The Native Howl

My Facebook timeline has been filled The Native Howl all day long, and now I know why. The four piece from Michigan released their Thrash Grass EP earlier this year, and their ‘Thunderhead’ video is starting to go viral. Why? Because they are mixing thrash metal and bluegrass together, and it fucking rules.

As you can see on their Facebook page, the band’s influences include Metallica, The SteelDrivers, Black Sabbath and The Gasoline Gypsies, and they’ve come up with a sound that incorporates them all. Sure, we’ve seen banjo covers of Cannibal Corpse and Slayer by Rob Scallon, but The Native Howl is taking it to a whole new level. For fans of these two genres, this is a dream come true!

Enjoy the ‘Thunderhead’ video below, and if you dig it, pick up Thrash Grass today! - Ghost Cult

The Native Howl features

banjos, harmonicas and various other hollow wooden instruments, but it isn't a country band and it isn't folk. It also isn't, despite its twang, an Americana or roots-music outfit.

Instead, the Rochester quartet brews up a furious hybrid of thrash metal and bluegrass on "Thrash Grass," its new EP, which delivers bluegrass as you've never heard it before.

Singer-guitarist Alex Holycross started out playing folk with banjoist-vocalist Jake Sawicki as both were finishing college. Holycross studied music at Oakland University, while Sawicki studied electrical engineering at Michigan State. The Native Howl congealed when Mark Chandler and Joshua LeMeiux, both professional musicians and songwriters, joined on bass and drums respectively.

The band members' relative youth (they're all in their mid-20s) belies their disarming appreciation for the hard work it takes to make it in today’s music industry. (Holycross and Sawicki are business partners in Clean As Dirt records, which serves as their recording studio and their publishing label.) Still, it's the fury and the fun the band generates onstage that makes its performances memorable.

The Free Press spoke recently with Holycross about "Thrash Grass," the band's invention of an offbeat musical genre and the reception the Native Howl has received from metro Detroit audiences.

QUESTION: The EP is titled "Thrash Grass," so we should start there with this genre you’ve created for yourselves. Go back to when you started writing it and fill in this blank: “No matter what, we hope this record achieves __”

ANSWER: I mean, imagine a band in 1954 coming out with a record called “Rock 'n’ Roll,” or a band in 1985 coming out with something called “Hair Metal.” This one was unique in terms of fitting certain guidelines — like does a song fit the theme or the concept? The only prerequisite for any of these songs was: “Is it ‘Thrash Grass?’ Is it our new genre? Is it that melding of bluegrass and thrash metal that we want?" If we had goals it was, first and foremost, to encapsulate the live energy of our shows, but then to make the crispest, clearest and most emotion-evoking record we could make. We want people amped up when they hear “Thunderhead” or laughing and in a good mood during “Doomed from the Start” or, most importantly, if they’re going through rough times, to take refuge in a song like “Hurricane.” At the end of the day, it’s our attempt to meld the melodiousness of bluegrass with the fury, or the aggression, of thrash metal.

Q: Music like this thrives in a live setting. Can you talk about capturing that on a record and also about your exchange of energies when you’re in front of an audience?

A: Like a lot of bands, we have day jobs to supplement income, so we’re losing sleep, often because we’re working and going straight to rehearsals or recordings or shows right after. But it’s so rejuvenating when you see the crowd respond and go into pure pandemonium with you. That’s the reminder of why we’re doing it and when we truly feel alive. The ultimate goal is to help people through this music, to give people songs they can seek refuge in when they hear it, but beyond that, God, I hope people are having as much fun as we are when we’re playing.

When we’re performing for new audiences and we kick in with “Thunderhead,” I see two expressions, typically, on people’s faces. They’re either sort of perplexed. Or, they’re just laughing,with this kind of joy over never having heard something like it before, like "What are these guys doing?" So reactions are usually overwhelmingly positive, if initially of an inquisitive nature. We’ve had great experiences in the Detroit scene trying out this new sound we’ve been working on. That’s been heartening.

Q: Can you talk more about how the band was formed and the genres and musical influences that shaped your sound?

A: (Jake Sawicki) and I started as an acoustic duo in 2013, playing light bluegrass and folk with maybe a bit of metal influence coming from me. (Sawicki) came from folk music, whereas I came from hard rock, thrash and heavy metal. I've got to tell you: I feel like we’ve converted each other. I can strum with him for sure, but he can riff with the best of 'em. ... Our bassist, Mark, is more of a classic metal guy, so Iron Maiden and stuff like that, while Josh, our drummer, is very hip-hop inclined. Yet, people usually presume we’re an Americana band. We’ve found a nice middle ground, this uncharted island for each other between metal and acoustic that we’re excited about. … But what’s paramount for us is to stay open-minded. We’re willing to play any genre as long as we play it well. We’re not bound to genre. Obviously, this new record showcases thrash grass, but we’re open to anything as long as it’s good.

Q: And you’re able to try anything partly because you have your own studio. How did Clean As Dirt records come into being?

A: It’s pretty much the artistry mecca for us, our sanctuary that we created. There are so many ridiculously good recording studios in the Detroit area, but from when I was younger and first entered a studio, I’d always wanted to build my own place. My dad passed away in 2008, and we renovated space in his heating and cooling shop. I felt: What better place to fulfill my dream and build my own studio than in the work space of the person who supported my music the most. I met up with Joe Horsch in 2010, and he became a best friend and business partner with Jake and me as we built the studio. Now the company, Clean As Dirt, is essentially the record label that we own and also a publishing company to release the music that we record so we don’t have to go through outside parties. We’re at that age, between 24-26 now, where we’ve made the jump. This band is going to be our careers. You only live once, right? But it took a lot of work.

Q: You’ve mentioned that your music can help listeners. Can you talk about the emotional connections audiences make with your shows?

A: We’ve played shows where we can tell we’ve turned a crowd to our side and that their day, their week or month is different after having gone to the show. ... Some have said they’re going through a rough time and listening to a song got them through it and they say thank you. … For us, that’s what we want — for what we write to help others. And that’s what we hope for, bringing a crowd into it when we perform, making them feel like they’re a part of it. Because without them, what the hell are we doing? - Detroit Free Press

It’s always great to see an innovative new band make waves. The Native Howl is no exception with their hard hitting “Thrash Grass” style. You read that right. This band combines Thrash Metal and Bluegrass. The results are beyond awesome.
We’ve gathered an assortment of videos to give you a better idea of the chaos. This includes a stream of their EP which is quite literally titled “Thrash Grass”. Enjoy the madness! - The Circle Pit

5. The Native Howl – “Hurricane”
Ever thought about thrashing to bluegrass? Neither did we, until we stumbled upon The Native Howl and their recent release, Thrash Grass. Talk about intense! They bring a whole new style of music to the scene that has yet to be duplicated. It’s an energetic, unique listening experience with folky storytelling and fast-paced jams running rampant with impressive bass runs and hyperactive banjo. However, what we find most impressive are the barbershop quartet-style harmonies sprinkled in for that extra old-school flare. You would think these guys were born and bred southern ruffians, but we’re lucky enough to call them our own up here in Detroit. We can only imagine that their live performance is just as captivating as this album. - CW 50 Detroit

The Native Howl performs live ahead of their appearance at the Meridian Winter Blast this Friday. - Live in the D Channel 4

As I have said repeatedly, when it comes to live, local music in South East Michigan it is all about the people, the places and the music (and always in that order). So, while I have worked very hard in this blog to bring some incredible live music experiences to my readers, I am continually awed by the places I have been introduced to and humbled by the new friends I have made in my musical journeys. No where was this more evident that last night, in a converted heating and cooling workshop where two of the very finest "Semibluegrass" bands around met for the first time in front of a tiny, select audience of family, fans and friends to create a uniquely meaningful and transcendent musical experience.
This "Intimate Evening of Music" was the brainchild of master-promoter and kindred spirit Don Kanners. In semi-retirement from his past, less-fun-but-more-profitable career, Don has totally immersed himself in the live, local, southeast Michigan music scene with his management, promotions and booking company, Music Movers LLC. There is something special about each of the four up-and-coming bands Kanners has assembled. The Native Howl, the Gasoline Gypsies, the Tom Toms and Off the Ledge are all likeable, listenable and eminently talented...and Don finds ways to put them in the public eye every day. Don keeps the bands busy with the expected bar gigs, showcase shows and festival appearances, but he also works tirelessly to expand the bands' reach into other venues--appearances on TV news shows, radio appearances and special, one-of-a-kind events. His boundless enthusiasm for live music is exceeded only by his professionalism, creativity and dedication to clients. The world would be a whole lot better place if there were more of him around.
Five or six years ago, Don, a self-professed "classic rocker", was none-the-less gobsmacked by Ann Arbor's quintessentially hip and impossible to define global groove band The Ragbirds and came up with the hare-brained idea of booking them to play a "private" show for a small crowd. Enter Native Howl frontman Alex Holycross' Clean As Dirt (CAD) Studios (Click the link for a cool article from MuseTracks--something else terribly cool you should know about!) This mystic musical retreat was created to honor Alex's father from the bones of his defunct heating and cooling business. More than just a state-of-the art recording studio, CAD is a place where musician's gather to share ideas and try things out in a judgement free zone; where differences fade and friends become family through shared interests; where the pursuit of dreams means more than resumes or college degrees; and where--with just a little nudge--magic still lives in our world. It was into this ephemeral setting that Don invited the Ragbirds who admitted "we had no idea what to expect"--and later thanked the Native Howl and Don for "inviting us into your family".
And what a family this was. There were, I believe, only 32 tickets sold to this event on an invite-only basis. Friends and fans alike, this was truly a musical family--relaxing and socializing over beer, wine and fantastic appetizers (courtesy, I think, of Alex's mother) before the show, and then settling in for an intense listening experience (oddly reminiscent of Johnny's Speakeasy in that regard). The night opened with the Native Howl in a stripped down, "Thrash Grass" configuration-- with Drummer Joshua LeMieux unexpectedly picking up the guitar instead of his usual drum kit--a huge gamble that obviously took a LOT of hard work on this young man's part--and he pulled it off flawlessly! They've still got a way to go to be "bluegrass", but it was pure "Semibluegrass" for sure!
Through the genius of Don Kanners, neither band had ever heard the other play and had no idea what to expect. As a testament to the talent in both bands, I watched them grooving on each others' music throughout both sets. The Native Howl played some of their signature "ThrashGrass", but also dug deep for some older, melodic tunes and less familiar material. On their part, the Ragbirds also stripped their stage show down to present some spectacular new material from their new album "The Threshold and the Hearth" and some classic rhythm-addicted Ragbirds jams. What can I say about the Ragbirds that I haven't said here or here before. The band just embodies so much of what attracts me to local, roots music and the people who play it. Fronting the band is Erin Zindle, a powerful songwriter, fearless and unabashedly willing to bare her soul, and put her feelings--both light and dark--on display to connect the crowd to a deeper truth. Family plays an important role in the band as well...not only in the stories of love, loss and relationships their songs tell, but right out in front, with Erin fronting a band that contains her brother TJ on guitar and husband Randall Moore on percussion. You get the sense that John Brown on drums and Dan Jones on bass are no strangers to the dinner table at the Zindle/Moore house either. A true stand-out of the night was Brown's work on the Cajon. With lightning fast hands and a subtle touch, he was able to bring that box alive--booming, sizzling and snapping like the full-blown drum kit he normally plays. It was an absolute clinic in how drums should be played in an acoustic setting--perfection.

In a moment of pure spontaneous genius, Erin sat in with the Howl for a tune, and they returned the favor having Alex sit in on the Stealers Wheel classic "Stuck in the Middle with You". It was inspiring to watch them figure each other out and then throw themselves completely into something unfamiliar, yet somehow as comfortable as a favorite tee shirt (probably a tie-dyed tee shirt with this group). All in all, an amazing night of music and fellowship--both on stage and in the audience.. I was so enthralled and enraptured by what was going down that I completely forgot to take notes. Luckily, Gasoline Gypsy and Native Howl Super Fan Jack Hunger posted a great description of the show on his Facebook page. With his permission, I've copied some of it below; as he managed to capture the spirit of the evening better than I ever could have.
"The Howl set began, by taking percussionist Joshua LeMieux out of his normal double drumming role and had him tickling six strings. Accentuating more Grass than Thrash for this intimate set, the move was private and personal, and a romantic testimony to LeMieux's passion and dedication to his art. Not his instrument of choice, Josh worked to make tonight work, and that work, certainly paid off in spades.
The highlight of the Native Howl set was a rarely played in public duet of Holycross and Jake Sawicki, called The Vast Divide, a soul searching look at struggling with loss. The entire audience was moved to tears. It was raw, emotional and real. It only could have happened on this night, in this room. An 'oh wow," hush followed that song, as we all gathered our hearts. Jake broke the silence with, "we're gonna do something a little happier now," and an audience giggle, and a Mark Chandler bass solo later, heads were bobbing, and hands were clapping again. It was like the grandest of roller coaster rides.
Erin Zindle, the 5 foot nothing (but with a gigantic presence) bundle of fiddling energy that fronts the Ragbirds said it best, "We booked this house party-studio thing, not knowing what to expect. Sometimes special happens. Alex talked earlier about family. Thank you for inviting us into your family."
And The Ragbirds delivered. Like The Howl, the original music of The Ragbirds defies traditional definitions. Obvious bluegrass roots, are fed with clever and folksy lyrics, that tell tales of overcoming challenges, and negotiating life and love. Theirs is music of hope. Ms. Zindle's voice is angelic, her violin can be both a fiddle and a classical orchestra instrument. She moved about the small stage like a sprite, sprinkling happiness around the room. Intricate rhythms from a team of percussionists and rock solid guitar work from Erin's brother, TJ invoked wisps of a subtle Grateful Dead influence
The brilliant meeting of The Native Howl, and The Ragbirds, two bands who had yet to be together before this night, was arranged by Don Kanners of Music Movers, LLC, who promotes The Howl, and had become a fan of The Ragbirds, after hearing the Ann Arbor family five-some a few years back. "It was a match that just made sense to me," Kanners noted. "their styles are definitely different, but I knew they'd mesh."
Perhaps, the only thing that could have eclipsed that magic that was the music on this night, would be the size of the biggest smile ever seen on a human face as Alex sat in on an encore song with the Ragbirds. They covered "Stuck in the Middle with You."

Alex, all of us certainly are proud of you. And what was the magic that you made in that room, proves somebody else was looking down, and beaming about his boy, as well.

So, if it ever comes up, and someone asks this guy, where were you when you had your greatest live music experience? I'd say, Leonard, Michigan. With The Native Howl, and The Ragbirds. You just can't top that!"

~Jack Hunger - Semibluegrass

Two of my favorite bands right now are the Gasoline Gypsies and the Native Howl, both of whom recently electrified the crowd at the Music Mover's showcase at the Magic Bag in Ferndale. So, what was an admitted bluegrass and acoustic music die-hard doing at what could only be describe as and pure electric rock show? This question cuts right to the heart of the "SemiBluegrass experience". I could take the easy way out, and fall back on my oft-recited mantra "live/local music--nothing better", but that wouldn't be fair. Instead, if we focus on what it is that drew me to bluegrass and acoustic music in the first place, you begin to see that, while these bands are in no way "traditional", "bluegrass" or "acoustic", they solidly embody the SemiBluegrass spirit in their performances.

First and foremost and regardless of arbitrary genre labels, I'm a fan of authentic music; be it honest, original performances or high-quality cover material that pays homage to the American music tradition. Both of these bands feature predominantly original material, with only the occasional cover tune thrown in. They are also careful to avoid the cover rock cliche' by choosing songs by less-well-known artists and deep cut/B-side recordings from popular artists. And they pour their heart and soul into every song, every performance. It is simply impossible to ignore these bands on stage; their infectious enthusiasm draws the crowd in and takes them on a musical journey together. Whether it be Chicago Blues, Classic Bluegrass or Acoustic Rock, the hallmark of great roots music has always been over-the-top energy and relentless drive--and these bands have that in spades....
...the Native Howl draws upon the instrumental legacy of roots music in their performances. How do you describe their sound? Acoustic Folk-Metal? World Fusion Jam Band? Death Grass? Let me tell you what you have here. First, you have a guitar-driven Detroit rock duo. What makes them unique is their use of acoustic guitars played in both the flatpick/strum folk tradition and the lay-it-down power-chord grunge/metal style. It's quirky, but it gives them a really unique and rich sound. Add it band member Jake Sawiki's remarkable harmonica chops and Alex Holycross work on the keys and you begin to get a glimpse of the musical complexity that defines that sound. Anchor this with some incredibly funky-yet-punk-edgy bass lines and darn good drummer and the crowd loses their mind. The first time I saw this band, I thought they brought a busload of fans with them who dance and sway and sing along with the band, amping up the energy and sending the show into overdrive. Now that I've seen them a few times, I understand that they don't have to bring fans with them, they have a gift for connecting with any crowd and engaging in a musical symbiosis; a positive feedback loop where the crowd's energy inspires the band and the band's performance energizes the crowd. - Semibluegrass

Folk-rock bandits, The Native Howl formed less than 2 years ago when singer-songwriters Jake Sawicki and Alex Holycross finally joined forces after years of making music in close proximity to one another. Since coming together the duo have self-released The Revolution’s Dead EP, and used their combined business acumen to launch Clean As Dirt Records, out of Leonard Michigan’s CAD Studios.

In the year that followed, the group proceeded to play stages throughout Michigan and began writing and recording their debut full-length album, Inukshuk, due for release by early October. An Inukshuk is an Inuit cultural symbol made up of a pile of unworked stones often used to designate safe travel passages.

This Wednesday, June 30, you’ll be able to see The Native Howl perform two 50-minute sets at Detroit’s Campus Martius as part of the Lunchtime Concert Series hosted by 93.9 The River. The guys will be handing out demos of Inukshuk with purchase of anything from their merch table.

You can get your hands on The Revolution’s Dead at The Native Howl’s bandcamp, and stream the music video No Chance (For My Soul) - Detroit Sounds Like This

Monday, October 20th, 2014 - John P. Bayerl PHD semibluegrass.com

"...What to say about the Native Howl. Billed as an acoustic duo, this twenty-somethings band features guitarist/songwriters Jake Sawicki and Alex Holycross. Their blend of acoustic rock with a metal, folk and/or punk edge makes them a wee bit hard to define. Start with a cross between Chris Stapelton and James Hetfield on vocals, mix in some surf-punk meets grunge band. Throw on some Greenday bass lines and a thundering drum kit with the obligatory Djembe solo and you get close. Sort of. They are very unique, featuring a mix of instrumentation, and an identifiable sound. Once you've heard them, you would know they were playing before walking into a club. Their vocal harmonies are surprisingly good for the genre, and it's obvious they spend a lot of time working on their arrangements.
Their mostly original set featured plenty of hard-driving, high-octane melodies belted out with grit, soul and angst. Acoustic guitars played through a variety of effects creates a lush sonic tapestry to drape songs featuring rust-belt images of young love, rebellion and coming of age. There is a certain jam-band feel to their music, with a both guitars sharing lead lines, and rhythm work--each in their own distinctive style And their fans love them. Three notes into each song they lose their minds, cheering, dancing and crowding the stage. The band obviously feeds off this energy, pushing themselves to soaring heights both vocally and instrumentally. Make no mistake, this is a rock show. Pure Detroit rock. And it's great!.." - SemiBluegrass

Music Movers LLC hosted its first ever be benefit showcase of local talent featuring Social Bandits, Native Howl, Gasoline Gypsies, and The Prime Ministers.


The Magic Bag in Ferndale, MI was packed with a sold out crowd of almost 400 who came to support not only local music, but a great non-profit. Some folks came from as far as Port Huron on buses provided to those willing to shell out the $30 door price. The event proceeds go toward the Greening of Detroit, a non-profit seeking to beautify and educate the Detroit area using sustainability initiatives.

The Prime Ministers opened the show to a less than full house and a somewhat disinterested crowd. However, they give it their all and managed to kick out some worthy jams, capturing crowd attention as guests continued to file into the venue.

Then, as if by magic, The Gasoline Gypsies took the stage and it was obvious how many people had arrived. You had to bob and weave your way through the dense surge of dancing machines. This continued on into The Native Howl set, to the point the floor way jammed tight around the front of the stage.

The Social Bandits closed the show, but to a dwindling crowd as much of the dancing throngs had decided to leave early. At one point, lead singer Jesse Medawar leaped off the stage running to the back of the house to encourage more people to get up and dance, and then joined them on the main floor while his band continued to jam. - National Rock Review

Managing to develop a significant local buzz in a relatively short amount of time, we bring you band called The Native Howl, from the Detroit area.

Quite simply, The Native Howl is a band made up of two remarkable musicians – skillfully expressing their unique brand of Acoustic Rock while commanding a wide variety of instruments (including, but not limited to, the banjo and the Sitar) and a plethora of musical styles (including a little Funk).

Vocally, The Native Howl brings a convincing and rich texture that makes their overall sound new and interesting.

Check out some of their songs here:

https://soundcloud.com/thenativehowl/sets/the-revolutions-dead



MAR. 1 2014 #THE NATIVE HOWL - NMCM - New Music Charts Magazine

October 20th, 2014 - Scott Murray - Under The Gun Review

Allow us to introduce Michigan folk-rock band, The Native Howl, a group of singer-songwriters and entrepreneurs that are busy carving out a local scene and chasing a dream.
Lead vocalists Alex Holycross and Jake Sawicki had been friends and musicians in the same area for several years before venturing into what would become The Native Howl. Early on, Sawicki was working a corporate job, spending evenings writing music. Holycross on the other hand was busy starting up a recording studio in Leonard, MI, which he and The Native Howl team currently manage.

When the group began working together they first revamped Holycross’s studio. While wrapping up renovations they began to record their first songs as The Native Howl, for what would become an EP called The Revolution’s Dead. The EP was released late in 2013 just as the guys announced the launch of a self-managed record label, Clean As Dirt Records, a home for friends in the scene as well as their own projects. One such project is a two-piece metal band of the same name fronted by Holycross.

Since forming, The Native Howl have begun to build a following in Metro Detroit by performing with talented acts from the surrounding areas. One such band includes Port Huron’s The Gasoline Gypsies, with whom The Native Howl are currently putting together a tour.

Somewhere between the long hours required to run a recording studio and record label, playing shows, and spending time with their families, the guys managed to find time to record The Native Howl’s first full-length record, Inukshuk, which arrives this Fall via Clean As Dirt Records.

In preparation for their new record, The Native Howl are currently streaming “Death Jam,” the first single from Inukshuk. The song is currently streaming on Spotify and available for purchase on iTunes. - Under the Gun Review

Nuestra sopi-recomendación musical de esta semana es un nuevo dúo folk/alternativo que, a pesar de tener solamente unos meses de existir, ya está encantando a miles de jóvenes.Formado a mediados de 2013 en Michigan, el dúo conformado por Alex Holycross y Jake Sawicki está creciendo rápidamente gracias a su estilo y habilidad musical al tocar instrumentos como el banjo, djembe, entre otros.Con influencias de bandas como Mumford & Sons, The Lumineers, The Head and the Heart, Johnny Flynn y Matthew and the Atlas, The Native Howl se ha dedicado a promocionar su EP debut, The Revolution’s Dead, y a tocar en pequeños recintos estadounidenses.A pesar de que se espera que su primer disco de estudio salga a mediados de 2014, el dúo ya está dando mucho de qué hablar y promete volverse en una de esas bandas perfectas para disfrutar en un festival al aire libre.Aquí les dejamos algunas de las canciones que The Native Howl ya ha compartido en sus redes sociales… disfruten: - Sopitas

“This up-and-coming folk band blends a bit of gritty blues and experimental rock music into its acoustic concoction. But don’t expect soft and sweet coffee-shop harmonies because this folk has a bit more fury to it, including driving rock tempos kicking under intricate guitar fretwork.” - Detroit Free Press