It’s true. Jeff Caudill himself sent me an email (and many others) stating the facts. Gameface is a band again and they have plans on releasing new material in 2014.
Signing to Equal Vision Records, the band is releasing a 7” featuring two new recordings – “Come On Down” and “The Only Chance We Get” – on November 5.
“Come On Down” is a brand new track, while the latter is a new recording of a previously released song from Gameface’s 1995 release, Three To Get Ready. The revamped version also now includes guest back-up vocals from Ingo Knollmann (Donots) and Mike McTernan (Damnation A.D.).
The reunited four-piece currently is working on their sixth full-length album, which is should be released by early 2014. Check out the following video that takes a personal look at Gameface’s recent decision to reunite as well as make their first new album together in over a decade:
Jeff Caudill had this to say about the band reuniting and recording new music:
“We’re beyond excited about the new material and a new chapter in our history. We’re so fortunate and grateful to Equal Vision for sharing our vision and giving us this rare opportunity for a new beginning.”
Taken from the Equal Vision press release:
The Southern California-based outfit, now featuring Caudill along with Todd D. Trout (guitar), Guy Julian (bass) and Steve Sanderson (drums), originally formed in the summer of 1990 and has since released five full-length albums, each carrying the band’s dynamic, distinctive sound that has gone on to influence countless bands over the years.
Gameface’s debut LP, Good (1993), showcased unabashed pop punk at its purest, while Three to Get Ready’s (1995) offered redemptive lyrics and a nostalgic tone that drew fans into Gameface’s emotional triumph over tragedy following the untimely death of their drummer Bob Binckley in 1994. With Every Last Time (1999), and the addition of drummer Steve Sanderson, Gameface hit their songwriting and touring stride. During the recording of Always On (2000) rifts between members deepened and original bassist Paul Martin eventually left the band before the album was released. Guy Julian joined on bass for their final album, Four To Go (2003), before the band members decided to each go their own separate ways following its release. In 2012, the group reunited for a string of shows that eventually served as the catalyst to forge ahead towards something more permanent. It felt right again as Caudill penned their new single, “Come On Down”, sealing the deal to embark on this next phase of Gameface.
Pre-orders for Gameface’s new 7” will be available in the coming weeks, along with additional information on the band’s upcoming full-length album. The band even announced today on Facebook that they are adding a re-recording of “Freezerburn” to the new album. That song previously was only availble on a live recording.
A couple of months back, I remember getting an email from the good folk at Fat Wreck Chords stating that Chris McCaughan of The Lawrence Arms would be delivering another installment of his solo material, also known as Sundowner.
I was beyond stoked to learn of this as I was a big fan of McCaughan’s last Sundowner release and maybe dig The Lawrence Arms a whole lot. Hopefully there are a few of you out there who can agree with me on both statements.
Anyways, Neon Fiction is just an amazing release and I can not stop listening to it. I have not had time to do a proper review of the album on there here website, but I was asked if I wanted to chat with McCaughan about it. Of course I said yes to that.
Chris and I were able to catch up on the good ol’ Internets and he was kind enough to talk about his new release. Check it out:
BHP: So the last time we chatted about 3 years ago, LeBron had kicked Cleveland in the nuts and you just released We Chase The Waves. I guess what I am trying to ask is, what the heck have you been up to?
CM: I remember. Nice to chat again. Not sure I can condense the last three years of my life into a brief synopsis of what have I been up to? So, let’s just say I’ve been livin’, man. L-I-V-I-N.
I heard you no longer live in Chicago these days. Is that true? What prompted the big move to the West Coast?
True. I was born and raised in Chicago. So I take that place with me where ever I go. And, anyone who knows me knows how much I identify with and love that city. But I was ready for something in my life to change and felt like a new surround would be good for me. Also, my girlfriend is from the West Coast and, after having lived in Chicago for several years, she was ready to be closer to home and out of the harsh winter. So that was part of it. But, having toured and traveled extensively in my life I wanted to know what it was like to actually live in a new place. It’s an entirely different experience. I still spend a lot of time in Chicago though, so I feel a bit like a habitant of multiple places.
You just dropped an all-new release on Fat Wreck Chords titled Neon Fiction. Care to tell me about it?
Neon Fiction is the culmination of songs I was writing somewhere in the span of Fall ‘11 into the Spring of ‘12. It’s hard to remember the exact time frame. I didn’t write this with specific intentions or deadlines or ideas about how it would all come together. It may sound ridiculous, but I really was just writing the songs I write. I’ve gotten questions over the years like how do you know when it’s a Sundowner song or a TLA song? And the truth is I just don’t think about it in that way. Or, perhaps, a bit more accurately, I just know innately. This is, simply, me and these are the songs I write. Some people ask if this is more than a side-project now and, again, I don’t think in those terms. This is part of what I do and my goals are to try to write great songs and make cool records. That’s the part I can control and that’s what Neon Fiction is to me.
I guess, in some ways, I feel like I’ve had this record in me for long time, but it took certain conditions in my life to write it. Part of that was letting go. There was definitely a time when I felt like no one would ever hear any of this and that didn’t bother me at all. I was completely at peace with that.
But, when I was finally ready, I fronted the production so we wouldn’t have to make hard decisions on the front end. We could focus on the songs and the work. We tracked it at Atlas Studio in Chicago. As usual, I teamed up with Neil Hennessy on the record. The goal was to try to make an awesome album, with cool sounds. We consciously tried to shift the perspective from the previous Sundowner albums. I felt like that was essential. We wanted layers and different kind of landscapes for the songs, and for each song. I wanted to challenge myself but work within my range. I wasn’t trying to reinvent anything.
I feel very fortunate to be working with Fat Wreck. And it meant a lot to me that everyone over there liked the songs and the album. I’m so grateful for so many people in my life who have made this possible and who have continued to be supportive over so many years. So, it’s been an amazing experience and I’m so stoked it’s out.
Does the title of the album have any hidden meaning behind it? Sounds like a typical Vegas adventure to me.
For me it just captures the nature and vibe of the collection. That was the primary goal of the title. Admittedly, I struggled naming the record. I asked my friend Ben Pier, who is a photographer living in NYC, to shoot a bunch of stuff for the album. Once we chose the cover photo it started to all make more sense to me. It’s a city record. The songs are heavily influenced by my sensory perception and how I specifically interact with environments. So lights and sounds are heavy contributors to the overall landscape, the lyrics and sonic qualities. And, honestly, I just like the way it sounds. That’s a hugely important factor to me in a title. Also, Neon Fiction has some origins for me. It’s a bit of a tip of the hat to Chicago writer, Nelson Algren, who wrote a book called Neon Wilderness. And it’s a bit of a play on Non Fiction, as the record is full of half-truths.
So when did you start writing Neon Fiction? We you looking to write another Sundowner album, or did you just find yourself with a bunch of songs that needed a home?
I didn’t sit down to write a record. But I wouldn’t say I just found myself with a bunch of songs either. I was writing with no real goal in mind. Just writing to write. I wasn’t thinking about how or where or why. I wasn’t focused on some kind of end game. I guess somewhere in the process, when the songs began to accumulate, it occurred to me that I felt strongly about the material. At that point things felt more magnetic. I was being pulled to some kind of end and then I felt compelled to figure all the other things out so that I could make it. I’ve thought about this in a lot of different ways. In terms of the song writing I would say it this way: It’s like I was a kid out in a field in the evening with a mason jar and a lid trying to catch fireflies. Got one. Here’s another. And at some point I’d caught so many I was excited enough to go show someone.
I swore that you stated before that you were not really going to go the solo acoustic music route in the past, but here you are. Has the popularity of punk rockers following this trend changed your mind?
I’m pretty sure I never said that. Certainly not in that way. I’ve been playing as a solo acoustic artist since 2005 or 2006, when I first began writing acoustic stuff and the first Sundowner record started to come together. So, no, the popularity of the genre has nothing to do with my choices or decisions as an artist. I’m just trying to write and live a life that’s authentic and genuine to me. That’s it, man.
Can we expect you to be onboard the next Revival Tour then?
I have a great amount of respect for Chuck Ragan. He’s just an amazing guy. I first met Chuck years ago when TLA toured with Hot Water Music and I’ve had the good fortune of performing on Revival tour and doing shows with him here and there over the years. It’s always an incredible collection of talented and passionate artists he puts together for Revival and I always feel honored when he reaches out to me in any way.
I thought “Concrete Shoes” was exceptional. What made your feet so heavy that you had to write a song about it?
We live in a sticky world, man. And, I guess, at times my feet felt pretty heavy against the pavement. Just trying to get off the ground.
Was there a certain track you favored over the rest on Neon Fiction?
I’m proud of the record as a collection of songs. They belong together and I think they make each other better. And that was the goal. If I absolutely had to pick one maybe it would be Poet of Trash? Maybe My Beautiful Ruins? Grey on Grey? I don’t know, man. I have an array of feelings and connections to them all.
Overall, was there a theme surrounding all of the songs on this album?
There are a lot of themes and sub-themes. But generally speaking, it’s a record about self-acceptance and self-actualization. It’s about letting go of the things that you can’t control and being honest with who you are, embracing your nature.
Seems like I am not the only one who is digging Neon Fiction. How are you taking the feedback so far from everyone who pre-ordered the release?
It feels great to have such a positive response to the songs. And, of course, I’m happy it seems to have had some impact on listeners already. But I try not to worry too much about all of that or read into it too much. I just continue to be thankful that I’m in a position to share the work, keep believing in the craft and the process.
Who all helped you this round on Neon Fiction? How much did Neil Hennessy pitch in again?
Neil played bass and drums. I did all the guitars and vocals. That’s it. Neil is an incredibly talented musician and has been an essential part of making the Sundowner records. This record was no different. His contribution to Neon Fiction was enormous. He helped catalyze and actualize so much of what was in my head. I feel lucky to have a partnership with him that has created conditions to work in this way. Justin Yates, who works with Matt Allison at Atlas studio where we made the record, engineered and helped produce which allowed Neil and myself to really focus in on performance. Neil is a true craftsman, one of the best dudes, and we’ve had a, sort of, musical kinship for a long time. He has a sharp and sophisticated ear and what he brings to the studio, or to any project, is invaluable.
I know you hardly toured with the last Sundowner release, but that is all changing this time. How does it feel to be hitting the road without your full-time band? Any plans on expanding that tour?
Over the years I’ve played solo quite a bit, so I don’t anticipate it’ll feel too strange. This fall I’ll be doing some small runs of shows here and there and we’ll see what happens. Not getting too far ahead right now. I try to do this in the way that works best for me and not get too concerned by others expectations.
Just curious, but were you asked to cover a Tony Sly song for his upcoming tribute release? I didn’t see you on the track listing and was curious if that was due to your own choice.
Tony Sly was a great guy and an amazing songwriter. TLA and No Use toured together a bunch and I was fortunate enough to get to know him and spend some time around him. He’s deeply missed. If it’d worked out that I could’ve contributed a song that would have been awesome and an honor. But it didn’t. Don’t read too much into it.
Rumor has it that the Lawrence Arms have new material recorded. When can we expect that to drop?
There’s a new TLA record. It exists. We’re excited. That’s about all I can tell you.
So, what’s next for Sundowner?
It’s September. Neon Fiction is out. Shows ahead. I’m stoked and thankful. Just trying to live in the present moment and do the best version of me I can.
Sundowner is playing Now That’s Class in Cleveland on Sept 26th. with Meridian and The House Of Wills. Tickets are only $10. Do not miss out on this show!!!
As many of you know, I spent about a year in Las Cruces, NM for my paying gig. I left last June and just recently returned to my state of birth. My time out there was mostly spent on working at said paying gig, thrifting for fun finds, and more or less being a hermit.
Don’t get me wrong, I enjoyed my time out there, but I just did not do a whole heck of a lot for the most part. Home is where the heart is right?
About a month before I packed up and moved back to my beloved Ohio, I ordered the brand spanking new Rumspringer album from the Dirt Cult Records website, and label owner Chris Mason sent me an email suggesting that I just stop over and pick it up as he lived close to me.
I decided to head on over to the Dirt Cult headquarters to pick up my purchase later that day, and he wasn’t kidding – I lived literally a mile away from him.
We hung out for a few hours that evening and he introduced me to a good portion of the Dirt Cult catalog including the band he was in. I have heard of some of the bands before (including his own band), but never really checked any of them out entirely, sans Rumspringer of course. Chris was great company and was quick to share with me a bunch off his label’s roster. I loved what I heard and am just stoked I had the opportunity to kick it with him that night.
Before I said adios to Las Cruces, I was able to check out Chris’s band play a July 4th party and even hang out again while helping pack up some records.
Running a record label has always been something I have wanted to do. I know there is cost and time involved in it and hopefully one day I can make that happen. For now, I just will live vicariously through others.
Even though I am out of the desert and back in Ohio, America, I still keep in touch with Chris as he is just a solid human being. Recently, I had the great idea of interviewing Chris for the site. He was all about it. Check out the fun interview we did via trading emails and such recently:
BHP: Can you give me a little history about how Dirt Cult Records got its start?
CM: I always thought that running a label sounded like a lot of fun, so in 2006 after my band at the time, Shang-A-Lang, had recorded our first 7″, I figured it made sense to start a label and put that record out rather than “shop around” for someone to do it. I also figured that if I completely fucked up somehow that at least I’d be fucking up one of my own band’s records.
Why Dirt Cult? Is there some specific meaning behind that name?
I had some friends, Ronnie and Adam, who ran a zine in the early 2000’s called Dirt Culture. Those same dudes also opened up a record store here in Las Cruces called The Dirt that was really the catalyst for the creation of a DIY scene here. It’s where we all cut our teeth booking bands and playing shows. I also helped Ronnie (or he helped us I guess) release a split 7″ between my band The Answer Lies and another local band called 10 Seconds To Liftoff on “Dirt Culture Records,” but the zine kinda went on hold because Ronnie took a job in California. So when I needed a name for the label I thought I’d use Dirt Cult as an homage (or maybe blatant rip off) to the zine. It’s the reason that the first Shang-A-Lang 7″ is DC-002. I always kind of considered The Answer Lies/10 Seconds to Liftoff split our first release, even though it was released a couple years earlier.
When did you first start appreciating vinyl?
When I was a toddler I’ve been told I used to throw my dad’s vinyl collection around his room like frisbees. When I got a bit older (around 5 or 6), I was obsessed with that medley on side B of Abbey Road. I would play it over and over again. I think I was as excited about the mechanics of it all as I was about the music. Of course, as a child of the 80’s and 90’s CDs were pretty much what I listened to, and I didn’t rediscover vinyl until I started going to punk shows that had DIY distros in the mid-90s. I loved flipping through records and buying shit that looked cool, hoping it was good. Unfortunately, around that time, I was still buying primarily CDs for convenience’s sake, which is a shame because I missed out on a ton of cool records that now I just have shitty scratched up CD versions of. I kept buying a mixture of vinyl and CDs up until sometime in the early 2000’s. Around then, I decided that I wasn’t a huge fan of CDs as they always ended up scratched up on the baseboard of my car, gave most of them away, and bought my music on vinyl pretty much exclusively.
That pretty much sums up my relationship with vinyl too. Well said. So did you start with records or cassettes early on with Dirt Cult?
Dirt Cult’s first five releases were 7″s. Our sixth was a tape comp featuring a bunch of my favorite bands. That’s probably a pretty accurate representation of how things progressed: 75% vinyl, 25% cassettes.
Were there specific bands early on that you knew you wanted to work with?
I don’t really know if I set out to work with anyone early on. Though I’m sure I had a “short list” of bands I would have liked to ask, I’m not sure how many of those bands actually ended up releasing records with Dirt Cult and how many releases just kind of fell into my lap.
About how many albums have you released on your label to date?
By the end of the year I should be at right around 70.
You’ve already had some great releases this year, especially Rumspringer & New Swears. Care to hint about any upcoming releases?
Sure. I’ve currently got five records at the plant; a new Canadian Rifle 12″, a new Unwelcome Guests LP, Sweatshop Boys LP, VVHILE 7″, and a Free Machines 7″. I’ve also got some tapes of the new Muhammadali out this week for their upcoming tour. That LP will be sent to the plant soon, but I’m betting it will be a 2014 release. I’ve already got a list of 2014 releases lined up as well and it’s going to be an epic year for me.
Nice. Looking forward to hearing some of those. This is probably not a fair question, but do you have any favorite Dirt Cult releases?
I’m always most excited about whatever I just released, which is a great sign I suppose. But I try not to play favorites.
Typically, how long does it take for you and a band to get from talking about releasing a record to actually having it in hand?
It just all depends upon my release schedule and the band’s organization. Lately, I’ve really tried to avoid sending anything to the plant until I have the music and all the art. It just saves me from headaches later. So some releases happen quicker than others. It does take about four months to get a record pressed these days, so the timeline has definitely gotten longer. Gone are the days when you could have a record out in a month.
Dirt Cult is more or less a one man operation right?
Yeah. I pretty much do everything. Though every once in a while I bribe my friends with beer to come over and stuff records.
Did you ever think your label would last this long? Ever feel like giving up?
I never really had a game plan going into this, so I’ve never given it much thought. I suppose there has never been a reason for me to stop putting out records because I enjoy it. I never really had hopes of being a “successful” label, so I’m sure I’d be doing it even if it wasn’t going well. So giving up? Naw. Slowing down? EVERY FUCKING DAY!
Let’s hope things speed up again. How gratifying is it to be able to say you run your own record label? I know I am jealous of what you have.
I certainly love that I’m always busy and creating stuff, and I’m also pretty proud of what the label has been able to accomplish in the past few years. But it’s certainly not as glamorous of a job as people might think. I spend a lot of time repairing art files, uploading music to servers, assembling records, and playing with packaging tape. I also think it took me six years of making constant mistakes to finally get to a place where I’m doing a few things right.
Dirt Cult isn’t even your full time gig right? Where do you find the time?
I’ve always been a person that doesn’t really like downtime. After a few nights of staring at the TV, I start panicking and thinking I’m throwing my entire life away. So I spend most of my free time either working on Dirt Cult stuff or working on band stuff. I’ve also got a fairly flexible work schedule that allows for trips to the post office and other odd jobs throughout the day.
Speaking of band stuff, care to tell me about the band you currently play in?
I am in a band called Low Culture. We’re just under two years old and have released records on Dirt Cult, Dirtnap, Dead Broke, Rad Girlfriend, Drunken Sailor, and Cut the Cord that… and have toured the Northeast and Canada with Iron Chic, Europe, and have done a ton of regional trips.
Europe huh? How was that?
It was amazing. Really makes me question if I’ll even do an extensive US tour again. Bands are just treated so much better over there…breakfast, diner, as much beer as you can drink, and sleeping arrangements always planned out well in advance.
Any plans for an upcoming US tour with Low Culture?
We’ve got plans to play Awesome Fest 7 in San Diego at the end of the month as well as the Dirtnap showcase in Portland and Seattle in mid-September, but otherwise we don’t really have anything lined up. I’d like to make it to the Midwest sometime in 2014 if we can.
If someone asked you what Low Culture sounded like, what would you tell them?
I don’t know, I think I always have different ideas about what my own music sounds like than other people. I’ll bring a song to the table thinking it sounds like Elvis Costello and someone will say it sounds like Shotwell. Maybe “garage pop?”
When is the next Low Culture release expected to drop?
We pretty much have it written. We just have to record it. So I’m expecting it’ll be out in 2014 sometime.
Can’t wait. You helped create Trainyard right? Can you tell me about that little DIY operation?
Trainyard is a DIY practice/show space in Las Cruces that has been around for several years now. For years, after the Dirt went under, shows in Las Cruces primarily occurred in houses. Unfortunately, we don’t have basements so shows would take over people’s entire houses. It became increasingly difficult to convince people to open up their houses to a raging party once a week, so we set out to find a stable venue. There have, of course, been pros and cons. It’s great to have access to a space where we can do whatever we want, but since there isn’t really an alternate venue in town, it can feel somewhat stale at times. People don’t want to spend most of their nights hanging out in a shitty warehouse with weird wood paneling, and I can’t say I blame them.
Do you feel you have helped ramp up the music scene in Las Cruces, NM?
Yeah, when I moved here there wasn’t all that much going on outside of a shitty bar scene crowded with Tool wannabes and cover bands, but there was a small group of us who set out to make our own fun and build our own scene. That’s one of the cool things about living in this town. People complain all the time about how there is nothing to do, but it’s really not that hard to build whatever the fuck you want to.
So from one music lover to another, what bands are currently on your radar?
This list is always way too long. Let’s see, some bands whose records are currently piled up by my record player are Nona, No Sir I Won’t, Needles//Pins, Dark Rides, Nato Coles and the Blue Diamond Band, Nervosas, and Chandeli’ers.
If there was one band out there that you wish you could release an album under your label, who would it be?
Superchunk
What do you like more? Being in a band or being that guy who slings records for bands?
That’s a tough question. They can both be rewarding and frustrating, but honestly, I being in a band is more “fun.” I just love creating music and traveling and playing shows and everything that comes with it.
Some Dirt Cult releases you really should check out:
A couple of weeks ago, I had the pleasure of seeing New Jersey’s Banquets play a small show at Euro Gyro in Kent, OH. Having been a fan of this foursome for a couple of years now, I was really disappointed in myself to learn that they dropped an all new self-titled release back in May.
I found this out right after I said hi to the band in the back of the bar and noticed a foreign-looking release sitting on their merch table. Honestly, I was a little pissed at myself for not keeping tabs on this band like I do with so many others.
Prior to Banquets taking the tiny stage that night, my pal Aaron asked me if I had heard their new album yet and I was quick to confess to him that I had no idea they even had new material. He assured me I was going to enjoy it and that I did. The new tunes they played live that night were incredible. After their set, I made sure I secured a copy of their new release on vinyl for future listening.
It’s been about 2 weeks now since I purchased that Banquets self-titled release and I am pretty sure I have listened to it at least once a day. With 5 months left in the year, I have already moved this album up to my top 10 list for 2013. There is no question in my mind that it will remain there. This is definitely a surprise release for me this year.
All the tracks on this album were full of countless hooks and catchy lyrics that make for anthem-like jams music lovers can easily absorb and appreciate. “Call It A Comeback” proved to be one of my favorite tracks on the album with the group vocals throughout and Travis Omilian’s singing style. “Fade From Gold” was also a solid song that deserves to be heard.
I liked their prior release, Top Shelf, Bottom Shelf, a whole lot, but I absolutely adore this album. Hopefully you all are already privy to this and if not, now is the time to check them out. Think old Gaslight Anthem and Loved Ones leaning towards more of a rock sound in a good, good way.
When did you first start appreciating vinyl?
Dirt Cult is more or less a one man operation right?
