Review of Fade To Black album "G Street Panorama" by Noise Shaft - June 2013
Fade to Black - G Street Panorama review
Genre : Classic Rock with a Psychedelic, Doom and Grunge tint
Label : Silver Maple Kill Records
Origin : United States
Release Date : 2013
You can't simultaneously gain knowledge of a track called "Aliens and Beer" and remain disinterested of it, and US based Fade to Black is doing all and THEN some in their considerable classic/doom/grunge rock charisma power to emphasize this point. The song is a clear initiatory representation of what this veteran formation is all about at first face value - massively guitar centered mid-range axe warfare that borders - JUST borders - on punk in its sonic volumetrics, backed up by a mean, and clearly audible bass presence and adept drum molestation skills that give any decent dope fiend drumma' a run for the next fix.
Luckily enough, the band delivers flamboyant variation in the context of intensity and general musical behavior. The ensemble has a legitimate punch and heft to it whenever they feel like showing off the obligatory granite balls, and they emerge competent/clear/thoughtful throughout the tamer compositions - "The Note", for example -, as well. Unhidden intentions are on persistent display that seek to compliment a psychedelic overtone, armed with an apt understanding of the related criteria systems. This fascination comes to you via a diverse set of various beneficiary and easily accessible iterations, too. The one you hear in "Aliens and Beer" is the Timothy Learian psyhedelia with a tint of doom, while the one you will find in "The Note" is more playful-, fanciful, showing reminiscences with Pink Floyd and a restless variant of Beatles, even. Nah, I'm only kidding with one of the references. Or am I? Read on to know more about the record.
Beside the psychedelic flavors the disc frequently is reliant on, the another major complimentary mood is that of - doom. Isn't it hilarious that "mood" reads "doom" in reverse? The album weighs in via its non-negotiable full value content paua' whenever it seeks to consort these two premiere motivators, and summons a shape of music that courts psychedelic classic rock with doomy overtones - track number 4, "Witch Puzzle" is as tight of a soul-swallower void-eater Black Sabbathian instant classic as you'll ever have a chance testamenting with a yet-sane (aaaaahhha, hahahaha) mind. Same goes out to the album-ender audio projectile, of which I will offer my opinion at a later point of this review. At the culmination point of said song, "Witch Puzzle", the band releases "'za lionnzzs" into the audience - fuck yeah! - without remorse, and my only qualm is the mere time period of the ensuing metaphoric massacre committed against stock-sanity. The formation shows an exceptionally adept command of Black Sabbathian moods/dooms and narrative musical sounds and tendencies, and, coming to think of it, it is respectable that they chose not to abuse these tools. (But - not even a little bit though??)
I already have expressed my percept regarding the tasteful structurization of this sonic declaration, a point solidified further by a decent bonfire classic "Waited So Long", that summons a tint of Unplugged-era Eddie Vedder. Have no doubt whatsoVedder - yes, kill me with death - that the renowned Pearl Jam fronter approves of this music, as it really sounds to be resonating from the tamer side of the grunge ethos of the early '90s.
"She Loves Me" summons a nod and two towards "Sex Pistols", hell, even a pale Appetite for Destruction-era Guns 'N Roses connotation comes to mind. (Then it apologizes.) The song itself is routine from top to bottom, and a safe opportunity to open a new roll of beer during with the hopes to form an excuse to deliver a line for someone on a concert about your favorite insecurities.
For Fade to Black, their piece "Terror Train" clearly is what "Territorial Pissing" is to Nirvana, though I must say that I particularly like the ultra-psychotic vocals. It sounds as if Tomahawk Mike Patton would have fucking LOST it, finally! For the purpose of fun, only, of course. Madness has no value outside the inspection room of the sane mind.
"So Lonely" is another bonfire-pill to counterpoint the intensity of its direct predecessor, and the grunge
fascination is taken to the extreme by Vedderian "vooo vooo vooo"s, and there really is nothing wrong with those "vooo vooo"s, because they have a tendency of working, you'll just have to look for the meaning, which kind of equates with the idea, Lionel.
The two remaining tracks are fitting into this colorful fabric with consistency, though culmination-projectile "Gonna Rise Up" demands separate mentioning as result of its particularly mean/ballsy verse and chorus structure : Motörhead meets (meats?) head-on the Black Sabbathian doom, and, the best thing is that it sounds just like it should - nor the guitars, nor the superb vocals are overblown, everything sounds intimate, legit, real, dandy, proper. "Gonna Rise Up" reigns easily amidst the most relevant doom tracks I have heard since Argus, and I'm not one to easily compliment ALL kinds of dooms. The doom music worths listening to, does not even attempt to deprive doom of its dignity, quite the contrary : it compliments it. Shitty doom music is sad of the fact that its dignity is no longer worth called one. Not to confuse this mini-rant with funeral doom!
Look, I'm rambling, and am happy about it, because this music makes me so. I'm going to listen to this record once again, and I'm pretty sure that you will, too. The disc is a relevant, ripe surprise, and these veteran sonic souljas certainly exhibit a superb, versatile command of their trade with exquisite peak moments characterizing the respective ingredients of the ethos they are committed to.
http://noiseshaft.blogspot.com/2013/06/fade-to-black-g-street-panorama-review.html
Genre : Classic Rock with a Psychedelic, Doom and Grunge tint
Label : Silver Maple Kill Records
Origin : United States
Release Date : 2013
You can't simultaneously gain knowledge of a track called "Aliens and Beer" and remain disinterested of it, and US based Fade to Black is doing all and THEN some in their considerable classic/doom/grunge rock charisma power to emphasize this point. The song is a clear initiatory representation of what this veteran formation is all about at first face value - massively guitar centered mid-range axe warfare that borders - JUST borders - on punk in its sonic volumetrics, backed up by a mean, and clearly audible bass presence and adept drum molestation skills that give any decent dope fiend drumma' a run for the next fix.
Luckily enough, the band delivers flamboyant variation in the context of intensity and general musical behavior. The ensemble has a legitimate punch and heft to it whenever they feel like showing off the obligatory granite balls, and they emerge competent/clear/thoughtful throughout the tamer compositions - "The Note", for example -, as well. Unhidden intentions are on persistent display that seek to compliment a psychedelic overtone, armed with an apt understanding of the related criteria systems. This fascination comes to you via a diverse set of various beneficiary and easily accessible iterations, too. The one you hear in "Aliens and Beer" is the Timothy Learian psyhedelia with a tint of doom, while the one you will find in "The Note" is more playful-, fanciful, showing reminiscences with Pink Floyd and a restless variant of Beatles, even. Nah, I'm only kidding with one of the references. Or am I? Read on to know more about the record.
Beside the psychedelic flavors the disc frequently is reliant on, the another major complimentary mood is that of - doom. Isn't it hilarious that "mood" reads "doom" in reverse? The album weighs in via its non-negotiable full value content paua' whenever it seeks to consort these two premiere motivators, and summons a shape of music that courts psychedelic classic rock with doomy overtones - track number 4, "Witch Puzzle" is as tight of a soul-swallower void-eater Black Sabbathian instant classic as you'll ever have a chance testamenting with a yet-sane (aaaaahhha, hahahaha) mind. Same goes out to the album-ender audio projectile, of which I will offer my opinion at a later point of this review. At the culmination point of said song, "Witch Puzzle", the band releases "'za lionnzzs" into the audience - fuck yeah! - without remorse, and my only qualm is the mere time period of the ensuing metaphoric massacre committed against stock-sanity. The formation shows an exceptionally adept command of Black Sabbathian moods/dooms and narrative musical sounds and tendencies, and, coming to think of it, it is respectable that they chose not to abuse these tools. (But - not even a little bit though??)
I already have expressed my percept regarding the tasteful structurization of this sonic declaration, a point solidified further by a decent bonfire classic "Waited So Long", that summons a tint of Unplugged-era Eddie Vedder. Have no doubt whatsoVedder - yes, kill me with death - that the renowned Pearl Jam fronter approves of this music, as it really sounds to be resonating from the tamer side of the grunge ethos of the early '90s.
"She Loves Me" summons a nod and two towards "Sex Pistols", hell, even a pale Appetite for Destruction-era Guns 'N Roses connotation comes to mind. (Then it apologizes.) The song itself is routine from top to bottom, and a safe opportunity to open a new roll of beer during with the hopes to form an excuse to deliver a line for someone on a concert about your favorite insecurities.
For Fade to Black, their piece "Terror Train" clearly is what "Territorial Pissing" is to Nirvana, though I must say that I particularly like the ultra-psychotic vocals. It sounds as if Tomahawk Mike Patton would have fucking LOST it, finally! For the purpose of fun, only, of course. Madness has no value outside the inspection room of the sane mind.
"So Lonely" is another bonfire-pill to counterpoint the intensity of its direct predecessor, and the grunge
fascination is taken to the extreme by Vedderian "vooo vooo vooo"s, and there really is nothing wrong with those "vooo vooo"s, because they have a tendency of working, you'll just have to look for the meaning, which kind of equates with the idea, Lionel.
The two remaining tracks are fitting into this colorful fabric with consistency, though culmination-projectile "Gonna Rise Up" demands separate mentioning as result of its particularly mean/ballsy verse and chorus structure : Motörhead meets (meats?) head-on the Black Sabbathian doom, and, the best thing is that it sounds just like it should - nor the guitars, nor the superb vocals are overblown, everything sounds intimate, legit, real, dandy, proper. "Gonna Rise Up" reigns easily amidst the most relevant doom tracks I have heard since Argus, and I'm not one to easily compliment ALL kinds of dooms. The doom music worths listening to, does not even attempt to deprive doom of its dignity, quite the contrary : it compliments it. Shitty doom music is sad of the fact that its dignity is no longer worth called one. Not to confuse this mini-rant with funeral doom!
Look, I'm rambling, and am happy about it, because this music makes me so. I'm going to listen to this record once again, and I'm pretty sure that you will, too. The disc is a relevant, ripe surprise, and these veteran sonic souljas certainly exhibit a superb, versatile command of their trade with exquisite peak moments characterizing the respective ingredients of the ethos they are committed to.
http://noiseshaft.blogspot.com/2013/06/fade-to-black-g-street-panorama-review.html
Review of Fade To Black album "G Street Panorama" by Triond.com - May 2013
Fade To Black is a fairly straightforward psychedelic/punk rock band in the vein of Meat Puppets and maybe a little Butthole Surfers. That is my first impression upon listening to this cool animated video for their song "Aliens and Beer". That is the first track off their upcoming July 2013 album, 'G Street Panorama'. Which puts them in good and soon to be classic company (does it feel weird to call those bands classic rock? yes it does).
In a world full of tempered down indie rock on one end, and spastically complex new forms on the other, Fade To Black offer up no-nonsense chops and albeit slightly-derivative compositions. It is a fun type of music though.
On "Under The Dome", the band seems to be a little less enthusiastic, and run through their slow motion Dead Kennedys impression (at least that's what I hear). One thing I do like about this band that sets them apart a little bit is the use of chords, which seem to be a little more complex than average for a band like this. The way they employ them offers up some extra variety.
Speaking of variety, the band changes it up on "The Note", which is almost ballad-like rather than a rocker. They have this organic thing going on, a no frills approach. On "Anger Is Emotion, they get the idea across though with some tasty solos and the classic protest song.
I am honestly impressed by the variety of songs one can hear, changing up gears on nearly every song. "Witch Puzzle" doesn't sound like anything else on the album! There is a nice lull in the action just before 3:30 on this track, which adds dynamics and sets up for a great conclusion. It would be cool to hear this live.
They throw a very mellow, somewhat melancholic but comforting track right in the middle of the album with "Waited So Long". If that wasn't a love song, surely "She Loves Me?" is, of some sort. By this point, I'm less apt to compare them to other bands though. They are really all over the place, even more so than the Meat Puppets, etc. Far from as weird as Butthole Surfers though. This is a fairly standard song, but their personality shines through here.
Just after I kind of downplay their punk-ness, "Terror Train" comes on, which is by far the most aggro song on the album. That said, it comes off as a little goofy, but that's again them being themselves. And there's nothing wrong with that.
"So Lonely" is a 180 from the “Terror Train,” one of the more pretty songs on the album. I think it might be my favorite song on here. No pretense here.
Having seemed to have settled upon their soft side at this point, "Now and Forever" comes on the stereo with some nice strumming, vocals, and well, another love song. This is a more elaborate arrangement, and it is a great pop moment. It could stand the test of time pretty well.
To conclude the album, "Gonna Rise Up" shifts the gears again with a great riff and more of the on the slow end mid tempo rocking that they tend to gravitate towards. They are one of the bands that was around in the 90's and reformed more recently a few years back. Hailing from Lansing, Michigan!
In a world full of tempered down indie rock on one end, and spastically complex new forms on the other, Fade To Black offer up no-nonsense chops and albeit slightly-derivative compositions. It is a fun type of music though.
On "Under The Dome", the band seems to be a little less enthusiastic, and run through their slow motion Dead Kennedys impression (at least that's what I hear). One thing I do like about this band that sets them apart a little bit is the use of chords, which seem to be a little more complex than average for a band like this. The way they employ them offers up some extra variety.
Speaking of variety, the band changes it up on "The Note", which is almost ballad-like rather than a rocker. They have this organic thing going on, a no frills approach. On "Anger Is Emotion, they get the idea across though with some tasty solos and the classic protest song.
I am honestly impressed by the variety of songs one can hear, changing up gears on nearly every song. "Witch Puzzle" doesn't sound like anything else on the album! There is a nice lull in the action just before 3:30 on this track, which adds dynamics and sets up for a great conclusion. It would be cool to hear this live.
They throw a very mellow, somewhat melancholic but comforting track right in the middle of the album with "Waited So Long". If that wasn't a love song, surely "She Loves Me?" is, of some sort. By this point, I'm less apt to compare them to other bands though. They are really all over the place, even more so than the Meat Puppets, etc. Far from as weird as Butthole Surfers though. This is a fairly standard song, but their personality shines through here.
Just after I kind of downplay their punk-ness, "Terror Train" comes on, which is by far the most aggro song on the album. That said, it comes off as a little goofy, but that's again them being themselves. And there's nothing wrong with that.
"So Lonely" is a 180 from the “Terror Train,” one of the more pretty songs on the album. I think it might be my favorite song on here. No pretense here.
Having seemed to have settled upon their soft side at this point, "Now and Forever" comes on the stereo with some nice strumming, vocals, and well, another love song. This is a more elaborate arrangement, and it is a great pop moment. It could stand the test of time pretty well.
To conclude the album, "Gonna Rise Up" shifts the gears again with a great riff and more of the on the slow end mid tempo rocking that they tend to gravitate towards. They are one of the bands that was around in the 90's and reformed more recently a few years back. Hailing from Lansing, Michigan!
Review of our new album "G Street Panorama" by Mister Growl music web site in May 2013.
Fade To Black have been rocking Lansing, MI since 1990, displaying their versatile songwriting and considerable musicianship with several studio and live albums in Burt Reynolds’ hometown. Their upcoming release from Silver Maple Kill Records, G Street Panorama, is an ambitious exploration of the entire spectrum of rock music, from heartfelt electric folk to blue-collar metal that hits harder than a boozed up bare-knuckled boxer.
The performances here are top-notch, with Eldon McGraw’s lead guitar burning with hard-edged southern soul on “Gonna Rise Up” and “Under the Dome” while showing the ability to also provide gentle, melodic support on “The Note and “So Lonely.” The album’s highlight is “Witch Puzzle,” showcasing Jeff Behrendt’s fantastic, agile bass work. The song crawls toward danger with eerie reverb and an occult rock sensibility before launching into an addictive, crunchy groove. As a metalhead and fan of punch-everything-that-moves music I’m also partial to the howling, spastic punk rock of “Terror Train” and the muscular riffs of “Anger Is Emotion.” When Fade To Black focus on sonic destruction they play with passion and grit while abusing their amplifiers with the weight of their riffs.
That being said, they’re also at the top of their game on “Now and Forever,” a beautifully textured love song that incorporates a sweeping string arrangement and female guest vocals to become the strongest track of the album’s second half. Vocalist Mike Anderson seems most comfortable with the mid-range croon utilized on this track, smoothing out the music with his voice.
If someone is looking for a band that’s easy to label, and therefore easy to dismiss, they will be sorely disappointed with Fade To Black’s multifaceted approach to rock music on G Street Panorama. This is a confident, veteran release from a band that defies the concept of genre designation and lets the strength of the songwriting decide their identity. I’ve never been to G Street, but if it provides this sort of inspiration more bands should definitely stroll its sidewalks.
- Mister Growl
The performances here are top-notch, with Eldon McGraw’s lead guitar burning with hard-edged southern soul on “Gonna Rise Up” and “Under the Dome” while showing the ability to also provide gentle, melodic support on “The Note and “So Lonely.” The album’s highlight is “Witch Puzzle,” showcasing Jeff Behrendt’s fantastic, agile bass work. The song crawls toward danger with eerie reverb and an occult rock sensibility before launching into an addictive, crunchy groove. As a metalhead and fan of punch-everything-that-moves music I’m also partial to the howling, spastic punk rock of “Terror Train” and the muscular riffs of “Anger Is Emotion.” When Fade To Black focus on sonic destruction they play with passion and grit while abusing their amplifiers with the weight of their riffs.
That being said, they’re also at the top of their game on “Now and Forever,” a beautifully textured love song that incorporates a sweeping string arrangement and female guest vocals to become the strongest track of the album’s second half. Vocalist Mike Anderson seems most comfortable with the mid-range croon utilized on this track, smoothing out the music with his voice.
If someone is looking for a band that’s easy to label, and therefore easy to dismiss, they will be sorely disappointed with Fade To Black’s multifaceted approach to rock music on G Street Panorama. This is a confident, veteran release from a band that defies the concept of genre designation and lets the strength of the songwriting decide their identity. I’ve never been to G Street, but if it provides this sort of inspiration more bands should definitely stroll its sidewalks.
- Mister Growl
Interview with Fade To Black guitar player - Eldon McGraw by Chelsea Lewis on www.examiner.com
Fade to Black has been a part of the Lansing music scene in Michigan for years. The band can even remember enjoying music at Dagwood’s Bar. Things have changed in 2013. The music scene itself has taken on a new life. Social media has taken over music promotion and artists can become discovered just by recording a video on YouTube. This hasn’t changed the way Fade to Black approaches music. They have managed to keep their music roots grounded in classic rock ‘n’ roll and adapt when needed to the changes in the music industry.
“It’s been really interesting for us because we originally formed in 1990. We put out a couple of albums back then. We built a small following in the Lansing, Mi area, but that is about as far as it went. Then we broke up in late 1991. We reformed in 2009 and it is a far different world today. We have been able to market our music all over the world using iTunes, Spotify, FM radio, satellite radio, and YouTube. Our last studio album, Black Is Back, which came out in 2010, had seven songs played on the radio in seven different countries, so that type of exposure has really helped get our music out to more people than in the 1990’s,” said Eldon McGraw, guitarist for Fade to Black.
On the success of Black is Back, the band is planning on releasing a new album in July titled, G Street Panorama. The album has been in production for over two and a half years and fans are excited to see what direction the band will head in for this new album. “It features twelve original songs in hard rock, pop, punk and ballads. We also invited a few guest musicians to contribute. We have Dave Gorbe playing theremin on two songs, Cat Harrell on backing vocals and Jenny Spurbeck on cello,” said McGraw.
The band is fully embracing social media in 2013 even creating a web documentary so fans could follow along with the recording process. “We recently launched a 35 minute documentary called “Gonna Rise Up” on YouTube that chronicles the making of our new album.”
From 1990 to 2013 Fade to Black has proved they are and always will be a staple for the Lansing music scene.
I had the chance to interview Fade to Black. We discussed everything from how the band has change since it was first formed to what the future might look like for Fade to Black.
For more articles similar to this one, hit subscribe above.
C: When did you first discover music?
F: I discovered my love for listening to music when I was three or four. I remember listening to pop songs on AM transistor radios back in the 1960’s. Songs like “Sugar Sugar” by The Archies, “Happy Together,” by The Turtles and “Proud Mary” by CCR. My discovery of rock music that I love to this day happened in the 1970’s with bands like The Who, The Rolling Stones, Pink Floyd, Aerosmith, then the punk explosion in the late 70’s like The Ramones, The Sex Pistols, and The Clash.
C: What would you consider to be some of some of your most notable music influences at a younger age?
F: My main influence is The Who, especially Pete Townshend. When I was around 10, I started listening to The Who, and they really connected to me with their powerful hard rock songs like “Won’t Get Fooled Again,” and their concept albums like “Tommy” and “Quadrophenia.” I liked the fact that Townshend wrote songs on a personal level, a political level, and on a storytelling level.
The Clash also became a major influence on me. I liked the political slant they took on their songs and the variety of styles of music on their albums. They had a real chip on their shoulder attitude too. The Clash always had an eclectic style, which is what our band Fade To Black conveys. On our records and when we play live, you might hear a hard rock political song, a pop song with a light hearted story, or a straight up love ballad.
C: In a few words, how would you describe the bands musical sound?
F: Our bass player, Jeff Behrendt, came up with a term we use, he describes us as “Modern Classic Original Rock.” Mike Anderson, our singer, Mike Reed our drummer, Jeff Behrendt on bass, Ian Walker our rhythm guitarist, and myself all grew up listening to Classic Rock, so it has had a profound influence on us. We just put our own spin on that style, which is really diverse, and add our own unique songwriting influences to create our sound. Lyrically, I generally write songs with political or social commentary angles and Jeff Behrendt writes songs that are more interpretive for the listener or he creates a strange world for the listener.
C: What musical influences do you pull from when you are performing or writing music?
F: As a guitar player, my style has been influenced by Ace Frehley of KISS and Tony Iommi of Black Sabbath. As a lyricist, Pete Townshend of The Who and Joe Strummer from The Clash have been my blueprint for telling the stories I want to write about.
C: You have gained quite a large following in the Midwest, what was the process of coming up in the industry like?
F: It’s been really interesting for us because we originally formed in 1990 and we put out a couple of albums back then. We built a small following in the Lansing, MI area, but that is about as far as it went. Then we broke up in late 1991. We reformed in 2009 and it is a far different world today. We have been able to market our music all over the world using iTunes, Spotify, FM radio, satellite radio, and YouTube. Our last studio album, “Black Is Back,” which came out in 2010 had seven songs played on the radio in seven different countries, so that type of exposure has really helped get our music out to more people than in the 1990’s. We are really proud of our Lansing, MI connection here in the Midwest. We try to stay connected to the Lansing area by recording in Lansing, working with a Lansing based record label (Silver Maple Kill Records), and working with Lansing area guest musicians and with visual artists for our videos and photography needs.
C: How would you guys as a band describe the Midwest music scene?
F: I mostly travel in the rock scene. The Midwest scene is very eclectic. There are a lot of young punk influenced bands that I think are awesome and I really enjoy, some country rock, a lot of hard rock and metal too. It seems there is something for everyone in the Midwest.
How do you all as a band feel social media has helped and will continue to help your career?
Well, since we have reformed in 2009, social media has gained us fans around the world that we would have never been able to gain back in the 1990’s, so that has had a huge positive impact for our music. It’s really cool when a fan from Singapore sends us a message through Facebook or we get interviewed by a radio DJ in England who found us on Reverbnation.
C: What does your future hold music wise?
F: We have a new studio album coming out on Silver Maple Kill Records in July. The album is called “G Street Panorama.” The process has been very challenging. We started recording the album two and a half years ago. Since we started recording, we recorded half the album at one studio and scrapped those sessions and started the whole album over at Michigan Sound Services Studio in Lansing, MI, we changed drummers right before the new sessions and now we have Mike Reed on drums, one of our founding members, Randy Matthews, left the band about three months into the recording process, we added an additional guitar player (Ian Walker) to the band in July 2012, and we changed record labels last year. Yet, we have overcome all of these challenges to record the best album of our career. It features 12 original songs in hard rock, pop, punk, and ballads. We also invited a few guest musicians to contribute. We have Dave Gorbe playing theremin on two songs, Cat Harrell on backing vocals, and Jenny Spurbeck on cello. We recently launched a 35 minute documentary called “Gonna Rise Up” on YouTube that chronicles the making of our new album.
http://www.examiner.com/article/from-1990-to-2013-fade-to-black-is-here-to-stay
“It’s been really interesting for us because we originally formed in 1990. We put out a couple of albums back then. We built a small following in the Lansing, Mi area, but that is about as far as it went. Then we broke up in late 1991. We reformed in 2009 and it is a far different world today. We have been able to market our music all over the world using iTunes, Spotify, FM radio, satellite radio, and YouTube. Our last studio album, Black Is Back, which came out in 2010, had seven songs played on the radio in seven different countries, so that type of exposure has really helped get our music out to more people than in the 1990’s,” said Eldon McGraw, guitarist for Fade to Black.
On the success of Black is Back, the band is planning on releasing a new album in July titled, G Street Panorama. The album has been in production for over two and a half years and fans are excited to see what direction the band will head in for this new album. “It features twelve original songs in hard rock, pop, punk and ballads. We also invited a few guest musicians to contribute. We have Dave Gorbe playing theremin on two songs, Cat Harrell on backing vocals and Jenny Spurbeck on cello,” said McGraw.
The band is fully embracing social media in 2013 even creating a web documentary so fans could follow along with the recording process. “We recently launched a 35 minute documentary called “Gonna Rise Up” on YouTube that chronicles the making of our new album.”
From 1990 to 2013 Fade to Black has proved they are and always will be a staple for the Lansing music scene.
I had the chance to interview Fade to Black. We discussed everything from how the band has change since it was first formed to what the future might look like for Fade to Black.
For more articles similar to this one, hit subscribe above.
C: When did you first discover music?
F: I discovered my love for listening to music when I was three or four. I remember listening to pop songs on AM transistor radios back in the 1960’s. Songs like “Sugar Sugar” by The Archies, “Happy Together,” by The Turtles and “Proud Mary” by CCR. My discovery of rock music that I love to this day happened in the 1970’s with bands like The Who, The Rolling Stones, Pink Floyd, Aerosmith, then the punk explosion in the late 70’s like The Ramones, The Sex Pistols, and The Clash.
C: What would you consider to be some of some of your most notable music influences at a younger age?
F: My main influence is The Who, especially Pete Townshend. When I was around 10, I started listening to The Who, and they really connected to me with their powerful hard rock songs like “Won’t Get Fooled Again,” and their concept albums like “Tommy” and “Quadrophenia.” I liked the fact that Townshend wrote songs on a personal level, a political level, and on a storytelling level.
The Clash also became a major influence on me. I liked the political slant they took on their songs and the variety of styles of music on their albums. They had a real chip on their shoulder attitude too. The Clash always had an eclectic style, which is what our band Fade To Black conveys. On our records and when we play live, you might hear a hard rock political song, a pop song with a light hearted story, or a straight up love ballad.
C: In a few words, how would you describe the bands musical sound?
F: Our bass player, Jeff Behrendt, came up with a term we use, he describes us as “Modern Classic Original Rock.” Mike Anderson, our singer, Mike Reed our drummer, Jeff Behrendt on bass, Ian Walker our rhythm guitarist, and myself all grew up listening to Classic Rock, so it has had a profound influence on us. We just put our own spin on that style, which is really diverse, and add our own unique songwriting influences to create our sound. Lyrically, I generally write songs with political or social commentary angles and Jeff Behrendt writes songs that are more interpretive for the listener or he creates a strange world for the listener.
C: What musical influences do you pull from when you are performing or writing music?
F: As a guitar player, my style has been influenced by Ace Frehley of KISS and Tony Iommi of Black Sabbath. As a lyricist, Pete Townshend of The Who and Joe Strummer from The Clash have been my blueprint for telling the stories I want to write about.
C: You have gained quite a large following in the Midwest, what was the process of coming up in the industry like?
F: It’s been really interesting for us because we originally formed in 1990 and we put out a couple of albums back then. We built a small following in the Lansing, MI area, but that is about as far as it went. Then we broke up in late 1991. We reformed in 2009 and it is a far different world today. We have been able to market our music all over the world using iTunes, Spotify, FM radio, satellite radio, and YouTube. Our last studio album, “Black Is Back,” which came out in 2010 had seven songs played on the radio in seven different countries, so that type of exposure has really helped get our music out to more people than in the 1990’s. We are really proud of our Lansing, MI connection here in the Midwest. We try to stay connected to the Lansing area by recording in Lansing, working with a Lansing based record label (Silver Maple Kill Records), and working with Lansing area guest musicians and with visual artists for our videos and photography needs.
C: How would you guys as a band describe the Midwest music scene?
F: I mostly travel in the rock scene. The Midwest scene is very eclectic. There are a lot of young punk influenced bands that I think are awesome and I really enjoy, some country rock, a lot of hard rock and metal too. It seems there is something for everyone in the Midwest.
How do you all as a band feel social media has helped and will continue to help your career?
Well, since we have reformed in 2009, social media has gained us fans around the world that we would have never been able to gain back in the 1990’s, so that has had a huge positive impact for our music. It’s really cool when a fan from Singapore sends us a message through Facebook or we get interviewed by a radio DJ in England who found us on Reverbnation.
C: What does your future hold music wise?
F: We have a new studio album coming out on Silver Maple Kill Records in July. The album is called “G Street Panorama.” The process has been very challenging. We started recording the album two and a half years ago. Since we started recording, we recorded half the album at one studio and scrapped those sessions and started the whole album over at Michigan Sound Services Studio in Lansing, MI, we changed drummers right before the new sessions and now we have Mike Reed on drums, one of our founding members, Randy Matthews, left the band about three months into the recording process, we added an additional guitar player (Ian Walker) to the band in July 2012, and we changed record labels last year. Yet, we have overcome all of these challenges to record the best album of our career. It features 12 original songs in hard rock, pop, punk, and ballads. We also invited a few guest musicians to contribute. We have Dave Gorbe playing theremin on two songs, Cat Harrell on backing vocals, and Jenny Spurbeck on cello. We recently launched a 35 minute documentary called “Gonna Rise Up” on YouTube that chronicles the making of our new album.
http://www.examiner.com/article/from-1990-to-2013-fade-to-black-is-here-to-stay
Fade To Black drummer - Mike Reed now endorsed by Soultone Cymbals (March 15, 2013)
I started playing drums in 1982 in my school band, taking lessons from my cousin over the summer. In 1983, I got my first snare drum and started saving money from doing odd jobs to buy my first full drum kit. In 1984, I purchased my first kit. Shortly after that, I started jamming with friends from school, forming garage bands and playing cover tunes. During my senior year in high school, I joined my first, working metal cover band, Stormbringer. We played all of the stuff you did not hear on the radio…Metallica, Megadeth, Anthrax, S.O.D., M.O.D. and some mainstream metal from Judas Priest, Iron Maiden and Black Sabbath…even throwing in some Sex Pistols just for good measure…eventually saving enough money to upgrade my kit to Tama Swingstars.
In 1988, I joined the U.S. Marine Corps to go out and see the world. I continued to play drums in my spare time, jamming with fellow Marines from time to time. In 1990, I bought a new set of Tama Rockstars and a full set of cymbals…only to have to store them away when I was deployed to Saudi Arabia for Operation Desert Shield and Desert Storm. After returning from the war, I met a great guitarist from Florida, Bro Lovelace, through a friend of mine. I packed up my kit and went to his house and jammed to his original tunes, making up drum grooves on the spot. He stopped playing, put his guitar in its stand and started making phone calls. About fifteen minutes later, Bassist, Paul Gillespie and Rhythm Guitarist/Keyboardist, James Bettin showed up and started jamming with us. That night, we formed “Lovelace”. We spent the summer of 1991 through fall of 1992 playing the San Diego area club scene, building a good fan base, appearing on local cable access music shows and even playing the 1992 San Diego Music Festival where we were one of the first openers for Foghat. I left the Lovelace just before Christmas of ’92 because things were getting out of control. After moving back to Pennsylvania, I joined the National Guard and worked crappy jobs in various factories, gas stations and automotive service garages. I lost two fingertips and severely damaged two others in a freak accident at work and I quit drumming because I did not believe I would be able to play ever again.
Fast forward 17 years:
Married, living in DeWitt, MI, freshly retired from the military after a tour in Iraq, I re-discovered my first, true passion in life: Music. With the help of the crew at DrummerConnection.com, I sold my motorcycle and bought a used drum set and cymbals and began to play again. I joined a classic rock cover band and mainly played the local biker bars and clubhouses. In July of 2010, I sold my kit and bought a new set of Tama Superstars and upgraded my cymbals. In February of 2011, I joined the Lansing based, original, rock band, “Fade To Black” and found myself in the recording studio less than two months later. We recorded 11 songs for our upcoming album “G-Street Panorama” and are currently in the process of mixing and mastering with a tentative release date of July 2013 on Lansing, MI based Silver Maple Kill Records. In 2012, we released a new song “Aliens and Beer” on the comp album “No F@%king Egos, This is Lansing Volume II: Electric Boogaloo” (Silver Maple Kill Records). In February of 2013, Fade To Black released our song and video for “Aliens and Beer” (available for viewing on YouTube) as a single as part of our Kickstarter campaign to finance the completion of the album. In March of 2013, we released a new song, “Gonna Rise up” on a new comp album “No F@%king Egos, This Is Lansing Volume III: The Wrath of Chaka Kahn” (Silver Maple Kill Records). And the story continues…
My Current Soultone Set:
8" Splash "Extreme"
16" China "Gospel"
21" Ride "Custom Brilliant"
9" Splash "Extreme"
17" Crash "Custom Brilliant"
15" China "Gospel"
16" Crash "Custom Brilliant"
14" Hi Hats "Custom Brilliant"
18" Crash "Custom Brilliant"
Link to web site http://www.soultonecymbals.com/ArtistDetail.aspx?ArtistID=1284
In 1988, I joined the U.S. Marine Corps to go out and see the world. I continued to play drums in my spare time, jamming with fellow Marines from time to time. In 1990, I bought a new set of Tama Rockstars and a full set of cymbals…only to have to store them away when I was deployed to Saudi Arabia for Operation Desert Shield and Desert Storm. After returning from the war, I met a great guitarist from Florida, Bro Lovelace, through a friend of mine. I packed up my kit and went to his house and jammed to his original tunes, making up drum grooves on the spot. He stopped playing, put his guitar in its stand and started making phone calls. About fifteen minutes later, Bassist, Paul Gillespie and Rhythm Guitarist/Keyboardist, James Bettin showed up and started jamming with us. That night, we formed “Lovelace”. We spent the summer of 1991 through fall of 1992 playing the San Diego area club scene, building a good fan base, appearing on local cable access music shows and even playing the 1992 San Diego Music Festival where we were one of the first openers for Foghat. I left the Lovelace just before Christmas of ’92 because things were getting out of control. After moving back to Pennsylvania, I joined the National Guard and worked crappy jobs in various factories, gas stations and automotive service garages. I lost two fingertips and severely damaged two others in a freak accident at work and I quit drumming because I did not believe I would be able to play ever again.
Fast forward 17 years:
Married, living in DeWitt, MI, freshly retired from the military after a tour in Iraq, I re-discovered my first, true passion in life: Music. With the help of the crew at DrummerConnection.com, I sold my motorcycle and bought a used drum set and cymbals and began to play again. I joined a classic rock cover band and mainly played the local biker bars and clubhouses. In July of 2010, I sold my kit and bought a new set of Tama Superstars and upgraded my cymbals. In February of 2011, I joined the Lansing based, original, rock band, “Fade To Black” and found myself in the recording studio less than two months later. We recorded 11 songs for our upcoming album “G-Street Panorama” and are currently in the process of mixing and mastering with a tentative release date of July 2013 on Lansing, MI based Silver Maple Kill Records. In 2012, we released a new song “Aliens and Beer” on the comp album “No F@%king Egos, This is Lansing Volume II: Electric Boogaloo” (Silver Maple Kill Records). In February of 2013, Fade To Black released our song and video for “Aliens and Beer” (available for viewing on YouTube) as a single as part of our Kickstarter campaign to finance the completion of the album. In March of 2013, we released a new song, “Gonna Rise up” on a new comp album “No F@%king Egos, This Is Lansing Volume III: The Wrath of Chaka Kahn” (Silver Maple Kill Records). And the story continues…
My Current Soultone Set:
8" Splash "Extreme"
16" China "Gospel"
21" Ride "Custom Brilliant"
9" Splash "Extreme"
17" Crash "Custom Brilliant"
15" China "Gospel"
16" Crash "Custom Brilliant"
14" Hi Hats "Custom Brilliant"
18" Crash "Custom Brilliant"
Link to web site http://www.soultonecymbals.com/ArtistDetail.aspx?ArtistID=1284
May 30, 2012 - Eldon McGraw - guitar player for Fade To Black featured in the Lansing State Journal newspaper.http://www.lansingstatejournal.com/article/20120531/MICHIGANDER02/305310011/Made-Michigan-Eldon-McGraw
I play loud electric guitar in an original rock band called Fade to Black with my friends Mike Anderson, Jeff Behrendt and Mike Reed. I, like many Michiganders, love rock and roll music. I am a faithful follower of the storied rock music tradition laid down by Michigan musicians like Bob Seger, Alice Cooper, Iggy Pop, the MC5, Ted Nugent, Grand Funk Railroad and so many more.
Our band started playing back in 1990, so we are one of the more "veteran" (ok, some may say old) bands in the Lansing area. We have traveled all over Michigan playing gigs with bands in all different age groups. We have played with a few bands from out of state and they are always commenting on the passion of rock fans in this great state of Michigan. Our band sees the passion that Michiganders have for playing and listening to rock music whenever we are playing a gig in our home base in Lansing or in Michigan cities and towns like Holland, Mulliken and Ann Arbor.
Some say rock is dead. Well, they must not be from Michigan, because we know that rock and roll is alive and well at rock music clubs like Mac's Bar in Lansing, The Blind Pig in Ann Arbor, Rubble’s in Mt. Pleasant, Mulligan’s in Grand Rapids and White’s Bar in Saginaw. So next time you are enjoying the Michigan outdoors, remember, there are Michiganders in cities and towns rocking out with their passion for music at clubs sprinkled throughout this great state of ours.
Rock on Michigan, rock on!
Eldon McGraw - guitar player for Fade To Black
Review of a compilation record we contributed too. December 14, 2012 www.localspins.com
Various Artists
This is Lansing Volume 2: Electric Boogaloo
This Silver Maple Kill Records 15-track compilation covers the gamut of Lansing’s eclectic music scene, from The Rival’s blistering alt-rock on “I’m OK” to Fade to Black’s strange and prog-rock-fueled “Aliens and Beer.” Standout tracks: indie-rock/pop band Elliot Street Lunatic’s incredible and absolutely infectious “Ghost Town,” Life Size Ghost’s instrumental wizardry on the pop-hued “Standing Out” (though the five-piece outfit currently calls Grand Rapids home), and Drinking Mercury’s warbly, mesmerizing indie-rock on “Ladder.”
December 3, 2011
Lansing, MI Indie Rockers, Fade To Black, sign with Silver Maple Kill Records
Lansing MI based indie rock band Fade To Black are announcing their signing with Lansing MI based indie record label Silver Maple Kill Records. Fade To Black formed in 1990, released two indie albums in the early 1990’s, broke up in late 1991, but reformed in 2009. Since reforming, Fade To Black released one studio album, Black Is Back, in 2010 and one live album, Live In Lansing, in 2011. Fade To Black will be releasing a new studio album, G Street Panorama, in 2012 on Silver Maple Kill Records. Members of Fade To Black include Mike Anderson on vocals, Eldon McGraw on guitar, Jeff Behrendt on bass guitar, and Mike Reed on drums.
McGraw, comments, “We are really happy to sign with Silver Maple Kill Records and owner Todd Karinen. We have known Todd for a couple of years and really respect his commitment to indie music. We have many things in common with Todd and his musical tastes, so we feel this partnership will be a great collaboration.” Bass player Jeff Behrendt says, “With the amount of work that is going into our latest project, we really wanted a label that could do it justice and we are proud to release G Street Panorama on Silver Maple Kill in 2012.”
Todd Karinen, Silver Maple Kill owner comments, “I’m very happy to be working with Fade To Black and helping in their musical ventures. I’ve done a bunch of shows with this band thru other musical creations that I’ve had the luck to be in, and can truly say that they are a true Lansing original and one of the better acts at that. They will be a great addition to the Silver Maple Kill roster.”
Fade To Black describe their music as “Modern Classic Original Rock”. They have had songs played on FM, satellite, and internet radio in seven countries. They play shows all around Michigan including an upcoming show at The Blind Pig in Ann Arbor, MI on January 3, 2012.
I play loud electric guitar in an original rock band called Fade to Black with my friends Mike Anderson, Jeff Behrendt and Mike Reed. I, like many Michiganders, love rock and roll music. I am a faithful follower of the storied rock music tradition laid down by Michigan musicians like Bob Seger, Alice Cooper, Iggy Pop, the MC5, Ted Nugent, Grand Funk Railroad and so many more.
Our band started playing back in 1990, so we are one of the more "veteran" (ok, some may say old) bands in the Lansing area. We have traveled all over Michigan playing gigs with bands in all different age groups. We have played with a few bands from out of state and they are always commenting on the passion of rock fans in this great state of Michigan. Our band sees the passion that Michiganders have for playing and listening to rock music whenever we are playing a gig in our home base in Lansing or in Michigan cities and towns like Holland, Mulliken and Ann Arbor.
Some say rock is dead. Well, they must not be from Michigan, because we know that rock and roll is alive and well at rock music clubs like Mac's Bar in Lansing, The Blind Pig in Ann Arbor, Rubble’s in Mt. Pleasant, Mulligan’s in Grand Rapids and White’s Bar in Saginaw. So next time you are enjoying the Michigan outdoors, remember, there are Michiganders in cities and towns rocking out with their passion for music at clubs sprinkled throughout this great state of ours.
Rock on Michigan, rock on!
Eldon McGraw - guitar player for Fade To Black
Review of a compilation record we contributed too. December 14, 2012 www.localspins.com
Various Artists
This is Lansing Volume 2: Electric Boogaloo
This Silver Maple Kill Records 15-track compilation covers the gamut of Lansing’s eclectic music scene, from The Rival’s blistering alt-rock on “I’m OK” to Fade to Black’s strange and prog-rock-fueled “Aliens and Beer.” Standout tracks: indie-rock/pop band Elliot Street Lunatic’s incredible and absolutely infectious “Ghost Town,” Life Size Ghost’s instrumental wizardry on the pop-hued “Standing Out” (though the five-piece outfit currently calls Grand Rapids home), and Drinking Mercury’s warbly, mesmerizing indie-rock on “Ladder.”
December 3, 2011
Lansing, MI Indie Rockers, Fade To Black, sign with Silver Maple Kill Records
Lansing MI based indie rock band Fade To Black are announcing their signing with Lansing MI based indie record label Silver Maple Kill Records. Fade To Black formed in 1990, released two indie albums in the early 1990’s, broke up in late 1991, but reformed in 2009. Since reforming, Fade To Black released one studio album, Black Is Back, in 2010 and one live album, Live In Lansing, in 2011. Fade To Black will be releasing a new studio album, G Street Panorama, in 2012 on Silver Maple Kill Records. Members of Fade To Black include Mike Anderson on vocals, Eldon McGraw on guitar, Jeff Behrendt on bass guitar, and Mike Reed on drums.
McGraw, comments, “We are really happy to sign with Silver Maple Kill Records and owner Todd Karinen. We have known Todd for a couple of years and really respect his commitment to indie music. We have many things in common with Todd and his musical tastes, so we feel this partnership will be a great collaboration.” Bass player Jeff Behrendt says, “With the amount of work that is going into our latest project, we really wanted a label that could do it justice and we are proud to release G Street Panorama on Silver Maple Kill in 2012.”
Todd Karinen, Silver Maple Kill owner comments, “I’m very happy to be working with Fade To Black and helping in their musical ventures. I’ve done a bunch of shows with this band thru other musical creations that I’ve had the luck to be in, and can truly say that they are a true Lansing original and one of the better acts at that. They will be a great addition to the Silver Maple Kill roster.”
Fade To Black describe their music as “Modern Classic Original Rock”. They have had songs played on FM, satellite, and internet radio in seven countries. They play shows all around Michigan including an upcoming show at The Blind Pig in Ann Arbor, MI on January 3, 2012.
