The High Fidelics
Birmingham, Alabama, United States | SELF
Music
Press
I suppose it’s because of my Southern California roots, but the following are a few of my favorite things: Surf music. Punk. Experimentalism. Retro-irony. That said; leave it to an indie band from Birmingham, Alabama to throw all this together into one of the most delightful instrumental albums I’ve listened to in a long time.
The High-Fidelics’ self-titled debut rocks, grooves, experiments, kitsches, even lounges – and yet, it not only remains accessible but is certain to be highly enjoyable to even the average listener. Purist fans of Chantay’s or Dick Dale will be all over this, but so will coastal punkers or even artsy hipsters who frequent Capital Records’ Ultra-Lounge series.
Hi Fidelics
From the get-go, the Fidelics’ music tosses you into the realm of surf-punk-dom, and displays the serious musicianship of the band. At every instrument, the playing is accomplished and infectiously juicy. The guitar work alone (by Edwin Cleverdon) grinds, staccatos, slides, reverberates, and tremolos, so that the listener remains in guessing mode while all the while getting hooked on memorable riffs. Add the other members’ no small contributions (these guys can PA-LAY) and the whole shreds all over the sum of the parts.
Space isn’t sufficient for this reviewer to even adequately highlight tracks, but here goes: “New Killer Ray” and “Dance of the Tiny Knives” lure the unsuspecting into a safari of experimental, yet intoxicating grooves. At this juncture, the listener happens onto the favorable discovery that the album gets progressively more interesting as it spins along. At each turn, one supposes the HFs have explored every shoreline of expression, but no, new caverns keep showing up. For example, you think you’ve waxed all elemental enjoyment, but then “Theme From Kismet” seems to launch you into a chase scene from Hawaii -Five- 0 – while at the same time you’re forced to contemplate how these seemingly non-related parts can mesh into such a terrific tune. Then there’s Spy Smasher, which guitar crunches and organ cheeses its way into unfathomable pleasures. It’s as if your Del-Tones record somehow mated with Smash-Mouth (or maybe very early B-52s) and gave birth to this beautiful freak. It’s fabulous. Triumphant, really.
As a whole, the album never feels redundant, is always engaging, and just the songs themselves entrance listeners as they venture from ocean side piers, to coastal drives in woodies, through punk garage shows, and into seaside lounges (“Mondo Rondo” even goes a little Latin). “Should we hit the point with our long-boards, or just hang out and salsa?” No matter. Either way, we’re having an exceptionally great time.
In all, this is a perfect album for anyone looking forward to summer – but know that with The High Fidelics, your summers might never be the same. Listen for yourself at: http://thehighfidelics.bandcamp.com
-Reviewed by Francis H for Indie Band Guru
- Indiebandguru.com
I suppose it’s because of my Southern California roots, but the following are a few of my favorite things: Surf music. Punk. Experimentalism. Retro-irony. That said; leave it to an indie band from Birmingham, Alabama to throw all this together into one of the most delightful instrumental albums I’ve listened to in a long time.
The High-Fidelics’ self-titled debut rocks, grooves, experiments, kitsches, even lounges – and yet, it not only remains accessible but is certain to be highly enjoyable to even the average listener. Purist fans of Chantay’s or Dick Dale will be all over this, but so will coastal punkers or even artsy hipsters who frequent Capital Records’ Ultra-Lounge series.
Hi Fidelics
From the get-go, the Fidelics’ music tosses you into the realm of surf-punk-dom, and displays the serious musicianship of the band. At every instrument, the playing is accomplished and infectiously juicy. The guitar work alone (by Edwin Cleverdon) grinds, staccatos, slides, reverberates, and tremolos, so that the listener remains in guessing mode while all the while getting hooked on memorable riffs. Add the other members’ no small contributions (these guys can PA-LAY) and the whole shreds all over the sum of the parts.
Space isn’t sufficient for this reviewer to even adequately highlight tracks, but here goes: “New Killer Ray” and “Dance of the Tiny Knives” lure the unsuspecting into a safari of experimental, yet intoxicating grooves. At this juncture, the listener happens onto the favorable discovery that the album gets progressively more interesting as it spins along. At each turn, one supposes the HFs have explored every shoreline of expression, but no, new caverns keep showing up. For example, you think you’ve waxed all elemental enjoyment, but then “Theme From Kismet” seems to launch you into a chase scene from Hawaii -Five- 0 – while at the same time you’re forced to contemplate how these seemingly non-related parts can mesh into such a terrific tune. Then there’s Spy Smasher, which guitar crunches and organ cheeses its way into unfathomable pleasures. It’s as if your Del-Tones record somehow mated with Smash-Mouth (or maybe very early B-52s) and gave birth to this beautiful freak. It’s fabulous. Triumphant, really.
As a whole, the album never feels redundant, is always engaging, and just the songs themselves entrance listeners as they venture from ocean side piers, to coastal drives in woodies, through punk garage shows, and into seaside lounges (“Mondo Rondo” even goes a little Latin). “Should we hit the point with our long-boards, or just hang out and salsa?” No matter. Either way, we’re having an exceptionally great time.
In all, this is a perfect album for anyone looking forward to summer – but know that with The High Fidelics, your summers might never be the same. Listen for yourself at: http://thehighfidelics.bandcamp.com
-Reviewed by Francis H for Indie Band Guru
- Indiebandguru.com
The High Fidelics
Reviewed by: Justin Hayes
The High Fidelics' self-titled debut album features ten instrumental tracks in multiple styles ... and it's a doozy. For the sake of clarity, when you see The High Fidelics in bold italicized print, I'm referring to the album.
The High Fidelics is filled with great music, to be sure. However, what really makes this album exceptional are the four extremely gifted musicians who are responsible for its inception and its content. They have a deep understanding of music and structure. Their compositions and arrangements are, at times, unique, but always architecturally fulfilling.
The High Fidelics employ their instruments in ways that are attention grabbing. Interesting juxtapositions, harmonies and the use of the organ as a main instrument, as opposed to an occasional accent, makes their music captivating and uncommon. These men are consummate musicians. That's what makes their music tick.
For me, The High Fidelics is as much of an educational experience as it is a musical experience.
If I was teaching a music class, I would have my students study The High Fidelics. Not only is it contemporary, it's filled with exemplary musical execution, composition and arranging.
The High Fidelics are based in Birmingham, Alabama. They are:
Edwin Cleverdon - guitars
Jeff Waites - bass and percussion
Ken Adams - drums and percussion
Robert Huffman - organ
All of the songs on The High Fidelics were written, produced and recorded by The High Fidelics. Here's my take on this truly outstanding album...
:: :: :: :: :: :: ::
Lil' Curfew Breaker - The opening eight measures, filled with suspense, set the stage for an intriguing tune. I can see a young, future spy who is attempting to hone his neophyte espionage tactics. He's out after midnight, darting from tree to tree, peeking around corners, always on the lookout for police. It's past curfew and he wants to make it home before he gets pinched. Sure, it's only curfew, but ya gotta start honing those spy skills somewhere. Robert Huffman's organ playing adds a neat touch to this song and his smooth-as-glass glissandos, leading into various chord changes, really set things off. Lil' Curfew Breaker ia a cool opening track.
New Killer Ray - Totally rad tune that does, indeed, make me think of ray guns and the futuristic humanoids that might use them. Robert Huffman locks his killer ray on target with a cool organ lead. Edwin Cleverdon's tremolo-laden chords makes my body shimmy as if I'd been zapped by ... a ray gun. Ken Adams and Jeff Waites propel New Killer Ray at the speed of light with their hyperdrive drums and bass. New Killer Ray is packed with energy and gives off a serious emission of ... killer rays.
Dance Of The Tiny Knives - This ain't your ordinary, everyday mumbly-peg game. Nope. The smoke signals rising from the fiery bass and snare tell me these knives are serious. Are they hostile knives? Is this a war dance? All I know is Edwin Cleverdon's distorted guitar is signaling that the knives are dancing against a whetstone. That can only mean one thing ... they're shapening up for a hair-raising event. Robert Huffman's organ, in the chorus, emphasizes the danger of the situation. I'd better be careful and get my donuts in a circle. The tiny knives are restless tonight and when their dance ends ... gulp!
Black Dahlia - Outstanding instro rock tune that showcases the talents of The High Fidelics. Ken Adams displays his mastery of the drums by executing stellar drum fills throughout the song. I strongly suspect that he's familiar with the 26 drum rudiments ... and the additional 14. The guitar harmonies are unique and very cool. The organ is an integral part of Black Dahlia, adding a rich texture to the depth and breadth of the song.
Mondo Rondo - Think Santana. Everything about Mondo Rondo screams Santana, from the opening percussion 'n' bass intro to Edwin Cleverdon's Carlos Santana-esque playing. Mondo Rondo is one cool, sexy song. The High Fidelics definitely are channeling Santana. They are that good.
Aquestrienna - Very unique experimental rock track. Once again, The High Fidelics display total command of their instruments and a remarkable musical aptitude. The contrasting tempos and rhythms keep you guessing as to what is coming next. Neat tune.
Theme From Kismet - Killer jazz rock song. Theme From Kismet opens with Ken Adams banging four-to-the-bar on his snare. Two measures later, Jeff Waites joins Ken with a hot bass riff. Four more measures and Edwin Cleverdon's Shaft-esque guitar enters the party. But wait, there's more. Robert Huffman knocks this baby out of the room, across the street and out of the park with a Henry Mancini Pink Panther-esque organ. Fuzzed-up guitars and bodacious accompaniment make Theme From Kismet too hot for words, yet cool on the ears.
Midnight Requisition - Lively, upbeat rock 'n' surf tu - surfrockmusic.com
The High Fidelics
Reviewed by: Justin Hayes
The High Fidelics' self-titled debut album features ten instrumental tracks in multiple styles ... and it's a doozy. For the sake of clarity, when you see The High Fidelics in bold italicized print, I'm referring to the album.
The High Fidelics is filled with great music, to be sure. However, what really makes this album exceptional are the four extremely gifted musicians who are responsible for its inception and its content. They have a deep understanding of music and structure. Their compositions and arrangements are, at times, unique, but always architecturally fulfilling.
The High Fidelics employ their instruments in ways that are attention grabbing. Interesting juxtapositions, harmonies and the use of the organ as a main instrument, as opposed to an occasional accent, makes their music captivating and uncommon. These men are consummate musicians. That's what makes their music tick.
For me, The High Fidelics is as much of an educational experience as it is a musical experience.
If I was teaching a music class, I would have my students study The High Fidelics. Not only is it contemporary, it's filled with exemplary musical execution, composition and arranging.
The High Fidelics are based in Birmingham, Alabama. They are:
Edwin Cleverdon - guitars
Jeff Waites - bass and percussion
Ken Adams - drums and percussion
Robert Huffman - organ
All of the songs on The High Fidelics were written, produced and recorded by The High Fidelics. Here's my take on this truly outstanding album...
:: :: :: :: :: :: ::
Lil' Curfew Breaker - The opening eight measures, filled with suspense, set the stage for an intriguing tune. I can see a young, future spy who is attempting to hone his neophyte espionage tactics. He's out after midnight, darting from tree to tree, peeking around corners, always on the lookout for police. It's past curfew and he wants to make it home before he gets pinched. Sure, it's only curfew, but ya gotta start honing those spy skills somewhere. Robert Huffman's organ playing adds a neat touch to this song and his smooth-as-glass glissandos, leading into various chord changes, really set things off. Lil' Curfew Breaker ia a cool opening track.
New Killer Ray - Totally rad tune that does, indeed, make me think of ray guns and the futuristic humanoids that might use them. Robert Huffman locks his killer ray on target with a cool organ lead. Edwin Cleverdon's tremolo-laden chords makes my body shimmy as if I'd been zapped by ... a ray gun. Ken Adams and Jeff Waites propel New Killer Ray at the speed of light with their hyperdrive drums and bass. New Killer Ray is packed with energy and gives off a serious emission of ... killer rays.
Dance Of The Tiny Knives - This ain't your ordinary, everyday mumbly-peg game. Nope. The smoke signals rising from the fiery bass and snare tell me these knives are serious. Are they hostile knives? Is this a war dance? All I know is Edwin Cleverdon's distorted guitar is signaling that the knives are dancing against a whetstone. That can only mean one thing ... they're shapening up for a hair-raising event. Robert Huffman's organ, in the chorus, emphasizes the danger of the situation. I'd better be careful and get my donuts in a circle. The tiny knives are restless tonight and when their dance ends ... gulp!
Black Dahlia - Outstanding instro rock tune that showcases the talents of The High Fidelics. Ken Adams displays his mastery of the drums by executing stellar drum fills throughout the song. I strongly suspect that he's familiar with the 26 drum rudiments ... and the additional 14. The guitar harmonies are unique and very cool. The organ is an integral part of Black Dahlia, adding a rich texture to the depth and breadth of the song.
Mondo Rondo - Think Santana. Everything about Mondo Rondo screams Santana, from the opening percussion 'n' bass intro to Edwin Cleverdon's Carlos Santana-esque playing. Mondo Rondo is one cool, sexy song. The High Fidelics definitely are channeling Santana. They are that good.
Aquestrienna - Very unique experimental rock track. Once again, The High Fidelics display total command of their instruments and a remarkable musical aptitude. The contrasting tempos and rhythms keep you guessing as to what is coming next. Neat tune.
Theme From Kismet - Killer jazz rock song. Theme From Kismet opens with Ken Adams banging four-to-the-bar on his snare. Two measures later, Jeff Waites joins Ken with a hot bass riff. Four more measures and Edwin Cleverdon's Shaft-esque guitar enters the party. But wait, there's more. Robert Huffman knocks this baby out of the room, across the street and out of the park with a Henry Mancini Pink Panther-esque organ. Fuzzed-up guitars and bodacious accompaniment make Theme From Kismet too hot for words, yet cool on the ears.
Midnight Requisition - Lively, upbeat rock 'n' surf tu - surfrockmusic.com
Discography
The High Fidelics LP -
http://thehighfidelics.bandcamp.com/
http://www.cdbaby.com/cd/thehighfidelics
Photos
Bio
Have you heard The High Fidelics yet? This retro fresh all instrumental band has started the chattering-class chattering and the toe-tappers' toes tapping. When youre at a High Fidelics show, youll feel like youre basking on a California beach, hanging out in a no-wave NYC club, and eating grits at a Memphis soul club -- all at the same time. Based in Birmingham, Alabama, this group of men-of-a-certain-age burst into the public eye in October 2010 and has not slowed down yet. They released their first album -- a self-engineered, self-produced eponymous blockbuster -- online in 2012 at www.thehighfidelics.bandcamp.com; the physical CD has just been released (you can find it at http://www.cdbaby.com/cd/thehighfidelics), and they have started tracking their second album (expected to come out in mid/late 2013).
The High Fidelics, like many other inspiring things these days, came about as a result of an advertisement posted on craigslist. Jeff Waites, erstwhile bassist and rabble-rouser, wanted to start a surf band as a side project to his then-active punk rock band. Luckily for Jeff, guitarist Edwin Cleverdon answered the ad. It would be hard to find two more different people. Jeff, a Birmingham native, is a self-taught musician, jack-of-all-trades by day, pub-crawler by night, whereas Edwin, from Mobile, Alabama, is a classically trained musician, tax lawyer by day, and mild-mannered father of three. However, this odd couple found common ground in their love of high-energy melodic instrumental music, and they quickly began laying the groundwork for a new, all instrumental rock band.
To fill out the band, Edwin called in long-time friends Ken Adams and Robert Rowbear Huffman, former bandmates in The Club Wig, a seminal group from the early punk/new wave scene in Tuscaloosa, Alabama. Ken, a computer systems analyst originally from Chicago, has drummed in countless bands over the years (including the University of Alabamas Million Dollar Band), and can't be beat when it comes to laying down an infectious groove. Kens musical prowess is not limited to smacking the skins -- he is also a first-rate guitarist and keyboardist. Rowbear, a USDA inspector originally from Roanoke, Virginia, is the only member who came to the band with a surf pedigree, having tickled the ivories with the legendary Penetrators under the nom-de-plume Bobby Corvair. Not only is he a peerless organ-izer, Rowbear also serves as the bands emcee, announcing song titles and other relevant information via his trusty megaphone. In addition to his High Fidelic duties, he can often be found around Birmingham and environs performing The Great American Songbook, accompanying himself on acoustic guitar and harmonica. For a short period, before their public debut, the band included sax-man Lars Espensen (formerly of The A-Bones), who is currently working with Jeff in the Tuscaloosa-based garage/surf band The Original Shake Charmers.
Although all four members are accomplished vocalists (each of them having served as lead singer with previous bands), The High Fidelics are strictly an instrumental ensemble. In this way, the performances highlight the interaction of each instrument in its purest form.
The bulk of their material is comprised of numbers written by Jeff and by Edwin, but with a heaping helping from Ken and from Rowbear. They also cover a few familiar (and some not-so-familiar) songs.
Band Members
Links
