Quiet Oaks’ second album Pretty Alright exemplifies the indie take of alternative rock pleas for desperation. In an odd way Quiet Oaks have a sort of feel-good aspect to an otherwise sensitive sound. This is a largely thanks to the emotional pleas cried out by vocalist Dane Sandberg. With Sanberg at the helm, one could think of Pretty Alright as trudging forth from the misunderstood indie noise that seeks to infuses it’self in an all grown up sound thanks to a prominent backing of a sort of raucous blues rock style.
In this album, listeners will be hard pressed to look passed Quiet Oaks use of heavy instrumentals to back Sandbergs passionate vocals. it’s a style that consistently sets a stirring tone throughout Pretty Alright. This is particularly evident by the first track “The Go Getter.” The top tracks o be found here are “Keep It Together” with “They Don’t Need You” and “I Don’t Bleed” following close behind.
“Keep It Together” comes across as reflective and dramatic. It has a strong build up and solid delivery. If the result of listening to this track doesn’t invoke the notions of the feelies, then by all means questions your own empathy.
“They Don’t Need You” relies strongly on the vocalists emotional yelling to keep the attention focused on the song. However in this day and age such reliance may be what shows off the ability to be passionate. This all mixed in with a slight up-tempo groove this tracks ball rolling. “I Don’t Bleed” also has a strong build up with a constant groove. This track may invoke one to move about and possibly even slow dance with that someone special. If this album had a baby maker track to it, “I Don’t Bleed” is definitely it.
Other tracks on this album seem to offer a glimpse into something slightly brighter. This is particularly exposed in “Father Knows” and “Guns.” Both move closer toward the rock n’ roll end of the spectrum.
Overall Pretty Alright is just that. These are songs that impose the notions of sensitivity while daring you to feel good. Quiet Oaks are having the Pretty Alright release show at Urban Lounge on March 17, 2017. So, come out, hold your lighter high, and give way to your feely feelings.
For more on Quiet Oaks, visit their Facebook or their website: http://quietoaksmusic.com/
Man waves banner in protest of Trump’s presidency Photos by Jesse Stewart
On January 20, 2017, the Students for a Democratic Society (SDS) protested the inauguration of the Trump presidency. They protested in conjunction with others nationwide. Between 1000 and 1200 protesters organized at the Wallace B Federal building. Among them were members of SDS, Black Bloc Anarchists, Freedom Road Socialist Organization, students as well as many other individuals—young and old who represented all walks of life. Many held signs with creative slogans like “Send Pence To A Conversion Camp,” “ Pussy Grabs Back” or “Welcome To Fascist America.” Some protesters displayed flags symbolizing Anarchism, Anarcho-Communism, Communism, LBGTQ or upside down Stars and Stripes…
The Nods are a force to be reckoned with. Their membership boasts veterans of Salt Lake’s diverse music scene—Joey Mayes, Zach “Rocky” Maldonado, Travis Michael and Sean Michael Vincent—whose combined and individual appreciation for music is nothing short of incredible. The band formed in 2013 when Mayes and Maldonado started to hang out and jam after work. “[Mayes] said that he was working on a project called The Nods, and I thought that name was really funny,” says Maldonado. “But he was saying he was doing this band, so I jokingly asked, ‘Let me play tambourine with you guys,’ and he was like, ‘You should just fucking sing.’” After going to Mayes’ house with expectations set low, Maldonado was pleasantly surprised to hear a sound that reminded him of 45 Grave. Mayes recruited Michael to play bass, and after going through several drummers—including Samp Ravens/Brain Bagz’s Mikey Blackhurst—Vincent joined the band in November 2014. “I saw The Nods several times,” he says. “They were always underdogs—not very noticed. I liked it. It was mainly my interest in the band that got me into it.” Once Sean joined the band, Maldonado says, “That was the nail in the coffin.”
Protesters blockaded the freeway exit from I-15 on 600 South. Photo: Leah Hogsten | The Salt Lake Tribune
Tonight’s events [Dec. 19, 2014] make two things perfectly clear. The first is that tension toward the police is clearly present among a ragtag group of protesters braving the December cold. The second is that protesters are pushing the envelope when it comes to their methods of directing anger toward the police, using direct actions that have uncertain consequences for a movement seeking justice. Contrary to popular belief, the rally was not organized or endorsed by Utah Against Police Brutality. Organizer Chris Manor made this perfectly clear, saying, “This is not my show,” to anybody who inquired about Utah Against Police Brutality’s involvement during the initial assembly at the Wallace F. Bennett Federal Building….
The protest against police brutality takes State Street. Photo: Megan Kennedy / abuseofreason.com
The shooting of Mike Brown at the hands of police officer Darren Wilson has shaken our nation to its very foundation, bringing to light police brutality toward African Americans and the police’s overt display of militarization. Adding further to the profound outrage of the many seeking justice for Brown, the legal option seemed wasted as a grand jury decided not to indict Wilson for his actions. As if this were not enough of a blow to the Ferguson community, many were immediately aware of the cold hand dealt to them during the initial handling of the unrest following the shooting of Brown. The Ferguson Police Department’s actions in quelling unrest were questionable, at best. Their actions included detaining journalists and enforcing night curfews with tanks and tear gas. The rioters only calmed after Missouri Governor Jay Nixon ceded authority from Ferguson Police Department to the Missouri State Highway Patrol Captain Ronald S. Johnson……
Ex Cops came to The Depot Friday, Oct. 17 in support of their album Daggers and their pals, Dum Dum Girls. Photo: Guillaume Gilbert
No doubt subconsciously aware of the adverts around town for the Dum Dum Girls gig on Oct. 17, my eyes re-focused on a split 45-rpm record in Diabolical Records. I was there to pick up some singles for an impromptu shindig I was throwing and needed some new tunes to spin. Playing the Dum Dum Girls single “Pay for Me,” I was immediately hooked by the melodic-but-with-an-edge vocals provided by Dee Dee Penny. The following week, I decided that the only logical course of action was to check out their show at The Depot. As this is the only way one with a Blues Brothers mission-from-god-like enthusiasm for the addictive sound of rock n’ roll can proceed.
As I am ever the hopeless-romantic, the iconic image of Jimmy Cliff as the outlaw Ivanhoe “Ivan” Martin with the ready, go stance with guns drawn plays into my love for the rebel. My true appreciation for Cliff began with seeing him star as an aspiring reggae artist who turns outlaw (Martin) in the legendary film Harder They Come. Cliff’s 2013 U.S. tour, named the “Many Rivers Crossed” tour, is coinciding alongside the rerelease of the film into theaters across the country. I had marked the night of this gig months in advance. I was going to see this gig or die trying. Arriving at the Depot, I almost sprinted up the stairs to the second floor, while trying not to crash into any unfortunate souls in my way. Luckily, no loss of life was needed as I made it there without incident..