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CLEVIS



Last Updated: 11/16/2009

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Status: Single
City: Los Angeles
Country: US
Signup Date: 2/18/2005

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Saturday, February 14, 2009 

From CSUN's paper, Daily Sundial:

link

------------------------------------------------------------------------

Smells good

Alex Viray / Staff Reporter

Located in the heart of downtown Los Angeles and down a dark alley
is a small and cozy hole-in-the-wall venue for live music and art
called The Smell. For Angelinos, The Smell is regarded as a hot spot
for indie and underground artists whose eclectic style of music is
often overlooked by the mainstream music scene. Here you’ll find both
local and out of town musicians playing music just to please the home
crowd.

Recently, The Smell had a progressive rock show that was mind
boggling and awe-inspiring to watch. Clevis was the first band to
perform and played music that not only set the tone for the evening,
but was also mesmerizing to watch. Clevis is comprised of bassist Ken
Moore and drummer John Enke, but the lack of other musical instruments
didn’t take anything away from the sheer quality of their performance.

The floor looked like an endless array of effect pedals, but Moore
incorporated them as if he’d been using them all his life. Moore used
endless styles of playing that ranged from slapping to finger tapping.
Clevis even incorporated an electric cello that Moore played while the
bass ran on a loop track. Enke’s drumming was not something to be
ignored as he belted beats that complemented the music in every aspect.

“The bass player was awesome, he tore it up like there was no tomorrow,” said fan Greg Lee.

Another solid performance of the night came from We Be the Echo of
San Francisco. They played an infectious blend of progressive rock and
experimental metal that would have fans of Rush take notice. We Be the
Echo was the only band to have a guitarist and it was a nice change
from the mix of other bands that were all comprised of bass and drums
as the main instruments. The guitarist, who goes by the title of Graeme
Nicholls, played intricate parts that ranged from clean melodies to
heavy riffs that ran up and down the guitar. At one point they played
the intro of Chocolate Rain, which was pretty cool to see played on
guitar, bass and drums. The bassist, known as Myke Stryker, and the
drummer, known as Ilk Koskelo, added to the elaborate style of music
with a fashion that only hard working musicians could do.

Drummer Jesse Appelhans and bassist Eric Kiersnowski of Totally
Serious put on show that was technical beyond belief. Appelhans was
constantly beating away at the drums at an inhuman pace. The look of
intensity on his face said it all as he belted away at the drum heads
with the technicality of a seasoned drummer. Kiersnowski’s bass lines
were so frantic and complex that everybody’s eyes seemed glued to his
performance. It was a sight to see as much as it was to hear.

“These guys are beyond belief,” said fan Lucas Taylor of Totally Serious’s performance.
Ninja Academy spruced up their show with a little visual entertainment.
The bassist and drummer, known as Indo-Ninja and Outdo-Ninja
respectively, graced the stage dressed as ninjas. The use of costumes
almost always makes for an indelible performance, and Ninja Academy
definitely left their mark on the audience. Also in the group was
Ninjamamalickum who sang vocals with opera-like gracefulness and Gongis
Khan who played a taiko drum.

All in all it was a great show and none of the bands disappointed
that night. The audience gave much gratitude and appreciation to the
bands, and it was mirrored in all of the musicians’ performances.

“I love the bands and I would definitely come back again, even in the pouring rain,” said fan Jessica Parsons.
------------------------------------------------------------------------

Well, fan Jessica Parsons, you'll have your shot to come back again, because Ninja Academy, Totally Serious, and Clevis will be back at the Smell on May 21st!

It's not a cello though, that's a bass...

-Ken



Tuesday, August 26, 2008 
Alright, well, The Silent Ballet, an online instrumental music review site, has once again reviewed one of our albums.  Last time didn't go so great (although they said we had potential).  We scored a '5.'  Their scale:

* The 5-5.5 range denotes an  "above average" release.
* The 6-6.5 range denots a "good" release.
* The 7-7.5 range denotes a "great" release.
* 8 and above marks a cd of exceptional accomplishment.

So this time we got a '7,' which apparently is great... next time we're going for an '8.'

Here's the review:
http://www.thesilentballet.com/dnn/Reviews/tabid/54/ctl/Details/mid/438/ItemID/1728/Default.aspx

Hey, they like our naming skills (even though they reviewed it as 'amalgamationS')!

-Ken

Saturday, May 31, 2008 


Finally, our CD is finished and in hand. 

We tracked with Manny Nieto at WETANDDRY Studios (Los Angeles) in October/November 2007.  In January/February 2008, we mixed and mastered with Pete Lyman at Infrasonic Sound (Los Angeles).  The cover artwork was created by Walt Hall in February/April 2008 (the cover expands to a 3-panel piece).  It's been a long time coming.  Special thanks to Chet Zar for allowing us to use one of his pieces for an inside panel.

The tracks were are recorded on 2" tape, then mixed down to 1/2".  It was all done 100% analog.  This has makes it sort of a unique recording for us.  If you listen carefully, you'll notice that tape is a very unforgiving format.  That's sort of what we liked about it.  amalgamation is a very human CD, there was no "polishing a turd" type of correcting.  So yes, there are little mistakes, but that's how they were put down on tape and we live with it.

Pete Lyman, who mastered the CD, has an interesting take on the way most CDs are mastered these days.  Everything is just loud loud loud.  We decided to go with his suggestion and concentrate more on the dynamic aspect of the music rather than try to push the volume to its breaking point.  I believe that this, along with the use of the tape format, gives it a bit of a throw-back feel in terms of recording.  Listen to it loud, the dynamics will come through.

This will be the first CD that we will be charging for.  We've kept the price low because we want people to buy it.  Even if we sell every single one, we won't be making a profit on it.  The goal is to just put some money back into a fund to make another record.  We would greatly appreciate your support for this.

You can purchase the CD from our myspace or website (clevisband.com) or by clicking here (our 2006 ep is available again).

Hope you enjoy it.

-Ken


Sunday, October 07, 2007 
This came about for a few reasons.  One of them being that we were running out of our Subliminal EP, another being that we wanted something a little bit more representative of what we're doing now.  At the end of the month (October), we'll be recording in WETANDDRY Studios in Los Angeles CA.  This place is an all analog studio: two-inch tape, no computers. 



This is a scary thing but a good thing.  Good because of the sound that analog equipment puts out, scary because we won't be able to do the "polishing a turd"-thing with the recording (cheating).  So, what you'll be hearing will be a lot closer to a "live" kind of sound. 



We're looking forward to the challenge.  The plan is to record ~25 minutes (five songs, primarily the newest that we've written), which will showcase more of the loop-oriented and electric upright material. 

Others that have recorded at WETANDDRY:
The Mars Volta
Omar Rodriguez-Lopez and John Frusiante
Nels Cline
Qui
400 Blows
Circle Jerks
Breeders

Keep your eyes and ears open for a future release.

-Ken
clevisband.com
Monday, August 13, 2007 
well, I'm actually not sure how this one came about, but here you go:

ProgArchives.com review

contains some not-so-true facts about us.  Hmm...

-Ken
clevisband.com
Tuesday, May 08, 2007 
Last night I went to the Silverlake Film Festival to see Claypool's film, Electric Apricot: Quest for Festeroo.  It was a very entertaining mockumentary about a jam band trying to make it big.  Afterwards, thanks to Dorenfeld (whose film, The Anna Cabrini Chronicles, was also part of the festival), I got to meet Les.  It was a pretty thrilling moment for me.

Here's sort of my Primus history:

Sometime around the beginning of high school I was part of the BMG club.  As a member, you were given something like five free CDs.  I had already decided on four and for the fifth I was on the fence about whether to pick a Soul Asylum CD or Primus' Pork Soda.  I didn't really know anything about Primus at the time, but there was a curiousity factor that pushed me in that direction.  Les said I should've picked the Soul Asylum disc, but I didn't and it changed me.  It wasn't like anything I had heard before, it was weird, it was cool, it was original, it was fun.  Soon after, I picked up Sailing the Seas of Cheese and Frizzle Fry.  That was about the time that I started playing bass.  Instead of taking lessons, I would just learn how to play Primus songs, developing my technique by mimicking what I heard.  So little by little I gained a few tricks and applied them to my own style.  The first real band that I played in, Eucalyptus (with John and his brother Ray), was incredibly influenced by Primus.  Sometimes we would even play three or four Primus songs in a set.  The next band, Mudshark (also with John, and my friend Mark), was Primus-influenced as well, but not as much.  Through the years I have hopefully developed more of my own style, but it all started with Les.  Without his influence (see: first minute of Obliverate) I don't know what type of bassist I would've become.

Outside of the theater, among Dorenfeld, myself, and maybe a half dozen others, stood Les Claypool.  He was just standing around chatting.  I was thinking, "How many Primus fans are out there right now that would kill for this opportunity?" then "Why aren't there more people here now?"  The same thought comes to me when I was at the screening of Dorenfeld's film.  It includes ORIGINAL NEVER BEFORE HEARD Secret Chiefs 3 material.  And guess what?  It's great!  Imagine that... so there are thousands of SC3/Trey Spruance fans, but people aren't coming out to this either. 

Do you enjoy a band/filmmaker?  Support it, buy a CD/DVD, go to a performance, show interest!  Nobody is trying to become rich and famous (well, at least nobody that's making anything that's worth-while), artists just want appreciation and to be able to continue what they're doing.

Well, I've successfully jumped around from a few different points.  Sort of drifted there... maybe I'll start writing outlines before I venture into writing anything...

-Ken
clevisband.com


Tuesday, May 01, 2007 
April 24th, 2007 was a landmark day for us.  It was a show that we were joined on stage by John Whoolilurie (a.k.a. John Whooley, a.k.a. Whoolilicious), saxophone extraordinaire and all around great guy, formerly of Estradasphere, currently of Mojow and the Vibration Army.  Estradasphere's first few albums (especially It's Understood) were special for John and I.  We've heard them countless amounts of times and have always been amazed by the musicianship.

Long story short - after a chance meeting with Whoolilicious we tell him about our upcoming show.  He then asked to sit in, which we replied (trying to hide our school-girlish excitement) that we would be honored.  So after never jamming with the guy, he comes in and performs Obliverate with us (Whooliverate if you will), completely nailing it.  It was an absolute thrill and we hope to do it again.  For those of you who weren't there, we posted some pictures of the event here (the Whooliverate section of course), and there is an audio clip in our player. 

-Ken
clevisband.com
Tuesday, February 13, 2007 
This blog is a response to the review of our subliminal EP that was recently posted in The Silent Ballet, a webzine that reviews instrumental music from around the world.

First, read the review here.

Well, basically we got a 5/10, which according to the ratings scale:

* The 5-7 range to denote various levels of "above average/good" material.
* The 7-8 point range denotes "great" material.
* 8 and above marks a cd of exceptional accomplishment.

is right in the middle of the bell curve.  I must say that for the most part, we agree with the reviewer.  The thing is, John and I rushed both the performance and decision making for this project.  We rushed the performance as in everything is played at cartoon-like speed; we rushed the decision making as in we just basically used the 4 songs that we were working on at the time, which are some of our crazier material. 

In particular I'd like to respond to the final paragraph:

-We are certainly working on tightening our sound.  In the recording, most of the 'looseness' is due to the breakneck speed in which we tried to put everything down.  This is something specific that we're working on.  We both feel that it's important for the listener to be able to understand what's going on and not to just be beaten about the face with our music.  We've slowed a few things down so that now a couple tunes are a bit more groove-oriented and cleaner.

-Yes, the production value on the next one will CERTAINLY be higher.  This is no shot at Orion Studios.  We basically gave them no money, busted in, and scorched through the recording and mixing process.  I think that Mike Potter did a terrific job with the time that was allowed and the performances that were put down.  The next time, however, we will pursue a more professional sound and take more time to complete the project.

-Variety, this goes back to what I was writing about decision making.  A lot of our other material is more melodic and there is a great deal of variety (or so I would like to believe).  Again, the next recording will probably give a better idea of what type of music we're capable of making.  In the mean-time, I would urge any of you to see us live if at all possible.  In our live set we mix it up more.

Overall, I feel that this was a very fair and honest review.  We no longer need people to powder our asses and constructive criticism is a great help to us.  Thanks for reading, and we do hope one day to become "a
fierce competitor in the drum/bass noise-rock game."

-Ken
clevisband.com

Saturday, November 11, 2006 
Well, we made it to Los Angeles. If you're interested in some of the photos that I took along the way, such as these:

just click on one of the pictures or go HERE.


Driving through Tennessee, Arkansas, Oklahoma, and Texas was very VERY boring. The only thing of consequence that happened along the way was our run-in with The Big Texan Steak Ranch:

As you can see, they advertise that if you can eat a 4.5lb steak in one hour, you get it for free. John decided he was up for this challenge. When we got there at around ten, we eagerly awaited our waitress' return with the liability waiver that precedes the meal. After a little while, the manager came out and told us that it was too late to start, so we left with our heads hung low in disappointment. It's probably for the better though, because with the 72oz steak, you also had to eat a salad, potato, and shrimp cocktail, so probably John would've died.


Feeling very hungry in anticipation of an enormous life-threatening steak, we went to a What-A-Burger. John chose a Triple-Meat and Cheeseburger meal (mega-size), which looks like this:

After quickly finishing off his meal and still feeling the competitive spirit, John accepted the challenge of eating a second Triple-Meat and Cheeseburger in two minutes. Here's how it went:




He emerges victorious.


After Texas, our trip was extremely scenic. New Mexico, Arizona, California, I commend you for not being Tennessee, Oklahoma, Arkansas, and Texas.

Also, we very nearly ran out of gas in New Mexico, we did about 40 miles on empty in the desert (there are NO gas stations in those middle states). Sounds bad, but it was actually a great thing because we got to stop by Laguna Grill in Laguna, NM, home of the Laguna Burger. $4.99 (no tax) for a combo, the burger was the best we've had (and we've had MANY, our first four meals were cheeseburgers and fries). Go there.

Here's some CLEVIS TRIVIA for you: the first star on the walk of fame that I saw was Florence Henderson, a.k.a. Mrs. Brady


-Ken
clevisband.com

Sunday, October 22, 2006 
John felt that I didn't sound sincere enough at our final show.  But truly, we will miss a select few of you.

Seriously, we'd like to thank all of you that have supported us (band and otherwise) over the last few years.  I'm sure that I can speak for John when I say that we appreciate everything that you guys have done for us and we will miss you. 

Well, in the Clevis tradition (instrumental), I'll keep this short and hopefully the people who care can understand what we're trying to say without us having to say it...

-Ken