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Soulphonics bring it on home to Elgin, Texas – record release parties set for March 2 & 5

Austin might be known as a rock ‘n’ roll town, but there are some hard-rocking musicians right here in Elgin.

The retro-rockers known as the Soulphonics have been practicing and playing in Elgin for years. They just produced their first album, The Dynamic Sounds of the Soulphonics, Austin, Texas. The album features 16 songs, including the single released in December, “All I Want for Christmas Is a Job.”

There will be two record release parties: at 7 p.m. on Wednesday, March 2 at Carousel Lounge in Austin and again at 9 p.m. on Saturday, March 5 at Utopia Restaurant in Elgin.

The band features Glen Worley on guitar and vocals, Reid Watson on guitar and Kevin Connolly on drums. No bass, but Watson takes care of the low end by the way he plays guitar.

They’ve been playing together for around 30 years in bands including the Rattlecats and the Rivals — with a 20-year hiatus. During that break, all the band members moved on with their lives. Connolly adopted three daughters.

“The kind of music we make wasn’t popular during that time. That was about the time the Seattle Grunge scene got big,” Worley said.

Their sound is basically “garage rock,” the kind of music featured on the “Nuggets” compilations of ’60s era music that influenced many numerous bands, including Nirvana. “We do several songs off Nuggets,” Worley said. “We’re doing mid-’60s rock and roll. We’re not trying to recreate a sound, we’re just doing what we do.”

The Soulphonics haven’t changed their sound, but for some reason it has become back in vogue — maybe Director Quentin Tarantino’s soundtracks helped. Their Dick Dale-esque song “Theme from the [fictitious] TV Show ‘The Rivals'” sounds something Tarantino might’ve used on the Pulp Fiction soundtrack.

They came together as the Soulphonics in 2007 when a friend of Watson’s was booking music for the Cherrywood Art Fair in Austin. “Now people like ‘vintage’ guitars — they used to just be old,” said Connolly. “We’re making 2-and-a-half to 4-minute songs with hooks and melodies.”

The band is a labor of love. All three members work at the University of Texas to pay bills. “I would like to have a hit record of course, but what we want to do is play the music we like and have a good time.” It took about three years worth of tips to save up money to put out their album. “We decided to put it to good use instead of spending it on debauchery,” Worley joked.

The group performs at the Carousel Lounge in Austin on the first Wednesday of each month. They have performed at Quoffer’s and at Elgin’s Hogeye and Western Days festivals.

For more information about the Soulphonics and to hear some of their music, visit their MySpace page.

Note: This article was just published today in the Elgin Courier. Also, there is another band called the Soulphonics in Atlanta, Georgia. If you want to check them out, the Austin Soulphonics have a link on their MySpace page.

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Music genres – handles or pigeonholes? (probably both)

It’s a common complaint from musicians: “I don’t do goth/post-rock/folk/trip hop/indie/prog (or whatever). You can’t pigeonhole me!”

Same thing with fans. I’ve read a ton of forum threads complaining about genre names. “What the hell does post-rock mean? Aren’t bands still playing rock? Why isn’t it called post-rap? Post-rock isn’t a real genre.” And various other quibbles from people who hate seeing their favorite musicians get pigeonholed, or resent seeing musicians they don’t like surf their way into undeserved recognition atop some made up fad.

I totally get it. I’m the king of “you can’t pigeonhole me.” I’m 100 percent eclectic in musical taste. Politically, neither fish nor fowl.

I do think there’s a nasty tendency in some circles (*cough* Pitchfork) to use labels in order to dismiss a band or collection of bands. Like, “Oh yeah, we figured out what these guys are. Just another example of X. If anyone still cares about X, this is part of that whole X knockoff crowd. That scene is so quaint isn’t it? Moving right along…”

Just look at this list of genres: http://rateyourmusic.com/rgenre/

Drumfunk, Sqweee, Glitch-hop, Witch House and Turbo-folk are just a few of many genre names that make me scratch my head. Are these really real? Is somebody pulling our legs?

Who comes up with this stuff anyway? It used to be DJs and music journalists, but now I guess it’s mostly bloggers with a lot more hits than I get. Somehow the names catch on, silly or not. Shoegaze is one I use a lot that sounds pretty ridiculous (whatever you want to call it, I like it). It was originally a put-down for bands playing noise-drenched stuff who tended to stand on the stage and look down at their shoes, but now it’s so common that bands will claim the term.

Classifying music into groups will always be a messy business. There are some musicians (usually my favorites) who defy classification. There are musicians who get lumped into a group who sound nothing like their supposed peers.

Television’s Marquee Moon (1977) came from one of the original CBGBs bands, often touted as one of the first punk bands or even “proto-punk.” Yet to me its style has a lot in common with Magazine’s Real Life (1978), which came out just a year later and is considered one of the first postpunk albums. Can you really go from proto- to post- in just one year?

World music is a really messy genre. It can sound like anything, and isn’t everything part of the world? And speaking of the world, now everything has gone global. You have millions of musicians, talented and otherwise, making tunes on laptops and releasing them on the Internet. Anyone can be influenced by anyone. It was hard enough to classify things in the blues-R&B-rock continuum, especially when jazz and classical kept rearing their ugly heads. Now throw in influences from every country in the world and classifying anything becomes virtually impossible.

Yet we have to try. Why? Because if we don’t, we can’t find music we like, and we can’t talk about it.

I understand the principle of “it’s all music.” But don’t you think the average Chuck Berry fan would be a bit put off if you played a Godspeed You Black Emperor album said, “Here’s some of that music stuff you claim to like”? And suppose he had an open mind and even kind of liked it, but just never heard GYBE before and asked, “what is this?” Sorry, but I’m going to have to say post-rock, because he might then find and enjoy Sigur Ros. Post-rock is a clear case of “you gotta call it something.” Would you consider a Chuck Berry song rock? Definitely. Would you consider a Godspeed You Black Emperor song rock? Not too sure… Thus, post-rock.

I agree that genre names often suck, but they can be useful, even some “hairline distinctions.” For example, dark ambient. It bleeds into regular ambient (another term people argue over), as well as industrial (ditto). But there are certain groups that people who say they like dark ambient tend to like.  I like to give and get recommendations. How am I supposed to do that if I can’t pick a genre name? If I just ask for “music” recommendations, I could get anything from Beethoven to the Ramones. I like both of those, but they’re not going to help me find Coil, Lustmord or Voice of Eye.

A genre name might be a stupid word, but once it catches on and people start hanging ideas on it, what can you do? You’re pretty much stuck with it.

Still, I can’t help but wonder what will happen if people are still listening to this stuff hundreds of years from now? Are we going to get names like tenth wave Electro-acoustic-neo-post-psych-prog? Hell, that name probably exists already.

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Filed under commentary, dark ambient, indie, industrial, postpunk, postrock, progressive rock, psych, punk, shoegaze, trip hop, Uncategorized, world music