Seven Mary Three: Dislocation Not-So-Cumbersome When You're Doing What You Love

Seven Mary Three is known for experimenting with sounds and moods while maintaining a consistently exceptional lyrical and melodic strength. Dis/location, the fifth venture of the eclectic yet somehow quite consistent band is no exception in those arenas but is very different in that this time, they're in it to blow the doors out.

A definitive kick in the junk to the position that Seven Mary Three has only gone downhill since Cumbersome, the new album rocks from track one. It's nothing like the anthem of self-doubt in the face of an ending relationship made so famous ten years ago, but if you haven't bothered since then, do yourself a favor and check out the new album. Guitar-laden, crunching licks and catchy hooks somewhat reminiscent of some of the best sounds to come out of the '70s and '80s blend fiercely with the always-brilliant and ever-personal lyrics of Jason Ross to create an incredibly infectious offering. Chock-full of tunes that will stick with you long after you turn it off; Dis/location's well worth the 15 bucks. Right from the first hammering licks of the first track, Settle Up, you get a hint that you may be in for a slightly different ride than what you expect from this band; Cumbersome it ain't.

Dis/location on Sale Now

Guitarist Thomas Juliano's influence is clearly drawn in this release, to great effect. His musical talent has helped infuse a new energy and vibe that really highlights the talents of each member and provides an interesting counterpoint to Jason Ross's introspective lyrical style. Typical of his unique and incredible style, lyricist Ross cants the mirror just right so that you feel like you might somehow be peeking into a window on the sly, only to discover that, often as not, it's your very own.

For all its lyrical introspection, there's nothing particularly soft and squidgy-sounding about Dis/location. Neither slow and whiney nor light and frothy, guitars rail and drums hammer to a lyrical focus strong on the appeal of real human substance. Yes, it deals in part with the great mystery that is love. There's an undercurrent throughout the album -- not right in-your-face, remember the mirror now -- of just how cool strong, unique women are. Even if one woman in particular is the subject of most of the lyrics, the universal appeal of music assures that any woman who knows how to be both soft and strong; who is never too shy to use her mind; who's finally grown comfortable in her skin, will appreciate this album. Fear not men; the themes are universally applied and represent you well. Chances are if you've ever cared for anyone who's really challenged you to stretch your perspective, you'll get tracks Bark No Bite, Oceans of Envy, and By Your Side dead-to-rights, regardless of gender. I only interpret them the way I do because...well, because I'm a woman, so I find Ross's ideal of a strong, intelligent, witty and quirky woman incredibly inspirational. Oh yeah, and there's that one song about death.

Jason Ross, Thomas Juliano

Dis/located, the adjectival-diminutive assigned title track could be as easily considered a posthumous retrospective, pre-mortis as a Godfather's kiss to a pop-music-industry-turned-puppy-mill industry mindset. It's a cumulative thumb-to-the-nose for what's important vs. what's not with regard to personal integrity. That's cool, right? Trust me, it is

I've thought on more than one occasion that the very thing about this band I find so appealing might well be what oddly alienates a standard fanbase -- even if it simultaneously garners another sort of fierce, though smaller, contingent. Sound-wise, they're very experimental: the popularity of American Standard barely began to wane before they were off to New Orleans recording the ephemerally beautiful, moody Rock Crown. Rife with distinctly jazzy influences, piano-bar stylings and blues-inspired acoustics -- sounds the grunge set of the middle-late nineties were not eager to embrace -- this incredible album greeted modest sales and confounded critics. Number three, Orange Ave. barely reached the radar and was followed three years later by The Economy of Sound, introducing a still-different, revitalized sound with new guitarist Thomas Juliano, which some questionable critics oddly panned as a lame attempt to revisit the long-gone glory days of Cumbersome." The disillusion of the band's record label, Atlantic Records' subsidiary Mammoth Records, found the band among a number searching for a new home. Never ones to be guided by any force greater than their own internal compass, band members

Casey Daniel Jason Ross, Thomas Juliano, Casey Daniel and Giti Khalsa continued playing smaller venues, expanding their base and exploring their options before finally signing with independent label DRT Entertainment. Final tracks for Dis/location were laid in twenty breakneck days in Chase Park Studios in Athens, GA; were co-produced, engineered and mixed by Brian Paulson (Beck, Wilco) and were reported to have been among the most fun and creative of any recording process they've had to date. Aided by the ambience of the creepy (and purportedly 'haunted') motel they called home for twenty days and a local watering hole to which they retired nightly just in time for last call, they may have expanded their own personal perceptions, as well. [BB]

Currently touring in support of Dis/location, they're doing the requisite interview circuit as well. I seized an opportunity to sit down with lyricist/lead singer Jason Ross and bassist Casey Daniel to talk about the industry at large and how they've managed to fit into it ten years later. They're a brilliant, dynamic band consisting of very intelligent men with sometimes profound, insightful things to say; so in preparing for this interview I suddenly found myself scrapping my characteristic confidence in relating to people and bringing out their best (or at least, most colorful).

Despite my trepidation, I wound up with an enlightening, surprisingly relaxed interview where I learned more than I expected to learn about their perspectives on everything from the state of the music industry today to literature to how adeptly lyricist Ross captures and the band as a whole interprets the things that drive us all in the most elemental -- and seldom-admitted -- ways. More than I could fit into a single article, look for Part Deux, covering a more in-depth look behind the music, next week.

The Northwest Indiana Times previewed major preparations for what must've seemed to the small city of Kouts to be a major onslaught in the arrival of 7M3 prior to one of its earliest dates. City administration held a town council meeting to devise and implement extensive plans for reinforcement from the county and city reserve officers to assist in security and parking issues the night of the show. Amused and a little inspired by the article, I wondered what it felt like to have such a fuss made again, after so many years of wildly mixed reception. I saw the article, too, Ross muses with a smile, Yeah, smaller towns tend to fear we might 'take over' or the fans might get a little out of control -- they get shows like this so seldom, which is another reason we like shows like this so much -- but we're all about the music and our fans usually are, too. It went well, though.

In contrast to the sold-out Kouts reception, though consistent with overall industry numbers so far this season for acts across the board, there have been a couple of shows cancelled by hosting venues -- much to the disappointment of consistent and eager devotees -- but band members seem to keep it well in perspective.

It's not going to work out perfectly every time from a commercial standpoint, there's no delusion of that. I think we've been playing together long enough that even if it bothered us enough at other times -- or maybe still sometimes does -- it's not as important as just enjoying the fact that we're still able to put out records and go play music for people, says Casey Daniel, There'll be setbacks and of course, initially, you take your time to think about what it might mean. But we've always been a touring band, we work hard and we go out and do what it takes to play shows and still have a good time. Daniel states that they only carry seven people on their bus. Quick math leads that the remaining three outside of the band itself are probably the driver, tour manager Sam Mitcham and a single tech. Daniel continues, We're just a band, y'know: we don't need all of the extra 'frills', we let the music speak for itself, I think.[BB]

The overall ambience and identifiability of this band seems custom-made for smaller, more intimate venues as opposed to large, production-driven arena shows; their music does indeed speak for itself quite eloquently and dramatic production of any sort would almost seem an awkward afterthought to a Seven Mary Three show. But even shows lacking in dramatic overture cost money to produce, which still presents issues.

Giti Khalsa, Casey Daniel, Jason Ross, Thomas Juliano

Ross explains, The money is an issue because it's hard to make a living, playing smaller venues all of the time. But yeah, the smaller venues are more about the music where the arena shows are all about 'the show' y'know; what goes with it: the lights, the pyrotechnics, the groupies...all that rigamarole. So if we could do arenas and still let it be about the music, that'd be great; but we are what we are.

"What they are" turning out to be is a fiercely prolific contender for longevity in a field rife with the husks of a number of their former musical contemporaries, likely due in no small part to their complete lack of affectation both on- and off-stage and their determination to just 'dig in and do' what they so clearly love. I wonder, with record companies sporting more creative and marketing control than at any time in over a generation, if the industry seems more like a business machine and less like art than ever before.

It's definitely been headed that way, Daniel surmises, all of the laws that have been changed in radio in the last ten years...there's definitely more of a controlled system. But there's also more downloading on computers, so for each side of it, the opposite reacts just as hard. I think there are more people now than ever who are actively searching for ways to not have to listen to the stuff that's being shoved down their throats. reflecting further, Daniel states, In its way, it's advantageous for us. It's what's allowed us to continue putting out records. Some people found us when we were on the radio...we were in a position where you almost hear too much of it. And then, as it's backed off over the years, people have found us on their own or continued to listen to us and they're not worried if it's on the radio; to them it's not important as long as they've found something they can attach themselves to, something they genuinely enjoy and feel like they're part of. You're not part of something because you're one of ten million people who bought one of Brand X's records, y'know.

Don't get me wrong, we love to sell records. Obviously, from the commercial standpoint, that's what keeps us able to continue doing this: having enough money just to put more into it, so we can go back out and do it all over again with a new record every time," Daniel closes, "I think our goal is just to continue to be able to do that every time and still enjoy it. There's definitely easier things, in terms of the travel and lack of sleep and all that...but I think it's all worth it when you get to do what we do.

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Highly recommended! Don't miss your chance to see this show: check out the Seven Mary Three website -- www.7M3.com -- for where the tour will land near you and for special deals on getting the new CD and seeing the live show in selected areas.

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