Who doesn’t want a thrashy, fuzzed-out bass, sixty-two-second intro? I’ll never know. Neither did Common Thread. With their 30th Anniversary release of Fountain, and lead single, “Lydia Elle,” listeners can come to expect this mentality of pre-Y2K angst, raw crunch, desperate pleas for a brighter future.
“Lydia Elle” is youth on display, not only sonically, but an earnestness of adolescence that is yearning to be seen, heard, validated. Thirty years is a long time, and Common Thread has shared stages with some formidable acts like Agent Orange, The Smithereens, and The Veldt, but I’d say this release can hold its own against the new names of the genre.
When asked about the resurfacing of this sound trend and the changed DIY landscape, frontman Joe Parker said, “It’s tempting to think we were on the cutting edge…more of a result of having similar musical exposure…We would regularly perform with 8-10 effects pedals apiece and be the only band I saw doing this.”
Indie labels have been moving forward with more archival work and releasing somewhat forgotten music to a new audience. Regarding Fort Lowell’s re-release ofFountain, Parker said, “In a way, these are modern field recordings. It gives the music another chance to be discovered and audiences get a richer picture of a bygone scene.”
This moment feels like a direct response to the day and age we find ourselves, when things are easily accessible, full albums made with a single microphone and stock DAWs. But Common Thread recordedFountainand “Lydia Elle” on a cassette tape back in 1993, a time when music production was accessible but still a considerable effort. The nuances are not lost in this re-release thirty years later. The fuzz and near disintegration, the warble, the echo: all of it feels sincere, even until the last few seconds of soaring vocals and phased distortion. This music has come from a deep moment in these young people’s lives and brought to light so many years later, and it shows that some things might still be timeless.
Thirty years ago, the Northeast Florida independent music community was many things and, even devoid of nostalgia from any surviving participants, boasted its own kind of low magick.
Like much of America, Jacksonville and the surrounding environs benefited from the 1970s punk rock scene that tore down the walls of popular music. Most crucially, in the 1980s, underground musicians made short work of digging through that very same rubble and musicians forged scenes across the country, brick by brick.
Locally, and specifically from 1985-1995, Northeast Florida had a fairly diverse underground music scene. Hardcore punk, ‘77-style punk, jangly R.E.M.-style rock, death-thrash metal and emerging glimmers of area hip-hop provided a decent and even at-times supportive environment for a diverse scene of local musicians. These artists found support through clubs like Einstein A Go-Go, Metropolis and scads of self-booked gigs at any rental meeting halls willing to allow wild punk rockers into their Elks’ Lodges or wedding-reception spaces.
In 1993, Common Thread self-released their sophomore record: Fountain. The band (vocalist-guitarists Joe Parker and Travis Taylor, Joey Zimmerman on bass, and Craig Parlet on drums) was indicative of the shared elements and principles that seemed to coalesce a Jacksonville-locals mentality: no-nonsense vibes, a tenacity to play any gig that would come their way and a desire to also document their music. The nine songs of Fountain were the sound of the band’s admitted influences like Sonic Youth and Flaming Lips but more in a style of shoegaze not afraid to stomp through the local sand and cryptic marshlands.
In December, Fort Lowell Records is releasing the 30th-anniversary reissue of Fountainas both a download andvinyl version.Fort Lowell provided theJacksonville Music Experience an exclusive preview of the record’s first single, “Lydia Elle,” which will be officially released on October 13. Listen above.
JME tracked down Common Thread vocalist-guitarist Joe Parker, from his longtime home in Oregon, where he’s enjoying a parallel life as aguitar luthier. Parker gave us the history of Common Thread and his thoughts on the anniversary edition ofFountains.
What year did Common Thread actually begin?
Common Thread began officially in the fall of 1989. The first show we played was opening for Schrödinger’s Cat at the Metropolis in downtown Jacksonville. We were tuning up with pitch pipes. Halfway through our fifteen-minute set, Henry Wagner of Wag’s Record Hound approached the stage and told us to check our tuning. We were wholly incapable of complying and just plowed on. I remember seeing Arvid Smith play there with a semi-circle of pedals surrounding him. I definitely liked that. Our first drummer was Donald Kilpatrick, who played with us until the summer of 1992, when we played in New York City for the first time. We had a show scheduled at CBGB’s but ran out of cash. We stayed in a parking lot in Hoboken overnight and woke up suffocating and sweating to death in the van. Don and I got in an argument about staying or heading home. We had a couple days to kill before the show. Don was threatening to leave so we split since we couldn’t play without a drummer. I was so pissed. I had actually called Steve Shelley of Sonic Youth to invite him to the show — got his number out of the phone book. So cringy.
The mid-to-late ‘80s-early ‘90s of Northeast Florida were pretty vibrant as far as the actually ability to see live shows by then-underground bands—most famously at Einstein A Go-Go. What were some memorable shows that you saw at EAGG?
Coming up in Jacksonville, there was an assumption that we lived in a cultural backwater: “Surely every city has an Einstein A Go-Go, if not several bigger, better, cooler places.” It turned out that was not the case at all which gives EAGG an added luster. There was nothing like it anywhere but thank god it was where we were. I saw Fetchin’ Bones, Robyn Hitchcock, They Might Be Giants, the Feelies, Flaming Lips, Nirvana, Luna, th’ Faith Healers, Jane Siberry, Soundgarden, Primus, etc. These are just some shows that bubble to the surface.
Could you describe some of your memories and takeaways on that era of Jacksonville’s music scene before the grunge explosion hit?
I was not really a part of the music scene prior to the explosion. It all occurred right as Common Thread came online. That said, I began to know some older musicians (Thommy Berlin, Greg Wright, Ed Cotton, Stevie Stiletto, Arvid Smith) and became aware of the continuum of underground music in Jacksonville. It was good to feel part of that lineage even if we ran counter to most of it. There were bands that were further along, like Beggar Weeds and Rein Sanction, who we admired. We were in a cohort with bands like Crowsdell, Lysergic Garage Party, Fin Fang Foom and Gizzard among many others. In the period afterFountain(mid-‘90s,) we would rent out the Orange Park Lion’s Club and other suburban community centers to hold rock shows. We were amazed at the turnouts. We played at the Milk Bar and the Moto Lounge. When both of those venues were alive, downtown was electric. Club 5 in Riverside (now Sun-Ray Cinema,) was a great stage to play. We got the attention of a producer, Dave Hauser, at that time. He got us recording at the Warehouse Studio where we did an album plus worth of material (circa 1995-96.) It all felt purposeful and possible.
How many shows do you think Common Thread played in total; what are some memorable gigs?
We played hundreds of shows to tens of people. Not really but close. We would play anywhere we could. We had no merch and would go out of town to play a handful of shows in North Carolina. We once drove to Cleveland to play a festival that turned out to be all local bands. They were aghast that we drove that far for this?! We did a string of shows with theVeldt, culminating in a show at the Cat’s Cradle. They had a direct connection to the English bands we loved and it was eye opening to see what they did live. It was the first time we saw a drummer using a trigger to set off backing tracks and it sounded amazing. In the summer of ‘96 we hosted and opened for Sonic Boom of Spacemen 3 for a few shows. He was touring as E.A.R. I think we got the gig from Jason Lewis because we were the only band in town that knew who Spacemen 3 were. Even still, we were not on his level of cool. He did introduce us to spliffs, which we smoked until we got tired of mixing our weed with tobacco. We were in it for the adventure as much as anything else. Our gang mentality was in full effect. We were running strong for a good seven years (thirteen if you count the stragglers,) so I would say we did a couple hundred shows in that time.
How has this experience been of Fountainfinding a second life of sorts? Have you considered any sort of reunion shows to promote the rerelease of the album?
When [Fort Lowell Records owner James Tritten] brought up the idea of releasingFountainon vinyl I was immediately on board. It had been a small regret to have never pressed it even though it had never been a viable option. As an album, I feel it was our most cohesive. The music and art all came together. We were hitting our stride and loving it. If I still lived in Jacksonville, I think Travis and I would be able to pull something together and play some shows for the release, maybe even lure Craig out. As it is, it would be a pretty heavy lift.
Common Thread’s sophomore album Fountain is a holy grail of northeastern Florida indie rock. Originally released in 1993 on cassette tape, Fountain breaks sonic barriers. Melding influences from Echo & The Bunnymen to The Flaming Lips to Ride to Sonic Youth, Common Thread delivers a wall of dazzling dissonance unto their own. “Lydia Elle” and “Smoldering Black” convey astute lyrical poetry backed by extraordinary melodic hooks that set in deep. Fountain is a time capsule that has preserved nine incredible audible gifts, commemorating Common Thread’s ability and authority.
Today "Lydia Elle" has been made available as the first Digital Single from Fountain on all music platforms. Check it out now, and be sure to reserve your copy of Common Thread Fountain on vinyl record before they are sold out!
The first single from their new album One Day Will Never Come Backis out today on all digital music platforms. Check out Jon Rauhouse & Blaine Long "Hey Babe" now!
Summer Set have one of the most familiar and most unique sounds in all of indie rock. Their new single, "Favorite Places," has this laid back mix of 90's indie rock meets 00's indie sleaze. It's almost impossibly groovy and noisy, but totally chill. There's also a nearly shocking amount of twang for an indie rock song. It's kind of like the laid back slacker indie rock of Pavement, the psychedelic groove of The Dandy Warhols, and the period just as Wilco was moving from alt-country to a more indie rock sound. "Favorite Places" is cool as hell, and you're going to want to jump right on the Summer Set bandwagon with us.
You can listen to "Favorite Places" below. Summer Set's self-titled album is due out November 3 on Fort Lowell Records, and is available for pre-order throughBandcamp. For more on Summer Set, check out the band onBandcamp.
The first single from the long awaited self-titled first official release from Wilmington, North Carolina indie rock celebs Summer Set is out now on all music platforms. Titled "Favorite Places", click the link below to listen now -- and click here to pre-order the album on vinyl record!
Join us at The Starling Bar on Saturday, September 9th from 7:00-10:00pm as Fort Lowell Records hosts a Vinyl DJ Night of dance-centric music deejayed by label owner James Tritten
Indie singer Tracy Shedd makes a case for taking it easy and living in the moment on her new single Let It Ride. Her husband James Tritten acted as one-man rhythm section and Andrew Gardner added swirls of soft-spoken electric guitar. Recommended if you like Belle & Sebastian and The Beautiful South: "Give it some time // We don’t wanna rush it // You try and try // ‘Cause we don’t wanna miss it // Let it ride // And you’ll never miss it".
A lifelong love of music started for local recording artist TRACY SHEDD at age 5, when she began playing the piano. It was the first of many instruments Shedd has played through the years. By the early 1990s, she had added guitar to her repertoire, which introduced her to a new love – her husband, JAMES TRITTEN. Today, she and Tritten own Fort Lowell Records, a Wilmington-based record label they started in 2009 while living in Tucson, Arizona.
Shedd’s solo career took off in 1998, when she moved to Boston and recorded her first album, “Blue.” Since 1999, Shedd has shared the stage with well-known acts, and she has opened and toured with some of her all-time favorite bands like The Magnetic Fields, Cat Power, Cyndi Lauper, Howe Gelb, and Trembling Blue Stars. “Too many to list, but I cherish them all,” she says. Until 2019, Shedd mostly released albums of her work, but her approach has shifted in recent years. “We are in the middle of what marked a new era when we started releasing singles. We also have incorporated more synthesizers and drum machines,” she says.
Her new single, “Let It Ride,” will be officially released on Friday, August 18 and she debuted the song in July – her first performance in a year. “The lyrics represent what’s for you won’t pass you by, trusting the process, and not rushing it,” she says. Like the meaning behind the lyrics themselves, the song emerged organically for Shedd. “The song came from testing out a guitar for our new tape machine and in the process, I wrote a song. We recorded the guitar part that day and slowly I started writing lyrics to go with it. A few months later I recorded the vocals.”
Shedd’s influences and artistic inclinations have progressed naturally over the years. The roots of Shedd’s current approach can be traced back to 2015, when she and Tritten started a synth project called Band and The Beat. “It was just the two of us and we restricted ourselves to only playing synths (mostly analog) and a drum machine, no guitars,” Shedd says. “It was eye-opening. I would start a song on the guitar, most of the time, and then would transpose it to the piano. It taught me that just because a song starts one way, doesn’t mean it has to stay that way. It created a lot more freedom in my writing.”
Fort Lowell Records presents another outlet for Shedd’s love of music. She and Tritten launched the label in response to the local talent they saw while living in Tucson. “We wanted to help them have a platform to get their music out,” she says. “It’s so great to see the label still flourishing here in Wilmington with all the amazing local talent.” Today, the label is fully enmeshed in its new community. Fort Lowell’s This Water is Life project is a self-sustained and ongoing vinyl series of split EPs with two express purposes: to highlight new hip-hop and indie rock music from Southeastern North Carolina, as well as to provide a platform for Cape Fear River Watch and Coastal Plain Conservation Group to deliver up-to-date authoritative reports on the health of the Cape Fear River Basin for both human beings and wildlife.
Shedd describes the Wilmington music scene as vibrant and lively. “Although we didn’t move here until 2018, we have played shows in Wilmington since 2001. We are happy to be a part of it and to see it still thriving,” she says. In addition to Shedd’s releases and the couple’s work at Fort Lowell Records, you can catch the duo DJing at Satellite Bar and Lounge on Tuesdays from 6-8:30 p.m. Called Let’s Tuesday, Shedd and Tritten spin some of their favorite songs. “It’s a chill nice place to have a taco at Block Taco attached to the bar and listen to us spin some vinyl from our personal collection,” she says. Also, mark the calendars for February 24, when Shedd will perform at Bourgie Nights with friends Dead Cool.
Join us at Satellite Bar & Lounge on Friday, September 1st from 8:30-11:00pm as Fort Lowell Records hosts LET'S DANCE: a Vinyl DJ Night of dance-centric Alternative / Indie / Underground music deejayed by label owner James Tritten
In late 2017, John Goraj left the Los Angeles hustle for Tucson’s contemplative desert beauty. Seeking an artistic revival, it wasn’t long before the ex-folk troubadour joined forces with local musicians Johny Vargas (guitar) and David Foley (drums), as well as then bassist Derek Cerretani, to form Soda Sun.
"The Ghost Plant at Blood Run", Soda Sun's latest digital single, is a spectral ballad, deftly painting the Southwestern landscape in a palette of sonic hues. The song’s namesake is a stunning, all white plant that derives its energy solely from fungi in the soil, not from the sun. Lead singer and songwriter, John Goraj saw the plant with his son in a boggy forest along the Sioux River in South Dakota where he grew up. Goraj couldn’t help writing about the strange fungi-dependent plant and the stark contrast to the desert where he lives now. The song then becomes a reflection of both places: a dark, wet, spongy forest and a sun-soaked desert.
Blending introspective lyricism with a resonant sense of homecoming, the song reaches into the desert's heart, unearthing gold from its dust. The journey from sunrise screams to twilight whispers is a testament to Soda Sun's evocative storytelling and the intimate sense of family throughout their work. “The Ghost Plant at Blood Run" is a poetic dance with nature and the kaleidoscopic colors of the desert.
Hailing from Tucson, Arizona, Soda Sun quickly made their mark in the 2020s with a unique combination of atmospheric melodies. Stay Here (Fort Lowell Records), their 2021 debut album which was mixed by Larry Crane (Sleater-Kinney, She & Him, Elliott Smith), earned critical acclaim. Soda Sun's organic instrumentation and authentic narrative have cultivated a dedicated fanbase, both locally and internationally.
Today, Blood Makes Noise is excited to share with you the official World Premiere of Soda Sun's brand new digital single, "The Ghost Plant at Blood Run". Fans of other artists such as Bonnie Prince Billy, Cotton Jones, Damien Jurado, Lambchop, Phosphorescent, and Songs: Ohio will enjoy Soda Sun's music. Click the link below to listen to "The Ghost Plant at Blood Run" by Soda Sun now.
Ah, it’s good to be back. In particular, I’m very pleased to be working with Tracy Shedd andFort Lowell Recordsagain. When James Tritten sent over this song, he thought “it might be a little too ‘up’ for your interest.” Given that this is a mid-tempo indie-pop jam with good-times ’80s vibes, I think this is a sign that I’ve become a little dour in my listening interests.
Nevertheless, this track did indeed catch my ear. Shedd’s lovely voice cruises over a thrumming bass line, a solid electronic percussion backline, and some swirly/mystical guitars and keys. (Let it ride, indeed.) The solid groove stays on track the whole way. The outcome of the piece is a very summery track without a lot of the usual indicators of “summer,” which is a compliment to the songwriting: evoking the feeling without hitting too many tropes is a feather in the cap. If you like Generationals, Metric at their chillest, and Rilo Kiley (shoutout; I don’t know what the statute of limitations is on RIYL references is, but we’re probably past it on this one) will love this.
Soda Sun's new single "The Ghost Plant at Blood Run" is a spectral ballad, deftly painting the Southwestern landscape in a palette of sonic hues. The song’s namesake is a stunning, all white plant that derives its energy solely from fungi in the soil, not from the sun. Lead singer and songwriter, John Goraj saw the plant with his son in a boggy forest along the Sioux River in South Dakota where he grew up. Goraj couldn’t help writing about the strange fungi-dependent plant and the stark contrast to the desert where he lives now. The song then becomes a reflection of both places: a dark, wet, spongy forest and a sun-soaked desert.
Blending introspective lyricism with a resonant sense of homecoming, the song reaches into the desert's heart, unearthing gold from its dust. The journey from sunrise screams to twilight whispers is a testament to Soda Sun's evocative storytelling and the intimate sense of family throughout their work. “The Ghost Plant at Blood Run" is a poetic dance with nature and the kaleidoscopic colors of the desert.
Hailing from Tucson, Arizona, Soda Sun quickly made their mark in the 2020s with a unique combination of atmospheric melodies. Stay Here (Fort Lowell Records), their 2021 debut album which was mixed by Larry Crane (Sleater-Kinney, She & Him, Elliott Smith), earned critical acclaim. Soda Sun's organic instrumentation and authentic narrative have cultivated a dedicated fanbase, both locally and internationally.
For fans ofBeirut, Big Thief, Bon Iver, Bonnie Prince Billy, Calexico, Andrew Collberg, Cotton Jones, Fleet Foxes, Sean Thomas Gerard, Great Lake Swimmers, Iron and Wine, Jim James, JPW, Damien Jurado, Lambchop, Midlake, Phosphorescent, Pinback, Songs: Ohio, Sufjan Stevens, Jeff Tweedy, The War On Drugs, Denison Witmer
Join us tonight (Aug 24) at Satellite Bar & Lounge in Wilmington NC for LET'S BOOGIE— a night of Electro-Synth-Funk / Post-Disco —featuring FADER on the 'wheels of steel'!
Wilmington, NC's Tracy Shedd has been releasing music since 1999, had her music appear on Dawson's Creek and One Tree Hill, and has played with artists ranging from Cyndi Lauper to The Magnetic Fields. Her latest single, "Let It Ride," is this interesting mixture of indie rock, folk, and surf rock. It has a distinct summertime vibe to it, so it's perfect for squeezing out the last couple of weeks of summer. It's a dreamy and somewhat hypnotic sunny single that has just a little bit of a dark edge to it. "Let It Ride" has a slight groove that is going to suck you in and make you need to move, even if just a little.
You can listen to "Let It Ride" [above]. The single is available now via Fort Lowell Records. For more on Tracy Shedd, check out the artist's website.
As an artist, James Sardonejust never stops growing. You can see it on his brand new EPColors(vinyl version here), a real exposé of the guitarist’s skills as a songwriter. From Wilmington, North Carolina, the singer-songwriter uses his guitar and his pop sensibilities in tandem, combining the influences of 40 years of alternative and indie music. Originally from the Appalachians, Sardone has been etching out his place within indie rock for some time now, stemming back to his younger years in the late 1980s when he was part of the post-punk trioBrickbat.
His sound and musical preferences have evolved over the years to now a more electronic-influenced, 1980s retro feel. There are many highlights within this new set of songs, including two versions of the song “Colors of Your Brain,” one a shortened radio edit, while the other an eleven-minute marathon track meant to keep those feet moving. In addition, you’ll find a brilliant take on Blondie’s “Dreaming,” which features guest piano by none other thanTracy Shedd.
The reason for all the musical changes by Sardone over the years is simple: he doesn’t like resting on his laurels. This means that he is not content with staying in one musical space for too long because he feels confined or gets bored quite easily. That’s why so much of his music, over the years, has sounded so different because it’s more about the authenticity and the amusement in it for Sardone, rather than just succumbing to a perceived pressure to sound a certain way.
But never mind music for now! Today, we are joined by Sardone for a190 Proofinterview, in which we discuss his alcoholic beverage preferences, being under the influence, dive bars, and more.
First things first: beer, wine, or liquor?
James Sardone:“Oh, hello. It depends if I’m having a glass with a meal or not; but as you say, first things first… Bourbon. I’m a known foodie and used to work as a sous chef, so wine is the go-to with a good dinner. Beer comes last, but I like Belgian and German beers likeDuvel,Delirium Tremens, or aWeihenstephaner. Extremely hoppy beer doesn’t work with my buds (kind of like some freaks not liking cilantro), and makes my mouth taste like an eternal ashtray.”
What was the first drink you ever had, and how old were you?
“Probably Coors or Budweiser and mostly like started some bad habits at 14. I’m sure some awful swill like Miester Brau or Miller High Life might’ve been involved. I had no idea what to drink. There wasn’t any really good booze like we have today. It was all Canadian Club out of our parent’s liquor cabinet.”
It’s been a long day, and you get to have a drink: where are you, and what do you get?
“If I’ve been working in the sun, a crisp Pilsner; if it’s been a hard day working the jobby job, an Old Fashioned. Not to be confused with the ‘new” Old Fashioned with the muddled, radioactive cherry and orange slice… I’m talking ye olde, original whiskey cocktail. I just muddle a small demerara sugar cube with Angostura and orange bitters, splash that with a tidbit of soda, add bourbon or rye and express the oils from an orange peel. Simple, alcohol forward as the booze critics like to say.”
What’s the most unique/strangest/most batshit thing you’ve ever had to drink? Describe the experience.
“Barium, it’s like drinking chalk, but then comes the x-ray. If you don’t need your pipes looked at, I don’t recommend it. Nothing to see here folks, just too much coffee.”
What’s the funniest thing you’ve ever done under the influence?
“Back in the early 2000s, I was on a date with my now wife, and we went to the Rodeo Bar in NYC (where I used to run sound). We were ending the date with a nightcap; we ended up closing down the bar. On the way out, I tried to be dashing like some kind of ’40s film hero by sliding down the stair handrails from the upstairs lounge, completely wiping out, and rolling down the stairs. I was feeling no pain; luckily, no serious injuries beside some bumps and a good deal of embarrassment. We still laugh about it.”
What do you think is a totally overrated drink or brand?
“I did a blind taste-test with James Tritten of Fort Lowell Records, between Buffalo Trace and Ancient Age; I chose Ancient Age (laughs).”
You only get to listen to one album, but it’s only when you drink, and it’s for the rest of your life; what is it?
“The Replacements, Sorry Ma, Forgot to Take Out the Trash.”
Marry, fuck, kill: Your choices are Captain Morgan, Admiral Nelson, Sailor Jerry?
“Kill ‘em all and get yourself a good, funky bottle of Smith & Cross. It’s great in a ‘Charles Dicken Punch.’”
What’s the worst (or best) dive bar you’ve ever gone drinking to?
“TheMARS Bar/ NYC. Definitely some characters out ofWilliam Kennedy’s Ironweed alongside ’90s hipsters, The mix was horrible to look at.”
If a drink could define your life so far, what would it be and why?
“The Old Fashioned. I’ve been in the music biz for a very long time, so everything I do with my music, I try to be mellow, professional, and exceptional. I like the magic and mystery in the crystal whisky glass as well as not knowing every detail about an artist in the days before mobile devices and the internet.”
A fan asks to buy you a drink in a bar; what do you choose?
“I accept, of course; I usually cap that offer by telling them I drink for free and can I buy you the next one?!
What do you think about kids soaking tampons in alcohol and then inserting them up their asses to get drunk?
Um… I have never ever heard of that. Whatever happened to sniffing glue? Good enough for The Ramones, good enough for you!”
Where is the most embarrassing place you have barfed?
“Going back to the late ’80s, in the median of Fifth Ave, downtown Wilmington, North Carolina. I was walking home from a friend’s house just around daybreak, ‘walk of shame’ if you will. I suddenly projectile vomit bile three feet. I was wearing a trench coat and a trilby; later, a friend told me he saw me on his way to work and thought it was Tom Waits for a second.”
