The Exploding Lies - Obscured by Cloud Nothings

The Exploding Lies - Obscured by Cloud Nothings - 2018

Friends for years, the guys played a bit but not seriously before officially forming the group one Friday night while drinking and jamming together. The band played its first show at Pat's in the Flats with local indie rockers the Dreadful Yawns."It was a little nerve-wracking taking a new band in front of people for the first time," says Curtis. "The guys in the Yawns have long been friends of ours and we respect them, but enough alcohol conquers all fears."

In 2008, the band issued its first release, a four-song EP; in 2009, they followed up with a self-titled, full-length debut. "We didn't know what the hell we were doing," Curtis admits. "We recorded some in my basement with a digital 8-track that [local singer-songwriter] Bill Fox had. We also recorded some with local producer

Mike McDonald and some at Waterloo Studios in Kent with Todd Tobias. We hadn't hit any sort of stride. It was an amalgamation of different sessions and thoughts, and the album reflects that." With 2012's Slow Death, the garage blues band refined its sound. "That was the first one we did where [the Dreadful Yawns'] Ben [Gmetro] acted as the producer on it. That was a learning experience for everyone involved. I don't think Ben had been given the reins, but it was good to have that outside ear. He has a fantastic ear. It gave us encouragement that we could make something that sounded like an album.

Working again with Gmetro, the band refines its sound further on the tempered new album Ready to Die. "Ben felt more comfortable being critical or throwing in his two cents," says Curtis. "Everybody has gotten a lot closer and it's gotten that much better. Ben's a music nerd. He knows everything, and whatever reference you can throw at him, he knows what you're talking about. He appreciates many styles." The band describes its music as "damaged loose grooves and heavy Cleveland blues," and the album reflects that. The raspy vocals in songs such as "Dead Wrong" mix well with the noisy guitars and distorted keyboards. "The idea was to continue on the natural development of the blues rock thing we do, and continue to refine that a bit more so it's not all encompassing, noisy rock and roll," says Curtis. "There's more dynamics and we want someone to listen to it for half an hour. It's hard to be brutalized that much. We like the homespun organic approach of Dead Moon and Pierced Arrows and the earnestness of it. We want to be best friends rather than great players. "

01. Theme from Obscured by Cloud Nothings
02. Feel
03. Oaxaca in Stavros
04. Passing Time
05. Theme from Obscured by Cloud Nothings (Reprise)





Kurt Curtis - Vocal, Guitar
Tim O'Malley - Bass
John Stockdale - Organ
CJ Klasa - Drums


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New Planet Trampoline - The Curse Of The New Planet Trampoline

New Planet Trampoline - The Curse Of The New Planet Trampoline - 2004

from AMG

Part of the circle of psych-inspired bands revolving around the axis of the Volta Sound, New Planet Trampoline features two of said group's members in slightly different roles. Matt Cassidy, guitarist in the Volta Sound, handles lead vocals as well here, while Ben Gmetro exchanges his guitar for organ. The rhythm section of Dave Molnar and Charlie Druesdow fills out the lineup, and on their full-length debut the quartet creates an enjoyable, sun-kissed/sun-dazed take on dreamy psychedelia. Where the Volta Sound leans more towards shoegaze and Spacemen 3-obsessiveness, New Planet Trampoline's songs generally either aim for the prettier and ambling, or the more raved-up and fun, with Gmetro's candy-colored organ the secret weapon in keeping the tone trippily playful either way. "Nag Champa" is utterly suffused with drifty, keyboard-led good times -- the oil projections on the wall can easily be envisioned. Other hazy songs like "Mr. and Mrs. Watterson," the mid-'80s XTC-resembling "Fishbone Song," and, in their closest similarity to the Volta Sound, the moody lope of "Skeleton Key" all appeal on the calmer front. It's not always a soft trip, though, when the band turns the country/rave-up "Northwestern Woodpecker" into a full-on rock rager in the instrumental break, it's a great moment of drama. The great freak-out of "Gimme a Moment," and the rambling charge of "ESP Medallion" -- perhaps the best title on an album full of fine ones -- also add to the fun, adding both variety and energy. Cassidy's singing can at times not totally connect -- sounding maybe more of a parody rather than a celebration -- but his energetic shout on "Northwestern Woodpecker" and his enticing harmonies on the concluding "Fake-Ass Moon," a reflective ballad of sorts, shows he's got the right skills. Meanwhile, his stellar guitar playing on "Whirlpool Clyde" (matched by fine martial drums from Druesdow) is worth attention on its own.

01. Phantom Picture Taker
02. Mr. And Mrs. Watterson
03. Northwestern Woodpecker
04. Nag Champa
05. Gimmie A Moment
06. Whirlpool Clyde
07. Skeleton Key
08. ESP Medallion
09. Fishbone Song
10. Hospitality
11. Fake-Ass Moon






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The Dreadful Yawns - Re:Live

The Dreadful Yawns - Re:Live - 2004

Pra terminar o mês como começou e para cumprir o que disse sobre colocar toda a discografia da banda, hoje chega o seu disco "ao vivo". Embora venha com o subtítulo "Live At Schubas 08/02/2004", não acredito que seja um set completo, por ter apenas 10 faixas. Mas, como diria aquele outro, bom mesmo é quem faz ao vivo (com exceção do Fela, evidentemente) e dá pra sentir como eles mandavam bem longe dos estúdios. 

01. Get Yourself Back Home
02. Was I Just Struck By Lightening?
03. End Of Summer
04. I'll Be Born Soon
05. Better Things To Do
06. Its A Charmed Life
07. She Belongs To Me
08. Part Of Your Past
09. Drinking Song
10. The People and The Sky






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The Dreadful Yawns - Take Shape

The Dreadful Yawns - Take Shape - 2008

from Itunes

The Dreadful Yawns' previous album, 2007's Rest, found the group still more or less in the vein of folk-country-Americana roots rock, if with more psychedelic touches and broader instrumentation than most such bands. They sound substantially different, however, on the following year's Take Shape, though some of that arch psych-tinged country-folk is still present. Take Shape takes a decided turn toward the slightly wacky and psychedelic, the guitars often crunching harder, shimmering organ more to the forefront, and newly added member Elizabeth Kelly a prominent presence with her high and naifish vocals. Certainly if you define psychedelia at least in part as odd and eclectic, much of the CD fits the bill on both accounts. There's lilting, melancholy folk-rock on "Catskill"; almost punk-tinged power pop on "Kill Me Now"; San Francisco psychedelic-style folk-rock balladry on "All for Me"; an early Pink Floyd-ish passage of grating improvised noise in the middle of "Don't Know What I've Been On"; and yet more noise rock jamming that polishes off the concluding cut, "Mood Assassin." Despite the album's title, what this does not have is a musical vision that takes shape in too consistent or coherent a fashion over the course of the record.

01. Like Song
02. Queen and the Jokester
03. Catskill
04. Kill Me Now
05. Saved
06. All For Me
07. Expecting Rain
08. All the Dead Soldiers
09. Don't Know What I've Been On
10. Mood Assassin





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The Dreadful Yawns - Early

 








The Dreadful Yawns - Early - 2003 

From popmatters.com

Often, mellow singer-songwriting pop bands go for a style that is regularly executed but rarely cutting it in terms of quality. As their press notes say, the Dreadful Yawns are a band from Cleveland who try to not mimic but be inspired by fathers of the folk pop movement such as the late great Nick Drake. The band’s debut album might fall in line with bands like Knife in the Water in terms of overall tone, mood, and tempo. This is shown quite well on the light and dreamy pop ditty entitled “When We Were Young”. Guitarist and vocalist Ben Gmetro is joined on this track by a female vocalist, possibly either Cassandra Coin or Jessica Laflame. Regardless of who is singing, this track just soars without much effort on anyone’s part. It’s one that you’ll find yourself replaying before you hit the bridge, let alone the final few fading seconds. It might actually be two songs in one as it slides into a different arrangement. With a gentle touch that recalls Ron Sexsmith at his airiest, or perhaps Elliott Smith, the band nails this seven-minute track, plain and so beautifully simple.

The group also seems to be influenced by Neil Young’s folksy material, as “Village Idiot” has that toe-tapping, back porch feeling oozing out of every note. The pedal steel and harmonica give it a lot of depth as well, and it comes off like the Beautiful South doing Young’s Silver and Gold album. It’s this same sort of innocence that also plays a vital role in each song, including the lullaby-like “This Photograph Is My Proof”, which peters out a tad over two minutes. Thankfully, they know when to quit while so far ahead. Less pleasing, though, is the rather off-kilter backbeat setting “I’ll Be Born Soon” on a course with mixed results of Polyphonic Spree-ish pop and Americana touches.

Gmetro has a very good set of pipes on him, which he uses to great effect on the traditional singer-songwriter song “Your Little Cloud”. Just envision him sitting on a stool and picking this tattered, well traveled guitar alone in his apartment and the song immediately comes to life. Some shakers are added on percussion halfway through, but they’re not really needed all that much. He just lets the guitar do half the work and his voice the rest for a very solid and majestic result. It’s also quite hypnotic the longer it goes on, sort of like the instrumental portion of Fleetwood Mac’s “Never Going Back Again”. Unfortunately “I Was Just Struck By Lightning?” doesn’t fare as well, sounding as if, well, the band was just struck by lightning—and left void of much feeling or substance.

READ MORE HERE

01. When We Were Young    
02. Village Idiot    
03. This Photograph Is My Proof    
04. I'll Be Born Soon    
05. Your Little Cloud    
06. The Waves    
07. Was I Just Struck By Lightning?    
08. Memory Morning    
09. Farm Animals Take A Ride    
10. Cycle    
11. Highlighter    
12. Play In The Sun Again




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The Dreadful Yawns - Picnic

The Dreadful Yawns - Picnic - 2012

Abrindo junho com mais um álbum de uma banda que quase ninguém conhece, quase ninguém ouve, que não se acha pela net e sobre qual ninguém escreve nada, inclusive eu. Na verdade acho que ninguém, com a exceção de um anônimo que perguntou se havia como postar outros de sua discografia, se interessou pelo grupo.

Então, só de raiva (mentira!), em junho vai ser desovada sua discografia, para o horror de quem só gosta de hard rock e - bem pior - de progressivo. Se bem que tenho ouvido dizer que cada coisa esquisita por aí é progressivo e rock......

 
01. F song    
02. Picnic    
03. Figure It Out    
04. Perpetual Depression The Making Of Entering Kentucky Hear What You Want The Top Of The Mountain    (é grande assim mesmo!)
05. Glitter Still In Your Hair    
06. Puppy    
07. Parade    
08. Another Song In A    
09. Additional Song In A    
10. Religious Drones The Next Day Sun Comeback 

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The Dreadful Yawns - Rest

The Dreadful Yawns - Rest - 2007

review from amazon.com

Alternately called nu school Neil Young, Fairport Convention, and Nick Drake, these Ohio soldiers of low-key country pop were the last band to hitch a ride on Greg Shaws emblematic Bomp! records before his sad departure. This release veers towards very mellow territory, for the bells and strings feel like sofa cushion versions of Velvet Underground and the gymnastic finger-lickin finger-pickin never feels too methodic and masterly, instead aiming for something fresh, full of heritage, and organic, especially on finer tracks like When I Lost my Voice, in which a pervasive melancholy that isnt browbeating fosters sympathy and a tug on the ol heart. Like Yo la Tengo on Fakebook, or relatively unknown bands like Bellwether, the band is able to navigate through the gates of country without falling prey to fake twang and buttered Osh Kosh posturing. It has the right amount of push, steel guitar echoes, and swing that can make the feet poke and patter. Candles lands in just about the same spot, the conjoined female/male vocals geling into gentle interplay, again, much like Yo La Tengo, forming a blanket of un-besmirched sonic gauze, all with cradling ease and lax, slow rhythmic sway. November Nights meets its maker somewhere between 1970s cosmic cowboy off-kilter unloading and Whiskeytown pawnshop folk. The organ fills all the gaps, similes fall from the tongue ( Love is like cancer/she reads through all the danger) and the vocals do have a tiny nod towards Fairport Convention elocution and artifice, a Brit-speckled delivery. Originally recorded by Tin Gerak, known for his days in Six Parts Seven, the overall texture is not lush, as the promo asserts, but well-separated, lilting, and permeable. The album, especially on tracks like Due South, feels like it is trying to the seminal album for Mojo this year: rustic and refined, sing-songwriter but choreographed with the presence of a fine inventory of players, symphonic and spare, and poetic and purposeful

 

01. Youve Been Recorded
02. Changing States
03. When I lost My Voice
04. Candles
05. Mountains
06. November Nights
07. Due South
08. We Go Up
09. Being Used to You
10. End of Summer 

  






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The Dreadful Yawns - Dreadful Yawns

  
















The Dreadful Yawns  - Dreadful Yawns - 2005

By James Christopher Monger, AMG

Formed in 1998 by singer/guitarist/songwriter Ben Gmetro, guitarist/singer Dave Molnar, and drummer Charlie Druesedow, the Dreadful Yawns' subtle blend of acoustic-based indie pop, space rock, and neo-psychedelic folk went against the grain of the late-'90s post-hardcore Cleveland scene. In 2002, through perseverance and musical integrity, the band began to gain support from the often unforgiving Midwest, and after numerous lineup changes that saw brief stints by various area bass players (they eventually settled on Mike Allan), percussionists, and piano players, the multi-instrumentalists managed to complete Early, their full-length debut for Undertow Music, released in 2003. 

The Pretend EP came out the following year, and the band moved to Bomp Records soon after it was released. Their self-titled sophomore release hit stores in 2005, and it proved to be their one and only release on Bomp. The Dreadful Yawns moved to Exit Stencil and underwent a near complete changing of the guard before their third album, Rest, came out in 2007. Gmetro's supporting cast of characters at that point in time consisted of Elizabeth Kelly, Chris Russo, Clayton Heuer, and Eric Schulte.

01. You Sold the Farm
02. Get Yourself Back Home
03. Darkness Is Gone
04. It's a Charmed Life
05. Back In the Ground
06. Part of Your Past
07. Waking Up to You
08. Get Straight
09. Better Things to Do
10. There's No Place Like Home
11. Drinking Song
12. Lullaby
13. The People and the Sky
14. No Destination




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