Bare with me, here. I swear i’m about to make a point.

The remaining members of Sublime – Bud Gaugh and Eric Wilson – have spent the past 15 years of their lives in the shadow of both their greatest accomplishment AND biggest tragedy of their lives. The mere notion of attempting to reform any band with the moniker of Sublime (the band was in a legal battle with Nowell’s widow for naming rights) was just absurd to them. Both Gaugh and Wilson have been in several musical collaborations, none of which ever came close to the now 15 million albums they’ve sold through the songs they wrote nearly two decades ago.
But reform Sublime?? And who the hell is Rome?

“Nobody can replace Brad. Nobody.”

I’ve read that statement probably literally 2,000 times over the past year since Ramirez joined the newly-formed band, and I heard it probably at least two dozen times on Saturday.

Here’s the thing, though: Rome isn’t trying to.

Ramirez, 22, grew up idolizing Sublime and Nowell. He had a solo project, working with many artists in Northern California before recently relocating to SoCal, the stomping grounds of his heroes. He had a plaque with Sublime’s record on it, the picture posted on his Myspace site with the caption “inspiration”.

He’s a kid. Just a kid.

But he’s a kid who truly loves the music he now plays for a living, and has for years.

He’s a fan and a frontman.

Honestly, I couldn’t tell how many people – who were probably in elementary school when “40 Oz to Freedom” was written – really cared much about who was up there singing those songs, but if the thousands of people who were there specifically to see Sublime with Rome weren’t valid in their love for that music, I just can’t understand why.

Nobody could say they were listening to a guy trying to reanimate someone that isn’t coming back.

Nobody could say that the songs weren’t played spot-on via guitar.

Nobody could say that saying “Rest in peace, Bradley” right before ending “What I Got” was a self-righteous move.

And nobody could say that the two people joining him on that stage weren’t the only two people on the planet that deserved to play in a band with the word “Sublime” anywhere in the name.

Nope, he’s not Brad. Never will be. But they’re not Sublime, either – they’re Sublime with Rome.

I took this show as a celebration of the music that is in the process of crossing the bridge into the hands of another generation. Love ‘em or hate ‘em, the music of Sublime is living on, and so are it’s remaining members.

Now stop with the flip-flop-wearing fratboy jokes and i’ll get you a review of their new album. From the sound of the new material, sounds like Bud, Eric and Rome will be Killin’ It in the studio.

Imagine yourself floating in an abyss of horrible music. Pieces of shrieky garbage fly past your arms. Images of men in flashbulb suits and girls wearing telephones for hats bombard your every impulse. No matter how hard you try, soul-less, empty drivel is playing in your inner ear, and there’s nothing you can do to stop it.

Then, imagine you’re transported to an otherworldly, eclectic, aggressive progression of modern music in which you’re actually listening to lyrics that have a message.

Ladies and gents, I introduce Stockholm.

Stockholm is one of Orlando’s newest entries into a genre that’s thriving globally, forcing you to recall overtones of monster successes like Coldplay, Jimmy Eat World, U2 and many other largely pertinent bands. “Don’t Stop Now”, a 5-song new release by the band, is evidence of both relevance and the ability to involuntarily tap your feet along to it, while the girl you’ve been eyeing all night at Latitudes is smiling at you upon noticing this.

“Goodbye Tomorrow” is a song about having passion in an instant, on-demand world, told with upbeat tones that linger. Probably my favorite song on the album is “Sweeter Side”, in which lead singer and keyboardist Chris Arter pleads, “Underneath is a boy with a dream… underneath is a sweeter side of me”.

There are moments of great seriousness in “The End” that are hypnotic and force you to listen to the words rather than get lost in a ballad that musically has a less-is-more approach, which the song warmly calls for.

Stockholm has it right. They entertain, they pull you in with infectious sound, they tell you a story with conviction and sincerity, and they get out in melodic and grand fashion. I don’t anticipate a long stay in Orlando for these guys, so get out locally and see them, and definitely grab this cd. Check out more of the band’s stuff at .

Ok……….

I’m just gonna warn you. This is probably the shortest Random Matter i’ve ever done, and for one simple reason: i’m creeped the friggin hell out.

I’ll just post why – just don’t say I didn’t warn ya:

I’m sorry. Please forgive me. I’m trying to unwatch this as we speak.
-Xander

Xander here. As the show’s founder, let me be the first to say this: Sorry for such a long time off. I have been getting emails, phonecalls and dirty looks on the street(that have nothing to do with LCS), so let me clear some stuff up. First, we’re not going anywhere. The show is staying and will continue to air. It is, however, going to be changing quite a bit. If I didn’t think it was for the better, I really wouldn’t bother. One thing I know is that there a tremendous amount of friends, fans, musicians and new contacts gained from this entire experience, and you’ve all made it abundantly clear that there is an interest for doing what we’re doing. I thank you for that.

Realistically though, I realized that the show needed to change in order to be able to keep growing and evolving, so that’s what we’re in the process of doing. I hate the term “this is a business”, but let’s face it – it is – and it’s time for business to keep progressing.

Now that I got all that out of the way, I CAN’T WAIT to show you what’s in store for Local City Soundtrack in the near future! It’s going to be exciting to have you all be a part of it, and I can’t let too much out about it yet, but it’s gonna be fun – i’ll say that much. Please keep checking the website and our twitter feed @LocalCity for updates on the happenings, and we’ll see you soon!

-Xander

I’m so dramatic.

At any rate, things have been good. We’re kind of in a little bit of a holding pattern while we get some crucial details of the show worked out, collect some music from new artists(music@localcitysoundtrack.com) and relocate to our new studio)a.k.a. Xander’s new pad downtown), so all apologies for the lack of updates and announcements on future chapters, but like everything else in life, change is the only constant, and the show is evolving into the next phase of what it’ll eventually be. More details to come.
I hope all the fathers out there are taking time to hang with their kids today! Too true that family time is real important. I got to thinking about how all of these cds and mp3s that i’ve been collecting from bands and artists in the past few months are songs that the next generation of kids will be calling nostalgic 10-20 years from now. Isn’t that crazy?! Weird, this thing called life!
Welp, time to get going and to review some more music. PLEASE, if you’re a local musician that wants your music played, send your band info to: music@localcitysoundtrack.com along with a place online where we can listen to CLEAN VERSIONS of the songs. Include where the cd was recorded, producer, mastering, as well as your contact info. We’ll have an address to send cds to within the next few weeks. We’d prefer cds, but we will accept mp3s. Just don’t make me jump through the computer, hunt you down and ruin your life for sending a virus. I will.

Happy Fathers Day!
-Xander

Does anyone else here see the perfect conditions for a musical revolt?

I seem to remember hearing about this period in time, say, 1980-1986… I believe it was the time where bands such as Black Flag, Circle Jerks, Bad Brains, SS Decontrol, and MDC emerged from a group of musicians – kids – that just couldn’t take the direction in which society was going. It was a time where rebellion and question of authority was at an all-time high, and the music definitely dictated that.

I believe the name was “Hardcore Punk”.

What do we have right now? Where is the revolt? Where is the refusal to take the path of least resistance? I definitely see the need for it- that’s for sure. Don’t misunderstand me, though. I’m not suggesting that we need a bunch of teenage douchbags kicking eachothers’ faces in, setting astrovans on fire and telling their parents to kiss their ass. I’m saying that with ecological disasters, a nation that’s owned(not controlled, OWNED) by government and corporations, an auto-tune garbage factory of total crap being spewed out on the airwaves, and record labels paying millions to hold radio stations hostage to make YOU think that what’s being played on the radio is what everyone wants to hear, that maybe it’s time for some cutting edge music.

Maybe it’s time for music to take this perception that anything that even slightly resembles imperfection is horrible and just throw it off a cliff. Maybe it’s time to reintroduce the perfection of imperfection.

What are we? We’re a nation of people that strive to be heard. We have Twitter and Facebook accounts that keep us in touch with one another, and we’re constantly in competition with eachother to be noticed, heard and seen, even if we say we’re not. We want to stand out. We want to matter.

And what is music? It’s the showcasing of vulnerability. You put yourself in a vulnerable position and open yourself up for everyone to see you, hoping that they like what they hear and want to stick around for more. And yet, the direction of music is being pulled so that we sound like everyone else. We digitally eliminate vocal imperfections so that we sing on the exact pitch of the note and follow the exact chords we’re trying to hit.

Why? So we won’t be imperfect. Why? Because we can. Why? Because everybody else is doing it, too.

Will it stay this way? No. Everything in life is cyclical, and music has proven to be, too. But I can see it on the horizon. I can see a massive changing of the guard about to happen.

But who will it come from? What will it sound like? what will they look like? If time has taught anything, it’s that in everyone, there is a need and want to rebel and be different. Music seriously needs a ballsy, vibrant, fearless leader who will unknowingly change the current state of the art of music.

The new millennium needs something different. It needs to make it’s own mark. Something tells me it might not be developed in a Starbucks on a laptop while sipping on a skinny latte.

Or maybe it will. I’m waiting, though.

Grand Rapids artists Pop Evil really kinda piss me off. I’m not trying to talk shit about them, but checking out their show at BackBooth recently made me realize a few things about them.

1. I’m not a fan of this band.
“100 in a 55″ is an infectious ballad that got tons of national play and helped them get on the map, playing the local mega-show Earthday Birthday last year. I’ll admit that I caught myself humming the hook a few times while getting thoroughly pissed off at morons in Seminole County who go 25 in a 35, then a bipolar 45 in a 35. But nothing else gets played by these guys whatsoever. The definition of a one-hit wonder.

2. Their other songs are completely unmemorable.
Er, wait… i’ll take that back. I remembered the songs – they sounded absolutely nothing like their single. Ordinarily, this wouldn’t be a big deal if you’re talking about someone like Fall Out Boy releasing “Dance, Dance” as a counterpart to “Sugar, We’re Goin Down”. At least both of those songs could live in the same musical house. These guys? Not even friggin CLOSE. It’s like sitting Don King next to Edward Scissorhands; BAD IDEA.

3. Completely confusing clothing.
Bandannas? Really? One guy was even wearing flannel while the rest looked like they could’ve been double in an import racer street gang. I couldn’t tell if I was about to watch Tool Time or get Fast & Furious.

Overall: Didn’t like. Wouldn’t recommend. The single is really the best these guys have to offer, and they even tried to toughen that up as well. It just doesn’t work for you, guys. Decide what you want to be.

On the other hand…
The opening band, Exit The Ride, were actually really good. Definitely had a good feel to them. The bass player was a pinball, bouncing all over the stage and nearly hitting his head on the speaker rack several times. The genre was altervative rock, was done well and left you feeling comfortable with what you were hearing. They weren’t ground-breaking, but they were much more true to their style and didn’t use a catchy single to hook you in order to bomb you with crappy music.

I’d like to take this time to also thank BackBooth for 2-for-$5 PBR. It came in handy that night, for sure.

-By Xander