Pressing Concerns: Common Thread – Fountain (30th Anniversary)

[Repost from Rosy Overdrive; December 7, 2023]

Release date: December 8th

Record label: Fort Lowell
Genre: Noise rock, shoegaze, 90s indie rock, post-punk
Formats: Vinyl, digital
Pull Track: Template

This year, Wilmington, North Carolina’s Fort Lowell Records have put out new music from a couple of longtime indie rockers in James Sardone and Summer Set, but for their final release of 2023, they’ve gone even further and grabbed a lost southeastern-U.S. indie rock record to hoist from relative obscurity in Common Thread’s Fountain. Common Thread originated in the late 1980s in the suburbs of Jacksonville, Florida, putting out Six Marbles and a Bowl of Mud in 1990 and following it up with Fountain, released only on cassette, in 1993. The band–guitarists Joe Parker and Travis Taylor, bassist Joey Zimmerman, and drummer Craig Parlet–toured the East Coast extensively, making an impression on the co-founders of Fort Lowell Records with their noisy but melodic mix of 1980s post-punk, noise rock, and shoegaze. The label’s James Tritten and Tracy Shedd have made it clear that this reissue campaign is especially personal for them–but, as someone who hadn’t heard of Common Thread at all before this year, I can confidently say that one didn’t have to “be there” at the time to appreciate their sophomore album. 

Last month, I wrote about The Veldt, another band who was making loud, layered indie rock at the same time in the same part of the country. It’s enough to suggest that the American Southeast is an underappreciated part of this era of underground music–not the least of which is because Fountain sounds so different from The Veldt’s Cocteau Twins-indebted sound. Common Thread were certainly influenced by Sonic Youth, as they had a similar attitude with regards to wringing noise out of their guitars, but they also brought a British sense of dour melody to their music that Parker, Taylor, and Zimmerman (all singers and songwriters) hid underneath their instruments. At the same time, the prominent, rumbling bass that marks songs like “Sesame” and “Digit” feels very American noise rock–coupled with Parlet’s tireless drumming, Common Thread boasted a rhythm section that a lot of contemporary “amplifier worship” guitar-heavy bands didn’t really have. Fitting of a band with three different leaders, Fountain feels like a lot–it’s absolutely a statement worth shining some more light on after three decades. (Bandcamp link)

OUT NOW: Common Thread 'Fountain' 30th Anniversary Edition

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.

Originating from Orange Park, a suburb of Jacksonville, Common Thread came to the scene first in 1990 with their debut Six Marbles and a Bowl of Mud featuring Donald Kilpatrick on drums. Shortly after, Craig Parlet would replace Donald, joining guitarist Joe Parker and Travis Taylor, along with Joey Zimmerman on bass. Not too long after, the quartet documented their newly formed union with Fountain. Common Thread toured up and down the east coast, sharing the stage with counterparts such as Agent Orange, …And You Will Know Us by the Trail of Dead, Crowsdell (Shannon Wright), The Grifters, The Knack, The Smithereens, Sonic Boom, They Might Be Giants, and The Veldt. Their national outreach provided a roadmap for Floridian musicians who followed suit.

Parker, Taylor, and Zimmerman all took stake in songwriting and vocal responsibilities on Fountain. Parker spearheading six arioso tunes, including both singles, while Taylor has a trio of sui generis numbers, and Zimmerman closes out Fountain with his own haunting denouement “Polka-Dot-Frock”. The common thread that fuses their talents together lies somewhere between their outlook, grit, and acute tone bending desires; altogether revealing one unified voice known as Common Thread.

James Tritten and Tracy Shedd, owners of Fort Lowell Records, were not just in the audience at those Common Thread shows three decades ago, they were both close friends with each band member and fortunate to witness Common Thread’s conception. To this date, Fountain is one of the couple’s greatest influences, and continues to provide inspiration for their own various musical outlets. To celebrate the 30th Anniversary of Fountain, Fort Lowell Records has made this landmark album available on vinyl record and all digital music platforms for the first time, allowing Common Thread’s magnum opus an opportunity to excite many generations to come.

Common Thread Fountain is now available on 12inch vinyl record, as well as all digital music platforms.

LISTEN TO FULL ALBUM // ORDER VINYL RECORD

OUT NOW: Common Thread "Smoldering Black"

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 — Black Friday — "Smoldering Black" has been made available as the second 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!

LISTEN TO DIGITAL SINGLE

Common Threads

Common Thread; photo by Jody McFarland

[Repost from Folio Weekly; by Amiyah Golden, November 1, 2023]

With the emergence of new sounds being birthed from the inspiration of musical innovators every day, it would be a disservice to not pay homage to the artists who have paved the way by experimenting with and tinkering the sounds we appreciate today.

Jacksonville is the birthplace of so many reputable names in the music industry but one band in particular has escaped much of the mainstream recognition they deserve. So I decided to “throw-it-back” for this month’s Local Artist Spotlight and feature the ’90s band, Common Thread, who originally hail from Orange Park.

Common Thread was formed by two friends, Joe Parker and Travis Taylor. The two skateboarders found an interest in guitar — on their own, originally — but one day, Taylor suggested the two come together to form a band.

“It seemed far-fetched to me that anyone would be willing to play with us as neither of us demonstrated a tremendous facility for the instrument,” said Parker, “We had enthusiasm and tastes, though, that proved to be enough to get the ball rolling.”

Although doubt factored into Parker’s mind initially it didn’t stop the duo from expanding to a full-fledged group by Christmas of 1989. The pair recruited bass guitarist Joey Zimmerman and drummer Donald Kilpatrick.

Now a solidified band, the group was determined to break through into the world of music.

By the following year, Common Thread had enough music to record, and with the help of aspiring engineer Scott Whitter, the band made it happen resulting in the birth of their album, “Six Marbles and a Bowl of Mud.” Whitter is also credited for engineering and helping produce their praised project, “Fountain,” which will soon be available on vinyl and all streaming platforms.

I inquired about the song-making process for the band and Parker shared that much of it sparked from the organic jam sessions between himself and Taylor. With one of the two usually sharing a new guitar riff that may be accompanied with cool lyrics, it served as the first layer to the final production of a song. Parker shared with me some of the inspiration for his writing in particular: “If I liked a turn of phrase. If I wanted to relay a shred of a dream. If I wanted to take a shot at someone, If I wanted to seduce a love, I did it there as well as I could.” 

With the two perfecting their songs by sorting out the structure and arrangement, it was a necessary process that resulted in the stellar songs they created.

The band prioritized their practice sessions with the group practicing two to three times a week to allow their songs to feel like “second nature” They wanted to be well-equipped to share their original music.

I was curious about how their new band got along with more established groups at the time, but Parker assured me that so many other local bands like Lysergic Garage Party, Crowsdell, Rein Sanction shared their support. Common Thread played beside many fellow bands at venues such as Einstein A Go-Go, Metropolis and Dockside.

“The music scene was small but vital,” said Parker, “And wildly varied. None of the bands sounded alike.”

With music from the ’90s still having so much influence today, many bands bridged into their very own sound with the subgenre of “shoegaze” music rising at the time and now having its full circle moment today with its new found popularity, many people credit Common Thread for contributing a big part to the sound.

While Common Thread serves as inspiration today, they also credit bands such as,The Smiths, Echo & the Bunnymen, Sonic Youth, Nirvana and Screaming Trees, as examples of inspiration. The band reside in their own unique sound, but the variances of musical tastes and inspiration served as a “weird blend that we reflected weirdly,” as Parker put it.

James Tritten of Fort Lowell Records — an online forum documenting music — serves as a great example of the impact that Common Thread has had on listeners.

With Tritten knowing Parker and Taylor personally before they embarked on a music career, he can speak to them as people, as well as musicians.

A musician himself, Tritten was a part of the band Sella, recalling their very first show being with Common Thread at the Doctors Inlet Civic Center in Orange Park.

Tritten recognizes Common Thread as being an inspiration in the past, as well as in the present for him as well as his wife, Tracy, who is also a part of Fort Lowell Records.

“They introduced me to new sounds and textures I had never experienced before, which led me down a path to learn about the musicians and bands who were influencing Common Thread,” Tritten said. They also helped me discover new instruments, effects or musical techniques to use myself as a musician. They pushed boundaries and opened doors I was unaware of.”

With Lowell being a huge supporter of the band, as well as the 30th anniversary of Common Thread’s album,”‘Fountain,” it became his mission to make the project available for everyone to hear.

“To hear people who were not even born in 1993 have the same reaction to them that we had ourselves 30 years ago is beyond awesome, and it’s why we are doing this,” he added.

With apps like TikTok and Instagram being a great way to share music, Tritten beams at the ability to use Common Thread’s songs like “Lydia Elle” and “Smoldering Black” on these platforms that did not even exist 30 years ago. It feels very full circle and is the perfect way to carry on the memory of former bandmates Zimmerman and Kilpatrick, who unfortunately passed away.

Tritten reflects on the memories he had with the two:

“I loved going to watch [Joey] race his car up at Jax Raceways, or just talk about cars in general.  I remember his laid-back style and approach to skateboarding, always with a cigarette hanging off his lips barely holding on, and with his blond hair always covering his face just like when he played bass guitar; how the heck could he see the ramp?” recalled Tritten. “Unfortunately for me, I never had the opportunity to get to know Donald to the same degree. I always thought Donald was an excellent drummer, and glad his contributions were documented on ‘Six Marbles and a Bowl of Mud.’ [But] Donald and Joey will always hold a very special place in our hearts.”

While we might not be able to see Common Thread in person, we now have the ability to listen to the band on various subscription-based streaming sites. And if you’re like me and love collecting vinyl, you have the ability to do so as well. So go check out “Fountain” and become transported into the soundwaves or grab inspiration for your next project. Whatever you choose to do, enjoy the legacy of Common Thread.

VINYL PRE-ORDER

DIGITAL PRE-SAVE

Common Thread - "Lydia Elle"

Common Thread; photo by Jody McFarland, circa early 1990s

[Repost by If It's Too Loud; by Ken Sears, October 13, 2023]

We don't cover a ton of reissues here, but sometimes an artist being reissued is new to us and absolutely thrilling to discover. That's the case with Common Thread. Based out of Jacksonville, FL, their second album, Fountain, was released in 1993 only on cassette, and to celebrate its thirtieth anniversary it's being released on vinyl and streaming services for the first time. Right now we can hear "Lydia Elle" from the reissue, and holy hell... this would have been life changing for me in 1993. "Lydia Elle" is a beast of a song that combines the noise and coolness of indie rockers like Sonic Youth, the sheer power and near metal side of The Jesus Lizard, the wave of shoegaze noise of The Jesus and Mary Chain, and the dark post-punk groove of Joy Division. Hearing Common Thread in 2023 is nearly life changing, so I can't imagine hearing this as a teenager. 

You can listen to "Lydia Elle" below. The reissue of Fountain is due out December 8 on Fort Lowell Records, and is available for pre-order here. For more on Common Thread, check out Fort Lowell Records' website.

“Lydia Elle” by Common Thread: A Glimmer Through the Looking Glass of Nostalgia

Common Thread; photo by Jody McFarland, circa early 1990s

[Repost from Blood Makes Noise; by Taylor John Salvetti, October 13, 2023]

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 of Fountain, 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 recorded Fountain and “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.

“Lydia Elle” is streaming on all platforms. Enjoy and reminisce.

‘Fountain,’ Beloved Album By Duval Indie Rockers Common Thread Gets 30th Anniversary Reissue

Common Thread performing in Five Points [Jacksonville FL], circa early '90s; photo by Jody McFarland

[Repost from Jacksonville Music Experience; by Daniel A. Brown, October 6, 2023]

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 Fountain as both a download and vinyl version. Fort Lowell provided the Jacksonville 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 a guitar luthier. Parker gave us the history of Common Thread and his thoughts on the anniversary edition of Fountains.

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 after Fountain (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 the Veldt, 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 Fountain finding 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 releasing Fountain on 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.

OUT NOW: Common Thread "Lydia Elle" [Digital Single]

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!

LISTEN TO DIGITAL SINGLE

Three New Vinyl Records For You!

Okay, so technically we have four new records being released before the end of the year:

1. Summer Set Summer Set — Release Date: November 3rd
2. Jon Rauhouse & Blaine Long One Day Will Never Come Back — Release Date: November 17th
3. This Water is Life, Vol. III ft. Sheme of Gold + cydaddy — Release Date: December 1st
4. Common Thread Fountain | 30th Anniversary Vinyl Edition — Release Date: December 8th

However, our Jon Rauhouse & Blaine Long LP sold out before we even launched our first press release for the album. 😁

So, officially we have three new vinyl records to offer you this Fall / Winter / Holiday Season ahead that you can pre-order right now: 

1. Summer Set — PRE-ORDER VINYL RECORD
2. This Water is Life, Vol. III — PRE-ORDER VINYL RECORD
3. Common Thread — PRE-ORDER VINYL RECORD

Reserve your copy of each record today before these sell-out as well!  You've been warned!

Summer Set Summer Set

*SOLD OUT* — Jon Rauhouse & Blaine Long One Day Will Never Come Back — *SOLD OUT*

This Water is Life, Vol. III ft. Sheme of Gold + cydaddy

Common Thread Fountain | 30th Anniversary Vinyl Edition

COMMON THREAD, THE GREATEST BAND EVER

One of the most influential bands of my life has been Common Thread.  Fort Lowell Records would simply not exist if it weren't for them.  Not only were they close friends of mine growing up in Orange Park, FL, but they were simply amazing musicians that pushed boundaries like no other band.

In the late 80's and early 90's, a big part of the skateboarding scene in Orange Park, FL, existed at "The Sandtrap."  This was the name for Joe & Tiger Parker's backyard half-pipe skate ramp.  Tiger was one of my best friends at the time (shout-out to the Rice Posse) and Joe was his older brother.  Joe's friends Travis Taylor and Joey Zimmerman would often come over as well to skate with us, but before we knew it, Joe, Travis, and Joey were plugging in guitars in the living room.  It wasn't too long after that Common Thread was born and shows at The Civic League and Pizza Blue became the most mind blowing experiences for us growing up.  Craig Parlet, a friend of mine literally since the age of one (we were both born in Portsmouth, VA, due to our fathers both being in the Navy) became Common Thread's drummer just after the release of their first cassette.

Fortunately for all of us, our friend Aaron O'Laughlin has posted up two great video's of Common Thread.  The first is a video he made for their classic hit "Lydia Elle," a song that appeared on what most will agree was their greatest release ever, Fountain.  The second video is a live recording from a show at The Bad Boy Club, playing John Denver's "Leaving on a Jet Plane," a song they would often end their shows with, featuring their original drummer, Donald Kilpatrick.





In addition, here are a few other classic songs by Common Thread for you to listen to, taken from their MySpace page:

Sesame "Sesame"
Destroying Red Lights "Destroying Red Lights"
Drippings "Drippings"
My Feet as Prunes "My Feet as Prunes"

We hope you have enjoyed listening to Common Thread as much of we have! By the way, you may have noticed the Teisco Japanese Guitar that Joe Parker was playing in the live video. This guitar was a big inspiration for him to begin building his own guitars, Joe Parker Guitars, photographed below as seen at Austin Vintage Guitars in Texas.

Happy Shoegazing!
~ FLR