Iris FTW.

Ahhhh.... the cover. The last oasis of the uninspired musician. I haven't had a lot of new ideas kicking around in my head lately, but seeing as how we're still very likely going on tour at the end of the year with a synthpop group, it was time to bust out a groovy cover... It's pretty much expected that any unheard of band should include at least one popular cover in their set, so I chose "Sentimental Scar", my favorite track off Iris' awakening.... and, despite it being intended as a live track, I decided to polish it up vocally for you, dear readers, so that you might give me your fair critiques.

I decided to take it in a lower-tempo darker direction than I usually go in, but I felt like the mix needed it... There's also some guitar in there provided by my friend Pete from Lakeshore Driving, and some backup vocals by Micheal in the chorus sections.

Can I just say that transcribing this song gave me new respect for Reagan as melodic songwriter? Damn, those are some fracking good hooks.... Micheal was actually floored (not being a big iris fan) "this is iris? this is some @#%@# good songwriting!" was the direct quote. Yeah. So go check out Iris if you're lame enough to not have already. You big old lame face. Lame-o.

oonst oonst oonst!

When I first started writing music my teacher at the time suggested that the best way to learn theory was by transcribing songs that I enjoyed at the time, meaning: listen to a track you like and dissect it piece by piece. This wasn't an easy process for me at the start, but I soon realized that every song was in the key of a-minor, so that made it a little easier. Of course, I just happened to be choosing songs because I liked the sound of a-minor, but I didn't know that. At the time I thought EVERY pop / electro song was in a-minor.

I did eventually learn better, but the first Son of Rust / Vermillion albums (for those of you who are OLD school) were written mostly in a-minor. Ben and Michael's joke around the rehearsal studio at the time was that it'd be easy to sign on a guitar / bass player 'cause they'd only have to know three chords, Am-F-G-Am. Yeah, hardy-har-har.

Ever since then I've been attempting to avoid a-minor as I feel like I've kind of done it to death, but man, does it ever feel good to just lay down good old Am-F-G-Am again and just effing go for it. Ahhhhhhhh... it's like crack after not having done crack for like, a while... I don't really know what that feels like but I'm guessing it's exactly the same.

So my point is that this song is in a-minor again.

In case you haven't lost interest yet I'll carry on and say that I have another weird addiction that pops up every now and again to write cheesy club songs. This is a total cheese-ball club song. I have no idea why I do this (because I can never quite get them RIGHT, you know?) but I keep on doing it and it feels good so go @%#@ if you don't like it.

Next week I've got a just effing SICK cover of an Iris track that I did for the sheer hell of it for you, I think you're gonna like it.... because I know exactly what you like, whoever you are. I'm inside you're brain! HAHAHA!

Excuse me, I think somebody put something in my coffee. And if they didn't I'm going to go put something in my coffee. See you next time.

Did I say March? Hmmmmm....

Why is the sky turning that weird red color? Do you hear horses?

Yeah, that's right, it could be a sign of the apocalypse but I've crossed the sandy desert, tasted the blood of the star flower(?), found my spirit animal, completed my existential quest and do in fact have a new track for you. As well as a revitalized, totally rejuvenated passion for Son of Rust that I haven't felt since the beginning if I'm being honest. By all that I mean that I ate a bunch of weird mushrooms I found growing in my bathtub and woke up a few blocks away in my underwear, but it's basically the same thing.

I hate to say it, as we "artists" are generally supposed to have this "it's my art so fuck what you think" mentality and just frakking do art for the sake of doing art, but let's face it, a little validation goes a long way.

...and by that I meant that this is going to be a colossal year for SoR. It's pretty safe to come out and say that right now there will definitely be a west-coast tour this summer, and very likely a european tour later this year. I am, to put it bluntly, totally stoked.

Anyway, about this (rough) track: It's probably the most uplifting thing I've ever written, so it's maybe a little on the lighter side than what all the SoR kids are used to, but hey, I'm in a chipper mood for once in a long time - allow me a little indulgence. Hey, at least I say "miseries" and "pain" a few times so there you go, happiness haters.

Michael and Ben helped me out in the studio on the vocals and you can even hear Michael in the mix if you listen carefully... It was an old-school Son of Rust reunion of sorts.

I've tentatively decided to go with a "perceptions of time" theme for the next album, so this track is basically the flip-side of the previous "Time Devours", looking at more of the "freeing" aspect of the old hourglass and less of the "wasting away".

Here are the lyrics, for those of you who haven't gotten bored by now and gone back to looking at porn:

all we have is memory
that holds us here
in repetition's loving arms
finding peace in anything
twisted things
those things
that do us harm

all those distant memories
that keep me here
that keep me holding on
all those distant memories
of you my dear
I know
will soon be gone

together you and I
time
we will wash away
everything

together you and I
time
we will take away
all the pain

time
is an ally
(leads me here)
time
is an ally
(holds me near)
time
is an ally
(whispers in my ear)
that your memory
will soon me gone

All we have is memory
that chains us here
experience and scars
can't find release in anything
but twisted needs
those things
that do us harm

all those childhood miseries
that formed your fears
a fallen house of cards
all the pieces in the sand
spell anything...

together you and I
time
we will take away
all the pain

....

You're feedback, as always, is appreciated (and by appreciated I mean angrily scoffed at and then discarded).

I've also got a slightly darker more dance floor oriented track on the back burner that's 90% finished so you can probably expect a taste of that in a week or so. Ta.

Bodog a scam - straight from the horses' mouth.

I thought I'd come back from hiatus briefly to bring you the news, straight from a band that was actually OFFERED a Bodog recording contract, that the Bodog band competition is officially a scam - created to rope talented upcoming bands into awful recording contracts with the promise of $1 million dollars in advance money - money that the band members would probably be re-paying until they were living under bridges and fist fighting each-other on youtube for $5 a pop.

This is big news to me because I seriously considered entering the competition this year, and am now very freaking grateful I didn't. Plus, I'm a big fan of "The Slants" as you well know (see the awesome remix to your right). :)

Here's their official press release, chock full of tasty evil Bodog trivia.

Press Release: The Slants Reject Million Dollar Recording Contract and Reality TV Show Opp...

FOR IMMEDIATE RELEASE FEBRUARY 26, 2008

THE SLANTS REJECT CHANCE AT MILLION DOLLAR RECORDING CONTRACT; TURN DOWN BODOG BATTLE-OF-THE-BANDS AND REALITY TV SHOW, REFUSING TO SIGN CONTRACT

Portland, Oregon's dance-rock band The Slants, while carrying a consisten touring schedule, have been participating in Bodog's Battle of the Bands, competing (and winning first place in every round) in Portland and Seattle, and earning an invite to the semi-finals in Los Angeles, California--until they decided to throw a million-dollar contract back in Bodog's face.

Prior to rejoining Bodog and other competing bands in Los Angeles for the next round of the battles, The Slants were given a 73-page contract to sign. They were told that the non-negotiable contract had to be signed and submitted within ten business days, or The Slants would not advance to the next round. Thus they would not be eligible for the grand prize, a million-dollar recording contract from Bodog Music, label subsidiary of Bodog Entertainment.

After consulting with their entertainment lawyer, who told them he would need more than ten business days to go through the contract with a fine-tooth comb, The Slants decided the contract was too dodgy to sign. So, on advice from their counsel, they told Bodog Entertainment they would not be signing a non-negotiable contract filled with bear traps.

"We've decided to turn down the opportunity to participate in the Bodog Music Battle of the Bands reality TV show to win a million dollar recording contract," says bassist Simon Young on The Slants' decision to leave Bodog's Battle of the Bands reality TV show. "This was just not the right fit for our band at this time - or any band, really. We were being strong-armed into signing a non-negotiable contract that would strip away any artists' rights and that is completely unacceptable."

The Slants are the true definition of do-it-yourself independence, and have been since their inception. From self-recording, mixing, producing, and releasing their own material, to financing their own tours, The Slants have not sought outside label support, investors, or any financial aid, aside from competing in the Bodog Battle of the Bands for a chance to win a million dollar recording contract.

"We entered the competition almost on a whim, just to have fun and see if anything cool would come out of it. It was a lot of fun winning the rounds and meeting other bands, but regardless of what their corporate reps thought, we were definitely never desperate for Bodog," comments keyboardist Jen Cho.

"I even took out a second mortgage on my house to pay for this record,"
states Young. "The last thing we're looking for is some arrogant company with millions of dollars thinking that they can dangle the 'possibility' of winning a contract 'valued' at a million dollars to strip away everything that we've been working so hard for. I'd rather keep playing shows, making music, and getting kicked out of clubs for fire-breathing, than sign a contract giving a corporation with dubious influence in the music industry control of my music and merchandising."

Young continues, "It is my hope that there aren't any bands desperate for the publicity that they are willing to gamble their futures for a 'chance' to win a 'million dollar recording contract.' If anyone continues, they better have a pretty
good lawyer and a whole lot of luck. We've enjoyed the ride and meeting
new bands, but as soon as I saw that contract it was like red flags all
over. We're done."

The Slants don't count their time on the Bodog circuit as a waste, though. They learned many valuable lessons, including a reminder never to enter a battle of the bands competition again (regardless of its reputation or marketing describing how different it is) and they enjoyed the attention Bodog showered them.

"We've enjoyed the ride while it lasted. Getting first place in every round and being featured on Bodog's website was nice," Young confesses. "Having them trying to force us and other independent artists into a binding and heavy-handed contract was not."

Look for The Slants to continue touring in support of "Slanted Eyes, Slanted Hearts", their debut full-length, and hitting an area near you this spring and summer.

FOR MORE INFORMATION, PLEASE CONTACT: Alex Steininger at In Music We Trust PR alex@inmusicwetrust.com.

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Check out "The Slants" here - I'll be back with more music in, uh, March. Yeah, that's it. March.