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Home / Articles / Music / Music Awards /  SLAMMys 2008 | 19 Things We’re Loving About Local Music Right Now Page 2
Music Awards

SLAMMys 2008 | 19 Things We’re Loving About Local Music Right Now Page 2

By Jamie Gadette, Ryan Bradford, Bill Frost & Jenny Poplar
Posted // February 13,2008 -

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But They’re Huge in Sweden
Swedish metal label I Hate Records is home to such unpronounceable scary-dude sword-and-sorcery rockers as Jex Thoth, Nifelheim, Seibensunden and other heavyweight chain-mail thrashers; this year, they’ll be joined by four Salt Lake City women who’ve yet to even sacrifice their first goat: Subrosa. The local darkwave foursome’s 2007 self-released album Strega (with a heavily fortified remix by renowned Euro-metal engineer Magnus “Devo” Andersson) will be re-released internationally by I Hate Records on Feb. 29; Subrosa plans to tour Europe this summer in support. (BF)

hspace=5The Hits Keep Coming, and Coming, and Coming …
Ever notice how some local bands seem to only have about 10 (if they’re really ambitious) songs at their disposal? Not a problem with Cavedoll: Singer-songwriter-engineer Camden Ray’s mercurial band has 100 original tracks available at Cavedoll.com, with more on the way. Even more impressive, there’s nary a dog in the bunch, and Cavedoll’s newest CD No Vertigo is but one release for 2008. “All told, there will be 10 CDs coming out,” says Ray. “About 175 songs total. Half of that is my back catalog stuff that’s out of print, but a lot of it is new and has never been released.” (BF)

Ten Years, 10,000 Beers
Their trash-tastic debut album Barefoot & Pregnant in 1998 didn’t suggest that Thunderfist would last 10 minutes, let alone 10 years: Needles pegged, amps cranked, ashtrays full, livers screaming for mercy—a classic recipe for rock & roll burnout. Now, here they are in 2008, original members Jeremy Cardenas and Erik Stevens flanked by Mike Mayo, Jeff Haskins and Mike Sasich, readying to drop disc No. 6, tentatively titled The 70 lb. Muskie (following up last year’s tour de rawk Too Fat for Love). “It’s been a long, hard road to the bottom of the barrel,” says Cardenas. “The music in this town is phenomenal, and the people are crazy and talented. We hope that we can make another 10 years without killing ourselves—and thanks to Salt Lake City for giving us so much fodder for song material.” (BF)

hspace=5One-Hand Band
Park City blues-folk guitarist/singer Jeremiah Maxey has been performing around Utah for more than 10 years with little press or fanfare, despite his grasp of the genre for someone so young, his biting guitar skills and—most obviously—that he has no right arm below the elbow. Maxey, backed by his father Glenn on rhythm guitar, plays his acoustic flat on his lap, fretting open-tuned chords with his right stump while strumming furiously with the backside of his left hand. It’s a sight to behold, but it holds up musically, as well: Close your eyes and it’s just good music, not “special” music. (BF)

hspace=5Spirit of ’77
Oi! We’ve long lamented the decline in the quantity of punk in Salt Lake City over the last decade (don’t we at least want to try to live up to that certain movie’s reputation?). The Future of the Ghost must have felt the same way, because last year’s Freak Out!! was one of the most energetic albums in recent memory. In an age when taking your band seriously often equates to making boring music, it’s refreshing to listen to a band who strive for professionalism through fun music—evidenced by everything from Freak’s DIY/analogue recording to the band’s sweat/beer-soaked live performances. (RB)

AA(rt)
Kilby Court has always been a double-edge sword: You can see the most exciting/experimental acts there, but it’s dryer than my grandma’s house during prohibition. We’re not asking the all-ages gem to change its policies, but you don’t have to be an alcoholic to appreciate a drink with your art. Enter Club Orange (533 S. 500 West). Booking acts as diverse as jazz ensembles and noise rock, we finally have a place to knock back a few while indulging in “unprofitable” musical acts that are often relegated to coffee houses or recital halls. (RB)

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