New Music For Mondays (Part 14) - Black Camaro
We don't often have bands from Las Vegas on the website, in fact I think we have only ever had one and that was way back when we featured Twin Brother as part of our State Of Music project. With this in mind I decided to go on another Nevada based hunt and quickly found myself enjoy the crazy and very catchy sounds being made by the Vegas based duo Black Camaro.
As soon as I reached half way through the 2nd track (which I believe contains a Handsome Boy Modelling School sample) of their Black Camaricans album, I knew I instantly needed to find out more. Hopefully you will feel the same....so press play and read on
CMM: Hello Black Camaro and welcome to Choose My Music. Can we start with telling us who we would find in the band and where in the world would we find you?
Tom Miller: Hello from the USA. (Las Vegas, Nevada to be exact.) Our band is mainly two dudes, Brian Garth and TG Miller. For the live show, we have a rotating cast of characters, whom presently consist of Fuzz Berg (percussion), Jordan Robbins (bass) and Alan Norris (samples and synths). At least 10 other people have come and gone over the years. Some, we murdered, others left on their own accord.
CMM: And how long has Black Camaro been together and how did it all start?
Tom Miller: We've been recording stuff since we were teenagers but it wasn't until 2002 that we began seriously recording a bunch of songs that would later become an album (White People Fucked Up the Blues.) In those days, our only studio was the bedroom or garage... so sometimes BG's mom would shut it down when we were trying to lay guitar tracks at 4 in the morning.
CMM: I think from memory you are only the 2nd band from Las Vegas we have featured on the site, the other being Twin Brother over a year ago. You both share this kind of "big" sound, which seems very much in keeping with your surroundings. Do you think the bright lights of Vegas and the showmanship reputation of the city plays a part?
Tom Miller: I think our eclectic style is more a product of the city than say, our sound. From the beginning, we never placed any restrictions on what type of song we could write, whether it was bossanova, african, psychedelic or punk rock. If you looked at the strip casinos from the previous decade, like the Luxor or the Imperial Palace or even Caesars you see that it was really a smorgasbord of world culture, even if it was only skin deep. I guess that was our main interest, just creating these really shallow facades that we could sit behind and laugh. The bright lights and the glittery connotation is great and all, but like most of the people that live here, we don't really identify ourselves by that part of town. That would be like expecting New Yorkers to hang out in Time’s Square every day, or Londoners in Piccadilly Circus Of. Of course that part of Vegas is in our blood, but we wouldn't play it up for the music.
CMM: How is the music scene in Las Vegas?
Brian Garth: Delusional, like most independent music scenes I presume. But the occasional glossed over haircut travesty makes it out of the independent circuit and into the success of the mainstream. One can hope!
CMM: Musically and otherwise who would you say your influences are?
Tom Miller: We grew up listening to old rock, metal and american punk rock bands, but I think we found more of a common ground in music from television and movies. I think hearing Earth Angel in Back to the Future for the first time was inherently more influential to either of us than, say, Abbey Road. Also, I like Marcel Duchamp and Brian likes Plato. That pretty much explains everything right there.
CMM: I am so bad at describing an artists or bands "sound", so I often leave it up to the bands...so......
Tom Miller: I am bad at this too. I guess we sound like a Disney soundtrack composed by Paul Simon but played by a Filipino classic rock cover band.
CMM: I am guessing that you are never short of venues in Las Vegas, where are your favourite places to play?
Tom Miller: There are a bunch of venues scattered around town, but I prefer to play the unorthodox shows, like a sweet-16 party or some rich peoples' cocaine loft.
CMM: And what about non Vegas venues? Any that stand out in the memory?
Brian Garth: We had fun at the Stork Club in Oakland, CA. back in 2004. I think we may have enjoyed Portland and Tucson shows, but most of the fun that happens on the road is the shit that goes on between shows, like listening to 6 guys snoring at once, or like finding a place that has gluten free latke mix in El Paso, TX when we’re rolling through during Passover.
CMM: Could you give us a run down of the music you have released so far?
White People Fucked Up The Blues (L.P. 2003) Hang Glider (L.P. 2005) Miniature Panther (E.P. 2005) Pistachio Moustachio (E.P. 2008) Radio Capricorn (best-of 2009) What’s Your Favorite Movie? (DVD 2010) B-Sides and C-Sides 2003-2008 (L.P. 2010) Chrome Werewolf (unofficial) (E.P. 2012) Black Camaricans (L.P. 2012) B-Sides & C-Sides Vol. 2 (L.P. 2013)
CMM: You mention on your Bandcamp that there was a 7 year gap between your last proper release and your Black Camaricans album - why so long?
Tom Miller: Well, we weren't entirely out of the game, we released two EP's, a 22 minute film and played a over a 100 shows. I think we expended a lot of energy on that phase of our existence. It just took awhile before we decided we should take on a big project. When Brian opened his studio (Chrome Werewolf) in 2011, it all of a sudden felt natural to record an album again. In July, 2012 we released the Black Camaricans album, and just this past January, we put together a compilation of solid tracks that we had just laying around.
CMM: And finally, where can people look you up online to find out more?
You can find us at www.blackcamaromusic.com