Tuesday 22 Jul
 
 

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

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.

07/09/2014 | Comments 0

Kierston White - Don't Write Love Songs

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.

07/01/2014 | Comments 0

Depth & Current - Dysrhythmia

"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.
06/24/2014 | Comments 0

Weak Knees - “IceBevo”

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.
06/17/2014 | Comments 0
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Danny Trashville emerges from Pink to pawn his soul and pen a grim ode to outlaws and auto racing


Charles Martin July 29th, 2010

Beneath the gruff persona is a pop sensibility not entirely divorced from the kind of country crafted in Austin, Texas, and Nashville, Tenn.

trashville5-21-09_7-06x9-42cm
Danny Trashville
9 p.m. Friday
Charley's Last Stand
4415 S.W. Third
946-4110
www.dannytrashville.com
Free

With a coarse growl and catalog chock-full of outlaw country that touches on hard-living, heavy-drinking, dangerous women and auto racing, Danny Trashville is emerging from Pottawatomie County's small pond of Pink to make a splash in deeper waters across the region.

He'll play two shows in two weeks: Friday at Charley's Last Stand and the following Friday at the Midwest Ink and Metal Show in Midwest City.

Beneath the gruff persona is a pop sensibility not entirely divorced from the kind of country crafted in Austin, Texas, and Nashville, Tenn. But with a moniker like Trashville, he knows CMT isn't going to be sniffing around his shows anytime soon.

"The majority of Nashville musicians from the past 50 to 60 years have been manufactured," Trashville said. "They are just pretty faces and pretty voices singing someone else's songs. Everything I put out comes from things I've faced; it's about not having money and facing hard times."

He has made peace with the improbability of major crossover success and instead has taken another music scene as a model for what he hopes to help build in Oklahoma.

"Rockabilly seems to be set in a specific time, and people are writing the same kind of songs over and over again," he said. "They take their influences and do the same sort of thing, but still expand the horizons."

The state and country's thriving and ageless rockabilly scene is something he'd like to see with more traditional country, a sound that ruled the airwaves decades ago.

"I like to take everything backwards," Trashville said. "I don't like seeing country music with distortion on the guitar, like a rock or pop album. I imagine what country music would have been like had electronics and technology not been introduced to it."

His eponymous debut album, released last fall, blends smirking redneck idolatry with earnest tracks about scraping out a living in rural America.

The majority of his music is high-energy, playing to darkened bars and raucous crowds. "Turn Left" tells an exaggerated tale about a fallen auto racer, while "Hoedown" is Trashville's ode to a stripper. Both use stick-to-your brain choruses to draw repeat visits on the jukebox, but without devolving into novelty.

The song "Hey Babe" offers an Austin-tinged answer to Trashville's redneck tendencies by infusing an Old 97's-styled pining into the album. Trashville is currently recording an EP and one of the first tracks, "Pawn Shop," reveals a rootsy turn as the musician tries on some Tom Waits gristle. Trashville admitted that he wants a well-rounded catalogue, giving him the ability to respond to the whims of live audiences.

Whether or not the big, bad city ever latches onto Trashville, he said it'll take quite a bit to pry him away from Pink.

"If I want to play, I have to drive 20 miles just to get in front of people," he said. "But this definitely gives me time to sit outside, be as loud as I want, hoot and holler, burn a fire and drink beers with my buddies.

"That's important, because I need to be able to entertain my friends. If I can't make them smile, laugh or cry or whatever, how am I going to go up in front of a crowd of people who don't know me and try to entertain them?" --Charles Martin
 
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