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BY: CHRIS HORTON

Take what you expect from a local metal band, and throw it off a fucking overpass.

Solomon’s Ghost is relatively new on the Savannah metal scene, and recently have been the “scourge of Statesboro”, tearing it up with fellow metal acts Awaken The Dawn, Pridemeat, Sincision at Big Show’s..

I’ve had the chance to check them out live, so hearing how their material transfers to recording has been a real experience.

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Yes, it sounds exactly how it looks. This pic. All the metal.

It’s hard to sum up their sound, because it covers a lot…and I mean a LOT of different ground. There is groove metal, blast beats, clean melodic parts, and all out thrash. But there is a softer side, that focuses solely on melody. There is also the element of of prog-rock thrown in there, just to mix things up even more. The proggier moments are really where this group shines. Every now and then they break into some really great off-time riffage that still retains a groove. And thank Odin, it never becomes anything like the trendy Djent bands that are a dime a dozen in recent years. Their version of prog never achieves that polished, played-out, fake sound that seems to permeate the metal world these days (Emmure, anyone?). “Singularity” stays gritty and real. I have to add: to be such a brutal metal act, they aren’t afraid to write great melodic guitar parts that sound very emotional. At least once in every song, I say to myself: ” Huh…thats a really pretty riff. What a change up”. Solomon’s Ghost will keep you on your toes.

Hearing Chike’s growling over beautiful melodic chording is very refreshing to hear (The song “The Life Directive” is a great example of this).

I can hear a lot of influence from modern metal, like Born of Osiris, Tesseract…etc. But luckily, they manage to break the modern metal mold with a few secret weapons they have on their front-line.
One of those secret weapons is Chike Onyiliogw’s abilities as a death metal vocalist. He mixes it up between screeches and low growls and never wavers. His brutal vocal skills sit very well in the mix of down-tuned guitars. While he has his own style, the closest person I would use to compare him to would be Travis Ryan from Cattle Decapitation. *Editors note: I consider this a huge compliment, as Travis is one of my favorite metal vocalists of all time. For this being an early effort, I can see Chike’s style progressing, and getting even more diverse in the future. He is a natural, and already has great technique.

So what is the second secret weapon? They have a second vocalist in guitarist Josh Cook. Josh’s voice is literally the opposite of Chike’s. He does clean, spacey, reverb-laden melodic singing. These parts sometimes start off a song, and then turns into something brutal when Chike kicks in. If you check out one of my favorite tracks on the album, “What Lies”, you’ll find that the song starts with a pretty, clean guitar part, and Josh singing. But it soon turns into utter brutality, with some of the heaviest riffs you hear on the whole album. Josh’s style reminds me very much of Opeth, when it comes to his clean passages and vocal style. He has a great range, and his style fits the songs well.

Now with a genre-bending style like this, you probably think that it can easily get out of hand… and sound forced. Or maybe sound like two bands? But it seems that Solomon’s Ghost has managed to almost merge the sounds into one cohesive sound. I’m not here to kiss anyone’s ass…so I don’t feel bad in saying that they haven’t quite perfected the combo of the two sounds. But in the places they nail it, it sounds flawless. I think it best fits, when the two vocalists work in tandem. This of course, is just my opinion.

The production through the album is top-notch. I listened to it through my studio monitors, and they don’t lie. The bass and drums are held down solidly by James Stallings and Drew Purvis. The rhythm section can make or break a metal band, but these guys are spot on. The double bass kicks are used tastefully, and you can tell that Drew has studied some Chris Adler-style chops in his drumming.

The twin guitar assault of Josh Cook and Stephen Mosely never lets up, and you can tell who is playing each part since their styles are dramatically different, in my opinion as a guitarist.

There are some standout tracks for me. “One Million Faces” is a real journey. It covers a lot of style and ground, and listening to all of the changes keeps you excited: “Whats coming next?”. It also ends with one ridiculously heavy riff!

The title track, “Singularity” is probably the biggest departure from the rest of the album, in terms of style and sound. It is just absolutely massive, and has several “sections”. One of them, towards the end of this ten minute epic is actually reminiscent of Pink Floyd. I shit you not. That is, right before it goes back into a heavy as hell single note grind.

So check the album out. You can get it on itunes, cdbaby, or check it out on soundcloud. This is a must-have for any Savannah metal fan. I am definitely going to keep my eye on these guys, as they progress, I think they are going to do some REALLY interesting stuff in the future.

*Editors Note: I want a fucking t-shirt.

But better yet, why don’t you check them out live? Here are some of their upcoming shows, and let me warn you: They are playing with some GREAT bands that you don’t want to miss!

July 18, 2015  
Solomon’s Ghost, Pridemeat, Sincision, The Abominable Beard

Saturday, July 18, 2015
@ Dollhouse Productions.
980 Industry Dr. Savannah, GA. Ages 21+. $5. 7:30 PM.

July 24, 2015  
“BURGER JOINT RITUAL” with:
Solomon’s Ghost, Me and The Trinity, The Apprehended, Awaken the Dawn, Midwayer

Friday, July 24, 2015
@ Bigshow’s Burgers and Bar
200 Lanier Dr. Statesboro, GA. All Ages. $4. 7:00 PM.

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Clandestiny: The Journey Aum

Posted: July 13, 2015 in Uncategorized

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BY: Chris Horton

In two days, “The Journey of Aum” will be hitting the internet….

If you are new to the sounds of Matt Duplessie, then you are in for a real treat. Matt is a multi-instrumentalist that not only writes all of his own music, but records and produces most of it alone as well. He has been a part of many musical projects over the years, and I have had the chance to work with him before, as well as be his friend. I’m lucky to know him, and always love the positivity he exudes.

That being said, this review has no bias. Just my honest opinions.

Matt believes that music can be trans-formative, and healing. I tend to agree. The great luthier, Paul Reed Smith says: “When you are sitting there… playing guitar, you are in no pain. You are in your own world. Music is a natural drug…a painkiller!”

I think Paul and Matt share the same sentiments.

Matt is also a rather dapper looking dude, photogenic, with a sense of style that most of us cant pull off:
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For that reason, he is a bastard.

But seriously…

Matt Duplessie has been recording under the moniker “Clandestiny” for quite a while. He had just finished his first full album when he moved to Savannah from Ohio, and has since reinvented himself many times. From dark and brooding soundscapes, to delicate acoustic songs, chants, or even wailing guitars…. Matt always seems to have something new up his sleeve.

When Matt first described “The Journey Aum” to me, I was thinking that this was going to be a foray into “world” music, which unfortunately, usually has more misses than hits. I’m delighted to say that Matt does not disappoint with this new effort.

Firstly, this is an album to be listened to all at once. There are no “singles” or anything of the sort. The whole album is flows together, and some tracks stand out more than others (more about that later). I recommend putting on some headphones, and just relaxing. That’s how I first took it in. The soundscapes have very sparse vocals, and much of the vocals are used as atmospheric effect. The album truly is a “journey”. As you listen to it, you go through different styles of music, but more importantly different moods. Matt has always leaned towards the melancholic side of melody, and there is plenty of that on “Journey”. But there are certainly lighter moments as well.

There are tracks like “Galactus” that sound like they could be a part of a movie soundtrack. This is the aspect of the album I really love. This album is a “life soundtrack”. It’s pretty safe to say, that this is my favorite track on the album. It has beats and an atmosphere that remind me of the electronic group Orbital, and it is full of emotion.

“Raising the Djed” is another standout track. It has a great pulsing beat, and some really amazing vintage synth sounds. This could easily be a Depeche Mode song. But just when you think you have it figured out, there is a breakdown with eerie flute melodies. The huge electro soundscape that was built at the beginning of the song, is broken down into a minimum. It becomes almost haunting. Like I said, Matt has some tricks up his sleeve.

This whole album is a huge departure from Matt’s previous effort “Songs of Light” (The title track of that album, I’ve shown to so many people, and I listen to it myself a lot. Check it out on his bandcamp site at the bottom of this article). There are elements of every Clandestiny album on “Journey”, but this is meant to be enjoyed as a whole more than any of the other albums. It truly takes you on a sonic journey with ups, downs and in-betweens. No track really feels like “filler”, however some do feel like a lead-in to the next track. No sounds were wasted.
The next time I listen to this album, I think I will put in a favorite movie of mine (Like Donnie Darko) and let Matt’s album play in the background, with the TV on mute. I absolutely love that “Journey” could be the soundtrack to many things: a movie, a happy day in your life, a breakup, a reunion, a birth, a death, or just hanging out at the beach. It is more than a collection of songs. It is a fully realized piece of art.
I usually reserve the last paragraph of the write-ups for criticism. But I cant think of any! Minus a few places where I think the production/mixing is lacking (a matter of taste, being a producer myself). And while you may think this type of music isn’t for you, you might surprise yourself by checking it out.

I am always excited to see what new musical territory Matt explores next, and see how he will once again re-invent the Clandestiny project.

The Jouney of Aum comes out in TWO DAYS! Make sure to check it out!

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BY: Chris Horton (Regional badass)

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Let me preface this by saying that while I am a fan of the band, I am being completely unbiased.

Although I have been waiting for this shit to drop. Kudos to whomever came up with the title as well.
That being said, this is one hell of an effort from Pridemeat. Many of these songs, I’ve heard live or on demos, but to hear them fully produced, really changes the dynamics. Sadly this album is a goodbye to their extremely talented drummer Josh. But man, what a way to go out.

As a producer myself, I think about how hard it would be to capture a band like Pridemeat. I mean, the album breaks into literal chaos at several points, but then pulls you back to the groove. Nick and Gurt’s twin tuned down guitars are refreshing to hear used in a way that doesn’t involve poly-rhythmic nonsense using only the top string. * Editors note: we all know the word for this genre of music, but I wont say it. because its a dirty word. The “d” word.

They are accomplished players that use a lot of classic metal licks, and harmonies. There is plenty of melody in the chaos, and well thought out chord progressions, Not to mention, well placed lead work. William holds down the low end on bass with precision, and groove. No cheesy synths, or songs about outer space. This is fucking METAL. 

The whole album is relentless. Blast beats, grooves, death metal influences, metalcore, doom. It never lets up, and remains diverse. They cover all the bases of heaviness. There’s something in this album for just about any extreme metal fan, whether you have been a metal head for 20 years, or you just got into the scene. While Pridemeat still sounds fresh, it also bridges the gap with a plethora of stylistic choices that harkens back to Exodus and Iron Maiden (especially some of the guitar harmonies). This album could’ve came out yesterday, or 20 years ago. That really says something. It says that their style is timeless.

There are some stand out tracks though, for me.

“Wall of Souls” and “The Greatest Empire” really stick out to me. You can tell these are fully realized songs, that have great well-thought out riffs with a lot of emotion behind them. “The Greatest Empire” also has a breakdown at the end, that made me want to go out and break some shit. I didn’t. But I almost did.

“By the Hand of The Dark King” is also a stand out track for me, and reminds me of some of my favorite metal songs. Literally every part of the song is awesome, and has what I think is the “star” guitar solo of the album. The melody is so emotional for a song that obviously prides itself on being heavy/brutal as fuck. Dare I say…it sounds very tasteful.

Tony has proven to be a versatile vocalist, and has a rather diverse range. We hear everything from screeches, to all out hardcore growl. Never really getting into full guttural territory. The fact that he switches it up constantly,keeps the tracks flowing and interesting throughout the album. There are no vocal effects or distortion to make his voice sound grittier. He pulls this off live, and in the studio. Each song tells a story, and if you know how to listen to metal, you can get most of the lyrics.

But….

I’m not here to kiss anyone’s ass, and with that being said…

While the production value is pretty high for a local band (David Cooke really went above and beyond with this one). I cant help but compare it to the the intensity of their live show. That intensity seems to be replaced with focus. Being a producer myself, you usually get one or the other on a recording…raw intensity or precise focus. Pridemeat seems to have chosen the latter. This is a minor complaint. So just know that if you hear the album, it is much more intense when preformed live.

Pridemeat has their own style, without a doubt. But I also cant think of Pridemeat without thinking of Cradle of Filth’s first few albums. A lot of that has to do with Tony’s vocal style. While he has come into his own and has gained respect for his abilities, its obvious where a lot of his influence lies. Some of the riffs delve into the same territory as well. But being a huge fan of the “Scourge of England”, I might be reading too much into it. * Editors note: I literally worshiped C.O.F in high school. Nerd. But I also hear Job For A Cowboy, Cattle Decapitation, and many other influences too. None of this is a bad thing. Just observation. Hell, I played it for a buddy of mine and he immediately mentioned ZAO. It’s all subjective.

With all of that being said, I absolutely cannot wait to see what comes next from Pridemeat. I know this album was a long time coming, and they have played shows tirelessly to get their name out there. The hard work has paid off, as they have made an excellent album, and earned a reputation locally that makes me smile every time I’m out and mention them to peers. Most people agree, that they are on the forefront of the “newish” Savannah metal scene.

I personally cannot wait to see what they conjure up from the abyss as a follow-up to “Wet Hot American Slaughter”. I look forward to seeing them progress as a band, and continue to scare the shit out of unassuming passerbys. You can get the album in the link below.

Tony, Gurt, Nick…..I want a fucking t-shirt BTW. Just saying….:)

GO GET THIS SHIT RIGHT NOW OR YOU SUCK:
http://pridemeat.bandcamp.com/album/wet-hot-american-slaughter

By: Christopher Horton

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Savannah is a tiny town. I say this from experience in places like Columbus, Atlanta, and Los Angeles. We are a wee little town. Chances are, if you are in the music biz in any capacity you know everyone by one degree of separation. That’s a tight knit group. If you know me, for instance, you are one step away from like 30 bands, a couple promoters in three states, a couple of music instructors, a producer, a studio owner, and a radio personality.

That’s a small town for you, though.

I have been at this shit for 20 years. 20 long years of shitty gigs, great gigs, festival shows, drug problems, drinking problems, recording albums, promoting shows, helping bands, teaching guitar, making contacts, going on little tours, playing open mics, dealing with A&R guys, making merch, setting up shows for venues, selling merch…..

Name it. I’ve done it in this industry.

So I came up with a rather short list of what you should do, as a local artist or band in such a small place. I understand that if you come from rural Iowa, Savannah seems huge. I assure you, its not. And worse yet, it is a rumor-controlled scene. Which is why….

1. Never talk shit about another band. Ever. Never……ever.

This is a sure fire way to ostracize yourself. You want to be the band that never gets booked? Then talk shit about a band that you played with, or saw live at a show. Once again, everyone knows everyone. You will get caught, and then you will be shunned. People will pelt you with salad ingredients like in the dark ages.

2. Better yet, never talk to shit to anyone.

Just a good rule to live by. Dick.

3. Treat your fellow musicians with respect, regardless of who they are. In fact, go out of your way to be friendly and helpful.

A couple of years ago, I answered an ad on craigslist that simply asked “What is the rock scene like in Savannah?“. I didn’t know who posted the article, but I figured if it was someone that wanted to move here, I would write them a short note and tell them why its cool to live here and be a musician. We sent emails back and forth a few times, and finally met up to have a beer in person. That person turned out to be Garrett Deming from Broken Glow, before they officially moved here. Which in my opinion, is one of the best rock bands around. He and Paul also supported IAMSOUND (my band) and played shows with us. I will be producing their album this summer and we have all become great friends.

Same goes for my friend Ryan, who had just moved here from Detroit with his wife, and was working out at the beach at The Rock House, several years ago. The band I was in at the time, Habitat Noise played there a lot. We all hung out there together, had good times. Always nice to the people at the Rock House, I have never had a problem getting a paying show there. Ryan turned out to work in radio, and is not only a good friend, but a great ally to have in the music scene that I try very hard to support. We share a common goal for Savannah, for the scene. We want everyone here to prosper. And we have a great time doing things like Rock camp, and The Battle of the Bands together. Not to mention spreading the word about bands and shows every way we can. I almost look to Ryan as a mentor sometimes, and as inspiration for our little scene when I feel like everything here sucks. * Editors note: If you are reading this, Ryan, don’t get a big head and shit. Plenty of people think you’re a dick. :)

Or John from J&S Guitarworks. Three years ago…..My guitar was fucked up, and I took it to him after being screwed over by another luthier. After a two hour conversation about guitar nerd shit, we finally agreed on a fair price to fix my favorite guitar. I have learned a whole lot about guitars, either just by hanging out, or by watching John work on his customer’s instruments.Turns out he is not only a great friend, but the best instrument repair guy around. He has always been fair with me, and even filled in on guitar in IAMSOUND for a while. We constantly exchange favors. He is now in the recently signed band Honestlie, working on their first album. 

There’s so many more examples. But those are two that stick out because they are people I recently been around. I’m not saying be cool to people so you can use them later. That’s not ethical. I’m saying you should be cool to everyone NO MATTER WHO THEY ARE. You may be invaluable to them, or vice versa. If you want a scene to work, you have to be able to move through all the cliques, and be helpful to everyone-in turn they help you.

Once again, you never know who you are meeting in such a small town. Could be your new best friend, your new band member, your new mentor, a talented album producer, a promoter….you don’t know.

Point is: You never know what contact you may be making, or who you may be talking to. So always be…..wait. That’s my next rule….

4. Always be professional and friendly.
When you are out buying groceries. When you are mowing the lawn. When you are having a beer by yourself after work. While you are using the bathroom. EVERYWHERE. You need to always have your game face on.

Have some business cards made. They are cheap. have your bands weblinks on the card and your phone number. Have merch at your show. No matter how small. Even if it is home-made stuff. Even if it’s origami frogs with your band’s name on it. Be like a fucking Boy scout. Always be prepared.

Be enthusiastic about everyone you meet. Be genuine. If you are not genuinely a nice person-a people person, with good work ethics and morals, then this is not the business for you. Get out now. 

I repeat: If you dont live and breathe the music business, quit now. It is more than just making music and playing shows.

Really, you will fail. Being fake will get you nowhere. Even Nickleback is genuine about their goals and aspirations. They wanted to sell out big time. They did. Don’t be something you’re not.

You will also fail if you think it’s time to start living the “rock lifestyle”. This includes drinking and drugs. You do not play better when you’ve “had a few”. Fact: You play shittier. You also come across as unprofessional. The chances of you being an asshole also increases by 90% if you are intoxicated at an event. We once fired a drummer that after a show, that was so trashed that he fell off a bar stool onto a concrete floor. Not only endangering himself, and putting the bar at an insurance risk….but most of all…he looked liked a total tool. That’s not funny or cool.

Be pro with the other bands you are playing with, even if you don’t care for their music. You don’t have to like their music, the crowd does. I have played with plenty of bands who played music I didn’t like. Guess what? They were nice dudes/gals, and we had a good time hanging out at the venue.

Be pro with promoters/venue owners. These people can make or break you. You never know how much sway a promoter has in a town. And if you piss off a venue owner, you may never play there again. Easy ways to piss these types of people off:

  • Cancel a gig at short notice
  • Talk shit about them to other people
  • Talk shit about them on social media
  • Get wasted before you play, and then play a shitty show
  • Feel entitled to certain things like food, a bar tab
  • Asking for more money than you and the promoter/venue agreed on
  • Asking for money if money wasnt discussed
  • Bringing a shitty draw, or worse yet: excuses for a shitty draw
  • Not listening to the sound guy, its his/her stage
  • Spending zero time promoting the show. You should be blowing up social media, calling friends, etc.
  • Not following up with a “Thank You”.

It sounds all very elementary, but I have seen some seriously bad behavior not only from local bands in Savannah, but from touring acts as well. Lastly…..

5. Quit playing every fucking day. Really.
Really. There’s a lot of you fuckers out there that are guilty of this. Your show should be an EVENT. It should be something big and interesting, a big deal. It’s hard for your show to be a successful EVENT if you just played two other shows this week. Once again guys, this is a small town. You have a limited audience, whether it is a bigger venue or if it is a house show….it’s downright disrespectful to overplay. It screws over the venues, the promoters, but most of all… IT SCREWS YOU OVER. Example:

Two of my favorite bands are Dillinger Escape Plan, and Every Time I Die. If they had a show here on Friday, I would go and be excited as hell. I would be over the moon!
But wait…they are playing Monday night too….HELL yeah! I will see them again!! I’M so excited!

Oh…they are playing again on Thursday. I think I am going to skip this one. I mean, shit….I just saw them do the same show twice in a row. I don’t care how much I like a band, I’m not going to see them over and over.

The same goes for your local band. No one wants to see you over and over. More so actually, because you are not famous. So if you play a show on Friday night downtown, don’t play another one on Saturday…downtown. It’s a dick move that doesn’t benefit anyone.

So that’s it….sounds easy right? Get to it, Savannah.

By: Chris Horton 11150533_10206452837937318_5240856775256058722_n

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“A Dive bar with class”
The Wormhole started about 8 years ago, with very humble beginnings. A self described “dive” bar. While it retains it’s humble atmosphere, it has also become one of the best venues to see shows. They have open mic, local bands, national bands, comedy night, great bar food, couches to hang out with your friends…There is literally something for everyone.

That’s why it’s so sad that they have (as well as Graveface Records across/down the street) recently had to deal with noise complaints. Even up to dealing with litigation, in court. Currently, they are sitting on an order to shut down the live music. That is, unless they can raise the funds to soundproof the venue. There will be plenty of info at the end of this article to tell you how you can help.

I got to speak with owner/operator Amy Stafford about how she feels about The Wormhole. I could have asked her about the court dates, and the struggles as of late. But I want everyone to know more than that. I want you all to hear how much she loves her business, her bands, her employees, and her neighborhood.

I remember “year one” of the Wormhole. It has come such an incredibly long way. What made you want to open the venue in the first place? 

I like to travel, and it seemed that most cities usually had a cool dive music bar off the beaten path, booking in an “anything goes” kind of way. I wanted to bring this format to Savannah. The Jinx, and former Velvet Elvis, thankfully provided a place for some of the top music for some of the longing fans like myself, but I felt Savannah had enough potential to add another stage into the mix, to book shows that didn’t make it into the other venues schedule, and to grow the scene further. There were many good shows passing Savannah due to lack of available venues, and there were lots of locals who didn’t get to play on a professional stage very often. We had full bands trying to book poorly equipped coffee houses and such just to make do. I started out as a DIY promoter and found that the lack of venue thwarted the efforts of promoters. By the time you rented a space and sound equipment, the budget was already blown, before you even got into booking bands and advertisement. I felt like a space that was already set up with stage and sound system would help promoters and take care of half of their work. Plus, like I said, I’m a huge music fan so it’s been a labor of love.

You have had some great opportunities to book some huge bands (Band of Horses, Kylesa, Thrill Kill Kult) yet the Wormhole always retains a friendly, “no ego-everyone welcome” environment. It always feels like home when you walk in. Is that what you always envisioned? Was that the dream?
The neighborly vibe has always been in the design from the very beginning. I wanted to create a place that was welcoming and encouraging. I didn’t want it to be a place where only one genre of music or one type of person was found. I go over this mission with each new employee, and make sure that I hire people who are friendly, and open minded to all genres and see talent for talent. One of the many reasons I chose a neighborhood location is because I didn’t want to end up needing that tough-guy downtown mentality to keep the peace. I wanted to have the neighborhood watering hole vibe. All of our regulars are also our neighbors. And I try to be as accommodating as possible, from booking bands at various points in their development (from headliners to noobs,) to offering drinks like “mocktails” for music lovers that don’t drink, gluten free beer or meeting other dietary concerns.
There are many musicians that I have personally heard call The Wormhole their “favorite stage to play” and “the best sound system in Savannah”. Some of these musicians were local, some were out of town bands. How does that make you feel?
It’s really awesome to hear that, because the sound and stage took a while to develop. It didn’t start out that way; because of some budget issues in the beginning, we had to turn away the equipment recommended for us through an advisement with Bryan Bailey (spell?) of Stage Front. We couldn’t get that equipment, but luckily my friends lent me equipment and we were able to piece-meal a system out of it to have our very first show! And over time, I upgraded and added on until it’s become very professional and offers the quality that musicians deserve to show their talent. I’m also lucky that I had Jeff Neugebauer join the team as sound engineer a few years ago, and he really took it under his wing and developed the pro stage that it is today. However, it’s a never-ending process and Jeff is always learning more and coming up with ways to improve the stage and what he can offer to performers.
The Starland district as a whole has seen a resurgence of great local businesses, do you feel almost like a “pioneer” since you had one of the first places in the area to open up? 
I do think of us as a pioneer! Back in the Day Bakery was the only other business in the area at the time. There was no Foxy Loxy, Green Truck, Graveface, Florence, or any of the others. Even the store across from us became abandoned for many years and was a terrible eye-sore. I’m really glad that all these creative and awesome businesses have chosen Starland like us, because it’s a great neighborhood, and I love feeling like a family with those other businesses. Everyone use to tell me that I was crazy for opening in this area, but I saw it’s potential. People have quit telling me I picked a poor location and even a lot of people have told us that they moved into the neighborhood because of us! 
Thank you Amy!

You can donate to help The Wormhole keep it’s live music going by donating to their campaign:
https://www.indiegogo.com/projects/save-the-wormhole-no-sound-in-space#/story

You can also donate the easy way, by stopping by the bar and giving Amy some cash, if you dont have paypal or a credit card.

Lastly, there is a party planned for their campaign,

you can get tickets by going to http://www.wormholebar.com/.

NO SOUND IN SPACE PARTY

SAT, MAY 30, 2015

DOORS: 12:00 PM / SHOW: 9:30 PM

$5.00 – $50.00

Lullwater in Savannah

Posted: March 18, 2015 in Uncategorized

By Christopher Horton 10363792_10205941617037115_9205961443205621886_n

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That’s right. The powerful Lullwater is coming to Savannah this Friday.

Lullwater hails from Athens and is a sonic tour de force. It’s been a while since they have been here, and they have all kinds of new material in store for The Jinx. They will be sharing the stage with local guys BBXF, who also have a good amount of new stuff to being to the stage. You really don’t want to miss this show. Its going to be a rare night of serious rocking.

I had a chance to catch up with Joe, the drummer of Lullwater after the hectic St. Paddy’s day weekend.

I remember seeing the video for “Albatross” a while back and really digging it. Tell me a Little about Lullwater, and the newer tunes you have out. 

By Christopher Horton 10363792_10205941617037115_9205961443205621886_n

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The Bomb Shelter has been the go-to place for house shows here lately. There’s been quite a buzz surrounding the place, and many touring bands have stopped through. But it has also been a great place for local bands to play to an all ages audience. Besides Coastal Rock Productions and their varied shows, and Sweet Melissa’s, there really aren’t very many options if you are under 21 and want to see a rock show. Ironically, that is usually the exact age group of people that you want at your shows if you are a band. Hopefully, that law will be changing soon. Because it’s dumb. Soon some places may be allowed to be 18 and up. But until then, we are forced to our own devices.

In the spirit of DIY attitude, it seems the Bomb Shelter is going to try their hands at something new: Record promotion. Still in the infantile (that means young. I’m smart.) stages, for sure. But i wanted to get the word out that this is happening, as I am pretty excited about it myself.

I had a talk with Danielle Leonard about her plans for the project. This is the first interview I have conducted that didnt require a bribe or blackmail. That must mean Im on the up and up….or Danielle is just really nice to strangers.

 The Bomb Shelter has become a staple of the Savannah music scene, what made you decide to take it to the next level with a record label?
A staple? Damn, I’m flattered that you would call it that! (Editors note: I’m flattered that YOU are flattered)
We’ve just been having
so much fun hosting shows and being active in the music scene, that we thought we could expand what we are doing and benefit bands in a different way. We are keeping it non-profit so that it stays about the bands, not the money.
I know you have an EP that is being released soon, what are your plans for releases in the near future?
I think the plan is to release the EP, then while promoting that we will be in the process of recording a full-length for the same band…we are kind of using them as our guinea pigs. Hopefully it proves to be a success and we can expand to more bands!
 Do you plan to keep the releases all local? Or maybe branch out into regional bands that frequent Savannah?
We are starting local and then maybe we will have bands from out of state, who knows!
In the future, you plan to have recording facilities to help the bands get their material out there. Can you tell me a little about that?
Well we don’t have a super fancy studio or anything, but Henry (label co-founder) is a sound major and will be recording the bands with his equipment. Hopefully we will release a full length that Henry will record for the band we are working with, Generation Pill, before this summer.
 Finally, if bands are interested in Bomb Shelter Records, how do they get in touch?