Halifax - Moods for Moderns
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Moods for Moderns was an indie-rock band from Detroit, Michigan, featuring Nathan Beale (guitar, vox), Ben Force (bass, vocals), and Dave Shettler (percussion, synthesizers, vocals).
Named after an Elvis Costello song from “Armed Forces”, Moods for Moderns were a Detroit area band with a mix of mod, bubblegum, and garage rock influences.
Former high school friends from Plymouth, Michigan, the band formed in 1998/1999 from the ashes of their previous bands Empire State Games (Beale and Shettler) and King for a Day (Force). Both bands had been very successful local emo-punk outfits in south-eastern Michigan on the cusp of national acclaim before their respective breakups. As a new band, Moods for Moderns shed their punk roots in favor of a more universally accessible power-pop sound akin to bands like Superdrag, Sloan and Jellyfish, though reaching even further back to T Rex, Sweet, Slade, Wings, David Bowie, XTC, The James Gang, Tahiti 80 and Todd Rundgren.
Initial outings in Metro Detroit were met with some confusion as fans expecting to hear music in the vein of the two previous bands, misunderstood the spirit of the new band. Moods for Moderns however quickly established a new fan base of their own and played several well-received shows in and around Detroit.
Their band’s live debut was as the opening act for Detroit punk favorite Telegraph in the basement of a dorm at Michigan State University in East Lansing. In 2000 the band released its debut 3-song EP on Doghouse Records, a Toledo punk and emo label. Unlike many of Doghouse’s roster which included bands like the Get Up Kids, Chamberlain and Joshua, Moods for Moderns released the EP ‘Two Tracks Left’ which consisted of power pop songs in the vein of Sloan and Zumpano, and even named a song ‘Halifax’ (later ‘So Long Canada’) in honor of their Canadian heroes who hailed from the same town.
At this time Shettler and later Force would spend time moonlighting in another Doghouse act from Ohio, the synth-based pop act Koufax. A talented multi-instrumentalist, Shettler appeared on the first Koufax EP as well as the first two albums on Vagrant Records. Shettler’s (more profitable) commitment to Koufax became a strain on Moods for Moderns, although Shettler mentioned in interviews that his heart was really in Mood for Moderns creatively and he preferred writing and recording with them. As Koufax moved to Vagrant records the touring and promotional obligations grew.
In spite of Koufax, Moods for Moderns stayed committed for the rest of 2000 and 2001. Becoming a frequent favorite in Detroit venues, they played with other local acts such as The Fletcher Pratt, Spindle, the Sights, Waxwings, Slumber Party, Buzzards, KO and the GTBs, the Soledad Brothers, the Wild Bunch and They Come in Threes.
For practice, the band rented a shared space at the Redford Oaks Shopping Center loft in Redford, Michigan, attached to the Big Lots on Grand River Avenue, and known colloquially by many area bands as “the Loft”. Moods for Moderns shared a practice space with the Atomic Numbers and Out By Tuesday. Touring and experimenting with new material followed the release of the Two Tracks Left EP, and in late 2000/early 2001 the band stepped into the studio with Detroit producer Jim Diamond (known for his work on the first 3 albums by the White Stripes) at his “Ghetto Recorders” studio behind the State Theatre building in Detroit.
All three members contributed to the writing process. Beale most often came with a rough version of the song and the three would work out the details and harmonies as a trio. Shettler and Force contributed their own songs as well; Shettler’s ‘Candy Apples’ and Force’s ‘Slacker Ways’- a gift written in honor of the latter’s girlfriend and a longtime live favorite, went on to become the band’s first single from the album. They spent a month recording with Jim Diamond. As audio purists, the band famously demanded that Diamond record the album with entirely analog equipment, with no technology developed after 1979.
Recorded just under a month, the band sent the masters on to Doghouse and named the finished album “Loud & Clear”. After several delays in the release, Doghouse finally released the album in April of 2001. Reviews of the record ranked fair to midland with critics divided on both sides. A manufacturing glitch with the CD caused many hisses and pops to be audible due to faulty CD production. Many listeners however found this enhanced the listening experience by recreating the fun of listening to it on vinyl.
Becoming self-professed fans of the Electric Light Orchestra and Jeff Lynne, the band chose to cover the latter’s “Do Ya” from New World Record as a b-side to the Slacker Ways single. The band played shows in support of Loud & Clear for the next few months and widened their fan base considerably, at a time when more and more attention was being placed on Detroit’s rock scene as the next big thing in music.
Ultimately finding the success of similar regional acts like the White Stripes and the Von Bondies always elusive and out of grasp, the band succumbed to internal tensions and parted ways in 2002. Shettler and Force continued touring and working with Koufax. Shettler went on to join the Sights on drums for several years before leaving over creative issues with Eddie Baranek, and turned to DJing in Detroit and playing with his new outfit, the prog-rock trio Szymanski, Shettler, & Morris (SSM) to widespread critical acclaim. Force disappeared into obscurity, while Beale moved west to California alternating between the Motown soul-revivalists Lady Dottie and the Diamonds, and rock-country collective the Dirty Sweet.
(http://en.wikipedia.org/wiki/Moods_for_Moderns) Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
Named after an Elvis Costello song from “Armed Forces”, Moods for Moderns were a Detroit area band with a mix of mod, bubblegum, and garage rock influences.
Former high school friends from Plymouth, Michigan, the band formed in 1998/1999 from the ashes of their previous bands Empire State Games (Beale and Shettler) and King for a Day (Force). Both bands had been very successful local emo-punk outfits in south-eastern Michigan on the cusp of national acclaim before their respective breakups. As a new band, Moods for Moderns shed their punk roots in favor of a more universally accessible power-pop sound akin to bands like Superdrag, Sloan and Jellyfish, though reaching even further back to T Rex, Sweet, Slade, Wings, David Bowie, XTC, The James Gang, Tahiti 80 and Todd Rundgren.
Initial outings in Metro Detroit were met with some confusion as fans expecting to hear music in the vein of the two previous bands, misunderstood the spirit of the new band. Moods for Moderns however quickly established a new fan base of their own and played several well-received shows in and around Detroit.
Their band’s live debut was as the opening act for Detroit punk favorite Telegraph in the basement of a dorm at Michigan State University in East Lansing. In 2000 the band released its debut 3-song EP on Doghouse Records, a Toledo punk and emo label. Unlike many of Doghouse’s roster which included bands like the Get Up Kids, Chamberlain and Joshua, Moods for Moderns released the EP ‘Two Tracks Left’ which consisted of power pop songs in the vein of Sloan and Zumpano, and even named a song ‘Halifax’ (later ‘So Long Canada’) in honor of their Canadian heroes who hailed from the same town.
At this time Shettler and later Force would spend time moonlighting in another Doghouse act from Ohio, the synth-based pop act Koufax. A talented multi-instrumentalist, Shettler appeared on the first Koufax EP as well as the first two albums on Vagrant Records. Shettler’s (more profitable) commitment to Koufax became a strain on Moods for Moderns, although Shettler mentioned in interviews that his heart was really in Mood for Moderns creatively and he preferred writing and recording with them. As Koufax moved to Vagrant records the touring and promotional obligations grew.
In spite of Koufax, Moods for Moderns stayed committed for the rest of 2000 and 2001. Becoming a frequent favorite in Detroit venues, they played with other local acts such as The Fletcher Pratt, Spindle, the Sights, Waxwings, Slumber Party, Buzzards, KO and the GTBs, the Soledad Brothers, the Wild Bunch and They Come in Threes.
For practice, the band rented a shared space at the Redford Oaks Shopping Center loft in Redford, Michigan, attached to the Big Lots on Grand River Avenue, and known colloquially by many area bands as “the Loft”. Moods for Moderns shared a practice space with the Atomic Numbers and Out By Tuesday. Touring and experimenting with new material followed the release of the Two Tracks Left EP, and in late 2000/early 2001 the band stepped into the studio with Detroit producer Jim Diamond (known for his work on the first 3 albums by the White Stripes) at his “Ghetto Recorders” studio behind the State Theatre building in Detroit.
All three members contributed to the writing process. Beale most often came with a rough version of the song and the three would work out the details and harmonies as a trio. Shettler and Force contributed their own songs as well; Shettler’s ‘Candy Apples’ and Force’s ‘Slacker Ways’- a gift written in honor of the latter’s girlfriend and a longtime live favorite, went on to become the band’s first single from the album. They spent a month recording with Jim Diamond. As audio purists, the band famously demanded that Diamond record the album with entirely analog equipment, with no technology developed after 1979.
Recorded just under a month, the band sent the masters on to Doghouse and named the finished album “Loud & Clear”. After several delays in the release, Doghouse finally released the album in April of 2001. Reviews of the record ranked fair to midland with critics divided on both sides. A manufacturing glitch with the CD caused many hisses and pops to be audible due to faulty CD production. Many listeners however found this enhanced the listening experience by recreating the fun of listening to it on vinyl.
Becoming self-professed fans of the Electric Light Orchestra and Jeff Lynne, the band chose to cover the latter’s “Do Ya” from New World Record as a b-side to the Slacker Ways single. The band played shows in support of Loud & Clear for the next few months and widened their fan base considerably, at a time when more and more attention was being placed on Detroit’s rock scene as the next big thing in music.
Ultimately finding the success of similar regional acts like the White Stripes and the Von Bondies always elusive and out of grasp, the band succumbed to internal tensions and parted ways in 2002. Shettler and Force continued touring and working with Koufax. Shettler went on to join the Sights on drums for several years before leaving over creative issues with Eddie Baranek, and turned to DJing in Detroit and playing with his new outfit, the prog-rock trio Szymanski, Shettler, & Morris (SSM) to widespread critical acclaim. Force disappeared into obscurity, while Beale moved west to California alternating between the Motown soul-revivalists Lady Dottie and the Diamonds, and rock-country collective the Dirty Sweet.
(http://en.wikipedia.org/wiki/Moods_for_Moderns) Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.