Chicago Music Guide
An Interview with: The Dammitheads
By: Becca Cleeland
BC: Ok, I just need to say, I totally dig your bands name!! How did that come
about?
[dt]: Ha. Thanks! That gets asked a lot.actually, it was just something I said one day out of silly frustration. This was after a lot of going back and forth about needing a band name. I didn't want to go the singer/songwriter self name route and it was like a daily question as to what it would be then. It took like a month for both Steve and our manager, Jen, to realize I was actually serious after saying it. It kinda got solidified doing a telephone interview, I think.
BC: So, how long have you been playing together?
[dt]: Something like 4 or 5 years now, I think.
BC: At what point in your lives did you realize you wanted to be a "rock star"?
[dt]: Well, I'm kinda trying to work out this whole "professional musician" thing at the moment but if it falls through, I'm thinking maybe I could fall back on the "rock star" thing. Seriously though, I grew up in a very musical environment between days spent with an organist grandmother and parents whose record collection was a virtual who's who of classic recordings at the time. All I did was play those records day in and day out..that was my introduction to this.those songs, those voices. Like, Matchbox cars and Thin Lizzy, man.I was feeling that sh*t! I wanted to play music long before I understood what any of that meant. Nothing has really changed.'cept maybe I prefer Legos to Matchbox cars now. Still a toss up, really.
[steve]: I think when I was about 22 I decided that it would be much cooler traveling around performing for a living rather than sitting behind a desk. If that means being labeled a "rock star" I'm into it.
BC: How long have you been playing your respective instruments?
[dt]: I started guitar in middle school and began singing out of necessity after high school..there was just nobody else around to do it and my bandmates sort of elected me. I was actually quite reluctant.
[steve]: I picked up the drums at 22 so almost 9 years.
BC: Are you naturals? Or did you have to fork out the money for lessons?
[dt]: Well, as I said, I grew up in a musical environment. I didn't take lessons proper and I guess you'd call that self taught but I have always been an absolute rabid fan of all kinds of music. I could never get enough.and for me, every minute spent listening to those records was (and still is) school in session. Hanging around music stores and watching other cats certainly helped fill in the blank spots. It's important to realize, though, that nobody just makes this stuff up and I think anybody that tells you they're completely "self-taught" is just not being honest with themselves.
[steve]: I'd love to think I'm a natural but lets be serious. Every drummer I've ever heard has taught me something. I took formal lessons for a short time but the best teacher I have is my CD player.
BC: Your sound has been compared to the likes of the Stones, Bowie, T-Rex, Elvis
Costello and the Clash. Have any of these bands helped to inspire your
sound? If not, who has?
[dt]: Absolutely those bands have been huge influences on the music we do and certainly others have as well. I'm really a fan first when it comes to music. So many people like to go the route of pretending they invented this stuff and distorted guitars just fell out of the sky for them but I don't mind saying that the music we do quite purposely goes a long way toward recognizing and paying homage to the great architects of music and rock and
roll in particular. I mean, sure, it doesn't stop there, but we aren't afraid to build it in and run with it. Keith Richards, Johnny Thunders, The Stooges, The Clash, Marc Bolan, Mick Ronson.what the hell am I gonna do reinvent THAT wheel?! I mean, c'mon. I think I sorta secretly hope it sparks others to rediscover this stuff and maybe the secret that feel is not
something you wear will somehow leak out.
BC: How would you describe your bands sound?
[dt]: It's rock and roll, unapologetically. At the same time, though, it's an ever changing thing. That's kinda the soul of this band.to be able to go in any direction we see fit..so maybe I'd describe it better as fearless and artful.
BC: I find it interesting that it is just the two of you, why no bass player?
[dt]: We actually had a bass player in the very early stages of the band. Long story short, he flaked and by that point I was really tired of going through flaky musicians. We kept working on material and the sound kind of started coming together with just the two of us. The really great thing about playing with Steve is that he's not a slave to convention.he likes a good challenge. He's always really open to whatever I might throw at him and he's one of the only guys I personally know that really has the heart for this stuff, long run.
BC: Have you ever considered a bass player?
[dt]: Sure. Early on it was discussed and voted down very quickly. There is a lot of great flexibility in this set-up and we are very comfortable with it. I think the official Dammithead membership desk is pretty much closed but we've talked a bit about whether or not to hire on guns for larger tours and whatnot. I mention this because, oddly enough if we did bring in outside guys, we'd both be way more interested in what something like the right keyboard or sax player might do to augment the sound than a bass player. I dunno. We're pretty picky as it is..no doubt you'll be seeing just the two of us for a good long time.
BC: How about a backup singer/dancer? I am available. (joking)
[dt]: Steve has recently come up with a Four Tops-esque step, clap and spin routine for "Matador" he could teach you if you ask nicely. It's almost worth asking nicely just to witness him do it.
BC: Anyway, your album entitled "Heart of the Matador", is there any story
behind that name?
[dt]: Yeah.basically, the record as a whole is kind of this whole sort of concept album dealing with the recurring themes of life, death, struggle, art and the artist. I was thinking about the artist and the artist's place in society.how sometimes it's double edged sword. Think of the many great artists who have paid high prices chasing down and/or hiding from the muse.from Van Gogh to Elliott Smith. It's really a long story but, to me, bullfighting and the matador's struggle with the bull is the ultimate metaphor for life and death and art...it's like war.the struggle, the strategy, the grace, the violence, the death. The matador is a rock star in his arena.more than human, and yet, far less than human. Who is he? What really goes on in the heart of the matador? I mean, it's a concept album only very loosely but I think the keen listener can make the right connections.
BC: Do you think the album was received well?
[dt]: Well, we're not U2 or anything but, yeah...I think it has been. Certainly, it has been by fans and it's slowly making quite a name for itself in the industry as well with television placements and a song that, at this time, is currently in the running as a finalist in the International Songwriting Competition. We worked hard to make a good record and I think
it's something that probably almost anyone can find something they like in.
BC: Looking objectively at your two albums, how would you say the albums differ?
[dt]: I'd say that "Freeze" definitely has a more stripped down appearance whereas "Matador" is purposely more "over the top" with a greater emphasis on lyrical and conceptual content. "Matador" is kind of this big grandiose statement in my mind. It's kind of a songwriter's rock and roll record with a little bit of concept album thrown in for good measure. There's almost this air of pretentiousness to it.like "Ziggy Stardust" or "The Slider" but it's not actually pretentious at all.
BC: With the exception of less instruments, how are your songs different live from studio?
[dt]: Well, I have always said that we take sort of a "jazz" approach to live shows, not so much the genre but definitely the spirit. The song is a path and we tend to walk that path a little differently each time. With just two people, it's very easy to just change direction mid flight and do whatever comes to mind. We like to have fun with that and see how far we can push certain things. It may not always work but that's the beauty of pulling something off, isn't it? Being only two guys, we also have to approach our instruments and arrangements differently than we do in the studio.it's really an art of its own. It's certainly more a form of interpretation.
BC: Do you have any new projects in the mix?
[dt]: I'm doing a whole lot of writing and have some pretty wacky ideas but the focus for us right now is to keep The Heart of the Matador in the public eye and get some more music lovers on for the ride. (that's "artspeak" for "mostly promoting our current record")
BC: When can we expect to see you in Chicago next?
[dt]: Hopefully very soon and often. Chicago's tough on a rock band but we love it. Yep. Tomorrow, we take Chicago!
BC: You seem to have had a busy 2005, anything fun and exciting planned for '06?
[dt]: It's all fun and exciting.people have been very kind to us. That's how it happened in '05 and I'd say that '06 has already been shaping up very nicely.
Five Fun Facts about The Dammitheads:
BC: What is the worst job you've ever had?
[dt]: The one where I worked at this second hand store and one day that manager pulled me aside and assured me that I had to give up this "music thing" and that he would "take me under his wing". Man, that really happened.at a second hand store that smelled like a warehouse basement. I can't believe I passed that up.
[steve]: It was also my shortest job. I cleaned the edges of plastics after coming out of the mold. My first day was my last.
BC: If you could have one super power, what would it be and why?
[dt]: I'd love the luxury of teleportation.I hate long drives but I'd settle for some sort of "super lyric memorization" power, I think.
[steve]: I would want to fly, I hate traffic.
BC: What are the most embarrassing CD's that you own?
[dt]: Man, you know.I'm not embarrassed of a damn thing I own musically and no one else should be either. Our manager would tell you that, for me, it's Dickinson-era Iron Maiden but you gotta understand, people, Maiden is the Dylan of Metal. Don't even forget about Thin Lizzy.
[steve]: Kelly Clarkson, but hey she's hot, give a guy break.
BC: If you were another person, would you be friends with yourself? (be honest)
[dt]: I'd say yes but I'd also put forth that I can be a hard friend to have sometimes. I have a solid tendency towards pissing people off at the worst possible times. I'm not always so good with the sugar coating and I can be pretty militant in my ideals but I think I'm the kind of friend people want when they outgrow "acquaintances".
[steve]: Sure, but only to steal his girlfriend.
BC: The Glass: Half full, Half empty, or just needing to be topped off?
[dt]: I'm probably a half empty person but I think that our manager is a half full and Steve is a just needing to be topped off so, in the end, it all works out.
[steve]: Top it off, drink it down, repeat.
BC: Thank you very much for your time today!!
Thank you for asking and thank you for supporting local music!
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The Dammitheads - Heart of the Matador
I-See-Sound
2005 - Hey!Low Sound Recordings
Musical comparisons are cheap and lazy (as am I, except for the "cheap" part) and I’ve got dozens of ‘em, so here goes nothing:
Wisconsin's The Dammitheads’ second release, The Heart of the Matador is nothing if not a lacklustre pop album that conjures Blake Schwarzenbach (ex-Jawbreaker), Elvis Costello, and Richard Butler (ex-Psychedelic Furs) and their auxiliaries. Two saving graces for the duo: cover art and lyrics. Their subject matter traverses war, politics, love, art, blood, Baudelaire, and the inventor of radio, and, throughout, David Tomaloff and Steve Hawkins maintain a sense of humor without losing sharp tongues. Stand-outs include the title track and the rhythmic “Positively Unlikely Currency”. But, lyrical substance aside, there’s little fun factor and little creative musical license throughout the collection of tunes. I’d give the album a second spin but nothing beyond that.
- Mollie Ferrigan is sooooo French
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Fufkin.com
THE DAMMITHEADS
THE HEART OF THE MATADOR
Here's a high compliment for the Dammitheads - are they the American Super Furry Animals? I mean, really, this album is a virtual buffet of delectable pop-rock (mostly 70s-derived) that is never anything but the personal art of David Tomaloff and Steve Hawkins. And so you will detect the influences of The Rolling Stones, David Bowie, T-Rex, Elvis Costello, XTC and Gang of Four easily and love it all to death. Tomaloff's affected anglophile larynx doesn't hurt the proceedings either. This is a great album.
-Kevin Matthews
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The Onion
Madison, WI
"Racine's David Tomaloff is the creative force behind the Dammitheads, an indie duo that combines equal parts Spoon and later-day, smoothed-out Replacements. With drummer Steve Hawkins backing him up, Tomaloff has released two spare-but-professional DIY albums as The Dammitheads, 2004's Freeze Motherstickers, and the new The Heart of The Matador. Two worthwhile bands play after the dammitheads....."
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Maximum Ink
THE DAMMITHEADS
THE HEART OF THE MATADOR
(Hey!LowSound Recordings)
If you're a fan of indie pop like Spoon, then immediatley grab The Dammitheads' sophomore record, The Heart of the Matador. This guitar and drum duo from Racine offer a lesson in production, as their new record is a huge sonic expansion over their first effort, and singer/guitarist David Tomaloff's extra-raspy Joe Strummer throat-punches Tom Waits vocals are more earnest than ever. The Dammitheads are singer-songwriter poetry with clever hooks and Costello atmosphere, and their new disc is spectacular in its subtlety and style. (www.ourdamnwebsite.com)
Maximum Ink - By Mike Huberty
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Smother.net
Editors Pick
I reviewed the band’s “Freeze Motherstickers” and was so enthralled with the band that I included them in our “Smothered” compilation series. On the follow-up, the band (okay so it’s really only singer/songwriter David Tomaloff with some help from Steve Hawkins on the drums) magnificently waltzes in with catchy pop-rock hooks and creative lyrical content. You can hear a myriad of influences throughout “The Heart of the Matador” including Elton John, Elvis Costello, and The Cars. Each song is a pleasant surprise with ingenious songwriting, beautiful melodies, and tremendous rock caricatures. Get this now.
J-Sin
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On Milwaukee Interview
Two is the perfect number of Dammitheads
By Andy Turner
Despite the success of duos like The White Stripes and The Kills, it's not always easy for two-person bands to be taken seriously. Just ask The Dammitheads: frontman and guitarist David Tomaloff and drummer Steve Hawkins.
The Racine duo, which takes an artsy but aggressive approach to classic and indie rock influences from the Rolling Stones to Spoon, has been turned away by clubs and radio stations -- perhaps with visions of acoustic acts playing Jimmy Buffett and James Taylor covers -- simply because there's just two of them.
In the early days, before Hawkins was a full-time member, group founder Tomaloff was even portrayed as an egomaniac in a newspaper article about The Dammitheads because the reporter couldn't understand the concept of a one-man band.
"My mother's friend saw my mom and said, 'I read the article about Dave. He sure seemed like a jerk,'" Tomaloff says.
In spite of those difficulties, The Dammitheads have found success since the release of their debut CD, "Freeze Mothersticker," last year. The self-released album, which was mixed at John Vanderslice's popular Tiny Telephone studio in San Francisco, garnered the band praise and recognition from Wisconsin and beyond.
The band's sophomore effort, "The Heart of the Matador," is due Oct. 25. A CD release party with the MAHP is slated for Oct. 22 at McAuliffes Pub, 3700 Meachem Rd., Racine.
Like its predecessor, the new album was recorded in Tomaloff's home studio -- the Hey! Low Sound System -- in his basement. The band traveled east to mix that record at Studio G in Brooklyn.
"We sort of have the East Coast-West Coast rivalry going on with our records," Tomaloff says.
This time, the Dammitheads went for a more abrasive sound that's "weirder" than "Freeze Mothersticker," he says.
"I believe it's a deeper album lyrically. In some ways, it's a more personal album lyrically," Tomaloff says. "As far as the sound, I wanted to sound a little more saturated and thick, almost as a contrast to some of the things I was saying. I wanted the music to just pour out. I wanted it to sound like it was relentless."
In addition, he says he spent more time refining his songs on "The Heart of the Matador."
"Normally when I write I song, I don't think about it much," Tomaloff says. "I go from the gut and if it sounds cool, that's what I go with. This record, I didn't really allow myself to stop at 'this sounds cool.' I made myself ask, 'Why does it sound cool? What are you trying to say there?' And if I couldn't come answer myself, I wouldn't leave it.
"The biggest challenge was to come up with lyrics that would work inside of these big rock 'n roll songs that were trying to say something, without getting real pretentious. I think what's cool about that is you can listen to the songs and take them at face value as rock 'n roll songs or you can listen a little closer and think, 'Oh wow, this is trying to say something. It's not about being out all night and getting drunk. It's about something.'"
Tomaloff began writing songs that would eventually appear on "Freeze Mothersticker" in 2002 after splitting with another group.
He then started playing with Hawkins at a local bar's acoustic open jam night. The two had already known each informally for several years.
"We were in rival bands, I guess you could say," Tomaloff says. "We were probably the two guys talking the most smack about each other."
But they kept playing together and eventually assembled about 40 songs.
"We started having more fun writing and playing, and all of a sudden we were sort of a band," Tomaloff says. "He was still in another band and was sort of doing both."
Around the time "Freeze Mothersticker" was mixed, Hawkins' other band had broken up and he had become a full-time Dammithead. After past musical experiences, Tomaloff and Hawkins decided to keep the group a two-piece.
"We've both been in bands where you always have to deal with the politics and attitudes and the people not showing up and people are this and people are that," Tomaloff says. "We know each other, and we've argued so many times that we know how each other is in an argument and can say what we want to say. This way you get shows, you got one call to make. A band decision, you got one guy to ask.
"This is the most fun I've ever had in a band. And I think I can speak for Steve that this is the most fun he's had in a band. It's just something that we don't really have to think that much about."
The band's Web site is ourdamnwebsite.com.
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RIFTrock.com
Artist Name: The Dammitheads
Album Title: "Freeze Motherstickers..."
Only so often in this world of music is one fortunate enough to encounter a band that hasn't taken their influences, watered down that sound, and spit it right back out. This scenario is typical of the genesis of many bands, and along with this dilemma, there’s also the problem with having been influenced by bands that, honestly, weren’t that special to begin with, and this mediocrity carries over.
Thankfully, the Dammitheads transcend these ill-conceived notions of mine concerning the majority of relatively small musicians. Though their name may reek of youthful humor, or as some may see it, downright immaturity, the Dammitheads’ music affords them the right to call their band whatever they damn well please.
The musical marriage formed between singer/songwriter David Tomaloff and drummer Steve Hawkins has seemingly been a successful one, and their first official offspring is the record at hand, entitled “Freeze Motherstickers…” The eleven songs within defy any distinct subgenre of music, merely standing as a monument to the band’s influences (ranging from Elvis Costello to The Cars to Gang of Four to the Rolling Stones), but simultaneously, the Dammitheads have crafted their own appealing style of rock & roll.
Tomaloff’s Costello-ish singing may be what gives the band their edge. It’s so rare to find a band with rather original vocals, and though I compared Tomaloff to such a legend, he still maintains his own eloquent vocal style. Combined with the crafty, appealing pop/indie/rock of “Freeze Motherstickers...,” the Dammitheads may be one of the best bands I’ve heard in a long time, in which I’d never heard of the band prior to listening.
Hopefully the Dammitheads will find success, which is hard to come by these days if a band isn’t willing to play what’s trendy and likes to hold on to a shred of integrity. With this record, the Dammitheads have proved that they’re %100 interested in creating valid, original music, not a cash-cow for the record execs.
-David Barker of RIFTrock.com
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Unpeeled (www.unpeeled.co.uk)
Racine Welcomes Careful Spellas
The Dammitheads "Freeze Motherstickers" (Hey!LowSound Recordings)
As well being terrible tars for anyone with the price of a Guinness and a vague stuffy, we love, no really love, not just trying to get a refill, this kind of American scuzz-stuff.
The Dammitheads are a two piece from somewhere called Racine. 'Racine"? who'd want to live in a place where the founding fathers couldn't spell 'racing"? But I digress; The Dammitheads don't. Getting straight into oddly brit-bashed and inflected set of lazily cool and casually cruel guitar tunes that the yanks, as mentioned 67,000 tines before, knock off by the yard with no visible effort, but you know it's often only the off couple of notes that distinguish the professional from the blessed and The Dammitheads, by virtue of a few random piano strickes on the opener "Alright" are indeed alight, and more. If someone like Damon Albarn released this as a side-project the NME would having prem-ejacs for weeks because "Freeze..." is exactly the kind of roots-rooted, pop-cute music that both he and they would love, making it offer than odd that a tune here, "Stop Engo", is one of the best things Peter Gabriel never did. The press release says that 'similar artist' are The Cars, Spoon(?) The Rolling Stones and The Stokes. Well, yes, in as much as they all share dn-fucking a, but no way in as much as The Dammitheads can plough their own 'Damon gets into early Genesis in lo-tech way' furrow.
Have a listen, have a treat: www.ourdamnwebsite.com
-Unpeeled (www.unpeeled.co.uk)
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Milwaukee Journal Sentinal
These guys just try to forget about the gimmicks
Band Name
The Dammitheads
Who's who
David Tomaloff, guitar, vocals, keyboards, "whatever's around." Steve "Wupnlee" Hawkins, drums, percussion, snare strainer, printed T-shirts, "whatever's left." David answered our questions via e-mail.
When formed
"The Dammitheads began somewhere in 2002 as a concept - a kind of writing and recording vehicle for myself instead of doing the usual singer-songwriter thing. Steve began helping me out, played drums on 'Freeze Motherstickers,' and finally joined full time in the spring of 2004 when other commitments had subsided.
Web site
www.ourdamnwebsite.com or www.thedammitheads.com
Most recent album
"Freeze Motherstickers," (available at shows, www.ourdamnwebsite.com and Atomic Records, 1813 E. Locust St.
They say they sound like
"A couple of guys playing straight-up, gimmick-less rock and roll music for the love of it and its history, which is something I believe is sorely missing in an industry gone cookie cutter. The sound recalls hints of bands such as the Rolling Stones, David Bowie, Elvis Costello, the Clash, the Cars and Gang of Four."
We say they sound like
Minimalist but melodic artsy pop-rock that will appeal equally to fans of the Kinks and the White Stripes.
Sell yourself in 20 words or less
"We take a somewhat 'jazz' approach to rock and roll, which keeps things very interesting and very different each time."
Favorite food on the road
"Coltrane - food for the soul."
Unofficial band beverage
"I guess the unofficial drink is the one that someone else buys you. Quite valid, I'd think. It might be Vendange White Zinfandel, though. We recorded a whole record on it. Sponsorship?"
What other band or musician could you take in a fight?
"To my knowledge, this organization does not subscribe to nor does it support any policy involving the fighting of bands or musicians. It is worth noting, however, that the organization, again to the best of my knowledge, harbors no such reservations pertaining to journalists or duck-faced industry cats."
First gig
"One of JJ McAuliffe's anniversary shows in Racine. 2002? I do believe we rocked the house despite having a bass player to drag around at the time."
Worst gig
"Man, they're all worst gigs at some point in the night. Of course, they're all best gigs at some point in the night as well. . . . We try to make solid decisions on where we play, and we give it all we have when we get there."
Song you've written that you're most proud of
"I think I'm equally proud of any of them. Off the top of my head, though, it might be 'Stop Engo.' 'Stop Engo' is kind of an old song. It was one of the first three written for this band and just kind of came out of nowhere. The lyrics were written basically in the same five minutes the music was. . . . "
Favorite cover song in your live show
"We've only done it once, but it was the Stooges' 'Search and Destroy.' "
Biggest band achievement
"That we bought a bit of gear, built a small studio and did this record by ourselves. It took a fair amount of time to do that with no guarantees as to the outcome, but I had faith it would work."
Where do you want to be in five years?
"I'd like to have a few more successively successful records out, having built a bigger studio and maybe even have the whole team be making a few bucks off of the whole deal besides."
What's the greatest song ever written?
"Surely you jest. You don't actually expect one song, do you? The greatest song everwritten is the one that says what you want it to when you most need it to. It's Thelonius Monk's 'Well You Needn't.' It's Elton John's 'Someone Saved My Life Tonight.' It's the Kingsmen's 'Louie, Louie,' It's the Stooges 'Search and Destroy.' It's David Bowie's 'Ashes To Ashes,' It's the Clash's 'London Calling.' It's Public Enemy's 'Rebel Without a Pause.' It's the Rolling Stones' 'Ventilator Blues.' It's the song that sings your heart when you don't have the words."
-Gemma Tarlach
Milwaukee Journal Sentinal
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Maximum Ink
THE DAMMITHEADS
FREEZE MOTHERSTICKERS
(Hey!LowSound Recordings)
www.ourdamnwebsite.com
CD
Concise and clear, Racine's The Dammitheads, convey the intimacy of a singer/songwriter and the resonance of a straight-ahead rock group without the posturing that plagues either genre. Their new album, "Freeze Motherstickers..." (cannily subtitled "This is a F#@k Up") is a mature achievement for a freshman disc, partly by being memorable and atmospheric without beating the listener over the head with it. Written and almost entirely performed by David Tomaloff (with Steve Hawkins assuming percussion duties), it's a home recording that sounds better and fresher than a lot of local albums produced in "pro" studios. The material is also riffy and subtly muscular. Tomaloff's voice is slightly reminiscent of Joe Strummer and is destined for indie stardom. It's sincere and affecting, especially in "Gimme Blood," where the staccato delivery pitch movements within the same word are palpably visceral. Just when you're worried he's going to get too clever, cute, or emo, Tomaloff (to his credit) reins it in. This is a remarkable debut album by a novel songwriter who should appeal to pop and indie fans while dodging their expectations.
Maximum Ink - By Mike Huberty
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Shepherd Express Metro
THE DAMMITHEADS
Freeze Motherstickers (Hey! Low Sounds)
If you envision a collaboration of four or five musicians on the Dammitheads' debut, you might be surprised to learn that this is the sole, identity-confused creation of one man, Racine's David Tomaloff. Live, the one-man-band forecasts varying formats, which may include full rock accompaniment, Tomaloff backed by drums or simply Tomaloff and his guitar. With the exception of drums and percussion by production aid Steve Hawkins, the album features a variety of instrumentation, including guitar, bass, Rhodes, Farfisa, sampling, percussion and vocals, all performed by Tomaloff. Freeze Motherstickers is not only an example of prolific musicianship, but is an impressive first try for a recording novice.
What is the Dammitheads' style? Most hazily, yet appropriately put, it sounds like everything else in rock 'n' roll history, but is unlike anything you've ever heard before. This is largely due to the broad spectrum of genres incorporated in the work, which unmistakably takes from listed influences of the Stones, Bowie, and the Clash, but this only covers punk and classic rock. Tomaloff's hiccupy vocals are a throwback to '80s Britpop, his riffs might take as much from '60s inspired power-pop as they do early '90s melodies. Overall his sound is rooted in the alternative and analog traits of the Strokes or most suitably Spoon, whose sounds are all over this album.
--Graham Fons
Shepherd Express Metro
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The Patriot News
Millennium performers run the gamut: CDs of Note
"Freeze Motherstickers..." by The Dammitheads (Hey!Lowsound Recordings)
The Dammitheads describe their work as "it's rock and roll... it's cool...it's weird." "It's deceiving" could easily be added to the list.
At first listen, the "Freeze Motherstickers..." CD appears to be a well-written, well-produced work of a talented group of musicians.
As it turns out The Dammitheads are just two guys playing a long list of instruments.
David Tomaloff is the driving force behind the D-heads producing quirky sounding tunes with dark lyrics about angst, "ultrakinetic" angst and "anerasia."
Drummer Steve Hawkins, who provides percussion work on the CD, recently joined Tomaloff to form a "band." Seeing these two do these songs live should make for an interesting evening.
--Barry Fox
The Patriot News
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York Daily Record
Wisconsin rockers set for Millennium
Via Racine, Wis., The Dammitheads can’t wait for Harrisburg music conference
David Tomaloff had to forget about nervousness, crank up his confidence and banish from his head thoughts about hostile crowds and hecklers.
Two weeks ago, his band, The Dammitheads, rolled into Chicago from Racine, Wis. to play a showcase concert for the new Meca Music Conference.
For those who don’t know, the spotlight concert is the big moment for an unsigned band registered to play at a music conference such as New York’s College Music Journal festival or the mammoth South By Southwest in Austin.
There’s just one catch: An up-and-coming band like the Dammitheads have no control over when or, more importantly, where these shows will take place.
Tomaloff and drummer Steve Hawkins, who recently joined The Dammitheads full time to make Tomaloff’s one-man band a two piece, walked into the “venue,” which had a 20-foot-by-20-foot taco joint in the front that opened into a small stage area in the back.
“The club was kind of weird,” Tomaloff said, calling last week between seminars at the Meca conference. “It smelled like tacos a lot. I mean, it went well.”
Tomaloff and Hawkins won’t have to worry about playing any oddball taco joints when the band arrives for the eighth Millennium Music Conference in Harrisburg, which takes place from June 24-26. The Dammitheads are slated to perform at Fisaga, a swank restaurant on Harrisburg’s Second Street, at 1 a.m. June 26.
The Dammitheads stick out on the eighth conference’s schedule of bands not only because the band is coming out from Wisconsin but also because of its stripped-down stage show.
The band delivers its straight-ahead rock onstage just like it does on its debut album, “Freeze Motherstickers.” It’s just Hawkins on drums and Tomaloff on his big-bodied, full-sounding Ventura guitar.
No bassist. No second guitarist. No keyboard player.
Actually, The Dammitheads project, launched a little more than a year ago, was supposed to be more stripped down than that. Tomaloff wanted to do everything himself, and brought Hawkins in to help write a few tunes and play drums on the record only.
Previous bands he had fronted broke up because members ditched out on him over petty little things.
“I’ve been in a lot of bands that, when you’re on the verge of doing something, the bassist wants to do something else, or the drummer doesn’t like the politics,” said Tomaloff, a 31-year-old native of Racine. “I wanted to do something where there’s no excuses.”
Tomaloff and Hawkins recorded the 12 songs for “Freeze Motherstickers,” including the jagged “Gimme Blood” and the instant night rock classic “Stopengo,” in Tomaloff’s basement (tunes from the album can be found on The Dammitheads’ Web site, http://www.ourdamnwebsite.com).
After recording, they slicked up the sound by having the tunes mixed at Tiny Telephone, a studio in San Francisco.
But then it came time for The Dammitheads to play out, and Tomaloff had to decide how to best deliver his rock.
Rather than hire a tour-only bassist and other players, Tomaloff decided to enlist Hawkins and give it a go as a duo, a la The White Stripes, Local H and newcomers The Kills.
“It was like, this is kind of cool, so let’s do this and see where it goes,” Tomaloff said.
And where it’s gone so far is pretty good. The aforementioned “Stopengo” has been licensed for a new TV series on the Oxygen Network called “Good Girls Don’t” and will be played in the second episode of the show. The band also signed a one-off co-publishing deal with Pete Ganbarg of Puretone Music for the leadoff track “Allright.” Ganbarg was the brains behind Carlos Santana’s recent re-emergence, pairing the guitar legend with current stars like Matchbox 20’s Rob Thomas to score big Billboard hits.
And then there’s the upcoming Millennium conference, where Tomaloff is only seeking fun and connections with fellow scuffling unsigned bands.
“I don’t have any high hopes that we’re going to come out there and make a million dollars,” Tomaloff said. “I guess coming out there, I hope that it’s a fun trip. I hope to meet some fairly cool people, meet some cool bands.”
And, hopefully, to avoid playing any weird taco joints.
By PETER BOTHUM
York Daily Record
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Bettawreckonize.com
Despite the clever name, my love of glossy, artsy cover art and inserts almost steered me away from giving this one a really good listen. But even my genius can falter sometimes. The Dammitheads aren’t even technically a band, it’s just one guy by the name of David Tomaloff – and the guy is damn brilliant. Between the wiry beats and his smoke’em up raspy voice, you can tell he’s not really trying to impress or appeal to anyone in particular, but he manages to do so quite well. The first track is a perfect pick for an opener, and it’s hard not to notice his channeling of The Cars – but the rest of Freeze makes it clear that he’s got his own specific way of doing things, and he’s not going to be another someone that sounds like an already accomplished songwriter. The album sways back and forth between knee-slapping pop (“Stock Answer”) and quieter, finger drumming beauties (“Taking the Long Way Home”). As in love as he seems with making his music, he’ll definitely be one to catch on tour (plus, I hear he’s been known to play live shows with a full on band, which would surely be something to see).
-Brandy Voiles
Bettawreckonize.com
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Delusions of Adequacy
The name of the band is cute, in a trying-hard-not-to-offend sort of way, and even the more sleezy approach of the album title (full title Freeze Motherstickers...this is a Fuck Up) is kind of clever. The cover art is cute too, so why wasn't I expecting The Dammitheads to play straightforward rock? Regardless, that's what you get: a little garage, a little barroom, a little 70s-inspired Rolling Stones-esque inspiration.
Thing is, The Dammitheads is basically David Tomaloff, who plays most of the instruments himself, with a little help on drums, and therefore the respectability level increases. Because, frankly, Tomaloff is damn talented, ripping off thick guitar riffs, rich bass, and his own unique vocals - bluesy and angsty, yet attitude-infused. So yes, Freeze Motherstickers is impressive for that, and there's some damn good rock songs here... Thing is, it's rock the way you might expect it to be, and Tomaloff doesn't do enough to make the songs his own - even if they're all his own
The opener, "Alright," kicks things off with a pretty straightforward rocking track, the hints of synths and light tambourine providing a nice flourish, but basically thick guitar and Tomaloff's unique vocals. Much better is the undeniably catchy "...When the Last Bring it Down." "Stock Answer" is definitely 70s garage-rock punk in approach, and even Tomaloff's vocals take that style, with his Jagger-esque "a-ri-iii-ight!"
Fortunately, despite sounding like a lot of other rock-n-roll, Tomaloff is talented enough to pull it off. On "Stop Engo," for example, Tomaloff does his best Boss impression, and yet some synths provide his own flourish. There's something more lo-fi to "Gimme Blood," from the synth flourishes to the more pristine guitars, which really makes this one of my favorite songs. As the album goes on, the songs get a bit more original, with the sort of vibrant rock of "A Way to Tune Out" and "Anerasia" uses some nice guitar effects to change up the rather straightforward guitar approach on the album.
Essentially, this review could be taken two ways. First, if you're a fan of guitar-driven, attitude-infused rock the way it's meant to be done, you will probably love The Dammitheads. But second, if you like your rock with more of a unique, quirky affair - a trademark of indie rock - you'd probably do better to pass on Freeze Motherstickers. Because Tomaloff doesn't try to hide the fact that this is a rock album, plain and simple, and if he wasn't so talented and the songs weren't so well recorded, this wouldn't be as good of a rock album as it is.
Delusions of Adequacy
- Jeff
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Splendidezine.com
When I first noticed the album title, Freeze Motherstickers..., something about it amused the hell out of me. Its asinine-yet-clever wordplay somehow works. I repeated the title to myself numerous times (and in several different inflections) over the coming days, and it never really got old. Then I actually read the inside cover and noticed that the title has an ending: "This is a fuck up." Suddenly the joke was no longer funny. Now it was just a simple juxtaposition of words, and the off-kilter humor that seemed to work so well was dispelled. It was a case of overexplaining the obvious. That, in a nutshell, explains the album itself: it's good -- even really good -- but it never achieves the transcendent joy to which it aspires.
The Dammitheads, aka David Tamaloff and friends, sneer and snark their way through eleven taut rockers, full of stripped-down hooks and raucous melodies that recall a garagey Blur. It's a simple album that works incredibly well as escapist rock, at least until Tamaloff disrupts the vibe with obligatory slowdowns and wink-wink crooning that might work better on a different album but seem like potholes here. I raced through the disc once, then repeated it, because it requires absolutely no effort to enjoy, but it never knocked me out. Maybe my expectations were a bit high. Maybe I should have expected something less from The Dammitheads, but they almost put one over the top here, and I'd love to hear what they come up with next. Until then, this isn't a bad entry point.
Splendidezine.com
-- Justin Kownacki
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SoulShine - Canada
David Tomaloff's Damn Orchestra
"I've been in a bunch of bands," says David Tomaloff, "and when my last band fell apart, I took the opportunity to do something I've always wanted to do-and it became me." So the multi-talented, multi-tasking Wisconsin musician formed his own outfit, not only on his own terms, but on his own talent as well, consisting of David Tomaloff-lead vocals, guitar, bass and keyboards.
The Dammitheads was born-the band and the "creative writing/recording vehicle and schizophrenic alter ego" of David Tomaloff. Originally performing under his name only, Tomaloff came up with the 'fake band' concept because he didn't want his audience to have pre-conceived notions of him onstage as a singer-songwiter who played feel-good guitar ballads. "I'm like the band I wish I had," he says, "I can be the bass player I like, you know?"
Recorded in his basement and mixed at Tiny Telephone studio in San Francisco, The Dammitheads first album - Freeze Motherstickers - is a stripped-down and solid achievement of a talented musician - rocky, modern and clean sounding. Getting back to basics was a conscious choice for Tomaloff. "The record is not so much a wall of guitars as other stuff out there. I feel there's less music, more noise going on right now." Unforced and natural, Freeze Motherstickers may sound sparse at first, but a good listen reveals hidden textures and restrained, clear emotions.
Among his top five records of the moment, it is significant that Tomaloff includes The Rolling Stones' Exile on Main Street. Clearly influenced by the album and the way it was recorded, David says it's,"the record that makes me want to record - there's not a lot of thought or pre-meditation behind it - they hung around, drank, recorded it in the basement, and they rocked."
With that sentiment in mind, in his own studio (in the basement, naturally), Tomaloff begins with a germ of an idea, his friend and drummer Steve Hawkins adds drums and a something evolves through a combination of experimentation and improvisation. Comparing the process to painting, Tomaloff says, "It's not already a song. I'll start with a guitar riff and Steve will drum, then we add things, erase things. We don't start with an absolute idea."
Live,Tomaloff plays with a band or with Hawkins, but The Dammitheads are clearly his sound. A daunting prospect? Tomaloff says it depends on which day you ask him. "Some days it's a very free, cool thing, some days I just think 'man, it would be a lot easier if I had a bunch of friends working on this thing with me too.' But every band I've ever been in gets somewhere to a certain point and then falls apart, because of politics or whatever,and all the hard work goes down the drain. Nobody else can screw this up for me."
Solo, Tomaloff must doing something right. The record isn't scheduled for release until mid-February, but it's already blipping on the radar. He's received glowing reviews for Freeze Motherstickers (it plays on his website, www.ourdamnwebsite.com), attention from the press, and pre-orders for the album. It seems Tomaloff has made a record to be proud of - and all by his own damn self.
SoulShine (Fiona McLean)
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South of Mainstream
January/February Spotlight- THREE GREAT BANDS
The Dammitheads: As many of you longtime readers know, Fin doesn't give it out high star ratings too often. He bestowed a perfect 5 star rating on Freeze Motherstickers by the Dammitheads, though. We received a demo copy, but the official release was just last week, on the 13th of January. Though the name of the "band" would lead you to believe this is a group effort, it is largely a one man show, a brilliant one man show from the very talented David Tomaloff. The sound is pared down simplicity, letting Tomaloff's sincere and stunning capability and creativity shine through. Those who like to experience their favorite musical acts live, shouldn't despair, as The Dammitheads will play live, with various backing members assisting.
See what Fin had to say about this 2004 release by reading his review. Or take a detour to our Internet Radio broadcast, where we're happily sharing the sounds of the album by playing "Alright", "Stopengo" and "Taking the Long Way Home". And if you want to hear more of the album, you should definitely visit the band site at www.ourdamnwebsite.com.
South of Mainstream
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South of Mainstream
For a Wisconsin band with a name like THE DAMMITHEADS with an album called Freeze Motherstickers, which isn't really a band at all...but one guy, I'd say no one can blame me for a certain degree of low expectation upon receiving a copy of the new record. What I didn't know was a) this one guy, David Tomaloff, was probably the most gifted songwriter in all of Wisconsin, b) it doesn't sound like one guy at all, but a fully arranged band where every instrument plays a key role in the construction of each song, and c) that this faux band puts 95 percent of "real" bands out there to shame because they have made an outstanding indie rock record.
Let's pretend THE DAMMITHEADS really are a band, or at least that Tomaloff has multi-personalities on the level of John Cusack in "Identity." David the
guitarist opens things up with a stereo attack of slightly overdriven Kinks-
type guitar riffs, followed closely by David the bassist, and David the
drummer, who might not be named David after all, and just might be the
assistant engineer on the record. Anyway, I was impressed by how "Alright" and the 10 tracks that follow adhere to a strict "no-overproduction" policy. The
music on this record is like a SPOON record. Every tone is perfectly clear and
crisp, the music sparsely, yet adequately arranged. I imagine the question
tossed around the recording studio was "Yeah, but does the song need it?" And when the answer to that question was "yes," good things happen. For example, when David plays harmonics on the guitar as if he were drumming out a beat on his knees on "Stop Engo," it works as a solid argument for minimalist production. Later, when listening back, I was high on daytime Sudafed and my heart palpitated right along with the odd drum loops and piano skip of "Taking the Long Way Home." These are just two moments in two songs, yet nearly every song on this record has a moment that hooks its little claws into me. I felt like THE DAMMITHEADS somehow capture the same assured swagger of THE TENESSEE THREE when they backed JOHNNY CASH at Folsum Prison.
Now, this ain't no Country and Western record. This is indie rock to the core,
but the good kind. NO art for art's sake hear. Tomaloff is too excited to
showcase David the Singer. HIs voice sounds like a mix of everything good
about early DAVID BOWIE and MICK JAGGER. Toss a little SPOON into the mix (that nice smoker's rasp) and you get a singer that demands respect. He sounds like the overconfident guy at the bar that I always would have liked to punch except for the fact that I was too busy thinking how damn cool he was.
Perhaps I have not done a good job. The point is this: Freeze Motherstickers
is an incredible record, full of exciting twists and turns and a singer I would
want to emulate if I was still fifteen. I honestly believe this record will
be picked up by an indie label or distribution company. Best of luck all you
Davids. You did damn fine work.
South of Mainstream reviewed by Fin
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Smother.net
The Dammitheads are actually David Tomaloff. The album is top-heavy with lots of talent and great songs but you won’t find this sinking fast at all. It’s so refreshing to hear such imaginative music and even more amazing is that it’s the work of one individual. It’s indie rock alright but has a lot of what has rock bands huge rather than trying to appeal to a niche group. His vocals are retro-esque but his music is startling fresh and edgy with superb song craftsmanship.
- J-Sin
Smother.net Editors Pick
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BeSonic [germany]
Dieser Song drückt Dich an die Wand, so prall und laut, wenig ist hier mehr - toll gemacht. Geht " ins Blut " !
(English translation)
This song presses you against the wall, so fat and loud, few are made
more cool. It goes in the blood.
BeSonic [germany] Song Feature by: Strehl Music
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The Journal Times
Dammitheads' debut disc strips away typical rock 'n roll excess
Something that David Tomaloff is very smart about is making music. The former frontman for the popular rock band The Main Street Apostles is now the musical entity The Dammitheads. On The Dammitheads' debut disc, "Freeze Motherstickers," Tomaloff has stripped away layer after layer of typical rock-n-roll excess down to basic guitar, voice and percussion on most of the tracks. It's sort of a down-to-basics eye-for-the-pop-guy approach.
The Dammitheads exist for Tomaloff in a number of different formats. At times it's just Tomaloff on guitar and vocals. Other times, he's joined by Rainy Day Crush drummer Steve Hawkins or former Apostle Mike Mattner. Sometimes The Dammitheads exist as a full band. The Dammitheads, according to the press kit, serve as the creative writing/recording vehicle and schizophrenic alter ego of Tomaloff.
By Paddy Fineran
Sounding Board
The Journal Times
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