are getting restless. This winter,several
Salt Lake City bands have undergone transformations,
branching out and exploring vast creative territories
normally restricted by their routine lineups. Some
are starting from scratch, abandoning previous
groups in favor of a fresh start. Others are attempting
to juggle multiple musical projects—a feat
not entirely uncommon amid this particular scene.
However, these changes come on the heels of a relative
calm, one in which bands had more or less settled
down. Apparently, people have gone stir-crazy.
Deliccato and Beard of Solitude are two of the
most noteworthy acts to emerge from the madness.
The former started three years ago as a one-man
project featuring singer-guitarist Camden Chamberlain,
a talented musician whose singular efforts failed
to produce desired results. He eventually abandoned
the solo gig and recruited a friend, Redd Tape
singer/guitarist Scott Fetzer, for help in advancing
a new vision. Soon thereafter, bassist/singer Alex
Pappas (who played with Chamberlain in Low Malanda)
and drummer Aaron Nelson (from the now-defunct
The Word Go) also joined, additions which helped
solidify the project.
The band members agreed to sit down for a conversation
before a their recent Kilby Court appearance. The
four gentleman, along with latest recruit Lindsey
Heath, convened at House of Coffee to discuss their
evolution as the next big thing.
Although the group enjoyed somewhat of a whirlwind
formation, it’s easy to understand how things
came together in such swift fashion. One casual
conversation with Deliccato is sufficient for uncovering
the secrets within reconfigured artistry.
After seeing the band perform, several thoughts
come to mind—what is Fetzer saying when his
falsetto climbs the rafters, and why is David Cross
singing back-up to his right? Perhaps the best
way to a musician’s mind is through his stomach.
Less than two hours before the show, the quintet
sat over plates of vegan barbecue chicken and cups
of chai discussing everything from large fish to
the unfortunate trend set by aging pop stars who
have relinquished greatness in favor of Disney
soundtracks and Starbucks compilations.
Heath was one of the more vocal participants in
the heated discussion, suggesting that Sting and
his ilk should just “settle down.” The
dreadlocked blonde, who recently added her name
to the Deliccato roster, originally wanted to play
keytar, but settled on a more traditional electronic
keyboard when her popular ’80s-era hybrid
was quietly vetoed by the others. Once the initial
disappointment subsided, Heath accepted her role
with enthusiasm. “I’m just making it
up as we go along,” she said. “Just
playing it by ear—making sure it doesn’t
crash with the guitars.”
An improvisational approach adheres perfectly to
Deliccato’s jazz-based sound, which also
boasts elements of acoustic, electronic pop. It
is a genre that complements the group’s agenda—or
rather nonagenda. Delicatto is not the result of
any serious planning. The name itself originated
over a bottle of wine that happened to be lying
around while Chamberlain searched for a suitable
moniker. “It’s a $4.95 bottle of merlot,” Fetzer
said. “But it did get a 90 on an official
Fetzer also delivers off-the-cuff highlights with
post-modern flair—lyrics that are basically
pure nonsense. The concept might not be appealing
to those looking for meaning. Of course inaudible
nonsense seems to work for Thom Yorke…
“It makes sense to me in the moment,” Heath
says, an opinion that aptly encapsulates the Deliccato
experience. Live, the group is riveting and unexpected.
Each set is testament to the musicians’ determination
The band’s recorded material is even more
bold. Its three-song demo featuring “Jesus
in a Woman’s Hip,” “Inside the
Hive,” and “Picture of a Plane,” all
of which are available in Mp3 form at www.deliccato.com.
Chamberlain, who has produced several live-jazz
albums, engineered each track. The result is a
hint of better things to come. Until a full-length
album comes out, the group will keep tinkering
with elements that will set them apart from all
Beard of Solitude, another group-in-transit,
set its own distinct tone at Kilby. The duo—Dan
Rose and Joe Guile—features transplants from
The Chronies, a band with a darker sensibility
that no longer satisfied its founders. They severed
themselves to follow a path of old pop and soul.
Of course, Beard is only lighter in theory. Guile,
who could pass for Jack Black if Black were Benicio
Del Toro, is a madman on the skins. A force to
be reckoned with, the drummer recognizes when to
shed a torrential downpour or trace a cautious
line around Rose’s off-key vocals. The two
create a sound larger than the sum of their parts.
Beard and Deliccato
definitely have the potential to quit their day jobs.
Pappas has slightly more modest aspirations: “I’d
just like to see it go where people aren’t
telling jokes on stage every time we play.“
Deliccato plays Jan. 22 at the Urban Lounge.
Beard of Solitude will perform a special Valentine’s
Day show with The Will Sartain Players at the Urban
Lounge. See what you’ve been missing.