Wednesday 16 Apr

Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0

Rachel Brashear — Revolution

Rachel Brashear’s second EP, Revolution, starts with a kick to the shins.
03/18/2014 | Comments 0
Home · Articles · Music · Music · Cake boss

Cake boss

In ditching its record label to start its own, Cake gets to have its cake and eat it, too.

Joshua Boydston April 18th, 2012

8 p.m. Saturday
Diamond Ballroom
8001 S. Eastern

Robert McKnight

 Cake’s B-list status is not accidental.

“The band formed not really wanting to be big, and we’ve actually succeeded at that. We never exploded onto the scene, as it were,” singer John McCrea said. “When things become really big, they become suspect.”

Since breaking through in 1996 with the hit “The Distance,” Cake has seen the demise of many a major alt-rock act. The band continued with a string of catchy singles — “Never There,” “Short Skirt/Long Jacket” — that assured steady airplay.

“Radio has used our songs as palate cleansers between the real songs — the serious, veins-bulging-from-neck guitar rock that’s such a constant thing in America,” McCrea said. “It’s like, ‘Here’s the court jester to dance for you.’” After its fifth album, Pressure Chief, Cake left the major labels to strike out on its own — a natural move following 15 years of its members producing and recording on their own.

“Our culture has always been pretty DIY. It’s been a crafts project that’s gone way too far,” McCrea said. “We’ve gone back and started our own label, just because we don’t want to be aboard a sinking ship. We may be anyways, but at least there’s more hope steering ourselves.”

The result, last year’s Showroom of Compassion, was recorded in Cake’s solar-powered studio in the band’s hometown of Sacramento, Calif.

“We felt pretty guilty,” McCrea said.

“It seemed ridiculous to not have that, being based out of Northern California. As the value of our recorded music descends into the abyss, we’ll still be receiving a $25 check from the public utility every month to buy sandwiches.”

The seven-year span between Pressure Chief and Showroom is the longest in the group’s existence, but McCrea doesn’t view the lull as a waste. After all, the disc topped the Billboard charts its debut — a Cake first.

“Time is a real ally,” he said. “There’s something to be said for a sharp editorial knife. You need time to see how stupid some of your ideas are.”

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