drummer – feel good together 2009

l_4bb6d86325274bf6a2d8d31a2a73426ePatrick Carney, drummer for the Black Keys, perceived in his mind’s eye one snowy February afternoon in 2009. “Dan (Auerbach, vocalist/guitarist for the Black Keys) was leaving on tour to support his solo record, and I wasn’t going to have anything to do for a while,” says Patrick of his impetus to start this new band. He immediately established a psychic link with old friend Jamie Stillman, better known as the drummer in both Columbus, Ohio’s hirsute lumberjacks Teeth of the Hydra and Kent, Ohio’s popular art-school dweebs Harriet the Spy.

Jamie liked the idea of a band dedicated to good feelings, and thought their mutual pal Jon Finley, former drummer for Kent, Ohio’s legendary show-offs Party of Helicopters (for which Jamie played guitar) and current singer/multi-instrumentalist for Kent, Ohio’s lovable ne’er-do-wells Beaten Awake, might be interested as well. Via three-way telepathic hook-up, Jamie and Jon discussed the plan with Stephen Clements, drummer for Akron, Ohio’s blustery train-wreck Houseguest, knowing, as they did, that few men were more skilled in the subtle science of feeling good.

Now Patrick had four of his intended five. Four drummers, not drumming. Patrick would play bass, Jamie guitar, Jon would sing and play guitar, and Steve, keyboards. But, now, who would drum the drums? What of a band of four drummers, without a fifth to drum those drums? The answer appeared in a radiant fever vision, alighting gently upon all four brains simultaneously: the perfect fifth for this proposed super-group was Greg Boyd, late of Cincinnati, Ohio surf-rock band Ghostman & Sandman. Greg could and would hit those drums (and rhythmically, no less) without hesitation.

Retreating to Patrick’s North Akron bunker, the band began writing furiously in the hopes of releasing a record before the next winter set in. Engineering the recording sessions was Ben Vehorn, whose credits include Love as Laughter, Licorice Roots, Houseguest, and Other Girls. What emerged were eleven songs of classic, feel-good rock, suitable for listening to while doing donuts with an ’86 IROC in the Dairy Queen parking lot, or polishing off a six-pack on the local Par 3.

The five members of Drummer are your kind of people, and their debut album, Feel Good Together, is your kind of music. It encapsulates the soul of Northeastern Ohio, where, whether in reference to local sports, the local economy, or just trying to find one’s place in the world, the phrases “almost, but not quite” and “better luck next time” are applicable in perpetuity. But who cares? Not Drummer. If nothing else pans out, hopefully we can, at least, say we had a good time. Whatever you need to do, it can probably wait ‘til tomorrow. For now, put the record on, sit down, and let’s just feel good. Together.

Drummer’s debut album, Feel Good Together, will be available September 29th from Audio Eagle Records.  



check out the track called mature fantasy its just awesome

tim cohen – two sides of tim cohen 2009


As if fronting super hyped garage rockers the Fresh & Onlys wasn’t enough, or being the one man in one man weirdo black metal horde AmocomA, or playing in Black Fiction and Three Leafs or any of a number of other local bands, or even being the back up band for psych rock legend Rodriguez, well, apparently none of that is enough, as here’s a brand new full length from Mr. Tim Cohen, he of all the above mentioned rockness.

Seems Tim Cohen’s a busy man these days, with the Fresh & Onlys last LP barely dying down to a simmer and an upcoming release impending on Woodsist; hey why not throw in a solo album as well? The Two Sides of Tim Cohen strays far from the work Cohen’s been doing lately with Fresh & Onlys, mixing a strong slice of loner psych into the haunted mysticism that permeated his previous work in Black Fiction. There are bursts of pop that peek through the rain soaked windows of Cohen’s songwriting, occasionally letting a little light into his bittersweet temperament, but for the most part the album burns a slow path through the minor key. As a result it doesn’t clinch on the first listen, or even the second, instead Two Sides reveals itself to be a slow grower over repeated listens. Each new layer peeled back from Cohen’s exterior reveals another marbled tear, another queasy calmness that echoes not only Tim’s past, but your own as well. Piece by piece the album pounds, stitches and tapes back together the human psyche only to offer it up to the hounds that tore it apart in the first place.