IN MUSIC WE TRUST
Home to the alternative of the alternative - with a pop flair.
Introducing: Alex Steininger

In Music We Trust started out in July of 1997 as a vehicle in which to help expose talented artists to a larger audience. Well, here we are six years later: a label, a national publicity company, and an online magazine. How did we grow into such a mammoth corporation? Well, luckily we were able to secure funding from an investor when the dot com craze was still happening. With that fifteen million, we all bought ourselves big houses, fancy cars, and got a bunch of employees.

Unfortunately, after six months, the funds went away. We spent it all. We had to lay off 300 employees. We're back down to a handful of dedicated staff writers who do it for the love of music, including the amazing Ryan O'Neill behind everything technical, and our network consultant Jason Dietz. OK, so we never got funding, but the rest is true. Writers like Sonya Brown, Jett Black, Jeb Branin, Gary "Pig" Gold, Geoff Melton, Clint Darling, and Mikel Jollett -- without whom this would never have been possible – do it because they love music and they love what we can do as a collective.

As for the other portions of In Music We Trust... after doing the magazine for three years, I decided it was time to help out bands on another level. So, I started the publicity side of In Music We Trust. We've been lucky enough to work with such great artists as Helio Sequence, King Black Acid, Carrie Akre, Sam Densmore's Silverhawk, SPIV, Man of the Year, Orbiter, Bundle of Hiss, A.C. Cotton, Betty Already, Speer, Loveless and Goodnight Trail, Alien Crime Syndicate, and several other great bands.

With the publicity company in full swing, and the ability to scrap together every penny we could find, we decided to start a record label. Thus, the label side of In Music We Trust was born. Since then we've put out a bunch of great records in our 2-year existence as a label, including
Matt Sharp (ex. Weezer, Rentals), The Maroons, The Damnwells, Suffrajett, Brady Brock, two records from I Can Lick Any Sonofabitch in the House, Sean Croghan, Freddy Trujillo, and many more! We currently have sixteen releases out.

We've got a few more releases coming soon, so stay tuned! Releases from Ruth Ruth, Loch Lomond, another Chris McFarland, and some other surprises up our selves. The point of this is, In Music We Trust started out six years ago as a magazine that Ryan O'Neill and I did to cover great music and let others know of these bands we were blown away by. It has now grown into a PR company and a label, all out of the love of music. We may not have the funding that several other dot com companies have (or had), but we'll be here long after they all fold. As I like to say... IN MUSIC WE TRUST!

Alex Steininger, In Music We Trust, Editor-in-chief, President
Website:
www.inmusicwetrust.com

The past few months In Music We Trust has released a triple threat of dynamic recordings ranging from the garage rock of New York’s Suffrajett, to the hillbilly biker angst of “I Can Lick Any Son Of A Bitch In The House,” - and for those moody moments Brady Brock is the perfect “Warm American Sweater.” Check them out.


SUFFRAJETT
Self Titled
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You gotta have huge balls if you’re gonna make it as a garage-rock band in NYC. There aren’t enough garages for all the garage bands in New York – plus you got the Strokes to compete with. Suffrajett crank out fuzzy, distorted rock smothered in hook-based melodies but the sugar in this pill is female vocalist Simi. An emotionally charged banshee, the Brooklyn native gets tough with just enough cynicism to make her sordid tales of heartache completely believable. Somewhere between Pat Benatar and Veruca Salt with Joan Jett attitude Simi carries song like “Whatcha Got,” “Love Me More” and “Sorrow” into the instant classic realm.

Tantalizing, sparing and constantly pushing the voice is guitarist Jason Chasko whose grinding clatter, fierce distortion and complex subtly hold their own. He can also rock with the best of them. Chewing holes through his amp in the chainsaw screech of “The Drugs, ” the riff-heavy “NY” and the perfect pop-rocker “C’mon,” Chasko adapts his style with calculated precision. As a duo Simi and Chasko find just the right space to respect what each bring to the 12 tracks on their debut.

Not entirely a two-piece, (with a revolving door of drummers) they stick to what they know best using keyboards sparingly but to good effect as in power-chord scorcher “Cry Baby” and the haunting instrumental “Sticks.” They also beat back you’re atypical ballad creating more of a slow burn as in “Gone” and the electric groove of “Get Away.” Comparing Suffrajett to The White Stripes is meaningless. This duo’s infectious, guitar-driven prowess reeks of back-alley mischief and street-wise sass and could probably kick The White Stripes ass.


I CAN LICK ANY SON OF A BITCH IN THE HOUSE
Put Here To Bleed
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For the sake of this feature, let’s just shorten the name to “the band” or we’ll be here all day. Brainchild of local Portland native Mike D., “the band” go for a knock out punch in their sophomore outing “Put Here To Bleed.” Dripping wet with redneck sweat, Mike and the boys roll out their best Merle Haggard/Johnny Cash-type lyrics, apply a serious shot of hillbilly Nashville Pussy punk and away they go.

With this record Mike D. is exorcizing his demons, regurgitating a past life of abuse, anguish and bitterness. The singer/guitarist takes us on a roller-coaster ride through the darkness that has fueled his fire for too many years. “La” is just the beginning, “I hate everything/king’s and bein’ poor/guns and burnin’ crosses and evil’s knockin’ at my door.” The tragedy of “Twerp,” the distain in “Dear Mr. Heston” and the sting of “Things That Fail” have enough energy for six records, all percolating to a molten eruption. D’s ability to craft surprisingly catchy melodies awash with guitar, harmonica and 16-wheeler rumble is the success of “Put Here To Bleed.”

Armed with the gruff guitar tones of “Handsome” Jon Burbank, the snap of drummer “Flapjack” Texas, and the thump of bassist Mole Harris, “the band” link together a sinister grasp of Circle Jerk raunch (American Fuck Machine) and Social Distortion chops (Hayward, CA ’76) with country heartache (Gone As They Go). It all comes together in “The Ballad Of Courtney Taylor” a tale that takes The Dandy Warhols lead singer to task for his rock star antics. The tongue and cheek aspect of “Put Here To Bleed” become all too serious as the record winds down. “As the cancer approaches and the pain increases/I’ll just pretend I’m Billy the Kid/Got an outlaw heart and a taste for hell” from “To Be Good” puncture the soul with a red-hot sear. While the ugly hard rock pain of “Sixsixfive” pays homage to a soap opera childhood.


BRADY BROCK
Warm American Sweater
In Music We Trust

New York-based singer-songwriter Brady Brock is back with his sophomore opus “Warm American Sweater.” For the 25-year old, life in New York City has become the magic that spills from his pen. Shrouded deeply in the vaults of personal relationships, Brock takes a passionate journey through the soul’s most intimate moments. He does so with catchy pop hooks and layered finesse.

Sensing his debut “I Will Live In You Where Your Heart Used To Be” (2002, Feel Records) was a bit too dark and depressing, Brock set out to craft an alluring record you could wrap around yourself like a blanket, yet still blast through the speakers. Finding a common bond in producer Thom Monahan (J Mascis, Beachwood Sparks, Silver Jews, Pernice Brothers), Brock has created a record of lasting power - familiar and intriguing.

Surrounding himself with a musically rich circle of friends including members of Bitter Bitter Weeks, Red Red Meat/Califone, The Pernice Brothers, The Bigger Lovers and Getaway Treehouse (now known as Fevered Cheek) he manages to frost the windows with some melodic classics. From the opening acoustic strum of “I’m All Smiles” to the riff-heavy “Pasadena,” co-written with Tobias Kuhn from the band Miles, the record has an exciting variety that germinates from pure, simple melodies to those of complex beauty. “Stay As Sweet As You Are” floats off the pages of everyone’s High School yearbook to become one of the record genuine masterpieces.

Amid the orchestrated layering that embraces each of the records ten songs, there lies just enough electric guitar on “You Will Be A Skinny Ghost,” “Pasadena,” and “Happiness” to power the record through an intriguing range of balladry. Granted, this is an acoustic-driven four-door soul searcher but has more in common with Mercedes Benz than Chevy. Brady Brock, whose day job is running the Publicity offices for Wind-Up Records, took time out of his busy schedule to share with us some added insight to the making of his record. Click
here.

Website:
In Music We Trust