Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.
The Tequila Songbirds have become just as beloved as about any group around these parts. And how could they not?
Featuring a revolving cast of the Sooner State’s most badass female performers, it’s a power hour of some of the best songwriting coming out of central Oklahoma. Sure, they might not technically be family, but they are clearly a band of sisters all the same, bonded by the same brand of whiskey running through their veins.
"Overproduced" is a term thrown around all too indiscreetly nowadays, usually applied when the thing that sticks out about a song or album is how it sounds rather than how it is constructed. Yet some of the most compelling albums ever crafted embodied a certain aesthetic that was just as skillfully and meticulously put together as any Bob Dylan or Miles Davis record — which is to say production is as crucial to our enjoyment of music as much as anything else; it's also the most overlooked.
Indie rock has been in a good place as of late. Not caring about being cool is the new cool, and a couple of dudes on guitar, bass and drums can make catchy, earworm songs without being armed to the gills with computer software and vintage synthesizers.
Every artist should be the star of their own creative life, which makes Kyle Reid’s steps out of the shadows of the many ensembles and supporting roles he has played in Oklahoma bands over the years to front and center on stage feel like a just journey.
Eve 6 7 p.m. Tuesday ACM@UCO Performance Lab 323 E. Sheridan acm-uco.com 974-4700 $16-$19
Credits: Lisa Johnson
Few bands’ horizons looked better than Eve 6’s did back in the late ’90s and early ’00s. The alt-rock outfit enjoyed a major-label record deal, a platinum album and smash singles in “Inside Out” and “Here’s to the Night.”
Then, ironically enough, things fell into a “beautiful oblivion.”
Sales of its third, heavier release, 2003’s It’s All in Your Head tanked, so Eve 6 was dropped from RCA. With front man Max Collins openly struggling to go sober, the band soon went on an indefinite hiatus.
“We all sort of needed that time to stretch out creatively and personally,” guitarist Jon Siebels said. “Being that we were so young, we ended up in the Eve 6 bubble right off the bat and just stayed there. It was nice to grow — musically and personally — into individuals and have our own identities.”
Several side projects later, Collins and drummer Tony Fagenson reformed Eve 6 in 2007 for occasional shows, and Siebels rejoined last year, prompting a full reunion tour and a new record, Speak in Code, due April 24.
The guys were somewhat surprised that the emergence of the Internet after their demise sustained a demand.
“There’s still this huge crop of fans,” Siebels said. “People showed they still cared, and there was this opportunity to be out there, still doing what we love.”
To record Speak in Code, Eve 6 found a better fit in Fearless Records and opted to work with producer Don Gilmore (Pearl Jam, Linkin Park), who helmed the act’s first two discs.
“We used our original formula.
I’m happy to have made, again, a real album, from top to bottom. It sounds like us,” Siebels said. “It’s an Eve 6 record that’s not just about one song.”
Although sonically, Code most closely relates to 2000’s Horrorscope, the band is quick to note it’s not a carbon copy, either.
“It’s a natural evolution,” Siebels said. “We have more programmed, synth-type elements, but at the core of it, it’s drums, bass and guitar, while branching out to find new sounds. It’s going to be familiar, but feel like progression as well. It was a nice happy medium. It won’t be like, ‘Whoa. What happened to Eve 6?’”