Romeo Spike

Romeo Spike; The Classic Sound of the Future

Presenting a classic rock flavor with a futuristic flair, Romeo Spike takes the best elements of yesterday and pushes them toward the limits of tomorrow. A mix of psychedelic sounds and dance beats, all within the confines of rock, this band presents a unique sound that is somewhat familiar and yet completely original. Their music is, in turns, relaxing, thrilling, intriguing, and inspiring, much like traveling into the outer limits of the atmosphere, heading toward the stars while glimpsing back at the majestic earth filling the frame of the rear glass.

This Atlanta-based band released their debut album this past summer. Romeo Spike is rocking their latest effort, For the Cause with Mike Kunz (vocals, rhodes electric piano, guitar), Donn Aaron (backing vocals, pedal steel, guitar), Will Brown (drums) and Skyler Ross (backing vocals, bass).

The band took time with The Silver Tongue to discuss the story behind their name, what “cause” inspired their album title, and their plans for the remaining year.


Your name has a romantic allure followed by piercing sharpness. What is the story behind your name, “Romeo Spike”?

Donn: It is a A literary allusion, decorative Romeo Spikes were used to keep young “Romeos” from climbing up to meet their “Juliets” on the balconies of 19th Century New Orleans.

Your music incorporates the best of classic rock while reaching into the future with spacey resonations. How would you describe your particular blend of music?

Will: You hit the nail on the head.
Mike: I think we’ve evolved into a peculiar blend of Echo and The Bunnymen, Kiss (sans theatrics and paint), and Radiohead, with just enough Steely Dan, and Tom Petty to keep you on your toes.
Sky: I would describe our music as a ship, gliding throughout the music…preparing for the next big wave. An Edgy smoothness.

The vocals in “Specter’s Ghost” sound similar to Dave Grohl’s, particularly from “My Hero.” Would you name some of your top musical influences?

Mike: I kinda just sing, and it comes out how it comes out. I wish I could sing like Jeff Buckley, but I can’t, so I don’t really try to sing like anybody. My main influences over the years have probably been Led Zeppelin (2 of my first 3 CDs were Led Zep II and IV), Steely Dan, D’Angelo’s Voodoo album, Miles Davis and his sidemen, and Radiohead. And I’ll never ever forget the joy I felt laying on my bedroom floor as a kid listening to Michael Jackson’s Thriller on my Fisher Price record player – that was exciting stuff!
Donn: Brian Eno, Daniel Lanois, The Doors, Echo and the Bunnymen, Stevie Ray Vaughn
Will: Dave Grohl is the reason I picked up drum sticks. Songs For the Deaf by Queens of the Stone Age remains my favorite rock & roll record.

Your latest album is titled, For the Cause. Would you share with us the meaning behind the title?

Mike: “For the Cause” is a lyric from the track “Laserbeams”. It has a lot of meanings really. In the song it’s kind of about how much you do for different causes, whether they’re yours (like getting rich) or someone else’s (like a church or government). As an album title it’s really meant to be sort of our contribution to the cause of crafted rock music. We put our hearts and lives into making that record (hell I moved to ATL to finish it), and to making something that wasn’t your average new DIY rock band album.

There is a nice blues groove in “Cocaine Skinny.” The lyrics are rather striking, describing a casual man whose real name is never really known to his lover, a man who only speaks in glances. What inspired that song?

Donn: The lyrics were inspired by my fascination with the drug kingpin Pablo Escobar. Documentaries, books, movies like Blow, Scarface, etc. They all provided a lot of imagery to draw from. I was amazed at the time that people could live their life under that much stress. The music was created in about an hour and came together as a song in about that much time. Once we recorded the droned dulcimer track we really got excited about it and finished it off with a rough mix in probably 3 hours total writing recording and mixing.

What have been the challenges of being a DIY band?

Will: The clubs often provide sandwiches for us, but the bread is never big enough. We don’t get it. Do we fold the meat? It does disturb me, but I’ll rise above it. I’m a professional.

You are primarily playing venues in Atlanta, Georgia. Tell us your view on the music scene in that area.

Mike: It’s interesting here. There’s a thriving scene with a ton of energy. We definitely don’t fit in, haha, but I kinda like that.

Are you striving to spread out from Atlanta? What connections assist you in getting recognized on a broader scale?

Donn: We have a publicist that we used for the album release which got us some great press around the country. We are planning a first wave of a radio campaign in about a month. It will include the southeast US,NY, LA, Illinois and the UK.
Will: We’re gonna spread like butter….or I Can’t Believe It’s Not Butter, whichever you prefer.

What past accomplishments are you most proud of as a band?

Donn: Working on our first record with a great engineer/producer Matt Still, who has worked with Elton John among others.
Sky: Completing a southeast US tour last fall with no flat tires and no engine troubles.

What do you look forward to in 2010? Mike: We’ve got a radio campaign starting up. We’re also pretty far along on a new EP that is a really great representation of what the band is right now. There’s a ton of energy, and we like the songs a lot. Plus we recorded in the same room as James Brown. - The Silver Tongue

-Ellen Eldridge

IMAGINE TAKING A TRIP THROUGH SPACE but not necessarily through time - a ride where the course doesn’t exactly follow a specific path. Flashing lights surround you with a sense of panicked fury, but relax the mind rather than awaken fear. Great music evokes places that lack concrete and hints at surfaces without allowing the listener to find a foothold. This is the music that inspires us to draw, paint, think and ultimately dream.
A perfect storm of talent, rock and blissful experimentation exists in
Romeo Spike’s founding members, Donn Aaron and Mike Kunz, who built the band around this esoteric idea, while creating something new and insightful. To Kunz, “Songwriting is this weird form of magic where if you happen to be in the right headspace, you just have to play one note and listen for all the music that is already there.”
Where exactly does the band’s name come from? It’s actually a literary reference dating back to the decorative “Romeo spikes” that were used to keep young “Romeos” from climbing up to meet their “Juliets” on the balconies of 19th Century New Orleans estates.
Romeo Spike’s latest album, For The Cause, is a foray into the minds
of songwriters with curious ideas and abundant talent. The fact that these souls were geographically separated during its production, yet still able to create music that connected on an incredibly personal level, speaks volumes about their talent. Kunz and Aaron formed Romeo Spike after engaging in a weekly songwriting challenge organized to push and inspire them. The band drew some of its inspiration for the challenge from the Lennon/McCartney idea of coming into the studio with a song to try to outdo each other. Kunz said, “For fun, we started to challenge one another to write better songs. Every Saturday we were supposed to submit one song each, but by the second week we had about ten songs. It just kind of exploded from there. We both realized we really like where the other’s heads were at with songwriting and we’d spend hours talking about the songs, so we decided to make an album.” Songs from these sessions that would later end up on For The Cause include “Lipstick Leslie” and “It’s Only Real.”
Donn Aaron’s previous work in the music industry has paired him with artists including Ludacris, for whom he recorded guitar on a track featured in the movie National Security. His indie solo album Unfinished Symphonies was chosen as one of the top 12 DIY picks of 2005 by Performing Songwriter Magazine.
Aaron has also been doing mastering work as a digital editor for Glenn Schick Mastering in Atlanta. Donn says, “Editing is very involved and is both creative and emotionally driven. We work with both the artist and label A&R, fighting for the artist to get what they are trying to achieve onto their albums.” Because of Aaron’s passion and love for his work, Romeo Spike caught the attention of Grammy Award-winner and long-time Elton John producer, Matt Still. Aaron says, “About six months after he came in to do production work for Elton John,
I sent him a letter and a CD and we ended up having lunch. He produced half of our CD and sang backup on some of the songs.”
When asked exactly how Aaron managed to do this, Kunz said, “Donn’s likely to get a response when he sends someone an email because he’s such a genuine guy. One thing to know about Donn, he’s one of the most intense human beings on the planet. He’s motivated by classic rock and is a massive Elton John fan. He was excited to talk to Matt Still about recording and working on classic Elton tracks, remixing and all that.”
Kunz’s musical experimentation began by transitioning from jazz to rock, and led to a sound rich in electronic moods as well as moving rock. “The best stuff comes without much thought - like magic. ‘Cocaine Skinny’ was the last song done and it came together in about three hours. Donn came up with the acoustic guitar part, added dulcimer and pedal steel guitar, and we worked in some melodies and the presence of the tune. Lyrically, it probably came out of
an obsession with watching movies like Blow and out of an intense attraction to ideas revolving around Pablo Escobar and the kinds of people who diet by cocaine. It was a creative attempt to create a character within a song,” said Kunz.
At the time of the recordings, Mike lived in Chicago and Donn lived in
Atlanta. Their physical separation plays out in themes ranging from spacemen, stars, lasers and ghosts all the way to lesbians, cocaine and reality. Though the surface themes may seem disconnected and unrestrained, the songs are musically tight with well-crafted guitar solos and purposeful drums. Songs like “Candy Heart” contain motivational solos that recall Jerry Garcia channeling a higher power or soliciting some energy from the universe. “Seasick” elicits feelings of déjà vu, really getting inside the listener’s head. Once both musicians were together in Atlanta, they added drummer Will Brown (former F’n Heartbreaks) and solidified their lineup with bassist Skyler Ross in the spring of 2009.
In just over a year, Romeo Spike has supported its cause by playing numerous shows, including a headlining slot at the Strange Daze Music and Arts Festival this past August, performing alongside Atlanta favorites Stokeswood, Before The Solstice, Jungol, Hip To Death and Mice In Cars. “We are friends with area bands who became early headliners and, when I saw the festival website, I came forward and said we’d love to be part of this and I asked what we needed to do. The main promoter, Nadia Lelutiu, said she liked our sound and we ended up on the bill as well,” said Brown.
By the end of 2010, the guys plan to release an EP, which is being tracked live in the same studio where Kansas’ “Carry On Wayward Son” was recorded. This spring, Propellerhead aided in the production of the forthcoming EP by providing new recording software to the band. Will Brown feels excited by changing the structure of songs and the difference it makes playing live versus the recorded product. “We’re finishing up the EP and the songs take on a new shape live because of the nature of the instrumentation.” Romeo Spike’s stage show is much more energetic, up-tempo and includes a varied bass line on “Cocaine Skinny” along with a more stripped-down sound. Beyond the challenges used to keep inspiration running strong, these guys
take themselves and their music seriously. Skyler Ross said, “I’m a musician and I work at it constantly, always thinking of ideas and songs to bring to the table for the band. In the rehearsal space, I’ll practice three or four hours a night because, in my eyes, it’s incredibly important to be the best musician you can be. All the guys in this band take the musicality very seriously.”
Brown concludes, “There’s a spontaneous energy to our craft and songwriting that allows our personalities to shine through.”
- Performer Magazine - A Cover Story Interview

– Daniel Calaway
Romeo Spike's debut release "For the Cause" attempts to fuse the country-music-standard pedal steel guitar with classic rock licks, but the tracks that let the songwriting star and rein in the post-production are the real gems.

The talent involved in the project is undeniable.

Mike Kunz and Donn Aaron, an industry-recognized pedal steel specialist, along with the magic of the studio - much of which was conducted by Grammy-winning engineer and producer Matt Still, whose resumé, visible at mattstill.net/albums.html, speaks for itself - are behind the album "For the Cause." According to their website bio, the accidental album materialized after a weekly songwriting contest between the two friends spiraled out of control.

Producer/musician Still, an Atlanta-area resident like Aaron and recent Chicago-transplant Kunz, got involved with the duo early in the production process and lent his producing talents and backing vocals to nigh half the album.

"Spaceman" opens the album with a bass hook and B-movie quality - in the fun, retro way - spacey science fiction sound effects courtesy of the pedal steel. Organ and other tracks overlay solid classic rock guitar work, and a breakdown and brief sci-fi-themed guitar solo display the extensive talent involved in the project.

The downside is that it seems like the talent is trying to force this song into a futuristic mode - promotional materials bill the album as "futuristic classic rock" - and maybe are not letting it be whatever it actually is. "Spaceman" sounds more like a thesis statement for the album than a real song itself.

Conversely, "Star Power" follows it with a more natural flow. It sounds like a good Shawn Mullins single with light techno-influenced overlays that nearly overpower the strong male/female duet. "Star Power's" futuristic pedal steel guitar solo feels like an organic progression of the song rather than a science experiment.

Romeo Spike dips into the alternative country vibe at times. "Cocaine Skinny" is a slow amalgam of Ryan Adams, Bright Eyes and an odd touch of Jamiroquai on the vocals that encourages a slow draw of whiskey and the tapping of toes.

"Candy Heart" is a movie soundtrack-worthy country-blues ballad of love and regret that haunts with a rich mix of pedal steel and classic sounds, a nearly syrupy duet and bittersweet lyrics. It's the easiest track to pick up and hardest to put down.

"Sara Baby" pales compared to "Candy Heart" but isn't bad; "Specter's Ghost" and "Laserbeams" are solid additions that are similar to "Star Power" in heft and execution, though the former suffers from some of the same over-producing and over-thinking as "Spaceman."

The tracks that are produced more evenly and are accented by Aaron's pedal steel rather than those that feature it are the ones that stick with you.

If nothing else, make sure to legally download - pay the men their 99 cents - "Candy Heart," but fans of more radio-friendly alternative country acts and radio-safe pop rock (think laidback Lenny Kravitz) should definitely give Romeo Spike an online listen and seriously consider picking up "For the Cause." - The Inkwell

– Charley Lee

The debut album from the dynamic duo of Mike Kunz and Donn Aaron is a genuinely solid first effort. Though it might be a stretch to call it "futuristic classic rock," For the Cause is a satisfactory melding of atmospheric space rock and chunky alt rock/ indie pop arrangements. What flows from the speakers is more reminiscent of The Teardrop Explodes than Pink Floyd, with elements of jazz and blues thrown in for good measure. Every now and again it becomes impossible to tell the difference between Romeo Spike and Science For Girls, due the band's wide array of instrumentation and the subtle down-tempo grooves floating in and out of the background. Even Kunz's emotive and slurred vocals become an instrument, especially on the closing track "Yesterday's News" - a perfectly sparse arrangement containing haunting melodies and atmospherics. Thankfully For the Cause is chock full of standout numbers including the bluesy, sexy, drug-love ballad, "Cocaine Slim" and the upbeat synth-laced dream-pop of "Star Power," a song that's sure to be stuck on repeat.
And while Kunz and Aaron are responsible for most everything you hear on the album, they were able to garner the attention of Grammy-award winner and long-time Elton John mix engineer/producer Matt Still who produced, mixed and provided back-up vocals on almost half the album. Though some of the lyrics may be a bit absurd, overall this first effort is resoundingly engaging, resulting in an album that's absolutely worth the fight. - Flagpole (Athens)

By: Alex Young

Romeo Spike might sound like a martini, but the grooves on the band’s debut disc go down so smooth you might forget you’re out of your seat and on the dance floor. For the Cause showcases the dynamic range of Mike Kunz and Donn Aaron and their endless ability to craft catchy choruses. The group reveals that they can wield a variety of traditional song writing techniques while simultaneously yielding unique results. Kunz and Aaron teamed up with the Grammy Award Winning mix engineer Matt Still to create the album. Still took on the task of producing and mixing Romeo Spike’s debut album, while he also performed on it by providing backing vocals for almost half the album. Together Kunz and Aaron prove to be an effective tag-team by blending disco rhythms balanced out by a sensitive touch on guitar that can also transform into an all-out funk odyssey. The band back up gliding jazz-inspired guitar runs with electro-dance beats that echo a love for Daft Punk on the song “Spaceman”. As Kunz croons bittersweet lyrics like “the bad taste/ stays with you/ so count the stains/ and wash them away”, he can still make them sink into a melody that can moves gracefully overtop of a pop-symphony on “Star Power”. The groovy guitar chops on the song, “Laser Beams”, almost seem like the soundtrack to a trip to outer space with a searing electric solo as the centerpiece. For the Cause gets increasingly mellow with songs that combine lush acoustic chords (“Candy Heart”), emotional melodies (“Sara Baby”) and speak of love as well as loss (“Yesterday’s News”). Although Romeo Spike’s debut album does slow down after its energetic start, the band continues to reveal their own identity rather than recycle radio hooks. If the band’s intoxicating brand of pop continues to propel itself by infusing energy throughout an entire album, an interesting follow-up from Kunz and Aaron could be around the corner. - Fazer Magazine

When a talented duo comes together like Mike Kunz and Donn Aaron, who make up Romeo Spike, you don't need to dive two far into their debut album to see the immense amount of talent that you have just stumbled upon. Though there is some additional programming and back up vocals that are thrown into the mix on "For The Cause," it's the odd placement of Donn Aaron's pedal steel, usually an instrument that is used in country music, that sets the tone for the genius of this album. For the most part you are going to hear a classic rock sound with a modern approach ala Peter Gabriel in that the vocals are presented in a way that sometimes comes across as a whisper as is best displayed on the slower paced tracks like "Candy Heart." Though they aren't afraid to show off their rock approach either as they show on the guitar driven "Laserbeams" and with the pounding rhythms on "Spector's Ghost." But it is the prominent use of the pedal steel that through it all continued to stand out the most and that is no more evident than on "Cocaine Skinny." Sometimes an album like this leaves a lot to be desired as the artists will tend to stray far to the left of the dial in an effort to be unique, but that is not the case here. The blending of uniqueness is perfectly laced over a radio friendly mix of pop and rock driven sounds making this album and easy listen and at the same time falling into the category of "doesn't sound like anything else out there right now." - The Guestlist

When I read a description of Romeo Spike, they were termed as sounding like "futuristic classic rock." So after hearing that, I thought to myself, "What does futuristic classic rock sound like?" My first impression was it would sound like Pink Floyd or Yes. After a few listens of For the Cause, I came to the conclusion that nothing released now can be coined "classic rock" or "sounds like classic rock." Classic rock isn’t a genre, it’s an era that encompasses such a broad array of bands that to say something sounds like classic rock would be like saying something sounds like...well... sound. So then what does Romeo Spike sound like? At times they sound like a tamed version of The Flaming Lips with the quirkiness taken out and during other moments - sound like Pink Floyd, with a clear and heavy influence from David Gilmour’s guitar work. Ultimately, all of this adds up to a fine album with plenty of space rock qualities.
The space rock qualities are most evident on the opening track "Spaceman", an upbeat song filled with atmospheric effects and a dominant rhythm. The opening track is the albums plateau in terms of tempo, but while the mood may become more subdued, the quality of music never ceases. The remainder of the album will have you drifting away with their melodic and dreamy attributes. "Cocaine Skinny" features a soothing slide guitar that creates a lulling backdrop, sounding very much like Floyd. The following track, "Candy Heart", continues with the David Gilmour-esque guitar work with a solo that could certainly be confused with one of his solo’s from his latest solo album On an Island. The final song on For the Cause, "Yesterday’s News" is an incredible melodramatic minimalist piece with the vocals taking full command and like a puppeteer, Romeo Spike has their listeners under their complete control.
Romeo Spike has created a very authentic spacey album with enough atmospheric backdrops to take you as far away from earth as possible. The album is almost like a space ship, it blasts off with the energizing "Spaceman" and then drifts away into a calm tranquility that can only be described as fantastic. - Imagine Echoes

BY JOSH RUFFIN
AUGUSTA, GA - Right off, I’ll give Atlanta’s Romeo Spike credit for one thing: they provided me with the kind of surprise usually reserved for me when I research heavy-hitting bands like Cobalt or Plague Bringer. With regards to the latter two, it constantly astounds me that they can achieve, let alone maintain, the kind of racket they do with only two members each. Romeo Spike, however, manage to pull off this same trick, not in the context of blunt-force trauma, but with the series of sophisticated, stupefyingly layered pop mini-opuses that comprise “For the Cause.”
Seriously, these dudes take dream pop not just further down the same linear path trod by Peter Gabriel and Brian Eno, but veer off into side roads that lead, presumably, to Yellow Submarine-like fields littered with stockpiles of cabernet, condoms and early '80s space-rock vinyl. “Specter’s Ghost,” with its keyboard-doubled-by-fuzz-guitar melodies, hand claps, and slow-funk bass line, is not only the album’s centerpiece and aural definition of this group’s aesthetic, but is quite possibly this writer’s favorite song of the year. And did I mention the Southern rock? Yeah, there’s Southern rock here too, somehow, both in style and in sentiment. Donn Aaron’s pedal steel is a clandestine secret weapon, and the bluesy, guitar-driven title track is the sexiest thing you’re likely to encounter not involving the words “Heidi” and “Klum.”
And then there are the heartbreakers and the soul-crushers. If “Candy Heart” is a futuristic hangover ballad that probably hit its head on the toilet after passing out, then “Seasick” is the hangover breakfast. Elsewhere, Mike Kunz ventures into the cellar of his vocal range, channeling his inner Nick Cave on “It’s Only Real,” while “Sara Baby” is that rare, elusive tune that can make both the day brighter and the night darker—it’s what you listen to at dawn during a rainstorm. If you know what’s good for you. - Metro Spirit

The Capulets versus the Montagues circa 2009. Competition breeds Romeo Spike's debut album, For The Cause: A review.
-Lucy Shaffer
I have never been convinced that any form of musical group could remind me of an adjective such as futuristic. To be futuristic, you must be cutting-edge, innovative, and a pioneering revolutionary. Unbelievably, the two gentlemen of Romeo Spike somehow accomplish this with only themselves performing all of the vocal and orchestrating numerous instruments that would traditionally be played by between four and six or more members. Their instrumentals, lyrics and refreshing sound will prove to audiences everywhere that you can make music that is out of this world and still been perceived as multi-faceted and talented.

Stemming from Atlanta Georgia, this "futuristic classic rock" band brings a new sound to the free world. Members Mike Kunz (Vocals, Rhodes electric piano, Guitars, Bass, Drums, and Programming) and Donn Aaron (Background Vocals, Pedal Steel, Guitars, Bass, Drums, Casio, Kaoss) are a thrilling combination, inspired by artists such as The Rolling Stones, The Flaming Lips, and Led Zeppelin. They describe their sound as having a somewhat "pumpkin pie" consistency, possibly meaning that their passion for music is the crust, the foundation of all that they do. The spice-filled, sweet and tangy filling is the actual music, lyrics and instrumentals, that are smooth with a bit of an edge, that compliment the foundation well.

When asked to describe what Romeo Spike means to them and why they exist, they replied: "A literary allusion, the artistic and almost mockingly decorative Romeo Spikes were meant to keep young "Romeos" from climbing up the poles to meet their "Juliets" in the balconies of 19th Century Spanish townhouses of New Orleans. The presence of a diminished number of Romeo Spikes remain still today in the French Quarter and also sprinkled throughout Savannah, GA, Charleston, SC and Pensacola, FL." Confusing, yet intriguing, so I decided to investigate a little more into the lives of these gentlemen.

The most interesting quality of these two is that they were randomly brought together by a mutual friend. While one guy was residing in Chicago, the other was living in Atlanta. The two became instant comrades and began to have song writing challenges weekly. They would submit their songs to each other via email and phone and then rework the songs together to make them feel right to both parties. Eventually, they stopped having the competitions and began seriously working on a full-length album, titled "For the Cause." While they were producing this album, their music came to the attention of Matt Still, who had been an engineer and producer for Elton John. As soon as they began collaborations, the album came together.

This unexpected uniting of forces came to be exist as what Kunz and Aaron had been waiting their entire lives for. These two believe that its truly "... all about the song." Kunz stated, "You just have to play one note and listen for all the music that is already there."

So if you can appreciate the music of Cold Play, Ben Folds, or Pink Floyd, then please allow Romeo Spike to enrich your life. You can visit their MySpace account at www.myspace.com/romeospike or visit the band's official site at www.romeospike.com. They currently have no posted tour dates for 2009, but keep checking back on the website for some definite dates. They will open your mind to a world of new beginnings, second chances, and a new age of music that has the potential to change lives. - The Carolinian Online