Banana Gun

It’s a little difficult to wrap my head around the fact that Banana Gun is celebrating their five year anniversary this week. Granted, I’ve been writing about local music for nearly seven years, but it seemed that when things just got started rolling around here Banana Gun was a part of the new emerging scene. Now, half a decade later, they are one of the top local bands and seasoned veterans at that. Across five years they have released one studio EP (more of a mini-album/short full album), two brilliant full lengths and a live EP–all to critical praise, including my own. In that time, as well, they have played hundreds of shows with an ever growing audience of friends and fans, fervent followers who are familiar with every song, every hook, every lyric the band has ever produced and they’ve worked damned hard for that sort of loyalty and devotion. Banana Gun is Kevin Loyd (Vocals and Guitar), Nic Dehaan (Guitar and vocals), Ian Breslin (Drums), Ross Troost (Bass) and Kyle Scarborough (Sax and vocals)–together they make one of the most talented rock combos in Tempe and the entire valley. Stylistically recognizable for miles away, this crew is instantly recognizable for their music, their sound and their style, there local success is well earned and further success would be simply well deserved. This weekend they will celebrate a half a decade by throwing an amazing show at Last Exit Live and releasing their second studio EP, the stunning I And The Me. I sat down with them after having listened to the new record to discuss the show and the EP to find out more.

“The show is an anniversary celebration,” Loyd commented. “Be prepared to hear songs from everything–old sweets and new treats,”
“We’re going to play the stuff everyone expects to hear,” Scarborough commented. “And some things they wouldn’t expect us to play. I think this five year show is about both us and the fans.”
Reflecting on the half decade mark Loyd said simply, “Five years is a long time to be in a band, with all the shit you have to deal with, it deserves a celebration.”
“I don’t think any of us individually would be comfortable with letting this die out,” Scarborough said. It is clear that no one in the band has any intention of that. After all, not too many bands put out their best album to date, one of the best of the year, and then release a follow up EP that is equally matched in brilliance. Banana Gun does apparently. Because they can.

I was surprised three weeks ago when Ross Troost pulled me aside and told me that Banana Gun was releasing a new EP to coincide with their 5th Anniversary show. My reaction was along the lines of “But you already blew my mind this year with Love.Instinct, what the hell else could you do.” Turns out, the answer is the I And The Me EP. It both continues their trajectory and scatters their aim, it provides continuity to their entire career, ties up some loose ends and looks forward, it is an anomaly that will leave people guessing, fascinated and most of all, listening. This is a gift to those who have loved every move this band has made so far and a further invitation to others to delight in their world. It’s four songs across twenty minutes, the final track using half that time and it’s amazing from a rocking start to a mid tempo, to the loveliest song they’ve ever recorded to a psychelic jazz jam that sucks you down the rabbit hole at last. In my mind it is Banana Gun flexing some stylistic muscle and showing just what they can do, to listen them talk it was just a hell of a fun and a way to prove that no label can be pressed upon them–their sound can’t be cornered or pigeonholed, and they’re right.

“Skeletons” is the pure rock’n'roll opener and honestly, it’s the only rocker in the bunch. One thing that is noticeable is that Scarborough’s vocals are right up front, backing Loyd’s lead. It is an amazing scorching number and apparently one of their earliest grooves.
“Skeletons is the first riff we played together as a band,” Troost said. “We just finally made it a song.”
“It’s built from an early on thing we had,” Loyd said. “A lot of the songs on the EP are b-sides, songs that didn’t make the cut or just didn’t fit on an album. The initial part of that song was there before.”
“Nic’s idea went from this guitar part to a funk song at one point,” Scarborough said. Apparently, once in the studio with Curtis Grippe at STEM Recordings, “It just formed so fluidly. Though, lyrically it was written in an all together different manner between Loyd and Scarborough.
“We were drunkenly texting lyrics one night,” Loyd said.
“Between being half asleep, half awake and drunk texting, what I had written as lyrics was not what Kevin had written me at all,” Scarborough said. While they had both loved the idea of sharing vocals and featuring Scarborough more, the lyrics appear to have been a wonderful intoxicated gift to us all.

There is not more of a sudden shift on the first listen of I And The Me than that between “Skeletons” and the simply wonderful “Leave Tonight.” We go from pure rock to an amazingly warm Americana song that is the first signal that you are in for something different and it’s welcomed. This is the closest to a Country song that Banana Gun has pulled off in a while and it’s pretty fucking brilliant. Sadly, it’s the shortest song on the entire affair, but nothing here could be better from the twin guitars, the locomotive bass, the train track drums and Loyd’s fucking amazing emotive voice here, with Scarborough backing him. It’s perfect.
“I think Nic put down the fucking best country ass hooks on this song I’ve ever heard,” Scarborough said. “I felt when we recorded this that we love to rock your asses off, but we love this too. And it could be a taste of what’s to come.”
“This song never fit on anything else we recorded,” Loyd mused “It just had this good melody, good lick and I like that it stretches our sound a bit.
“‘Leave Tonight’ is one of my favorite fucking songs in the world,” Scarborough added. “It got me out of my shell a bit to sing, you can’t play sax on a country song, so I had to step up and sing!”

What follows next slows it down even further, but with both great effect and amazing beauty. “No Light” is probably the sweetest, soulful and emotionally moving song that the band has done to date. With orchestral accoutrements that have never accented the band like this ever before, the entire affair take on both a spiritual and orchestral tone about it. In one word, it’s lovely.
“Nic came up with as a response to ‘Light On’” Loyd said. “That song was built in the studio.”
“It’s so different from what it was originally,” Scarborough said. “That song almost came out on Elephant In The Room. I was expecting banjo and then Kevin comes in with mandolin and bells!”
“It wasn’t ready until now,” Kevin added. “We went with a really orchestral feeling with this.”
If you are wondering about the cello, that happens to be Dehaan, who from the talk of his bandmates and the sound of this EP is the secret star of the band on this recording. On this song, his concept, he provides the architecture for the building in which the rest of the band lives and I want to see him wielding that cello on stage, because it’s amazing.

The finale of “Soapbox” is one of epic proportions. First of all, it’s nine and a half minutes long for fucks sake! Secondly, it’s not boring during any of that time (I hate long songs, trust me). Finally, this is just an amazing tune and while it takes up half of the running time of the EP, it’s worth every second of it. I have to say that here the star of the show is Scarborough’s saxophone–it is the musical line that drags me willingly, lovingly through this near ten minute tune. I’ve listened to this a dozen or more times at this point and I am simply hypnotized more and more by the damned sax. Sober, after a few drinks, and even beyond it is the sax that plays like the pied piper to lead you down the rabbit hole. There is an amazing change up that happens at the five and a half minute mark, right before the vocals kick back in that will blow your mind and after that point Scarborough wails on vocals as well. As I am not a fan of long songs, I am always stunned when I stumble upon one I love and this is certainly one.
“Kevin brought this to the table,” Scarborough said, “It gave us kind of a kick to try something new.”
“That was a fun one,” Loyd said. “We had an outline, but we just followed what was happening and it all fell together, I hope.”
“We sort of jammed on it for months,” Scarborough said. “The day we went in the studio is the day I solidified something. Nic has a phenomenal ear for hearing what people want to hear. I didn’t have shit written, we just pressed record. Nic is also a great pianist and he brought an electric Rhodes to the song.”
“It’s good to get in there when creativity strikes to be able to something and them and they can play it,” Loyd commented. “We have never tackled before a super long song. It’s really easy to feel stagnant in a band–we play a tune a million times before we play it out. This happens to be exciting.”
“This is a song enjoyed best after smoking a joint and laying in bed with your lover,” Scarorough added. She is not wrong, in fact the entire EP seems designed with that purpose in mind.

I And The Me is both a departure, a step back and a step forward. In truth, it’s representative of everything they have done to date and where they are going without, perhaps, their even realizing it. I’m not sure four songs could capture the quintessence of Banana Gun better than what is found here, honestly. Part rock, part Americana, part orchestral love tune, part epic psychedelic swoon–that may be all four elements of their formula well represented here.
“This EP is more of a thank you to our fans and everyone that’s supported us,” Troost said, a sentiment echoed by everyone in the band.”We’re just glad to be where we are. The local scene has lost a lot in the last year from bands to venues and we want everyone here that supports music to know we appreciate them.”
The EP is clearly designed with fans in mind, but I have a feeling that it’s going to attract some new attention and Loyd even hinted at a new live EP in the next year as well as a full album. One can only hope that Banana Gun keeps traveling down the road they are on, because the music is good and the vibe is right. - BY MITCHELL L. HILLMAN – DECEMBER 2, 2014 - Sounds Around Town

I know I’ve complained about the lack of rock’n'roll in this city before, but my complaints stop here. Banana Gun has somehow released one of the most compelling rock records of the entire year. Yes, there is something in the combination of Ian Breslin on Drums, Kevin Loyd on Vocals and Guitar, Nic Dehaan on Guitar and vocals, Ross Troost on Bass and Kyle Scarborough on Sax and vocals, but together, there is magic here. There is also a hell of a lot of rock. It’s not a coincidence that Banana Gun is already one of my favorite bands around town, if you give them a listen live, you’ll understand immediately. Upon the release of their newest album Love.Instinct they have revealed themselves as something of a hard rocking dynamo. A machine as capable of tender entrapments as they are of epic rock anthems, shortly said, Banana Gun has stepped up their game.

For their third full length album Banana Gun recorded with Curtis Grippe at STEM Recording and they did it the old fashioned way, they recorded it live in the studio. Relying on perfect takes for each song, the effect is enlivening to say the very least. Troost even commented that he “never wants to record an album any other way” after this experience. Additionally recording live in the studio really adds an extra energy to the band’s sound, it feels more agressive, more raw. While The Elephant In The Room was a technical masterpiece, Love.Instinct has a warmth, a rough edged danger about it. It’s also more representative of their live show and the stage presence they have when you catch them at The Sail Inn headlining on a Friday or Saturday night.

Beginning with a feedback intro and the squelch of a guitar plugging in, the album kicks it right out of the starting gate with the ever popular “Got Time.” Loyd’s voice has never sounded better and in the year and a half since their last full length, it’s gained more depth, no doubt due to tirelessly playing live. The band sounds better than ever in every aspect and that becomes clear in just the first song–the drums are pounding, the sax is insane and the guitars are incendiary. This song is always a fan favorite at their shows and the recording here actually does it justice. One suggestion, this album is meant to be played LOUD for maximum enjoyment. This will lead to a much more fulfilling audio experience. “Punk Funk” follows perfectly in its wake and from beginning to end it is a locomotive propelled rocker and it has the priceless line “We can dance all night, we can fuck all day”, which they may want to edit for radio airplay, because it is single worthy and the pace is brilliant and furious, with Scarborough’s sax going overtime.

It seems fitting that a band called Banana Gun would have a song called “Dong” and now they do, but mot really, since the time I heard the album and its release it has become their first single named “Mirror, Mirror.” It’s a slow, sexy , seductive number, but not like a ballad, more like a sultry slow burner. And it has an infectious lyrical hook that will remain in your mind for days. At this point, three songs in it truly becomes apparent that the entire band has brought their A-Game to this particular platter. The guitar voodoo of Loyd and Dehaan, the rhythm section of Troost and Breslin and of course that amazing sax–all five members have never sounded better. “Don’t Gimme No” is another scorching instant classic and at this point in the album it might occur to the listener that the pace has raged unabated. The cleverly titled “Mary I Wanna’” is the one song on the album that features the beloved banjo their fans seem so fond of and it’s pretty brilliant it is also one of the better showcases for Loyd’s vocals and I could see this getting some serious airplay.

A re-recorded version of “Cats & Dogs” is up next and the contrast between this version and the one that appeared on the Live EP last year is quite striking, perhaps because they’ve played it a hundred times since then, or perhaps it could be further attributed to the recording process. Whereas I liked the version on the EP, I absolutely love this longer version and it’s one of two songs that could possibly qualify as a ballad on this album, without sacrificing any of the high energy pacing. Also, it must be said that Scarborough’s sax work here shines like pure audio gold. Meanwhile, Breslin gets the spotlight at the start of “Broken Arm” with a thunderous drum opening, that comes off as slightly tribal. According to Troost this was a difficult track in the planning stages and how they wanted to record it, and then they nailed it on take two. It’s one of my favorite songs on the album and I think it’s one of their best, Scarborough joins in on vocals for some wonderful harmonies. It comes off as a classic rock anthem with a timeless quality about it.

Another slow burner, “Beautiful Undead” simmers in pedal heavy guitar and though it starts off slow, it never feels like it languishing, Loyd is once again the sultry crooner here, his delivery on the lyrics “Are you crazy, everybody else is crazy to, what a crazy thing to say, are you lonely if the only one you know is you” is perfect right before the song explodes and takes flight into a hard blues route. Manic laughing comes in and out of the mix, for further brilliant enhancement. Another standout track on an album of standout tracks. “Rocket” is damned near psychedelic in its presentation, swirling guitars, serious effects, it’s something of any anomaly on the album as it the sole instrumental. It’s fascinating and fits perfectly right before the finale of “Dynamite The Mountain.” This song is the other track that could loosely be defined as a ballad, it provides a perfect finish after the aggressive velocity of the rest of the album. While that technically is the finale, there is a very silly gem at the end in which the band is playing on ukeles and toy instruments, including a kazoo solo, clocking in at 90 seconds and unlike anything else on the album. “Never Quit Lovin’ You” is just ridiculous good fun, goofing in the studio and I’m glad they decided to keep it on the album (think “Her Majesty” on Abbey Road).

One thing for sure, Banana Gun has raised the bar yet again and early enough in the year to ensure that Love.Instinct will be a serious part of your Spring time soundtrack. For another treat, this album is amazing on headphones, big studio headphones that consume your mind. And remember play it loud and play it often. There is not a song that disappoints on the entire album and Love.Instinct has a perfect pace that carries you straight through it. It appears that Banana Gun just keep getting better with age and each album is an improvement over the last. It’s early on in the year and one of the best local albums is already recorded and ready for release. Now I can’t wait for everyone to hear this rough and ready rock record that certainly satisfies my craving for local rock’n'roll in spades. - BY MITCHELL L. HILLMAN – MARCH 6, 2014 - Sounds Around Town

Fans of Banana Gun must be having trouble keeping still this week. After all, the long awaited follow-up to the band’s 2012 album The Elephant in the Room drops this Saturday and I’m here to tell you the rumors are true: their newest album is even better.

Love.Instinct kicks off with the fiercely rocking “Got Time” and the energy, while transmutable, never diminishes. This is not quiet sittin’ music. This is stomp your feel, shake your ass, get impregnated in a bar bathroom kind of music. And, as the album rolls into “Punk/Funk” (the second track), you’ll realize that this is serious rocknroll; blues-infused and grimy in all the right ways.

The band opted for some changes to the way they recorded their previous album. Rather than separately recording each element, Banana Gun recorded as they perform; together. Curtis Grippe of STEM Recording undertook the engineering which still manages to maintain a crisp studio sound but with the added bonus of the gooey interactive band energy delivered at live Banana Gun performances.

Bassist Ross Troost and drummer Ian Breslin keep the rhythms driving while guitarist Nic Dehaan and saxophonist Kyle Scarborough add that thick Banana Gun musicality. Solid performers, every single one, and they really got to flex their musical muscle on this one. Singer/guitarist Kevin Loyd has a vocal style all his own and perfectly complimented by the constructions of his bandmates. Bluesy, almost visceral with its slinky growled notes and deep tones, Loyd’s voice should have its own following. Maybe it does. Tracks like “Cats and Dogs” really give vehicle to his talents on Love.Instinct.

“Mirror, Mirror” is the first single off the album and a favorite on a record filled with new favorites. I must admit I’m rather partial to the softer, but not quite soft-spoken, musings found on “Broken Arm” and “Dynamite the Mountain”. Then again, songs like “Don’t Gimme No” and “Punk/Funk” have power to force the most idle listener into motion. The strange journey one undertakes on “Beautiful Undead” warrants some repeated listens as well. Really sink into Love.Instinct and, in sharing the advice Ross Troost gave me when he put the album in my hands, listen to it loud. Really loud. - Yab Yum Music & Arts

“The next band is so great,” a photographer discloses to me as Banana Gun begins to set up their equipment. I was not disappointed. Banana Gun has such a tight, solid set and it is obvious that all of them have been honing their craft for quite some time. Psychedelic rock with a reggae and ska flavor, the band puts on a fun show. Not to mention the killer lead vocals that echoes Bob Seger with an edge. “Paper Cuts” sums up the band perfectly with its full bodied blend of classic guitar riffs, soulful saxophone, and on point vocals. Banana Gun opened with the song and drew the whole crowd in. I chuckle to myself to see everyone move forward towards the stage within the first two minutes of them playing, leaving no room in front of the stage. Their music, stage presence, and consistency definitely put them at the forefront. - Valley Hype 2013

Quick on the heels of the release of their magnificent album The Elephant In The Room early last summer, Banana Gun has released an EP of their live efforts since that time. With the combination of live tracks that include both originals and covers, as well as one sacred studio track that previews a bit of love from the next full length album, this is one hell of a package. Throughout all six performances on this modest EP, Banana Gun shows that they are an amazing band filled with infinite possibilities and a definite stylistic sound, they are defining themselves, nay, strengthening themselves and this is the band at the top of their game at this moment in time. I have a feeling this is only a prophetic vision of what is to come in the near future, only the crest of this wave that will be superseded by the next.

With the introduction by local luminary and our favorite morning radio personailty Beef Vegan, the record kicks off with an explosion in the form of a searing rendition of “Papercuts”—and if you ask me it blows the studio version away, but, I’m quite fond of the Banana Gun live experience and this carries that energy perfectly. The searing guitar work that sets the entire EP on fire at the start is almost to much for me to bear–and I remember it, I was at that show and it just gives me goddamn shivers every time. Overwhelming, unwieldy and simply goddamn great rock’n'roll straight through. All that and Kyle’s sax work is unbelievable, in fact, the whole damn band is here at there freaking peak and everyone is giving their all–Ian’s drums pounding out the beat everyones hips are shaking to, Ross’ basswork keeping that groove right along while Nic and Kevin’s guitars duel and one of the finest vocal performances from the latter is documented on record. That, my friends, is a hell of start to anything.

“Too Much Woman,” the lead track from their first album hits next and it’s hard to believe it’s the same song that from that record because once more its color shines well beyond the studio version—and this brings the point that maybe it was perfectly necessary for Banana Gun to release a live record, it’s difficult to not argue that they are simply a magnificent live band and this proves it, as if their hundreds of show haven’t to the adoring ears of their fans. Again the guitar comes right out, up front and in your face–I sometimes hear people referring to Banana Gun in line with strange genres I simply don’t associate them with and this EP should put to rest any idea that these guys aren’t a sizzling rock number. Certainly, they incorporate elements of many genres, but I think the lasting impression of the amazing “Light Out” has left listeners a bit confused about Banana Gun’s identity. Now I love “Light Out”, it was the song that hooked me into this band–but, it’s not what kept me coming back. What kept me coming back is exactly what is found in the EP…period.

Al Green’s “Simply Beautiful” follows and if possible, it works out far sexier than the originator whose specialty was belting out songs that were, in essence, instant panty remover. This is also a classic recording, at the Sail Inn, where when a train goes by Kevin declares “Hey, fuck you train” and somehow it’s all fitting. Another classic from their first record is “Sometimes” and here it shines spectacularly, but it proves their growth through the years and the sharpness of the talent they’ve honed. I’ve thought this many times at their shows and the two tracks on this album reinforce this, but I would love to hear the first album recorded again by Banana Gun 2013–or an entire live album of that album, which may serve it better. I love that album, but the performances they draw from it now make the recordings sound like chalk drawings must look to three dimensional cartoons. “Sometimes” only needs a gospel choir backing it to be a freaking the all out revival the organ work here suggests–simply brilliant.

Of the live tracks, “Testimonial” has to be my favorite, mainly because it’s insane, but also because it’s a cover of another love of mine The Sugar Thieves and Mikel Lander makes a few cents every time it’s played, after all—amazing. I have heard this song performed by four different artists, if I’m not mistaken and at the release show for this EP I got to hear it performed by The Sugar Thieves AND Banana Gun and there was no sense in any capacity that the repetition was unwelcome. Also, Banana Gun really make this their own, so much so that when I first heard it I didn’t even recognize it as a local cover of a song that I already loved by another band. The finale is the studio number, a doo-wop surprise in the form of “Cats & Dogs”—much in the vein of other songs of theirs that seem out of character, yet uniquely their own, this is just a taste of the next album and it seriously whets the appetite for another full length Banana Gun. I can’t love it enough…no, seriously, I know it’s just a song, but this has b - Sounds Around Town 2013

Music For Your Soul To Roll In

The first time I ever heard Banana Gun I was driving down the road jamming to The Morning Infidelity on 106.7 KWSS—“Light On” blew through my speakers and I damn near wrecked my Jeep, I had to pull into a grocery store parking lot to hear the whole thing. My mind was blown, right there and then—it was brilliant, unusual and to boot, it sported a banjo. Somehow, previous to that aural epiphany I had missed out on Banana Gun, I had always been at another show or missed their set or unintentionally dodged them in one way or another. After that morning, I made it my mission to catch these cats live and catch myself up on what I had been missing. Over the last year, it’s been an enriching and rewarding experience catching ever show of theirs that I can, while studying their songs and listening to the growth with each passing show. Their gigs are pretty amazing experiences and what’s more is the members of Banana Gun seem to truly be having an amazing time doing what they do best, which is to say blowing the collective minds of the audience and quickly getting people dancing to their eclectic musical stylings. Needless to say, it was with eager anticipation that I have awaited the arrival of The Elephant In The Room.

Banana Gun is the combined efforts of Kevin Lloyd (vocals, guitar, banjo), Nic Dehaan (guitar, vocals), Ross Toost (bass), Kyle Scarborough (sax,vocals) and Ian Breslin (drums). In the making of the new album, they followed the advice of friends Japhy’s Descent and turned to STEM Recording and producer Curtis Grippe, of whom they could not sing enough praises about and in listening to the album, it’s easy to see why. Grippe has a way of allowing the artists to be themselves and recording them in such a way that what you hear on record is the closest it can possibly come to in how they sound live. The proof however, is in the pudding and upon listening to it, the results are pretty clear.

Starting off with lyricless vocal harmonies reminiscent of the Beach Boys, before kicking in the amplification, “First Time” is a 90 second slice of Americana pie that opens up the album, with slight hints at doo wop leanings that will reappear later. “Shake” has become a live favorite, something that sets the crowd on fire as the band goes deep into crazy on the stage: “I start to moan, you start to shake,” with opening lyrics like that you can see why the crowd goes crazy. On “Paper Cuts” the searing guitarwork of Lloyd and Dehaan is becoming a signature sound in the best way possible, another crowd favorite and one that harkens back to rock records from the 1970s, perhaps by happenstance or brilliant design—maybe it’s Scarborough’s saxophone or the funky groove of Toost’s amazing base, something makes it instantly vintage, that is to say something of a classic.

“Blue Sky” opens up the sound on the album even wider, the harder guitars shy away to a swaying way of sweeping away even the most distant listener into slowly swaying and clapping right along—the Americana vibe comes through in dripping hints of Mellencamp with brilliant effect. Another foot stomper, “Easy on the Eyes” is probably one of their greatest songs, on the record or stage and one the crowd is very nearly rabid about, rightfully so—it’s four minutes of perfection in all capacities, brilliant guitar breaks on a sweet chorus departure, while the rest of the song explodes around the sentimentality. The striking contrast of the country tinged “Devil’s Daughter” with steel guitar in tow, is astounding, though at this point it becomes apparent on the album that Banana Gun defies genre as well as they do at their gigs—which is an interesting point, because they cover so much musical territory it seems astounding that they still have a consistent sound. While one moment they are playing 70s rock, the next classic country, the next indie rock…no matter what they do, they still sound like Banana Gun.

In this case after their country departure they break into “Trouble” where, the bass, sax and especially Breslin’s drums really come to their own, the song also seems to be a community affair featuring vocals from Future Loves Past and contributions from a few other friends. It’s also one of the great moments where Lloyd really lets loose on his vocals right before a seething guitar solo and the combination of those two events make the song one of the absolute highlights of the album. Then when the guitar starts to sound like Ry Cooder and the vocals break into an homage to Tom Waits, while SugarThieves’ Mikel Lander’s dobro comes in, well it takes it over the top in your consciousness and becomes too good to convey through words. “May June July” kicks in with the banjo and Banana Gun brings it all in on what sounds like a down home, good feeling jam that is steeped in southern bluegrass traditions. After the intensity of the previous track, this song always feels so good on the ears that I can’t help but smil - Sounds Around Town / Java Magazine 2012

See also: Eclecticism is The Elephant in the Room by Banana Gun

When I sat down over rounds of Stella Artois to talk about the new Banana Gun album The Elephant In the Room, with Kevin Loyd, Kyle Scarborough, Ian Breslin, Nic Dehaan, and Ross Troost, there were some stories that didn't get included in this week's New Times feature and some that will not go down here at the behest of our legal department. Fittingly, our annexed discussion here starts with one of the standout cuts, "Trouble."

Up on the Sun: I've gotta say that song "Trouble" was one of the songs that brought a wide grin to my face, how it goes from a rock song to this cranky Tom Waits track without warning.

Nic Dehaan: That's the one song on the record we have all our friends playing on the record.

Kevin Loyd: Future Loves Past just came back all hungover form San Diego and they sang background vocals. And we had Mikel Lander from the Sugar Thieves sing and play dobro on the end of that.

Kyle Scarborough: Didn't you pay Mikel in whiskey?

Loyd: No, he dug out a bottle of whiskey from his truck. Nothing like drinking whiskey on the rocks at 11:30 in the morning.

Where did you record the album?

Loyd: We went to Stem Recording. That's our producer Curtis Grippe's studio. He would start at 9 in the morning 'til 9 or 10 at night every day.

Scarborough: He got into more than we got into it. He's got so much patience.

Loyd: He had Thomas Laufenberg from Ghetto Cowgirl because he's really picky about guitars. He has really good ear about intonation, so he'd come in and they'd start on guitars; he'd tap Curtis on the shoulder and tell him, "Stop! Tune it again, "What's up with that G-string?"

Dehaan: A coach for the guitars. A guitar whisperer. Kevin and Curtis mixed the album together. When we had the meeting with Curtis before recording, I had to tell him that Kyle is at best emotional, at worst she's going to cry about every for the first couple of days, Kevin is a perfectionist, he's picky about everything...

Scarborough: And then Kevin missed the first day of recording!

Seriously?

Loyd: I had a little too much to drink the night before.

Scarborough: He sent me a picture of his puke. Then he calls all moaning, "I'm sick." I know you're sick. I saw your puke portrait.

Let's talk about another favorite track, "Blue Sky," which in the review of it I was writing in my head as I heard it the first time, sounded like the laid-back R&B folk groove, the kind John Mellencamp has been trying to write for the last 30 years and keeps missing.

Dehaan: The Coug! Tell him about last Friday night!

Ross Troost: Last Friday, when we were at the Phoenix Arts Council patio, we upset a guy in the audience in a Hawaiian shirt.

Deehan: A Hawaiian shirt that had pineapples on it! So he comes up to us and says, "I've got a little bit of advice for you. You guys are really good. But you're a little loud." Now, this is outdoors and planes are flying outside.

Troost: So he walks away after saying it was too loud and Kevin stands up and said something about the volume of his Hawaiian shirt so the guy starts walking back and he says "Do you know who the Coug is?" He called him the Coug!

Deehan: He said he was a roadie or stagehand for John Cougar Mellencamp.

Didn't he drop the "Cougar" bit in the '80s?

Deehan: Maybe around the same time John dropped him from the road crew. The Coug! Yeah!

What I like about your band is that you guys don't care what genre you do, or if something sounds weird like a barbershop quinet -- if it sounds good, you do it. So many bands just sideline whole worlds of music. Is there any kind of music you five disagree on?

Breslin: We've had conversation in this band about The Boss and not everyone likes the Boss. Me, I like the pre-Born in the USA stuff, then Ghost of Tom Joad and the Pete Seeger album...

I'm going to guess that as the sax player, Kyle, you aren't that crazy about the Boss becaus - Up On The Sun The Phoenix NewTimes Blog 2012

Just as fortunetellers have their little fishing expeditions to crack a sucker's psyche, so, too, rock writers have their shortcuts on deconstructing a band's sound without using the dreaded catch-all phrase "eclectic" (which, in truth, we've already exhausted in this article's headline). Here's the laziest methodology: Just ask the band members how they describe their sound to their prospective employers, club owners, and go from there. A fair question for Banana Gun, a quintet who's stopped for an afternoon drink at the Swizzle Inn before trucking to play an untried venue in Sedona, land of crystals, clairvoyants, clairsentients, and clairaudients. How did they sell Banana Gun to that club owner?


Banana Gun
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Find nearby:Select TypeAdultAttractions/Amusement ParksBars/ClubsBreweries/WineriesCasinoClosedCoffeehousesCommunity VenuesGalleriesGay Bars & ClubsGrocery StoreHealth/FitnessHealth/ServicesHistoric LandmarksHotels/ResortsLibrariesMarijuana DispensariesMarijuana RetailMovie TheatersMuseumsMusic VenuesOutdoor/Mobile Food VendorParks/OutdoorsPerforming Arts VenuesPromotionalReligion/SpiritualityRestaurantsRetailSalons/SpasSchoolsServicesSports/RecreationTheatersUnknown

Sail Inn
26 S. Farmer Ave.
Tempe, AZ 85281
Category: Bars/Clubs
Region: Tempe
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3 user reviews Write A Review
12


Details
Banana Gun is scheduled to perform Saturday, June 23, at the Sail Inn in Tempe.
Related Content
Banana Gun's Pot Shots and Misfires
June 21, 2012
Five Must-See Shows This Weekend
June 22, 2012
Flier of the Week: Banana Gun at Rogue Bar (Plus New Song)
November 24, 2010More About
Nic DehaanKevin LoydRoss TroostKyle ScarboroughIan Breslin Like this Story?
Sign up for the Music Newsletter: Keep your thumb on the local music scene with music features, additional online music listings and show picks. We'll also send special ticket offers and music promotions available only to our Music Newsletter subscribers.


Privacy PolicyCancelContinue "I told them we're a zydeco/funk/ambient psychedelic jam band," laughs singer/guitarist Kevin Loyd. "Naw, I just tell them we're rock 'n' roll band — that's probably the easiest explanation. That covers a lot of ground."

Yes, rock 'n' roll, that vague catch-all phrase bands shied away from for years, a phrase meaning anything from Slayer to Leo Sayer. Perhaps the much-abused term has fallen far enough into disuse to be operable again. If so, Banana Gun fits the bill. They cover enough musical terrain on their first full-length, The Elephant in the Room, to give a typical A&R man pause for concern. "Attic," the song that the band agrees upon as the signpost of where Banana Gun's sound is heading next, incorporates good-timey folk, Cookie Monster metal, and punk jumbled together in one headspace. At the same time, they are capable of "Blue Sky," an effortlessly laid-back R&B folk groove, the kind that John Mellencamp has been chasing since people stopped calling him "The Coog" and that could make Kid Rock untold millions if he sampled it and called it something else.

"Just be one of those kinds of bands," you can imagine Mr. A&R saying. Would it make for a more easily marketable band? Undoubtedly. But that band wouldn't be Banana Gun, and that would be too bad.

Watching the band set up for a typical show at the Sail Inn or Long Wong's underscores the inexplicable style of the band. Have the dual lead guitarists warming up tricked you into imagining Thin Lizzy (or maybe Molly Hatchet)? Does the skronking sax player have you primed for free jazz or jumpin' R&B? How about the singer with dreadlocks halfway down his back switching from his ax to a banjo? Is this band insane or simply impossibly scatterbrained?

"I think that's a good thing," says saxophonist Kyle Scarborough of the potentially puzzling vibes. "[People] think one thing, and it gets us through the door."

Loyd agrees: " - The Phoenix NewTimes 2012

Just as fortunetellers have their little fishing expeditions to crack a sucker's psyche, so, too, rock writers have their shortcuts on deconstructing a band's sound without using the dreaded catch-all phrase "eclectic" (which, in truth, we've already exhausted in this article's headline). Here's the laziest methodology: Just ask the band members how they describe their sound to their prospective employers, club owners, and go from there. A fair question for Banana Gun, a quintet who's stopped for an afternoon drink at the Swizzle Inn before trucking to play an untried venue in Sedona, land of crystals, clairvoyants, clairsentients, and clairaudients. How did they sell Banana Gun to that club owner?


Banana Gun
Location Info
Map

Large MapMap data ©2012 - Terms of Use
Find nearby:Select TypeAdultAttractions/Amusement ParksBars/ClubsBreweries/WineriesCasinoClosedCoffeehousesCommunity VenuesGalleriesGay Bars & ClubsGrocery StoreHealth/FitnessHealth/ServicesHistoric LandmarksHotels/ResortsLibrariesMarijuana DispensariesMarijuana RetailMovie TheatersMuseumsMusic VenuesOutdoor/Mobile Food VendorParks/OutdoorsPerforming Arts VenuesPromotionalReligion/SpiritualityRestaurantsRetailSalons/SpasSchoolsServicesSports/RecreationTheatersUnknown

Sail Inn
26 S. Farmer Ave.
Tempe, AZ 85281
Category: Bars/Clubs
Region: Tempe
Photos

3 user reviews Write A Review
12


Details
Banana Gun is scheduled to perform Saturday, June 23, at the Sail Inn in Tempe.
Related Content
Banana Gun's Pot Shots and Misfires
June 21, 2012
Five Must-See Shows This Weekend
June 22, 2012
Flier of the Week: Banana Gun at Rogue Bar (Plus New Song)
November 24, 2010More About
Nic DehaanKevin LoydRoss TroostKyle ScarboroughIan Breslin Like this Story?
Sign up for the Music Newsletter: Keep your thumb on the local music scene with music features, additional online music listings and show picks. We'll also send special ticket offers and music promotions available only to our Music Newsletter subscribers.


Privacy PolicyCancelContinue "I told them we're a zydeco/funk/ambient psychedelic jam band," laughs singer/guitarist Kevin Loyd. "Naw, I just tell them we're rock 'n' roll band — that's probably the easiest explanation. That covers a lot of ground."

Yes, rock 'n' roll, that vague catch-all phrase bands shied away from for years, a phrase meaning anything from Slayer to Leo Sayer. Perhaps the much-abused term has fallen far enough into disuse to be operable again. If so, Banana Gun fits the bill. They cover enough musical terrain on their first full-length, The Elephant in the Room, to give a typical A&R man pause for concern. "Attic," the song that the band agrees upon as the signpost of where Banana Gun's sound is heading next, incorporates good-timey folk, Cookie Monster metal, and punk jumbled together in one headspace. At the same time, they are capable of "Blue Sky," an effortlessly laid-back R&B folk groove, the kind that John Mellencamp has been chasing since people stopped calling him "The Coog" and that could make Kid Rock untold millions if he sampled it and called it something else.

"Just be one of those kinds of bands," you can imagine Mr. A&R saying. Would it make for a more easily marketable band? Undoubtedly. But that band wouldn't be Banana Gun, and that would be too bad.

Watching the band set up for a typical show at the Sail Inn or Long Wong's underscores the inexplicable style of the band. Have the dual lead guitarists warming up tricked you into imagining Thin Lizzy (or maybe Molly Hatchet)? Does the skronking sax player have you primed for free jazz or jumpin' R&B? How about the singer with dreadlocks halfway down his back switching from his ax to a banjo? Is this band insane or simply impossibly scatterbrained?

"I think that's a good thing," says saxophonist Kyle Scarborough of the potentially puzzling vibes. "[People] think one thing, and it gets us through the door."

Loyd agrees: " - The Phoenix NewTimes 2012

Last night I took the drive to downtown Phoenix to check out some local bands playing at The Crescent Ballroom. And while all the bands had something to offer, Banana Gun clearly stole the show and were the hit of the night.
Banana Gun began their set to a semi-vacant room, but that quickly changed. I’m going to hazard a guess that everyone inside and out was in the ballroom. They attacked their set with only the enthusiasm that they can bring to music, stealing the show. I’ve said it before, and I will again. These five people were made to play together. And they do it well and with a fervor you rarely see. Take any one person out of the mix and the music would fall flat. Together, they’re fabulous. They’re funny between songs reminding each other, “Hey, they wanna see you shake your ass, not hear you talk. Let’s go!” From the moment they hit the stage, people had feet tapping, hips swinging, and heads bobbing to the music. I dare anyone to keep still and not get into a Banana Gun set. Not. Gonna. Happen. And they played a fantastic set making it even more impossible. I’d describe their music, but it’s uniquely their own sound, which I find very exciting for them. It’s definitely an alternative jazz, rock, blues, indie sound. Did that clear it up? Nope, not for me either. Here’s a sample of one of their slower songs with a strong blues line. They are clearly a band to watch as they get set to explode on the scene. Their next show is the 13th at The Sail Inn. Check ‘em out!

- The Alternative Live Music Blog 2012

When I heard that Banana Gun was releasing an album this summer, I knew it was going to good. I wasn’t, however, expecting to have 15 new favorite songs overnight. Produced by STEM Recording, the band’s 15-track LP has blessed us with this phenomenon. It’s flavorful, it’s fun, and distinctly Banana Gun.

Rummaging through the shambles of whatever yesterday threw onto my primitive iPod Shuffle, I was instantly star-struck by the harmonious intro to The Elephant in the Room. Even without cue, the inviting tone is recognizable. What is it, though, that makes Banana Gun’s sound so distinct?

Kevin Loyd cultivates the kind of vocal charisma that makes hearts cave. Pairing his tactful energy with Kyle Scarborough’s feminine harmonies, ”First Time” emerges as a perfectly trustworthy intro to the subsequent set of rock n roll tracks. Stirring feet don’t lie; “Shake” and “Paper Cut” are cut from a block of pure rock ‘n roll. Ian Breslin kicks off with a steadfast beat that invites racing guitar lines to run ribbons and riots that in due time unravel into the funky groove that displays such the unique Banana Gun sound. Scarborough’s rich tenor sax works with Ross Troost’s robust bass to create a versatile, vibrant theme while Loyd and Nic Dehaan paint the town with picks and plucks. It’s just that kind of teamwork that drives the fivesome forward.

“Blue Sky” rolls in at an easy, Sunday morning pace. Tapping into a John Fogerty-like sound, the fundamental rock solid foundation is built upon, never deconstructed. The town remains, but the season is changing. This shift is especially evident as a glistening steel guitar guides us through one of the most beautiful rock ballads I’ve ever heard. “Devil’s Daughter” is nothing short of poetic.

Friends and fellow musicians Future Loves Past and Mikel Lander (from Sugar Thieves) stir things up in “Trouble.” The back and forth between bass and sax is playful and catchy here, too. This all-around element of camaraderie elevates an increasingly bluesy, swamp-like, Southern soundscape. Favorites “Attic” and “Nightcrawler” are true to the taste of comfort, but “Martyrs & Vultures” continues to climb to yet another tier of twang-rock, a nurtured recipe worth cherishing.

Banana Gun takes us out with a thematic jam and a lyrical exhale. “HAL” is something of a summation that delights the album’s integrity, and we end our journey not with a bang, but with a familiar, seductively peaceful whisper.



Banana Gun is scheduled to release their album The Elephant in the Room at The Sail Inn on Saturday, June 23rd. Performing with them are Quick Henry, The Haymarket Squares, The Wiley One, Doctor Bones, TKLB? Ghetto Cowgirl, Gospel Claws, Japhy’s Descent, STRANGE YOUNG THINGS
- Echo Cloud Productions 2012

"Phoenix’s downtown music scene saw a ginormous explosion of expansion this past decade as the First Friday phenom gained immense notoriety in social circles of all varieties and morphed the once seedy Roosevelt and surrounding art districts into the hippest place in the metro Phoenix area. Impressive as the immense interest was, the success turned out to be short-lived as many popular places inevitably succumbed to rising operational costs in an improved area and other brooding economic woes. The laundry list of local victims includes old school favorite Emerald Lounge and its descendent apparent The Ruby Room, Grand Avenue’s constantly dynamically booked Paper Heart, and possibly most devastating and indicative, Roosevelt Row trendsetter Modified Arts (R.I.P.), which ceased all its live music performances this past December, but not before raucous newcomers like Phoenix’s awesomely titled BANANA GUN made their mark by blasting glimmers of hope that there is still vibrant life left within the scene.

Since “coming to earth” this past August and landing at the most unlikely of destinations, Mesa’s Hollywood Alley, BANANA GUN have far exceeded the lofty expectations that a bold name such as theirs implies. In fact, guitarist and vocalist Kevin Loyd even twangs his crooning up in a smooth soulful manner evoking earlier work from current alt-country superstars KINGS OF LEON. This change of pace is welcomed with open and eager arms especially with the legion of whiny, nose holding singers and army of roaring cookie monsters that dominate the valley’s popular punk and metal scenes.

BANANA GUN ensure a much wider spectrum of emotion is on display, but never hits the overwrought levels of “emo,” with precise instrumentation throughout to add intensity to the impact. Loyd and guitarist Nic Dehaan provide simply searing Neil Young style fretwork with a very heavy groove courtesy of bassist Ross Troost for “Too Much Woman” complete with paint-peeling leads to match the vocal’s impassioned urgency. The flourishes of Travis Engler’s organs add just the right emotive touch to “Xoe” before Ian Breslin’s powerful drum fills crash through at this beautiful song’s triumphant crescendo. Despite the hints in their sound, “Light On” still might prove to be the most pleasant surprise, a traditional country inflected gem which traces the band’s grass roots all the way back."

By: Jaime’ En Fuego

- Playtime Magazine - Jan '10

"Phoenix’s downtown music scene saw a ginormous explosion of expansion this past decade as the First Friday phenom gained immense notoriety in social circles of all varieties and morphed the once seedy Roosevelt and surrounding art districts into the hippest place in the metro Phoenix area. Impressive as the immense interest was, the success turned out to be short-lived as many popular places inevitably succumbed to rising operational costs in an improved area and other brooding economic woes. The laundry list of local victims includes old school favorite Emerald Lounge and its descendent apparent The Ruby Room, Grand Avenue’s constantly dynamically booked Paper Heart, and possibly most devastating and indicative, Roosevelt Row trendsetter Modified Arts (R.I.P.), which ceased all its live music performances this past December, but not before raucous newcomers like Phoenix’s awesomely titled BANANA GUN made their mark by blasting glimmers of hope that there is still vibrant life left within the scene.

Since “coming to earth” this past August and landing at the most unlikely of destinations, Mesa’s Hollywood Alley, BANANA GUN have far exceeded the lofty expectations that a bold name such as theirs implies. In fact, guitarist and vocalist Kevin Loyd even twangs his crooning up in a smooth soulful manner evoking earlier work from current alt-country superstars KINGS OF LEON. This change of pace is welcomed with open and eager arms especially with the legion of whiny, nose holding singers and army of roaring cookie monsters that dominate the valley’s popular punk and metal scenes.

BANANA GUN ensure a much wider spectrum of emotion is on display, but never hits the overwrought levels of “emo,” with precise instrumentation throughout to add intensity to the impact. Loyd and guitarist Nic Dehaan provide simply searing Neil Young style fretwork with a very heavy groove courtesy of bassist Ross Troost for “Too Much Woman” complete with paint-peeling leads to match the vocal’s impassioned urgency. The flourishes of Travis Engler’s organs add just the right emotive touch to “Xoe” before Ian Breslin’s powerful drum fills crash through at this beautiful song’s triumphant crescendo. Despite the hints in their sound, “Light On” still might prove to be the most pleasant surprise, a traditional country inflected gem which traces the band’s grass roots all the way back."

By: Jaime’ En Fuego

- Playtime Magazine - Jan '10