Asheville

6 Month Update. December 2014 – May 2015. This, is a big one.

As some of you may know, life has been extremely busy the past 6 months. I have moved to Asheville NC to study Music Journalism at the University of North Carolina at Asheville. I have recorded an EP. I have joined a band, which have played successfully live numerous times, and write their own work. With this band I have been back in the studio to record a single, done field recordings, have a documentary out about us and our beginnings, and are scheduling a 2-week summer tour of the eastern seaboard. I am writing and recording prolifically for my own personal music projects, and have taken up the pseudonym MONK. The EP tracks are uploaded on YouTube, where you can hear the demos. The official EP will be released in July.

Whew. Now you see why I haven’t released a post in a long while. Let’s start with the EP.

The EP – MONK – Seperation (EP)

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In mid December, with the move date for Asheville fast-approaching, I began writing a short album of ambient and acoustic sketches as a surprise going away present to my life partner. There was no clear idea about what the album should be about, no clear directive musically. I expanded short sketches I had recorded over the previous few months, reshaping them to fit together more harmoniously as I didn’t have time to completely start from scratch. I had to do everything quickly. Write, rewrite, record, edit. Even miking the guitars and amplifiers was done quickly, using a single ribbon mic to record everything, running directly into the computer. No overdubs, no splicing or duplicating. Tracks were recorded in a matter of minutes, whenever I had the chance, yet somehow these basic sketches took on a beautifully rough nature. Not that the product was poorly executed, but in not having weeks or months to prepare the execution of such a project I was forced to create and create quickly. Not all parts have been recorded for the EP, only the bare bones guitar tracks. The rest will be completed in early May, and a release date should be set soon thereafter.

I used the idea of separation from me and her as a way to shape the sound of the album, giving it a lonely, haunting feel. This is why I have taken up the name MONK. The name represents my separation of not just loved ones, but from society in many ways, from the ideology of where I grew up, from the things that hold me back. Just as a monk or a nun separates themselves from the world in order to find a type of inner peace and self-realization, I have done this to myself in a way to fully tune in on who I am musically.

The Shameful Nameless

Vocals – Izzy Daniels

Synth – Caveh Davari-Nejad

Guitar – Jonathan Price

Bass – Jack Burton

Drums – Hurley (Drum machine) / Jack Burton

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The Shameful Nameless, March 2015

Within seriously hours of moving to Asheville, I had found a band. Unreal as it may seem, I had asked the now bassist, Jack, if he knew any bands at the time who were looking for a guitarist. Coincidentally, he was in a band, which was in need of a guitar player. They had only written one song, had never played live before, yet had somehow been around for a year, kicking musical ideas around without any luck of songwriting prolificacy. But there was potential. Within days of practicing together, there was a sound, a feeling developing. A feeling of pent up energy and raw potential which we are still trying to fully tap in to.

We held our first show only two weeks after our first practice, opening up for an indie-prog band called Mellowfield, at The Grotto; a venue on the bottom floor of the Highsmith Union building of UNC Asheville. Our setlist, which included three originals went over surprisingly well, being broadcast over the college radio live. Soon thereafter, we performed once again on campus opening the EchoFest music festival; a twelve hour college radio sponsored music festival on three stages simultaneously, held in the Highsmith Student Union. The culmination of what sounds like if the Pixies and the Foo Fighters had a punk offspring, our sound is full of classic, listenable aggression, with prog-like melodies and time signatures.

EchoFest 2015 Lineup

EchoFest 2015 Lineup

Talk soon emerged about touring. While we were at EchoFest, we were scouting for a potential band to travel with us for a short summer tour over the course of about two weeks, from Raleigh/Durham, up through Richmond, Washington, Baltimore, Philadelphia, New York, Providence, Hartford, and finally Boston. Although there were a few possible contenders, none thusfare have been able to commit to such a difficult stretch of time. We have now been contacting venues and bands local to the previous areas to book ourselves as opening acts, spreading notoriety somewhere other than the Asheville area. Around this time, a documentary was put together to demonstrate what the beginnings of a band look like, and how each member brings their own set of skills to the table.

All the while we have been writing, and recording in order to keep growing as a band; fast approaching our goal of an EP. We entered University of North Carolina at Asheville’s Lipinsky’s recording studio two weeks ago to record our first single, “I’ve Been Looking for a Corpse“. A dance-y, hook-filled indie pop track, tastefully pieced together.

Recording "I'm Looking for a Corpse", March 2015

Recording “I’m Looking for a Corpse”, March 2015


Guitar setup for The Shameful Nameless, March 2015

Guitar setup for The Shameful Nameless, March 2015


Preparing for the vocals on "I'm Looking for a Corpse", March 2015

Preparing for the vocals on “I’m Looking for a Corpse”, March 2015


The entire Shameful Nameless crew; including both Mitchell Connor (Press), and Kari Barrows (Press). March 2015

The entire Shameful Nameless crew; including both Mitchell Connor (Press), and Kari Barrows (Press). March 2015

This past Thursday we cut a fast, lo-fi recording of “An Evening Out with Your Significant Other” live in a small conference room we commandeered yet again in the Highsmith Union. Although poorly mixed (We used a iPhone in the middle of the room) we’re using it as a rough demo and a way to analyze and critique ourselves into performing as well as writing better.

Facebook

https://www.facebook.com/THESHAMEFULNAMELESS?fref=ts

Twitter

@NamelessMusic

Spotify

The Shameful Nameless

Bandcamp

The Shameful Nameless

Soundcloud

TBA

MONK Music

March, 2015

March, 2015

Writing and recording continues to expand upon the Separation EP, into the eventual album, entitled “Anamnesis.” The music has taken a bit more of a middle-eastern flavor acoustically, yet retains the big, ambient sound of electric guitar soundscapes and looping, with dramatic drums, and pulsating bass tracks.

YouTube

https://www.youtube.com/channel/UCgG-D2QX9kxLwLug9e7gvlQ

More to come soon!

– Jonathan

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Don’t Forget About Me

Before I officially bring home the Fender Mustang to be a permanent part of the family, I thought I would give you guys the low down on my original #1 guitar. “Jessica” is a 2004 Fender Highway One prototype** Stratocaster, that Fender only produced a handful of. These models in particular were put together with higher grade American Standard components, but with a bit of hot rod style. It has more than everything you need, and absolutely nothing of what you don’t, from the re-wound Texas Special single coils, Tone Bucket pots, and bi-flex truss rod the Highway One elements are clearly evident, with a more “AS” feel. The pickguard date puts this guitar as being built on November 24th, 2004, during the process of “working out the bugs” from the original Highway One’s. It keeps to the original idea of the 50’s (not 70’s) theme with the smaller headstock and 8.5″ radius neck, as well as a gloss lacquered neck and extremely thin skin nitrocellulose lacquer finish in a now discontinued color, White Blonde. The neck is buffed rosewood with clay dots, and the body a light, one piece slab of Alder. It shines with the volume and tone full up, but backing off just a small amount makes her sound just dark enough to have a large bottom end, even through an AC30. As beautiful as this guitar already sounds, I have added my own modifications to enhance the beauty she already is. I’ve had the frets hand rolled, orange drop capacitors added, a solid brass tremolo block added underneath the original early 60’s style bridge, and very particular claw and spring work in the back. I only use three springs in parallel in the back, with the cavity uncovered to bring a little more natural tone out of the body, and the action is slightly lower than stock, using Ernie Ball 11’s only. The finish has aged like fine wine, darkening and checking already, but tastefully so the guitar looks well loved, but not abused. I have had to apply a layer of clear coat over the edge of the upper body in order for the paint to stay on, but it is almost unnoticeable. She’s still my #1, but after 8 years of daily use, and 650 shows, its time for a #2, to make sure that Jessica has a bit of insurance when I walk onto the stage, or into the studio.

Photo circa 2007, Asheville, North Carolina.

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