Ian Hilmer's StageFright

The first disc by Ian Hilmer opens with a guy strumming a single chord complaining about, among other things, sitting on the couch too much.

“Look out the window, I stare at the walls, I can’t seem to think of anything at all.”

Oh no, I thought. Shouldn’t he have waited until he had a thought before he began writing songs?

But my, how we elders pre-judge our couch dwellers, for Hilmer’s debut compact disc, “Kicking Time Cross Country” is perhaps the best release yet by the folks at Mankato’s Two-Fish Studios.

Fortunately for the next dozen songs, Hilmer gets off the couch and hits the road, raising dust, enjoying sunsets and escorting plenty of other images along the way.

The bulk of the album’s songs are prime examples of the less-is-more path to success, which in the case of local discs, can be defined as keeping impatient listeners listening.

Acoustic guitars, a touch of vocal harmony and a slide guitar make songs such as “Grey Line Sky” and others far more inviting than one would expect, and it bears comparison to Iowa songwriter Greg Brown’s recent arrangements.

The transition between putting emotion into the written word and translating those emotions via the vocal cords is a tricky one, and on the naked truth of a compact disc, the flaws are always magnified. Hilmer, amazingly, never wavers from an entirely convincing and competent delivery.

Perhaps that’s the secret ingredient here: Despite the fine musicianship he and others portray here (Paul Durenberger’s keyboards and B-3 organ are highlights), the bottom line is whether we’re buying any of this stuff or if another band pooled its money and made a CD because it’s cool to do so.

Hilmer delivers 100 percent, singing with a voice custom-made for the theme he’s chosen of solitary souls whose salvation is just a turn of the ignition away.

When he strays from the basics, he gets intelligently adventurous — “Let Me Down” has the audacity to include horns and results work well. Only when he gets into the upbeat stuff does the mood falter.

The fast-paced, full-band treatment of “Radio Song” sounds a bit too much like it’s trying to be one. The song — jumpy, funky, whatever you want to call it — does evolve into a small bit of admirable rhythm guitar jamming, but this is the type of thing that makes more sense on a stage at full height of a good evening. Here, the song’s effect is ultimately akin to watching a concert on TV rather than being there.

That mild disappointment quickly fades into the disc’s outstanding track “Hate City Rivals,” which could be one horrific parade march with its one-note metronome beat, ominous tone and repeated chant of “shoot, shoot that rebel king down.” Without war-is-hell sentimentality, it features Hilmer’s vocals decrying “A cause with no end to serve forever/temporary madness of a sacrificial lamb,” punctuated by a sing-along chant regarding the rebel king.

And the anti-drug tune “Wired” is just a cruise-control tune for this ride, fitting in with the upbeat, Bo Diddley-meets-calypso beat we’ve heard far too much of from local bands.

A few of Hilmer’s songs do plod along, but more often the mood he sets up through the instrumentation turn any plodding potential into a distinct, dusty mood, and the difference is significant — audible pleasure vs. indifference. Hilmer’s disc is a pleasure.

-Joe Tougas, The Free Press
- The Free Press

The first disc by Ian Hilmer opens with a guy strumming a single chord complaining about, among other things, sitting on the couch too much.

“Look out the window, I stare at the walls, I can’t seem to think of anything at all.”

Oh no, I thought. Shouldn’t he have waited until he had a thought before he began writing songs?

But my, how we elders pre-judge our couch dwellers, for Hilmer’s debut compact disc, “Kicking Time Cross Country” is perhaps the best release yet by the folks at Mankato’s Two-Fish Studios.

Fortunately for the next dozen songs, Hilmer gets off the couch and hits the road, raising dust, enjoying sunsets and escorting plenty of other images along the way.

The bulk of the album’s songs are prime examples of the less-is-more path to success, which in the case of local discs, can be defined as keeping impatient listeners listening.

Acoustic guitars, a touch of vocal harmony and a slide guitar make songs such as “Grey Line Sky” and others far more inviting than one would expect, and it bears comparison to Iowa songwriter Greg Brown’s recent arrangements.

The transition between putting emotion into the written word and translating those emotions via the vocal cords is a tricky one, and on the naked truth of a compact disc, the flaws are always magnified. Hilmer, amazingly, never wavers from an entirely convincing and competent delivery.

Perhaps that’s the secret ingredient here: Despite the fine musicianship he and others portray here (Paul Durenberger’s keyboards and B-3 organ are highlights), the bottom line is whether we’re buying any of this stuff or if another band pooled its money and made a CD because it’s cool to do so.

Hilmer delivers 100 percent, singing with a voice custom-made for the theme he’s chosen of solitary souls whose salvation is just a turn of the ignition away.

When he strays from the basics, he gets intelligently adventurous — “Let Me Down” has the audacity to include horns and results work well. Only when he gets into the upbeat stuff does the mood falter.

The fast-paced, full-band treatment of “Radio Song” sounds a bit too much like it’s trying to be one. The song — jumpy, funky, whatever you want to call it — does evolve into a small bit of admirable rhythm guitar jamming, but this is the type of thing that makes more sense on a stage at full height of a good evening. Here, the song’s effect is ultimately akin to watching a concert on TV rather than being there.

That mild disappointment quickly fades into the disc’s outstanding track “Hate City Rivals,” which could be one horrific parade march with its one-note metronome beat, ominous tone and repeated chant of “shoot, shoot that rebel king down.” Without war-is-hell sentimentality, it features Hilmer’s vocals decrying “A cause with no end to serve forever/temporary madness of a sacrificial lamb,” punctuated by a sing-along chant regarding the rebel king.

And the anti-drug tune “Wired” is just a cruise-control tune for this ride, fitting in with the upbeat, Bo Diddley-meets-calypso beat we’ve heard far too much of from local bands.

A few of Hilmer’s songs do plod along, but more often the mood he sets up through the instrumentation turn any plodding potential into a distinct, dusty mood, and the difference is significant — audible pleasure vs. indifference. Hilmer’s disc is a pleasure.

-Joe Tougas, The Free Press
- The Free Press

"Saturated with anecdotes stemming from his eclectic and well-traveled existence, Ian Hilmer is a songwriter with many of these stories to tell. From his days on the carnival circuit to sweating for hours under factory conditions in 102-degree heat, his music is the journal of his life adventures, his advice for the world, and an account of his carpe diem customs."
(-Cathy Tatge, Static Magazine, March 2005)
- Static Magazine

"Saturated with anecdotes stemming from his eclectic and well-traveled existence, Ian Hilmer is a songwriter with many of these stories to tell. From his days on the carnival circuit to sweating for hours under factory conditions in 102-degree heat, his music is the journal of his life adventures, his advice for the world, and an account of his carpe diem customs."
(-Cathy Tatge, Static Magazine, March 2005)
- Static Magazine

America’s diverse landscape is like that of the band, Ian Hilmer’s Stagefright. Don’t get me wrong, they are a band that plays their own style of rock/pop/folk/acoustic Americana. But many new and seasoned listeners can’t pinpoint one genre. Their songs thrill & dare, but also soothe & play. It’s uniquely IHSF’s style.

The front man is southern Minnesota native, Ian Hilmer. Finding the winning formula has been an elusive goal in his career pursuit. He understands the fragility of stardom. He’s been there more than once. But unlike artists, who reinvent themselves and lose their roots, he keeps playing because it’s who he is and it’s what he knows. This humble drive garners him a growing fan base. His band plays with a distinct style. Their songs range from heart-wrenching to line-crossing to playfully real. Finding just the right combination is his intent. “There’s an audience out there. When we travel we have people come up to us or call to say something about our songs. They’ll talk about the impact a song had or after they listened to a song they ‘got it.’”

He started, like many of us, who recall our own private studio audition in front of the mirror. But Ian took his dream further. What drove him? “Cursed with it,”- he states. This has kept him playing, writing, and singing. His father, also a singer, was an influence and it showed Ian his future ambition. He picked up a guitar at age 15 and relentlessly kept strumming and writing. Around that same time, he worked for a carnival. He learned the life of traveling; functioning on little sleep and never staying in one place too long. He finds solace in the simple. He says he’s not playing to get rich. He loves touring, and meeting new people, and also the freedom of “being his own boss.” Ian keeps working on the right formula to reach more audiences. It may be found in this rebel storyteller and his melodic musicians that author the lyrics and music into a lingering sound. Lyrics needs music. To have one without the other doesn’t quite make Ian Hilmer’s Stagefright what it is, a blend of realism and rock.

IHSF’s show invokes comments like “phenomenal” or “great, but hard to define.” Songs like “Blame it on the Weather” or the whimsical “Roller Coaster” resonate with crowds, young and old. The first time I heard “Impressed” I was captured by the instrumentation and the honest lyrics, such as: ”I’m not shy, but you took my breath away….” The lyrics are where Ian’s genius with IHSF lies. They tell stories about life experienced through Ian’s eyes. One may linger; eventually, getting hooked on the musical styling and then connecting with the lyrical conversation Ian has with his audience. He draws insight from bands like Tragically Hip as well as being influenced by Pink Floyd and Black Sabbath. He “attacks a song from different angles” to try to make it them new every time it’s they’re played. These songs are about a guy who has gone through various musical landscapes and continues searching for innovative ways to make a lasting mark.

The future of Ian Hilmer’s Stagefright looks bright. If you don’t want to take my word for it, check them out yourself. They are currently touring regionally and then nationally. They are finishing up a new full-length project comprised of 19 tracks. Look for your copy, in about a month, at these various locations: Tune Town, Rhapsody Music, Aquarium Records online, or catch IHSF live. For further information go to: www.ianhilmer.com or www.myspace.com/ianhilmer. A review of the yet untitled new album from Hilmer will be in the next issue of Applauze.

By Tina Hopp - Applauze Magazine

America’s diverse landscape is like that of the band, Ian Hilmer’s Stagefright. Don’t get me wrong, they are a band that plays their own style of rock/pop/folk/acoustic Americana. But many new and seasoned listeners can’t pinpoint one genre. Their songs thrill & dare, but also soothe & play. It’s uniquely IHSF’s style.

The front man is southern Minnesota native, Ian Hilmer. Finding the winning formula has been an elusive goal in his career pursuit. He understands the fragility of stardom. He’s been there more than once. But unlike artists, who reinvent themselves and lose their roots, he keeps playing because it’s who he is and it’s what he knows. This humble drive garners him a growing fan base. His band plays with a distinct style. Their songs range from heart-wrenching to line-crossing to playfully real. Finding just the right combination is his intent. “There’s an audience out there. When we travel we have people come up to us or call to say something about our songs. They’ll talk about the impact a song had or after they listened to a song they ‘got it.’”

He started, like many of us, who recall our own private studio audition in front of the mirror. But Ian took his dream further. What drove him? “Cursed with it,”- he states. This has kept him playing, writing, and singing. His father, also a singer, was an influence and it showed Ian his future ambition. He picked up a guitar at age 15 and relentlessly kept strumming and writing. Around that same time, he worked for a carnival. He learned the life of traveling; functioning on little sleep and never staying in one place too long. He finds solace in the simple. He says he’s not playing to get rich. He loves touring, and meeting new people, and also the freedom of “being his own boss.” Ian keeps working on the right formula to reach more audiences. It may be found in this rebel storyteller and his melodic musicians that author the lyrics and music into a lingering sound. Lyrics needs music. To have one without the other doesn’t quite make Ian Hilmer’s Stagefright what it is, a blend of realism and rock.

IHSF’s show invokes comments like “phenomenal” or “great, but hard to define.” Songs like “Blame it on the Weather” or the whimsical “Roller Coaster” resonate with crowds, young and old. The first time I heard “Impressed” I was captured by the instrumentation and the honest lyrics, such as: ”I’m not shy, but you took my breath away….” The lyrics are where Ian’s genius with IHSF lies. They tell stories about life experienced through Ian’s eyes. One may linger; eventually, getting hooked on the musical styling and then connecting with the lyrical conversation Ian has with his audience. He draws insight from bands like Tragically Hip as well as being influenced by Pink Floyd and Black Sabbath. He “attacks a song from different angles” to try to make it them new every time it’s they’re played. These songs are about a guy who has gone through various musical landscapes and continues searching for innovative ways to make a lasting mark.

The future of Ian Hilmer’s Stagefright looks bright. If you don’t want to take my word for it, check them out yourself. They are currently touring regionally and then nationally. They are finishing up a new full-length project comprised of 19 tracks. Look for your copy, in about a month, at these various locations: Tune Town, Rhapsody Music, Aquarium Records online, or catch IHSF live. For further information go to: www.ianhilmer.com or www.myspace.com/ianhilmer. A review of the yet untitled new album from Hilmer will be in the next issue of Applauze.

By Tina Hopp - Applauze Magazine

Back in September, I got my hands on the new studio project, From Ourselves from Ian Hilmer’s Stagefright. I brought the disc back to my apartment to check it out. I wasn’t more than a couple tracks into the album when I decided that something did not fit. I grabbed the CD and jumped in my truck. I slid From Ourselves into my truck’s deck and headed for the back roads on a gorgeous fall day in southern MN. With the windows down and the radio up the stories of IHSF’s “Blame it on the Weather” and “Working Shoes” took on a life of their own in the places that bred them – small town America. The heart of a blue-collar boy fused into the depth of acoustic and folk undertones with a jamband cleverness speak to the concept of From Ourselves.

I recently sat down with Ian Hilmer, frontman of Ian Hilmer’s Stagefright to get some more details on the new album. Ian told me that the project is finally ready for its public release. He also told me this album has a light-hearted, “whimisical” feel to it but maintains the IHSF’s lyric-driven tunes that people have come to know. He also shared the “concept” behind the songs selected for this project. Not only are the songs some of the band’s most recognized but many of the songs also tell a piece of a greater story woven through the 18-song project. I found this interesting as IHSF’s songs often speak of relatable experiences but to put together songs to tell a greater story made the album unique to other IHSF’s albums. If you don’t pick up on that bigger story you may have to ask the master lyricist, Ian, yourself. The retelling of the concept here wouldn’t do the album’s depth justice.

If you’re familiar with IHSF you’ll recognize the flavor of this project. Yet, if you’ve heard them live you’ll hear some of the well-known favorites like “Impressed” and “Mountain” in a studio version. Some of those tracks, depending on your taste, are just as good if not better on this album. Special guests on some of the tracks include Bill Steiner of City Mouse fame, Paul Durenberger, and some exceptionally talented ladies providing background vocals. Ian explained that playing some of the songs live are a good test for a band material. And as the band’s name suggests the talented musicians playing with him enhance the value and sound of the song as well as get Ian through his “stage fright.”

Hilmer and the rest of the band recently returned from a successful tour in Colorado and are currently gearing up for the CD release party for the album, set for February 24 at the Inferno Tavern in Mankato. Their live shows will consist of some of the songs you’ll hear on From Ourselves with a blend of some covers from Led Zeppelin, Johnny Cash, or Tragically Hip. If you ask Ian he’d probably state that the songs of Stagefright have struck a chord with various fans. He mentions how people will come up to him after a show and tell him that one of the band’s songs stuck with them for one reason or another. So, according to Ian, “people are listening,” and for him that means he’s doing something right.

From Ourselves is a solid album with notable tracks that are catchy like “Seaside”, “Moonlight”, and my personal favorite, “Impressed.” And hearing IHSF live is worth the price of a cold beer with a few dozen of your closest friends if you want a memorable listening experience to enjoy the sounds of this new release.

Check out the new album from Ian Hilmer’s Stagefright by contacting Two Fish Recording Studios (http://www.twofishstudios.com/Flash/2004.html) for your own copy of From Ourselves or see the album performed live in its’ entirety on Saturday, Feb. 24 at Inferno Tavern in Mankato, and don’t forget to pick up your own little heaven in a jewel case while you are there.

By Tina Hopp - Applauze Magazine

Back in September, I got my hands on the new studio project, From Ourselves from Ian Hilmer’s Stagefright. I brought the disc back to my apartment to check it out. I wasn’t more than a couple tracks into the album when I decided that something did not fit. I grabbed the CD and jumped in my truck. I slid From Ourselves into my truck’s deck and headed for the back roads on a gorgeous fall day in southern MN. With the windows down and the radio up the stories of IHSF’s “Blame it on the Weather” and “Working Shoes” took on a life of their own in the places that bred them – small town America. The heart of a blue-collar boy fused into the depth of acoustic and folk undertones with a jamband cleverness speak to the concept of From Ourselves.

I recently sat down with Ian Hilmer, frontman of Ian Hilmer’s Stagefright to get some more details on the new album. Ian told me that the project is finally ready for its public release. He also told me this album has a light-hearted, “whimisical” feel to it but maintains the IHSF’s lyric-driven tunes that people have come to know. He also shared the “concept” behind the songs selected for this project. Not only are the songs some of the band’s most recognized but many of the songs also tell a piece of a greater story woven through the 18-song project. I found this interesting as IHSF’s songs often speak of relatable experiences but to put together songs to tell a greater story made the album unique to other IHSF’s albums. If you don’t pick up on that bigger story you may have to ask the master lyricist, Ian, yourself. The retelling of the concept here wouldn’t do the album’s depth justice.

If you’re familiar with IHSF you’ll recognize the flavor of this project. Yet, if you’ve heard them live you’ll hear some of the well-known favorites like “Impressed” and “Mountain” in a studio version. Some of those tracks, depending on your taste, are just as good if not better on this album. Special guests on some of the tracks include Bill Steiner of City Mouse fame, Paul Durenberger, and some exceptionally talented ladies providing background vocals. Ian explained that playing some of the songs live are a good test for a band material. And as the band’s name suggests the talented musicians playing with him enhance the value and sound of the song as well as get Ian through his “stage fright.”

Hilmer and the rest of the band recently returned from a successful tour in Colorado and are currently gearing up for the CD release party for the album, set for February 24 at the Inferno Tavern in Mankato. Their live shows will consist of some of the songs you’ll hear on From Ourselves with a blend of some covers from Led Zeppelin, Johnny Cash, or Tragically Hip. If you ask Ian he’d probably state that the songs of Stagefright have struck a chord with various fans. He mentions how people will come up to him after a show and tell him that one of the band’s songs stuck with them for one reason or another. So, according to Ian, “people are listening,” and for him that means he’s doing something right.

From Ourselves is a solid album with notable tracks that are catchy like “Seaside”, “Moonlight”, and my personal favorite, “Impressed.” And hearing IHSF live is worth the price of a cold beer with a few dozen of your closest friends if you want a memorable listening experience to enjoy the sounds of this new release.

Check out the new album from Ian Hilmer’s Stagefright by contacting Two Fish Recording Studios (http://www.twofishstudios.com/Flash/2004.html) for your own copy of From Ourselves or see the album performed live in its’ entirety on Saturday, Feb. 24 at Inferno Tavern in Mankato, and don’t forget to pick up your own little heaven in a jewel case while you are there.

By Tina Hopp - Applauze Magazine