Interview with Miguel Chen (Teenage Bottlerocket/That Guy/Rad Bradleys) on his new side project, Stat Dad

I recently spoke with the bass player of Teenage Bottlerocket, Miguel Chen, to discuss his new band, Stat Dad and its debut 7'' EP titled, Mominatrix, out on Sexy Baby Records.

Squid Pro Quo: Who and what is Stat Dad?
Miguel Chen: "Stat Dad is a side project band I (bass/vocals) started with my friends, J.D. (guitar/Redbush) and Ferg (drums/That Guy). Clint (guitar) is in the band too, but he sucks. By definition, a stat dad is a father who keeps statistics of his kid's little league games. We just thought it sounded cool, but then later came to terms with it being a pretty dumb band name. I'll go ahead and publicly blame Clint."

SPQ: You have a song called "Mominatrix." Please tell me there's a true story, or a story somewhat rooted in truth behind this.

MC: "(Laughs) I mean, I've hung out with doms who are also moms, but mostly I thought it was a clever song name slash record title. Plus, moms are hot and so are dominatrixes, so it worked out."

SPQ: The 7'' has an overall BDSM/gender-role-challenging theme to it. Why?

MC: "The whole band is sort of built around that stuff. I think anyone who knows me or has heard Teenage Bottlerocket's song, "Mutilate Me," which Ray (Carlisle/Teenage Bottlerocket) wrote about me, is aware that I am a little fucking pervert. I like drinking pee and being tied up and hurt. When I was developing Stat Dad, I knew I wanted it to be raw, sort of crusty punk songs. The BDSM aspect just came naturally."

SPQ: Were you really forced into a dress?

MC: "Yes and it gave me a boner. We have a couple of wigs, some makeup and some panties at my house just for when my girlfriend decides I need to be a pretty girl."

SPQ: The song, "Church of Shit" reminds me of Rudimentary Peni crossed with NOFX. Regarding musical influences, what inspired you to write these tunes - bands and otherwise?

MC: "When I started the band, I was listening to a lot of Rudimentary Peni and Subhumans. As far as "Church of Shit," I think the whole band is sort of focused on the idea that everything is shit and we should all have weird sex. So some of the songs are about the kinky side of that spectrum, and some are about how other things are shit."

SPQ: Will Stat Dad be recording and/or releasing a full-length or more material?

MC: "The plan is to do a full length eventually, but again, I'm really busy with my main gig, Teenage Bottlerocket, so it'll probably be a while."

SPQ: Is Benito still incognito? Are the Rad Bradleys dead?

MC: "Benito is ruling in Texas. Radleys are long dead."

SPQ: Is That Guy still doing stuff?

MC: "That Guy comes out of the wood works once every year or two to play a show, but not very often."

SPQ: One final question: is Stat Dad really Masked Intruder? 

MC: "I wish."

Stream "Mominatrix:"

'I Bleed Rock 'N' Roll' by Kepi Ghoulie

By Jason Duarte

11/28/2011

Asian Man Records

Rating: 4.5/5

[Originally written for Jaded In Chicago].

Former Groovie Ghoulies frontman Kepi Ghoulie is back with a new album titled I Bleed Rock ‘N’ Roll, his first since 2009’s Life Sentence. The album starts out with the short, sweet and defining “Rock ‘N’ Roll Shark,” which sends the strong message that like a shark that stops swimming, Kepi will die if he stops rockin’. “Nikki Lee” is a very upbeat, Chuck Berry-esque rock ‘n’ roll tune, and one of the album’s strongest. The title track reinforces the opener as Kepi sings, “I bleed rock ‘n’ roll. I believe in rock ‘n’ roll. When every single friend is gone, the music just keeps playing on and out into the universe, second verse same as the first.” To Kepi, rock ‘n’ roll is more than just a job or a passion; to him it’s a way of life. Kepi also re-recorded “When I’m Gone,” which originally appeared on his solo EP, Yes Depression. The new version is electrified and the guitar work is reminiscent of something out of a rock ‘n’ roll standard. Another revisited track is “Love to Give,” which originally appeared as “(I’ve Got) Love to Give,” on the Groovie Ghoulies’ final album in 2007, 99 Lives. There is one cover that Kepi chose for this album, and that’s Johnny Thunders’ “Blame It on Mom.” I enjoy Kepi’s cover better because he left out the saxophone. My favorite track on the album is “The Fever,” for its infectious chorus and dedicated lyrics. I’m with Kepi when he says, “What the world needs now is rock ‘n’ roll.” The album closes with a melancholy acoustic song called “Hard to Forget,” which surprised me as a closer. I wish it were toward the middle of the album, so it would serve as a break, but the album is still strong. I Bleed Rock ‘N’ Roll pleasantly surprised me. Kepi branches further from his previous material and continues to make great songs, and also revisit and put a twist on some old ones.

'Never Settle' by Sundials

By Chris Carlton
Rating: 4.5/5
Traffic Street Records (CD)/Toxic Pop Records (LP)
2/22/2011

With spring upon us and the weather finally getting warmer, I look forward to a few simple pleasures in life: baseball, cooking out on the grill, the smell of fresh cut grass and what I lovingly refer to as "summer music!" You know, that album that just doesn’t sound the same in the dead of winter? The one that gets multiple plays while you’re hanging in the backyard with friends? Yeah, that one! Well, I found a new one to add to my collection. It’s by a trio from Richmond, VA that calls itself Sundials.
Their new album, Never Settle, is jam-packed with jangly guitars, honest lyrics and a sound that’s so familiar, you swear you’ve heard them before...but at the same time, it’s original; something new and fresh, and that’s what makes this album so wonderful. Songs like the title track, "47 Million," and "Take You In My Coffee" are serious rockers that make you want to get up and dance. The songs just have this groove that takes hold of you and doesn’t let you go until the end. That’s the mark of a great record. Other soon-to-be classics are the slacker anthem for a new generation, "Probably Not," and "Crosby Sucks," with its blatant use of 'fuck' in the chorus, are just two high points on an album full of high points.
These three guys embody what was so great about the early '90s alternative scene without sounding cliché and dated. Honesty, sincerity, staying positive and having fun is what makes this album a true gem. Now, there is no such thing as "the perfect album," but this one comes mighty close. If I had to take one thing away from it, it’s that the album's 12 tracks come in at just around the 30-minute mark, leaving this listener wanting more. But, if this band continues to make albums as good as this one, I will have no problem waiting for the next one. Keep an eye out for Sundials. I have a feeling if the band continues to put out quality material such as Never Settle, they very well could be the next big thing.

Sundials – Never Settle

1. Either Way
2. Never Settle
3. Good Words
4. 47 Million
5. Green Light
6. Carver Blues
7. San Francisco Courthouse Steps
8. Take You In My Coffee
9. Probably Not
10. In the Dark
11. Crosby Sux
12. Blame

The Old Wives/The Blame Its Split 7'' review

So I get this piece of mail the other day from Canada. I was like, "What the fuck am I getting from Canada?" And right after I finished thinking those words, I thought, "Ohhh yeahhhh."
This thing rules. It's release #001 on Eat Shit and Die Recordings, a label run out of Canada and was released on May 8. It's also on white vinyl, might I add. Not sure of the pressing and all the collector/obsessive nerd details, but here goes.
The first track by The Old Wives is called "Losing All Control." At first I thought my stereo was fucked up or something, but it starts out all scratchy and low - a really cool effect for when they bring it up and start rocking.

My turntables' gears got to turning and I immediately thought the lead singer sounded like whats his face from Face To Face. Which rules, cause I'm a really big Face To Face fan. Well, a kinda big one since I can't think of the dude's name. But anyways, "Losing All Control" is a catchy tune. They're a pretty straight-up pop punk band but instead of singing love songs and having that vulnerable, sensitive air about them, they lean towards the slightly snotty, harder-edged pop punk.
"Shut Up" is about wanting to not hang out with (maybe ditching) a chick because all she does is talk and tell boring, stupid stories.
It's definitely the best song on the split between both bands. The Old Wives are one of those bands that are standard pop punk, yet original, catchy and good enough to have you singing along, appreciating the lyrics and at the very least, tapping your feet around.

The Blame Its were cool too, but the thing that bugged me about the album cover was that there was no hyphen between "Blame" and "Its." Which is cool, I don't care...too much.
Their first track was called "Beer and Anti-Depressants," which sounds pretty cool on the surface, but I didn't really hear anything about either one of those things in the song. His voice is a bit harder to hear than the dude from Old Wives. They are good though, kind of drawing an obvious vocal and instrumental influence from The Riverdales, Screeching Weasel and I wanna say just a pinch of Smoke or Fire/Banner Pilot there too. They are also pop punk, singing songs about inebriation (I think) and girls.
Speaking of girls, the second song is called "Wants To Can't Have," which I don't really understand and keep thinking it should be called "Want What I Can't Have" or something. Man, this band might be full of grammatical errors. Anyway, the opening bass parts are rad. There are a lot of group vocals, making it fun and like The Old Wives, tempting to sing along...if I could make out the words, that is.

The only complaint I have with this release is that there is no insert. It would be nice to have some lyrics and names with who does what. The lyrics for either band aren't exactly the easiest to make out. It's not Chinese Telephones hard, but it's not really easy either. All in all, I would say this is worth picking up, especially for The Old Wives side of it. "Losing All Control" and "Shut Up" are becoming instilled in my brain, making me want to hear more Old Wives because I can only listen to the same song so many times in one day without having a mental breakdown and involuntarily shitting my pants. Check out The Old Wives and The Blame Its from Edmonton, Alberta, Canada! I bet they play shows together and hang out.

June 7, 2008: Smoking Popes at Metro

A hot and muggy outdoor Chicago night made for a cool indoor show at the Metro on Saturday, June 7, 2008, where the Smoking Popes got together and played its record release gig for "Stay Down" last night. Opening acts were Chris McCaughan's (guitarist/vocalist of the Lawrence Arms) solo project, Sundowner, and Mannequin Men.
Chris is always a treat to see. I never know when it'll be just his words and a guitar, with Jenny Choi or with a full band backing his tunes. Last night, Jenny Choi joined him on cello, keys and vocals. They are truly a great musical duet. Jenny compliments Chris so well and vice versa. Like Sonny and Cher...only good.
After Sundowner was Mannequin Men. They have a really strong indie sound, which I know is broad. But think Interpol's instrumentals crossed with the Goo Goo Dolls' vocalist. Their bastard spawn would be Mannequin Men. I was so hungry and tired of standing by that point, I was considering going across the street to Wrigleyville Dogs, but upon trying to leave, the Metro staff made a point that we can't come back in if we leave. I guess I can't blame them for wanting all the people in attendance to buy their crappy, warm expensive beer. It's just frustrating knowing that at the Gingerman, next door, I can get a tall, cold pint of PBR for $3 and SIT in a cool area with good company, rather than a shitty plastic cup of Miller Lite for $5 at the Metro and have to stand in fear of some big asshole's sweat droplets falling into my cup.
Anyways, after what seemed like forever, the Smoking Popes took the stage. When I say the Smoking Popes, I mean Neil Hennessy from the Lawrence Arms on drums (man, did he rip last night!) with the three Caterer brothers; Eli on guitar/ backing vocals, Josh on guitar/vocals and Matt on bass/jumping around.
They opened with a new song titled, "If You Don't Care," which is a great tune, familiar, thanks to their MySpace profile. Very appropriate, being a record release shindig and all.
Afterwards, they cut into old ones like "Rubella" and "Gotta Know Right Now." After the crowd was reassured by hearing some old gems, the Popes tried out a couple more new ones, "Stay Down"'s opening track, "Welcome To Janesville," and title track, "Stay Down."
Afterwards, they played "Megan" (which apparently, there are a shitload of YouTube videos of people singing and playing that song, to which Josh proposed a contest, prize unknown), "Just Broke Up," "Do Something," and my favorite, "Need You Around." I like the newer ending to "Need You Around," where they jam it out. It can be heard on the 2005 Metro reunion album.
Another new one, "Grab Your Heart and Run" was played next. That song is hands down my favorite off "Stay Down." All of their new tracks are catchy in that traditional pop sense, and Josh's signature croon ties it all together, making one kick ass song. "Stefanie" is really slow, but it serves as a nice break on the new album, placed as the third track, so that when the generally-faster songs pick up, it comes as more of a surprise than just one flowing into the other, which is awesome too. Riverdales, anyone?
They played "Writing a Letter" after that, which is one of my personal favorites for being just an all around fun song. Afterwards, they played "Sweet Pea," which is Neil's favorite track off the new album to play, as they established on stage.
"Let's Hear It For Love" was played, followed by a short acoustic set by Josh, in which he played the newly renovated acoustic version of "The First Time" and an older gem, but more upbeat, "My Lucky Day."
Matt came back out a little too early, eager to grab his bass after Josh finished playing "The First Time," but quickly turned around to join the rest of the band hanging out on the side of stage right.
After the band reclaimed their instruments, they played "Brand New Hairstyle" and Josh played "Pretty Pathetic" with Eli, both playing their electric guitars. Towards the end of the song, the full band backed the guitars and vocals with some support and finished it out nicely. They did that on the Metro album as well.
Their encore consisted of an elongated "I Know You Love Me," "Ramblin' Rose" and "Off My Mind."
Being my first time seeing the Smoking Popes, I was impressed. It was a great hearing the tracks I've loved for a long time now being performed live at the Metro with some present-day, in the now recordings. Unfortunately, I missed the 2005 reunion, so it was nice to catch up three years down the road with the release of a new album.
With 11 years between the Popes' last studio release, "Destination Failure" and "Stay Down," Josh's vocals don't seem to have aged a bit. The element of time is nonexistent between the gap, which, lucky for us fans, is bridged by a handful of live shows and a reunion album. It was a real treat getting to see the Smoking Popes for the first time. Even Neil was saying before the show how stoked he was to be playing with them, because they were a band he grew up listening to. Brandon from Rise Against told me the same thing after the show at Wrigleyville Dogs, how he grew up listening to the Popes, and now he's seeing them as an adult.
It's really nice hearing guys older than me and way more influential and all-around cool admit how the Popes had an influence on them growing up and how important and meaningful it is to see them now. Although I missed out on the Popes' "prime" (which is subject to debate, because this new album is awesome), I think the feeling is mutual. Being able to talk to musicians about something together, both as fans, is intriguing. It showed me that regardless of age difference and fame (or semi-fame), we are all fans of something on the inside, putting us all in the same boat on any given sticky, muggy Chicago summer night.