagon Wheel.” It was half past one and Chris had been playing for three hours straight. No break --save for beer sips and a few body shots off a very happy girl up front. He closed out the show with David Lee Mur-phy’s “Dust on the Bottle.” The crowd was losing steam…drunken, tired and satisfied. But they hung around for eye-contact or a handshake, anything to let Chris know that he was good. I left, and walked right past him as I did so. He was posing for a picture with two girls. Lucky guy. But he’ll be on the road tomorrow and the next day. A show in Kent, then Akron, then who knows where? He might not get any sleep so I figured I wouldn’t bother him. Best to let him soak it all in.


Awe Snap


The Lost Boys play at Union’s Battle of the Bands on April 27th. Left: Mitchell TolerRight: Ben Leeson Photos by Hayley Smith

Kyle Stansell (left) lends a helping hand to Mitchell Toler (right)

Mitchell Toller rocking out

Reasons Reasons is a great opening number for this album. It’s a fun, carefree slice of heaven that just makes you want to dance. The upbeat song has quite a few surprises in store for first time listeners, making use of brass instruments and the newly infamous Mind Fish Tabernacle Choir, who add some great effects as well as some humor. Dean states in this song “I’ve got ten reasons that I’m not giving in. I’ve got ten reasons I won’t let them win,” Well consider this the first of ten reasons that you should buy this album.

Better Off Dead This track opens with calm guitar and a nursery rhyme-esque melody until the full band busts through the door allowing Tartaglia to unleash some heavy rock vocals. The band manipulates the layers of the song throughout the entire piece, making use of dis-torted guitars and powerful drums, but still finding room to let synth take the stage. It’s a head bopper that re-ally gets you to think. Lyrically this song is rather deep. Partying and drinking is mentioned, but with the innocence of the music behind the verse it’s hard to figure out if he is shedding positive or negative light on it until the last verse. “I sit hours lonely at the edge of my bed, with these thoughts in my head, thinking I may be better off dead.”

Pleased to Meet You If someone ever tells you that Mind Fish are in no way, shape, or form like Queen then from now on you are obliged to throw down the gauntlet. If they pick it up then you have to duel (those are the rules, bro), but if they don’t then show them this song. Oh right.... the song! You’ll be bouncing around from the intro to the ‘doo-wop’ and ukelele bridge. It is all very fun even though the lyrics give a sense of complete apathy. The refrain states “I’m pleased to meet you. I don’t even truly want to know you. I don’t even write these lyrics slow dude. I just let them babies pass on right through me. Someone told me I would probably like you, and I can’t think of reasons I despise you.” Which makes me wonder, what experiences caused him to write this one?

I Survived A Tragedy This and Can’t Control At All are the heaviest of the songs on the album. I Survived A Tragedy is a grungy, charging, and hard hitting track that is a great way to end the bands original portion of the album.The vocals on this track sounded much different then the rest of the album. Dean sang this with much more of a 90’s rock sound and at points it reminded me of James Hetfield of Metallica. Listening to this track made my mind go a bit crazy because I kept hearing an odd mix of “One Hot Minute Era” Red Hot Chili Peppers, Pearl Jam, and Sammy Hagar. If having this track at the end of their originals was to imply that their album is a tragedy then I’ll survive it over and over.

Sunny Afternoon This is quite a nice cover of the Kinks classic. Mind Fish did a nice job of keeping rather close to the original by only speeding it up a bit and adding some electric guitar. A note to anyone who disagrees with that philosophy, it’s basically what Eric Clapton and them did back in the day to the blues. Overall,this album was quite a nice sur-prise. I have listened to it quite a number of times and it just gets better and better.

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MindFish: Watchout!

by: Shaun Livingston

“Mindfish’s first, full length, studio album, WATCHOUT!, is a testament to pet cats, Gandhi, Chevy Chase and ‘90s Nickelodeon.”

-Bio from Mindfish.com

Reviews


MindFish: Watchout!

by: Shaun Livingston

“Mindfish’s first, full length, studio album, WATCHOUT!, is a testament to pet cats, Gandhi, Chevy Chase and ‘90s Nickelodeon.”

-Bio from Mindfish.com

Indie Gandhi This cut grabs your emotions and straps them to a roller coaster. The emotional architecture is all over the place from feeling empowered to disappointed to com-pletely losing your marbles and all the way back. It gets your head bopping, your body swaying, and your head banging, all in only 4 minutes and 15 seconds. Indie Gandhi utilizes guitar effects and synth very well, as well as using panning to ping pong voices from left to right during the last chorus until ending with a band member asking if it’s “too late for me to quit.” Judging by the name you probably guessed the song had something to do with Mahatma Gandhi. “Born in 1869 AD. I resisted British tyranny. But they shot me one night in New Delhi.” You obviously guessed wrong.

Detroit Rock and Roll Balls to the walls rock and roll is how I have decided to describe this song. Musically the song shows old school rock influence during the verse by utilizing bluesy guitar riffs, an organ keyboard sound, and a brass section. Tartaglia does some name dropping during the verses mentioning Iggy Pop, MC5, and Jack White(all notable musi-cians from Detroit) and Kwame Kilpatrick, former mayor(look him up).

One Day One Day is the slowest of the album thus far. It is very vocally and lyrically driven with a very steady and driving rhythm coming from the bass and drums. Tartaglia shows his vocal agility off quite a bit during this track, flipping in and out of his falsetto with the greatest of ease. “One day I’m gonna make you notice me,” are the lyrics that start out he song and as the verses progress you are convinced he will as he moves from sim-ply trying to be noticed by her to moving with her to Ferndale. One day I’ll think of a better pun for the song than this one.

WATCHOUT! This ridiculous concoction of rock and electronic music shows how versatile Mind Fish is. This travels everywhere from pop and rock to 80’s and psychedelic. This is a must lis-ten only because I can barely begin to describe it and it makes you feel like you’re having a blast just letting it grace your ears. Although the cheerleader like background vocals come in a close second the best part of this song is definitely the Community reference!“...on NBC there’s a show called community and there’s Pierce. Played by Chevy Chase and he’s in your face...”

Can’t Control At All “Can’t Control At All” is a very heavy, loud, and punky song that I can only be emo-tionally described as furiously determined. The most ‘barebones’ of the entire album, this track uses the four basics of voice, guitar, bass, and drums (there might be a synth but I can’t tell if it’s that or just an effect on the bass). I have listened to this song quite a few times and every time I hear it I can’t help but think of my cousins old band The Step Kings.

ATTENTION HIPSTERS: Listen to Mind Fish while you still can! After they get famous they will be too mainstream for you to listen to and that will be such a shame.

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Skeletonwitch: Forever Abomination

Forever Abomination has a sound that rever-brates from the depths of Hell, and the Athens quartet Skeletonwitch would not have it any

other way. For more than a half hour, Skeletonwitch commands your attention, and fills the listener with demonic possession generally akin to that of a wide-eyed manic. “This Horrifying Force” (The Desire to Kill) reels you in quickly and the album doesn’t release its grasp until the last chords fade out in “My Skins of Deceit.” Even if you aren’t partial to blackened thrash metal as a genre, or you are a person that describes this music as “scary,” you must be able to appreciate this band’s ability to come out of the Athens area and become one of the forerunners of the metal scene. Not many musical groups that originated in Ohio become highly successful, and those that have don’t necessarily fit the criteria for the specific tastes

by Adam Bloir

“ALL HAIL THE WITCH!”

Reviews


Skeletonwitch: Forever Abomination

“ALL HAIL THE WITCH!”

of some musical cliques. After their emergence with first album Beyond the Permafrost, Skeletonwitch quickly established themselves with their soul-crush-ing riffs and ungodly guitar solos. The undeniable skill of Skeletonwitch fulfills the skill requirements for mu-sic purists, but for an audience who prefer something with intensity and speed, Skeletonwitch provides both. More than being an amazing band with such a pool of obvious talent, Skeletonwitch can be looked to as a source of inspiration. When a musical artist comes from your homestate you feel a sense of pride, and that you yourself can make something of your future. It gives you hope that ties to Ohio won’t drag you down, and that escape is possible. Even if thrash metal doesn’t tickle your fancy, or if you consider yourself a metal head, Skeletonwitch is an example that these aspirations are not impossible to achieve. So put up your devil horns with me and join the chant...

The Brick Beats staff went through a tough series of changes. But, they are back and ready to take on Ohio University with vengance. THE REBIRTH OF BRICK BEATS

Photos by Jesse Estler


The Brick Beats staff went through a tough series of changes. But, they are back and ready to take on Ohio University with vengance. THE REBIRTH OF BRICK BEATS

Photos by Jesse Estler

Learn about the different staff members and see why Brick Beats is their home...

I hail from Troy, Ohio and have come to Ohio University to get on the great Athens, Ohio mu-sic scene. I have been playing drums for eight years, including in the band Toxic Delights, and I manage the band Breaking News, featur-ing Shaun Livingston and Tess Stevens. I am a media management major and spend my time listening, writing, and doing anything music re-lated. I joined Brick Beats to work and interact with people just as passionate about music as I am and couldn’t be happier with the people I have met. I write and work for the marketing/advertising department of the magazine. In the near future, I hope to get an internship working in the music business and later working for a record label, hopefully doing music publishing. I also hope to make it big as a famous drummer like my hero Dave Grohl.

SamShaun

WRITERS

My name is Shaun Livingston, and I am a Freshman in audio production. I have been super excited to work for this publication because I love music. This is the first time I have ever written for a magazine and I am excited for its release! I am also a member of Brick City Records and Lost Flamingo Com-pany. For your health!

WRITERS

I hail from a town south of Pittsburgh, where I actively participated in their music community through their drum line, percussion ensemble, DJ-ing, and more. I am one of those kids who loves music so much that I would wander around lost in life without the inclusion of music. I want to spread this love with those around me so that they may be able to experience the unbeatable feeling music brings into my life. This is why I chose to join and write for Brick Beats magazine as a freshman, so that I may continue to spread this joy with even more people. I may not seem like the most enthusiastic person upon first glance, but when the opportunity to discuss or simply listen to music is available all barriers are down and the power of music brings me to life.

I joined the Brick Beats team this year to gain real life expe-rience working for an actual publication. Originally I had no intentions of joining the writing team, but under direct pressure and threat of death from our editors I felt natural-ly compelled. Taking myself seriously is not something I try too hard to do.

Adam Geoff


I’m from Cleveland, Ohio. I joined Brick Beats because I love music and designing. I want people to be allured into the magazine by not only the awesome articles or photos, but by the kick-ass design. I want to help brand Brick Beats as an edgy music magazine that always cov-ers the best shows and musicians in Athens. By major-ing in creative writing and graphic design I hope to one day design logos and campaigns for major companies.

I am a sophomore journalism major from Lima, Ohio and Copy Chief of Brick Beats. I have a passion for music, ever since discovering my favorite band Green Day in 7th grade. I’ve played guitar and sang in various bands over the years, and continue to love it to this day. I’m frequently seen with a cup of coffee, headphones and a pen and paper. I am involved in Brick Beats because of my passion for music, and writing and hope to move to a big city and run a major music publica-tion one day.

Emily

Lindsay

HannahI’m a freshman undecided major. I’m from the good old city of Cleve-land. You’d think I’m into Rock and Roll but that’s really not the case.

I’m into alternative music and my favorite band is The Starting Line. I really like working with Brick Beats mostly for the family feeling I

get whenever I’m with them. Designing this issue was a challenge, but now seeing it come this far, I’m really proud to be called a Brickster.

DESIGN TEAM


DESIGN TEAM

OTHER CONTRIBUTORSBarett I’m 20 years old and decided to get involved with Brick Beats because I love writing and having a good time. I’ve definitely found the right place.

I’m a senior studying PR, but a wanna-be rock journalist at heart. I got my music writing start as a sophomore at New York-based music magazine, Relix, where I still do freelance writing and work for Bob Weir of the Grateful Dead. I started writing for Brick Beats because I feel that the Athens music scene has many untold stories to tell.

Heather

AnnaI’m a sophomore graphic design major from Brecksville, Ohio. I am also a music minor and have been involved with music since 4th grade. I have just started helping with design and page layout with Brick Beats magazine this spring and am excited to continue with future issues. I am pursuing a graphic design career with hopes of working in a graphic design firm or as a freelancer.

JesseI joined Brick Beats for the same reason everyone else did, they love music and the idea of shooting for a music magazine really excited me. I knew it’d give me a means to meet some really interesting people and stay connected with others I already knew. I stayed on for my second is-sue because Tess and Phil [the heads of the magazine] are great people. They’re really dedicated to the publication and getting it off the ground. I respect that a lot. I guess you could say they’re trail blazers…it’s been a little hectic getting the last two issues through on time but once we find our rhythm and voice [musical pun intended] I think we’ll turn out something pretty special.


http://www.reverbnation.com/thegrovesoundhttp://soundcloud.com/the-grove

Band Ads

Get your band in Brick Beats. Ads are only three bucks, and along with your logo we’ll list your website, upcoming shows, and contact information. Help us fill this space!

Get your band in Brick Beats. Ads are only three bucks, and along with your logo we’ll list your website, upcoming shows, and contact information. Help us fill this space!

www.facebook.com/tessstevensandthethrillstessstevens.com

Special Thanks:Alexander Terlecky

Lindsay CherryHayley SmithNeal Patten

Ryant TaylorAlli BertkeDylan Sams Kellie RizerLauren HolleEmma Kelly

Colin Cottrell

brick beats magazine issue three

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