I met Eammon Azizi, the main guitarist for the band B&E, on the job. From day one, he gave me updates on the progression of the new album - he'd go on about the late night recording sessions, cover art completion, and finally when the masterpiece was being pressed. Some days he would shuffle into work, slit-eyed and worn from a long night of recording (although he never let that affect his work). He lived and breathed through the creation of this album.
The anticipation was heady. For all involved.
When it was finally ready, he dropped it in my lap. Was I ready? Thought so.
You see, Eammon's got an energy that smolders just below the surface, so it makes sense that the band’s first full-length album,
Chords To Live By, is an assault on the senses in the best possible way.
Let's hit up the sense of sight first. The cover art of the album is evidence that this is a band who actually gives a shit about the listener's experience beyond just laying down tracks. Living in the easy & cheap land of iTunes, I’d forgotten how much I missed perusing through lyric pages, the “thank you’s” and credits. This makes the entire experience much more personal.
Okay, on to sound. From track one, I was immediately thrown into a raging pulse of rock goodness. Too bad I was driving, as I tend to have a lead foot when listening to this kind of fast, easy and cheap rock. Most of the songs deal with soured relationships, nights of debauchery, and chaos, and the lyrics and music are a chopped-up combination that supports the meanings well.
Brendan Corcoran, the lead singer, wrings out as much treble as he can from his voice, sounding a bit like Jello Biafra might have first thing in the morning circa 1978. The rest of the band punches out a solid accompaniment of crackle and crunch minced with an almost inaudible thread of tasty underlying buzz.
If I must categorize it, I'd call it rock. At times it sounds very punk, other times is just too melodic and pitched to be saddled with that moniker (check out "Things Stay The Same"). Songs like "Killer Riff" and "The Day We Got The City Back" have that dirty 70's feel, while "The Girls Of Mandalay" come across as more modern.
The final way it hits you is tangible - play it loud enough, and you'll feel it. Whether in the car or abode, crank it past a respectible level and the shake and shiver it forces makes for a good jittery feeling.
Both Brendan and Eammon provided fine fodder when interviewed - check it out below, it's a good read:
B&E Interview
How long have you all known each other? How did you meet?
B: Eammon and I have known each other since about 2004 or so when we both worked as copywriters at the ad agency Momentum. John Wideman joined Momentum around 2006, but I only knew him peripherally until he joined the band in late ’06 (or was it ’07?). Ben joined in early ’07 and that’s the first time I met him. Cooper joined in late ’07 when he moved here from West Virginia.
When did you form your band?
B: Eammon and I started the band as a 2-piece in ’05.
E: Our favorite bartender Sean at J&A’s, which was a place we spent a little too much time for a couple years, was joking with B and me that he’d one day have bands in the tiny, rundown hole in the wall bar. We were going back n’ forth and eventually said we’d get some songs together for an acoustic show and perform in the corner by the door there next Tuesday. And that’s what we did.
What inspires you to make music together?
B: Our inspiration comes from a pure and simple love for rock ‘n roll. And copious amounts of beer and liquor.
What genre of music do you consider your work to be?
B: Rock ‘N Roll.
Who are your major influences?
B: I’d say we each individually bring a pretty eclectic mix to the table. From my viewpoint I’d say Eammon, Ben and Widey are more straight, kinda classic rock, I’m mainly indie, garage and Brit post-punk, and Coop seems more on the metal side. My apologies to the rest of the band if those impressions are off.
E: Yep, something like that.
What is the music-making process like? This includes the writing, vocals, instrumentals, backing, etc.
B: Well, as far as the composition, most of the time a band member will bring in a working rough draft of a song – this can range from a single hook, all the way to full verse, chorus, bridge whatever all mapped out. Then, the band as a whole works to bring it to life. Sometimes, if the draft is strong, it comes together surprisingly quickly, other times it can take months to break it in. As far as lyrics and vocals, if I bring the song in, I usually already have a working set of words and melody to go with it. If it’s another member’s song, I’ll need to listen to it for a few weeks and see where it takes me so I can write words and melody.
What was different about the recording of this new album compared to your first?
B: The first album was extremely down and dirty with the bulk being completed in a single weekend. We also had only three members and were going for a more spare, lo-fi sound, so it all went quickly. For this album we made a conscious decision to make it sound bigger, fuller and more professional all around. We also had three new members. Taken together, it all made for a much longer time recording, mixing and finishing. If the first album say took about a month and half to get everything done, this one took about nine months.
E: We also had a much better grasp of what we were doing and what we were going for this time around. The first time was a shot in the dark, and we didn’t really know what we had yet.
Does the entire band have to agree on the song, or is it a majority rules whether it’s crafted, played and included on the album?
B: Well, the ideal is to sell the whole band on the song. If it’s your song, it’s your job to sell it in and get the band excited about it. Making a demo helps. The goal is to get the whole band loving it first, or at least convince them in good faith that they’re going to love it.
What are your rehearsals generally like? Do you have a set time each week in which you practice or are rehearsals more spontaneous?
B: We definitely have scheduled practice. As busy as everyone is with careers, family and whatnot, we try to stick to at least 2 hours a week at a set time and location. As awesome as it would be to play whenever we want for as long as we want, we simply don’t have the luxury.
Which songs do you most like to perform? Least?
B: They’re all our children and we love them. Please don’t make us play favorites.
How has your music evolved since you first began playing music together?
B: It’s gotten much tighter all around. Simply the effect of playing with the same people for an extended period of time.
What has been your biggest challenge as a band? Have you been able to overcome that challenge? If so, how?
B: Our biggest challenge is still just making time for the band. At the moment we’re having trouble just meeting once a week to play. We’re still dealing with the challenge.
E: Everyone has responsibilities, like jobs, wives, kids and other stuff. So it’s always tough getting five guys together who have a lot of other things pressing on them.
What's your ultimate direction for the band?
B: For us to make enough money to quit our day jobs and gain massive adoration from lots and lots of anonymous individuals.
E: I concur.
Who are your biggest supporters?
B: Friends. Enemies.
What advice do you have for people who want to form their own bands?
B: Just get out there and do it. Don’t worry how good you are at first – that’ll come later. Just keep playing and loving what you do. If you’ve really got something, it’ll eventually shine through and you’ll know it.
Check out these lunatics live (and don't stand too close to the speakers):
B&E CD release show with Left Arm
10 pm Sat., Deluxe
You can also buy the album on iTunes and
here.
If you can't make the CD release show, here are a few more B&E dates:
June 25, Blueberry Hill
July 18, Way Out Club
July 31, Lemmons
Aug. 14, Vintage Vinyl
