Molehill

The world is a pretty scary place, and as questionable powers continue to rise it's cultivating a revolution amongst the common people. Molehill feels the way many people do these days and decided to express their concerns about the state of the world in the video for their latest single, "Hearts on Fire." - MySpace

Molehill are a progressive indie rock band from Chicago, and the first single from their forthcoming EP—due out May 12—is an upbeat track. However, it was inspired by a more complex topic: the "Euromaidan" protests in the Ukraine, which saw people rising about against a regime. - Alternative Press

A determined man with voluminous, curly hair made his way through the crowd Saturday night in the middle of a Molehill performance at Martyrs’. Even in darkness, it only took me a second to realize that this man was Molehill’s vocalist, Peter Manhart. It’s true that production elements are more than sound.

Saturday night marked Molehill’s send-off to Austin’s SxSW music festival. A lot of the audience members already knew music of this band, who’s been touring nationally for some time now. There were long-haired head bangers to my left, and spectators enjoying drinks at their tables to my right, while staying focused on the monumental sounds that were blooming on stage.

Paired with the space in Martyrs’ and Manhart’s vocals, which soared from atop the bar for “Two Souls,” Bassist Trevor Jones, Keyboardist Greg Van Zuiden and Drummer Devin Staples shared a deep bond with their audience.

“We didn’t even know he was going to do that,” said Jones of Manhart’s climb to the top of the bar, adding, “but that’s what people remember the most about a performance.” It was clear that the singer surprised the rest of the band, as its remaining members exchanged grins at the beginning of the song.

“Two Souls” was my favorite song of the evening; its placement towards the end of the set list gave the set a conclusive, firework feeling.

Manhart’s power, standing above the audience and his band mates lent itself to the song, whose lyrics describe a difficult time of letting go of someone. Even though he cries of separation, he stands above the sadness and the struggle to express what the protagonist of “Two Souls” feels.


Molehill Bassist Trevor Jones at Martyrs’ Saturday night (Photo Courtesy: Kari Terzino)
Adding to the power of instrumentation was the keyboard, which played the important role of lighting to someone who suffers from synesthesia. The colors of the keys bring together all Molehill’s voices, and an uplifting juxtaposition to songs like this one. This band uses the keyboard to complement Manhart’s vocals, and is a highlight of the Molehill experience.

In fact, this band’s sound is comparable to that of Muse, especially with its use of the keys as a major part of its showcase. Muse Frontman Matt Bellamy’s piano lights up in different colors with each note he plays. Manhart’s voice can be compared to Bellamy’s, as well, in that Manhart’s projects over the accompanying instruments, and fills the room. But there’s really no one voice to pick over another, as each one of Molehill’s members complements the next.

Another production element not to go unnoticed was the venue the band filled. As was mentioned, everywhere I looked, someone was tapping a foot to the rhythm, or throwing a hand in the air while reciting lyrics. Although this band isn’t yet “world famous,” it was fascinating to observe the connection so many people already have with Molehill two studio albums and an EP in.

That’s easy, though, when a tribute is also paid to the late David Bowie. Molehill sprinkled in “Space Oddity” towards the middle of its set. It was refreshing to hear a local band play such a famous song with its own, crisp sound.

Chemistry was not only apparent between the band members, but also between themselves and us. A venue’s layout makes an impact when performers know how to take advantage of it, and, as a result, leave everyone wanting to get involved in the music. Everywhere I looked, it seemed like conversations circulated around the band. While singing back-up, Jones shared a long smile with fans in the front row, who were head banging, singing with and worshipping Molehill.

Movement, space and instrumentation brought chemistry to Martyrs’ Saturday night. - ThirdCoastReview.com

A music podcast with the best up and coming music across the world.

World Premiere from The Vexies, an interview with Molehill, trivia, and McLafferty vs the Critics with special guest, Nate Zoebl of Dirty Sons of Pitches!

Brother O' Brother - Cramped
Automagik - Fucked Up
Spring King - Rectifier
Indigo Wild - High Point

Trivia with Dave from Columbus Trivia Challenge

The Delta Saints - Swamp Groove
Mood Robot - Invisible Chains
Good Luck Varsity - Firstborn
Digisaurus - Without Me

Metal Cage: It's Safe I Swear - Flooded Lungs

Kinski Gallo - Cumbia del Corazon

McLafferty vs the Movie Critics: Nate Zoebl of Dirty Sons of Pitches

Deadwood Floats - About a Man
Kid Cadaver - Waves

Interview with Molehill
Molehill - The Repeating
Bailiff - Shake My Heart Awake
Molehill - Tin God

Vug Arakas - Victim
The Courtesy Tier - Jackson

World Premier: The Vexies - Big Bad Wolf -

Molehill plays 2 songs and is interviewed on the "Pretty Late Show with Patti Vasquez" on WGN 720AM - WGN

Chicago Alternative Rock band Molehill is set to release their new album "Tin God" on Saturday March 7, 2015 at Chicago's Bottom Lounge. The new album capitalizes on the group's pension for lush soundscapes and emotive arrangements. Trevor and Peter of Molehill joined Jesse Menendez on The MusicVox to discuss the minimalist origins of their new project.

The MusicVox airs M-F 4-6 PM CT on 91.1 FM (CHI) / 89.5 FM (NWI) / www.vocalo.org - Vocalo

On their website, the Chicago rock outfit Molehill is broken down thusly: “Trevor Jones, a classical upright bass player with a penchant for distortion; Devin Staples, a drummer in the venerable Chicago gospel circuit; and Greg Van Zuiden, a classical pianist who had only performed solo in the past.” Frontman Peter Manhart “developed his love for performance in a touring Ukrainian dance troupe in his youth.” Put simply, Molehill isn’t a run-of-the-mill kind of group, as both their background and their latest tune, “The Repeating”, evince. Driven by groovy bass distortion and an earworm of a chorus, the track is one of the more powerful performances on the group’s new LP, Tin God.

Below you can view the shadowy video to “The Repeating”, directed by Kyle Dunleavy of Rhapsody Productions.

Jones tells PopMatters more about the song: “‘The Repeating’ is a song that began as an exercise in minimalism: one driving drum and bass groove and slowly adding layers on top. J Hall [producer] championed this song from the first time he heard it and pushed us to work this song out because it was a departure from our previous album, Equinox. We wanted more of that programmed, hypnotic feel, but with a human performance.

“The lyric ‘I’ve been to war’ does not refer to war literally in the military sense but rather the internal and external wars that each of us fight every day.” - popmatters.com

I can never get enough good rock music in my life.

Chicago-based progressive rock band Molehill has surfaced to my attention with the release of their second album, Tin God. Molehill has a sound that reminds me of bands like Muse and Depeche Mode, both of which I enjoy jamming out to. There's plenty of reason to add these guys to your rock radar.

Premiering on Indie Shuffle, their opening track "The Repeating" is a passionate and dynamic rock tune that will keep you connected.

If you like what you hear, be sure to look out for their album, Tin God, which will be released on February 10, 2015. Also, check out some of their previous material and covers on SoundCloud, and stay social on Twitter and Facebook. - indieshuffle.com

Peter Manhart, lead singer of the Chicago-based alternative band Molehill, stood on top of a table and chairs singing to a mesmerized crowd at The Thought Lot on Saturday, March 27. Just a week prior, Manhart and his band were in Austin, Texas, performing at debatably one of the hottest music festivals of the year, South by Southwest (SXSW).
While Shippensburg may seem like a drastic change of pace for Molehill, a band that has one ASCAP Plus Songwriting Award under its belt, is not new to The Thought Lot. Saturday was actually the band’s fourth time playing at the local venue. In addition to performing, the show doubled as the band’s release party for its newest EP “Tin God,” which was released in February.
The night started around 7:30 p.m., with opening solo act Evan Crider of Chambersburg. Crider is experienced in the local open mic scene and has played at The Thought Lot once before. His sound was reminiscent of emotional ’90s era alternative bands, but done on an acoustic guitar.
Moody lyrics like “dreaming of a place where I belong // a place to call my own,” accompanied by warm guitar-playing, were a stark contrast to the high-energy bands following him. This made Crider’s coffeehouse-esque vibes the perfect start to the evening.
Following Crider was Chambersburg’s self-proclaimed indie rock band, B-sides. Followers of the local music scene recognized B-sides’ lead singer and guitarist, Daniel Lemus. Lemus is also no stranger to the Thought Lot. He has accrued a following in the local scene through B-sides and through performing as a solo artist at The Thought Lot. B-sides’ opening riffs included a rock rendition of Johann Pechelbel’s famous “Canon in D.” The upbeat band had a great on-stage presence. Lemus and Spencer Bowers, who played bass, often bounced and jumped up and down on stage, which would be hard not to do with the energy they had.
Drummer Jorge Menchu provided a strong backbone for the songs, solidifying the band’s rock ‘n’ roll sound. Songs like “In The Back Of Your Car,” featuring the lyrics “I want to give it to you baby, I want to give it to you right now,” got the crowd on its feet.
While the two opening acts would have satisfied most live-music lovers, the night was just getting started. When Molehill took the stage, the atmosphere in The Thought Lot quickly changed from a local-neighborhood music venue to a full-blown rock stadium. Equipped with colored, vertical stage lights and powerful guitar riffs, audience members soon realized they were in for a treat.
Molehill’s influences, such as Muse, shined through their music. Audience member, Steven Brenize, who had seen Molehill at The Thought Lot before, said in his opinion Molehill is better than Muse. Brenize even went as far to say that, “Molehill is the band Muse wishes they were.”
The band’s set was an emotional rollercoaster. There were moments that borderlined on tear jerking, like during the song “February” — a sensitive, heartfelt ode to the band’s friend who committed suicide. Other songs like “A Thousand Fires,” elicited a warmer feeling in listeners. With a chorus consisting of lyrics, “I’ll burn the whole world down ‘til you feel warm again,” and slow-paced instrumentals, it was hard not to get entranced by the music. The song ended with the band singing a cappella, in unison, which produced an amazingly whole-hearted feeling.
The warm fuzzy feeling did not end there. Near the end of the set, the band stopped to wish a fan in the audience a happy birthday. Like Brenize, Darin Robillard, the birthday boy had also seen Molehill before and is a self-proclaimed “huge fan.”
While Molehill’s music and lyrics are remarkable enough, it was the band’s stage presence and performing skills that secure its spot as a great American rock band. It was clear that Manhart and the rest of the band have a bullet-proof relationship on and off stage and sincerely enjoy performing. The rest of the band is comprised of drummer Devin Staples, bassist Trevor Jones and keyboardist Greg Van Duiden. The night ended with another song off Tin God, “Ghost Town,” which ended in a big slow clap from audience members.
After the show, the band stuck around to chat with fans and pose for photos. The band was staying overnight in Gettysburg, before heading to play in Washington, D.C. the next evening. - The Slate Online

Don’t let the name Molehill fool you, the band from Chicago, IL pounds out the rock tunes reminiscent of Muse and Rage Against the Machine. The quadruplet has something major going for them, they just need you to listen. Molehill has snagged the spot for this week’s Highlighted Artist. Check out what the band has to say about themselves, including a show with Bret Michaels?!

Members
Peter Manhart – Vocals/Guitar
Trevor Jones – Bass/Vocals
Greg Van Zuiden – Keyboards/Synths
Devin Staples – Drums

Current single: I Hope You’re Happy

How did Molehill form?
Peter began the band in Champaign and after 5 years of different lineups Trevor joined the band and Devin and Greg soon after.

What has been the highlight of your career so far?
Touring is a highlight. Developing as a live band on the road as been one of the most challenging and satisfying experiences. Opening for Bret Micahels in Chicago was an experience. Not our usual crowd. We were intimidated by the size of photo on his tour bus. Especially when we tried to park next to it and were immediately told to move because we were in the the other tour buses’ parking spot. That was a good feeling

Why should people listen to you? What makes you different?
We see a lot of shows in Chicago and on the road where you understand why some folks do not support local bands. We design our live performances keeping in mind that after a long week of work and shelling out a $10 cover the audience better be entertained. I don’t think too many people feel like they wasted their money after a Molehill show.

Connect with Molehill through their social media: Facebook // Twitter

Check out the music video for their song “Almost Broken (Heroes)” below, and download their song “No Reprieve” for FREE here. - Highlight Magazine

Chicago’s Molehill rose to the Top 10 and Final Round of the Global Battle of the Bands ‘Hard Rock Rising’ 2012. A competition that saw the entry of over 12,000 bands worldwide.

Since 2009 Molehill have performed throughout the Midwest and East Coast and along the way has opened for major and indie label acts Bret Michaels, Blind Melon, Royal Bliss, The Elms, and Jesse Malin.

Molehill also showcased at the Millennium Music Conference in Harrisburg, PA and was featured twice in the Red Eye (Chicago Tribune Pop Publication) along with features in numerous local print and online publications. On March 6th, 2012 Molehill’s new album ‘Equinox’ was released. The release was coupled with a sold out show in Chicago. ‘Equinox’ was produced by Manny Sanchez and Molehill.

The songs on ‘Equinox’ are so insanely good, so packed with pleasurable hooks and grooves, so smart, so delicious, so intricately designed and performed, that I predict, it could quite possibly achieve the rank of an indie rock classic before long.

The album is full of puzzle box lyrics, full powered guitar riffs, slick bass lines, ominous piano and synth chords played over slick, monolithic drum beats and garnished with intense vocal arrangements in the best retro rock tradition.

Peter Manhart (guitar, vox), Trevor Jones (bass), Greg Van Zuiden (keyboards and vox) and Devin Staples (drums) are perfectly adept at drastically switching their sound up or down between bars, and keeping everything sonically catchy.

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In my opinion, there really isn’t an unworthy track on this album. Each song lays bare the energy and the intensity of the music. The absolute highlights include, the funky piano-driven groove of “I Hope You’re Happy,” “Crystalline,” “February,” “Almost Broken (Heroes)” and the powerful radio ready sound of “No Reprieve.” But the master ingredient of this album is that the songs invite you in, instead of just playing at you. Once this feeling hits, you’ll realize that this is what modern rock and roll is all about.

For old-school rock fans like myself, who believe there’s very little good recorded music getting airplay these days, Molehill is truly a breath of fresh air and radio programmers should sit up and take notice. This band are stars in the making. All they need is a chance to be heard, where it matters most.

‘Equinox’ is a very strong and eclectic album spanning a variety of moods and styles. It brims with invention, conviction, and dare I say it, swagger! The five times I’ve listened to it, it has yielded three undeniable effects. A smile, a twitch of pleasure and the need to hear it again.

Molehill have crafted a catchy mid-tempo album for people who have given up on the idea of true pop-rock music in a world where pop-rock means inane and mid-tempo means boring.

Pick this up before Molehill go big time and you’re stuck wondering where they’ve been all your life. Plus you know you just wanna have “I Hope You’re Happy,” stuck in you head for days on end. - JamSphere

Hard Rock Rising is still doing so and with that comes word that a Chicago band has been named a finalist.

The event, from Hard Rock International, is an intense competition for musical artists and it is now entering the final stages. Bands from all over the world took part. The 2012 competition had more than 12,000 bands enter, with 841 of them competing live on Hard Rock stages around the world. But, only one of these rising talents will win a spot on the main stage at Hard Rock Calling 2012.

Chicago's finalist is Molehill. After battling it out live on global Hard Rock stages and making it through online voting on Hard Rock Facebook pages, they are one step closer to winning the grand prize. To get an idea of their style, click here.
Chicago band makes the cut.
Video: Molehill are finalists

That prize is a spot on the bill at the 2012 Hard Rock Calling music festival in London's Hyde Park.

Heading to the Molehill website, one will be greeted to a notice from them: "It’s been a ridiculous ride so far. But, we've have made it to the final 10 bands out of 12,000+ entries worldwide. Now, instead of voting (we loathe voting) it is up to an industry panel that includes Steve Van Zandt from Bruce Springsteen’s the E Street Band and the 'Sopranos,' Scott Hutchison from Frightened Rabbit, and more to decide what band will have the opportunity to perform at Hard Rock Calling in London this July. Results will be announced on May 4."

The finalists are:

Aliston Road - Moscow, Russia

Arcana - Santo Domingo, Dominican Republic

Brass Wires Orchestra - Lisbon, Portugal

Dustin Kahlil Band - Biloxi, Mississippi, USA

FOS - Jakarta, Indonesia

Hey Monea! - Cleveland, Ohio, USA

Molehill - Chicago, Illinois, USA

Superman is Dead - Bali, Indonesia

Sixty Ninth - Bangkok, Thailand

The Alchemy Heart - Phoenix, Arizona, USA

The winner will get that spot to jam in London with the likes of Bruce Springsteen & The E Street Band, Paul Simon and Soundgarden.

"The Hard Rock Rising global battle of the bands is a truly unparalleled program that exemplifies Hard Rock's unwavering support of up-and-coming artists by providing undiscovered bands an international stage to showcase their talent," said John Galloway, Chief Marketing Officer, Hard Rock International. "The multi-phased competition, including live music performances on Hard Rock stages around the world, will give fans a winning band that is ready to rock Hard Rock Calling!"

* Committed to supporting music and emerging artists around the globe, Hard Rock International hosted more than 17,000 live music events worldwide in 2011. - examiner.com

The audio from our session on The Razor and Die Show on 88.7FM Chicago is now available HERE - WLUW 88.7FM Chicago

A fan of Muse’s expansive progressive rock or Mew’s edgy space pop? Then you should probably get to know Chicago’s Molehill.

The quartet offers up some pretty melodic nu-prog that shifts between sweet piano balladry and epic power riffs. Better yet, they’ll be dropping their debut LP, Equinox, at their record release party this Saturday at the Beat Kitchen.

Equinox‘s lead single is the dramatic rocker, “No Reprieve,” which is the perfect introduction for those new to Molehill. “No Reprieve” showcases the band’s stylistic contrast as it opens with singer Peter Manhart’s warm croon over light keys before building from a symphonic whirlwind into a soaring chorus. Listen to “No Reprieve” after the jump.

Digging the track? Then be sure to check out Molehill’s aforementioned Equinox release party this Saturday, March 3, at the Beat Kitchen along with upbeat indie rockers Band Called Catch and regge-rockers Jackpot Donnie. Get tickets right now at Ticketweb.com. - Loud Loop Press - Chicago

Molehill recorded a live performance and was interviewed by Vocalo/WBEZ host Jesse Menendez on 89.5FM Chicago on 2/29. Download the performance and interview for FREE on iTunes

Jesse was a great, great host and asked pointed questions. This is a good one to check out. - Vocalo.org

It’s been almost a year since the first time I witnessed Molehill live on stage. I’ve seen them a couple times since then, and I always walk away impressed. I say quite often that if you want to hear some arena rock, but don’t want to pay the ridiculous price that comes along with that style, simply find out where Molehill is playing and thank me later.



And while their shows are generally amazing, I’m happy to report that their first full-length album (with current members) of equal awsomeness will be exploding into record stores in just a couple of weeks. Until this point, the only way you could have Molehill appease your ears was via their fantastic Audiotree session from last year. If you enjoyed that, you won’t be disappointed with Equinox, which takes three songs from that session and adds ten originals.

If you’ve read my reviews of Molehill’s shows in the past, you’ll remember that I often compare them to the band Muse. While I’ll never waiver from that comparison based on what I’ve heard so far from them, I will admit that they are much more than that. They blend their love of progressive rock and blues together so seamlessly that it’s hard to tell where one ends and the other begins.

Keeping those two genres together requires a lot of talent, and Molehill has it in spades. Frontman and lead guitarist Pete Manhart finds as much influence in Buddy Guy as he does Adam Jones, and his vocal range is as good as anyone out there. Devin Staples has always impressed me at live shows, but on Equinox he’s given time to create, and he shows off a talent few drummers have perfected: nuance.

Then you have the two guys who get very little credit, but deserve as much as anyone else, Trevor Jones on bass and Greg Van Zuiden who plays a huge role in the band on keys and vocals. The one thing that stood out to me most about the new record is how effectively the band uses keyboards to drive much of the narrative. Some bands would have maybe tipped the balance a bit too far and ended up sounding like Keane, but Molehill has struck it just right.

Another thing that stood out was the quality of the songwriting and arrangement of the instruments. Equinox proves that Molehill are about more than just flashy guitars. On songs like “February” and “Stronger Now” the lyrics show a real vulnerability absent from most bands of this ilk. “Stronger Now” is one of the songs that originally appeared on the Audiotree session (called UNTITLED), and probably my favorite Molehill song. It’s grounded so harshly in truth that it’s almost heartbreaking to listen to, and yet I find myself hitting repeat over and over again.

Equinox has a lot of great songs to offer, and one thing I think they definitely made the right call on is the inclusion of three instrumental interludes. There’s one toward the beginning and one to close, but the one in the middle that leads into “I’m Okay” is absolutely spot on. The transition is one of my favorite parts of the record.

We’re still a few weeks out from release, and I don’t want to give too much away. I found out back in the fall that the band was recording and I tried to keep tabs as much as I could on what was transpiring. Based on what I was hearing and seeing, my expectations were pretty high. High enough that I added Molehill into my bands to watch in 2012. Needless to say, they’ve exceeded what I thought they were capable of, and delivered an album that I think almost anyone would enjoy.

Chicago gets a little head start, with the album dropping here on March 3rd. The rest of the world gets it March 6th, and I can’t recommend it highly enough. The band has a couple shows lined up in Pennsylvania in the coming weeks, and then the big record release show will be March 3rd. This show will definitely sell out, so if you’re planning on coming, get your tickets now. - Music. Defined.

“Fans of Muse, take note. Molehill offers some of the biggest pop rock on this side of the Atlantic. Hard to believe this band played the Red Palace stage as it seems designed for echoes in cavernous arenas (not entirely true as I have seen some big sounding pop bands at the Red Palace such as Crocodiles for example). But there are plenty of good indie pop moves in these songs as well. This is appealing stuff and the ironic thing is how much this stands out from indie rock whereas when I was young, indie rock bands of today would be shocking next to the prog rock and dense pop music that held on to the airwaves. There were times when I cried out for some variety in addition to a couple of instrumental interludes, one appropriately titled “Interlude”. But the for the most part this was a sumptuous meal with enough taste to keep me digging in.

Songs to try out:

No Reprieve – The big sound will hit you hard with gorgeous Matt Bellamy/Freddie Mercury style vocal work.

Almost Broken (Heroes) – Good classic rock beginning moving into epic territory as it continues.

Someone Better – I like this closer as it has some subtlety in the verses and a nice big chorus.” - DC Rock Live

I talked to these guys after their set tonight at the Melody. Co-founder and frontman Peter Manhart refers to their sound as somewhere between Muse, Maroon 5, and Sublime. I heard a little bit of Coldplay in there, too, thanks to the trippy, sometimes Pink Floyd-like keyboard work of Greg Van Zuiden. Backed up by the hard-core drum and bass work of Devin Staples and Trevor Jones, respectively, these guys seem to cross genres, bordering on punk at times, but seeming to be most comfortable in a bluesy, soulful, almost theatrical zone where they reside for most of their tracks.


Personally, I think these guys seemed to tap into something when they let loose and veered closer to punk, letting Manhart unleash his full lead guitar chops. Granted, I'm a garage/guitar rock kind of guy to begin with, but I'd like to see them let loose a bit more and tap the potential of Jones a bit more on the bass.


These guys head to Morgantown, WV--where bassist Jones went to college (and where this blogger has spent many drunken nights)--before heading to play at Arlene's Grocery in SoHo, New York City. - Grant Catton

A lot has happened in the four months since I last saw Molehill perform. Music. Defined. has taken off like I couldn’t have imagined, and the bands in Chicago that I’ve met seem to keep getting better. I wasn’t sure what I was walking in to when I went to Bottom Lounge and caught a set by this hard rockin’ foursome, but I’m glad I got to see them. Getting a second opportunity was even more enjoyable.

As Molehill took to the stage, one couldn’t help but notice the light show that had brought with them. You can see it a bit in the video I took below. It was fun, and added to the arena rock entertainment aspect of the show. They also went through a long process of making sure their monitors were at the right levels, and I wish more bands would take the time to do this before they start. It is SO annoying when a band asks for more whatever in between every song. And, impressively, the sound at Beat Kitchen on this particular night was far superior to Schubas the night before (I never thought I’d say that!)

My initial thoughts on the band haven’t changed at all. They’re still very much influenced by Muse, and to that end they pull off the sound amazingly well. A lot of the credit goes to Greg Van Zuiden on keys, who makes everything from subtle flourishes to psychaedelic jams seem effortless. His backing vocals are great too. They’ve found a great harmony between Greg and lead singer Pete Manhart that pays off on a lot of songs.

Speaking of Pete Manhart, have you ever seen anyone play guitar before? Well, forget it. You haven’t really seen it until you’ve witnessed Manhart explode into a solo like a rocket into the clouds. If I didn’t know better I’d think he was some sort of guitar android programmed by the spirits of Hendrix and SRV (ok, that’s a bit much maybe). The guy seriously wails, and it made me wonder…what would Molehill be like if they were a blues band? Freakin’ awesome, I assume.


The band doesn’t have a lot of shows coming up, but for us Illinois residents, they’ll be playing a couple shows September 30th and October 1st in Libertyville and Champaign before heading down to STL for a show on October 28th. If you’re free or can break the plans you have tentatively set, take a little drive and go check them out. I guarantee it will be more than worth the price of admission.
- Music. Defined

Molehill was the featured song on Suburban Music Network for the week of 6.5.11 - Suburban Music Network

Molehill's song I'm Okay is the free download of the week starting on 6/5/11 - Valslist

Molehill is currently featured on Indie Exposure Radio and is featured this week on their weekly playlist. You can listen to the playlist - Indie Xposure Radio

Molehill is featured on Fearless Radio for their upcoming show at the Hard Rock Cafe Chicago - Fearless Radio

MOLEHILL-- Group out of Chicago. Indie rock with some metal-y guitar. Energetic. - Brightest Young Things

04 Nov 10
Hey, blogspot readers, it's an extra special On The Town review just for you! Tonight, SouthSide's latest adventure took her to a rockin' sports/music bar, Joe's (On Weed St) for Molehill's performance. This local band was the lucky opening act for rock/reality celebrity, Brett Michaels, during his Custom Built tour show in Chicago.

Molehill was already in full swing rockin' the stage when SouthSide arrived. This band's rock sound is quite hard to pin down because it fused a lively mix of pop/alternative with a hint of the Brit blues rock (off the keyboards) which kept this audience groovin' to the rhythmic beat and thunderous crescendos of guitar riffs. That wicked organ rhythms was what immediately had this reviewer hooked onto Mole's music. She enjoyed how this band's sound inspired passion and fire ...at times epic sounding within the song intros. For example, one particular song featured heart-pounding thunder off the guitars with lightning clashing off keyboards. The instrumental combination had plenty of fire and sound before even adding the lyrics. Molehill's music can have this gentle calming tempo while on the hand, it can hit you this loud boisterious effect at the right moment for that burst of explosive emphasis. Yet, this band's music wasn't "serious" all of the time. They're all about having fun too, blogspot readers. With catchy guitar hooks and energetic organ rhythms, Molehill exploded to life rockin' out their performance. SouthSide highly recommends grooving your way to their next show happening tonight at Elbo Room peforming as part of the Chicago Roots Collective Festival. Plus they will be travelling to Pittsburgh, Philadelphia, and Washington D.C. before heading to Madison in December. For more information and tour details, visit http://www.molehillmusic.com or http://www.myspace.com/enterthemolehill.

In all fairness and honesty, blogspot readers, SouthSide's not a fan of Brett Michaels, his music or his reality television shows. That being said, this reviewer was somewhat not enthused by this rock/reality celebrity's performance at Joe's. After spending forty-five minutes waiting for his show to start, Brett certainly gave what his die-hard fans were excitedly anticipating. However, for SouthSide, she wasn't sold ...not feeling him or his music within the first hour spent listening to old Poison songs and covers. She was looking forward to hearing his new stuff before having to leave for the evening. Opening with old favorites like Talk Dirty To Me, Look At What The Cat Dragged In and Unskinny Bop, there were moments in which this reviewer enjoyed his set - when Brett was singing acoustically for Something To Believe In and Every Rose Has Its Thorns but in SouthSide's opinion totally lost the heartfelt meaning of the lyrics when adding the rock side of the band to each song. With acoustic guitar in hand, the music brought out the natural vocal range of his voice though sounding a little hoarse and winded between songs. Still Brett rocked the stage with energy and showmanship for this crowd reminiscing with old cover standards like Lynyrd Skynyrd's Sweet Home Alabama, Sublime's What I Got and Loggins & Messina's Your Mama Don't Dance (which was the highlight for this reviewer featuring cool harmonics and an awesome audience participation in a round style near the end). Fans of Brett Michaels should check out http://www.bretmichaels.com/ for more tour dates and information. - Southside on the Town

Molehill was picked by Columbus webzine Done Waiting as one of the top shows of the week in Columbus for our show on 4/29 with The Wet Darlings and Yellow Light Maybe. - Done Waiting

Molehill was part of the radio program Pat Radio on 98.3 and 102.1 FM Columbus on 4/21/11. - Pat Radio

As I walked out the door to head over to Bottom Lounge last night, Kari said to me “Don’t get mugged.” I assured her there was nothing to worry about, though I had never been to this venue I was positive it couldn’t be in too bad an area. Boy was I wrong. As soon as I stepped off the bus I was like, “Oh.” Luckily I didn’t see a single person during my three block jaunt. I’ve never wished for daylight so hard in my life.

But I made it in one piece, wallet intact. It’s a good thing I did, too. If I had missed this show I would have been kicking myself all week.

The band that was playing when I walked in is called Jackson Bailey. They have a very polished sound and the group was tight. I assume they’ve been together for a while. Their music didn’t blow me away, but it was well done and they had a good deal of admirers in the crowd. Their style, to me, was something akin to a Gavin DeGraw or something like that. Just enough guitars to call it pop/rock.

That’s the impression I got from the couple songs I heard, but I could always be wrong. The sings that I missed could have been fusion jazz, but I doubt it.
I expected the next band to be Nathan Kalish and Wildfire, but to my great delight, a man from Chicago Acoustic Underground took the stage and introduced the next band with these words: “Prepare to get your face melted. This is not a mountain. This is Molehill.”

At first I was a bit apprehensive. I did not, under any circumstance, want my face melted. In fact, had I known that it would be a possibility, I never would have come to the show. After a couple songs I realized he must have been using a euphemism that I’m unfamiliar with.

Molehill is a 4-piece group that reminds me of some different bands that I wouldn’t have put together on my own: Muse, Dream Theater, the Chris Duarte Group, and for some reason, Sublime. Not sure how I got Sublime from the songs I heard, but I think it’s definitely in there.

I was very surprised to hear/see a great deal of the audience bouncing up and down, headbangin’, and singing along with every song (except for a new one called “Heroes” that was played for the first time ever). It seems that Molehill has a pretty decent following already, and I can see why. They play music that fits a lot of different demographics without watering it down.

Another reason they’ve hit a chord with so many people is that their stage show is nothing but loud guitars and keyboards being played by guys jumping around yelling and dancing. It’s great fun to see a band that enjoys itself up there and the audience responded accordingly.

The thing that stands out the most from the show is lead singer/lead guitarist Pete Manhart’s hot licks. That cat shreds it hard. If you haven’t caught Molehill yet, the price of admission is easily covered by the “face melting” you will receive. He’s got nimble fingers and a lot of swagger, which is a deadly combination.

The drummer, Devin Staples, seemed to be playing at two different speeds, “Are You Kidding Me?” and “Ludicrous Speed.” He was bangin’ that set so hard I think my heart stopped a couple times. Keyboardist/synth player Greg Van Zuiden seemed to have the most fans out amongst the crowd. Everytime he played a little ditty or sang a backing vocal the people around me went wild.

The second to last song, which I didn’t write down for some reason, was my favorite of the night. It opened with a long keyboard intro and then slowly builds to multiple explosions of guitar fuzz and heavy bass courtesy of Trevor Jones.

Overall I think I had a better time than I was expecting. Molehill could be looking at a very bright future. If they keep playing shows like last night’s, they’ll have no trouble growing their fanbase. If you get the chance, check them out soon before their tickets are only available on Live Nation and you have to pay nineteen dollars in fees to get in.

If you’re up for a drive, they’re next show within a couple hours of Chicago is on April 22nd at The Verve in Terre Haute, IN (home of the Indiana State University Sycamores!) - Music.Defined

I usually don't review out-of-state bands, but the guys from Molehill invited me out to see them and some local bands play at the Rumba Cafe.

Arriving early, I called Trevor of Molehill to see what was up, and he and Peter were sitting across the street waiting to get into the venue. It was good to chat with these two guys before the show.

The set was acoustic, with Peter on guitar, piano and vocals, with Trevor on backup and bass. Due to personal reasons, the rest of the band couldn't make it, but I've heard that they can put on a mean metal and rock show. From viewing their Myspace and Facebook pages, I saw that they play a lot of the main music spots in Chicago, places that are hard to get into if you haven't built up a reputation yet.

The style of only the two was a bluesy folk, similar to John Mayer, leaning heavily on 7th chords. There is even an element of Rob Thomas regarding diversity and vocal delivery. There is a lot of passion behind Molehill's music.

Peter is great guitarist, and can riff and pluck with the best of them, as well as well being able to sing on top. As a singer/guitarist, I know that what Peter gives the audience takes a lot of talent and hard work. I look forward to seeing these live, in full band and volume.

Song stand-out this evening: "I'm Okay." - Columbus Music Review

Though the notion of Molehill as a band has been around since guitarist Peter Manhart started the project in 2004, the quartet as it exists today didn’t come together until some years later after a number of shifts in lineup. Eventually all the piece fell into place for Manhart and his project, and today the band is slowly but surely making a name for itself in the Midwestern music scene. Podcasts, blog write ups and even a stint opening up for Bret Michaels are now part of the quartet’s repertoire, making us feel like Molehill just might be the musical version of the little engine that could.
The band will be kicking off a number of dates with a show at the Beat Kitchen here in Chicago on 1/21 along with How Far to Austin, Ben Ripani Music Co. and The Wet Darlings, who we’ll be sharing an interview from tomorrow.

See what three of the Molehill men, Trevor Jones , Peter Manhart and Greg Van Zuiden had to say about their music, the best moments so far in their time as a band, and what they hope to accomplish this year in music.


Reviewsic: Can you give us a quick recap of what the band has been up to lately?

Trevor: We have been doing the balancing act of booking some short tours, writing new material, and putting together a good team for the next recording. Busy, busy, busy.

Peter: One interesting thing we have been doing is finding a way to communicate and collaborate better with our songwriting. 2 years ago I was the guy writing all the songs, now this past year it has evolved into a much more communal effort, and one exciting thing lately has been finding a way to fit everyone’s ideas together into one cohesive sound.

Reviewsic: What are your top three musical influences?

Trevor: Wow, I love these questions…..This list changes but groups/players that have been a constant for me are Marcus Miller, RHCP and Muse.

Peter: Yeah top 3, that’s tough… let’s go with Elliott Smith, Rage Against the Machine, and third I’d say either Radiohead or Muse.

Greg: I was a huge Ben Folds nut in college. I learned how to play all of his tunes.

Reviewsic: Is there any instrument you don’t play, but wish you did?

Trevor: I play some keys but I wish I could play them better.

Peter: Drums. No question. I love the game Rock Band because it makes me feel like I’m playing drums.

Reviewsic: What are the last three albums or bands you listened to?

Trevor: Cee Lo-The Lady Killer, Bryan Ferry-Olympia, Bob Marley & the Wailers-Burnin’

Peter: The Black Keys – Attack and Release, Cee Lo – the Lady Killer, Hockey – Mind Chaos.

Reviewsic: If you could work with one person in the music industry (musician, label, producer etc), who would it be and why?

Trevor: Wow, nearly impossible! I would have loved to sit in a session with Holland-Dozier-Holland in Motown’s prime and today I would really like to work with Rick Rubin.

Peter: Rick Rubin for sure, he has the Midas touch. I also think Danger Mouse would be very cool. He’d be a great collaborator – probably add some very hip sounds and ideas to our songs.

Reviewsic: you could book a tour with any 3 bands, past or present, who would they be and why?

Trevor: Parliament-what a party those tours must have been! Muse-just to be part of a huge production would be great. The Photo Atlas- great dance/post punk group from Denver we played a show with a few years ago. They were a blast to hang with.

Peter: The Rolling Stones back in the 60s or 70s – I’m reading Keith Richards’ autobiography right now, those tours sounded crazy back in the day, and Richards would be hilarious to hang with. I’d love to tour with Radiohead, because I think they’re such amazing musicians and songwriters, hopefully I could pick up some tips from them. Also Rage Against the Machine, just because their crowds are nuts. Rage unleashes the inner beast in everyone in the audience when they play, hopefully we could tap into that as their opener. Not to mention all three of those bands would draw HUGE crowds.

Reviewsic: Lately we’ve been on this kick of revisiting bands we didn’t pay as much attention to in the past and wondering, “Why didn’t I listen to this 10 years ago?”- If you could go back in time and push 3 bands/records on your younger self, who/what would they be and why?

Trevor: It’s tough because I don’t know if I would have liked these 3 records/artists 10 years ago. But…Radiohead, Blondie, and Buena Vista Social Club.

Peter: The Strokes – 10 years ago was when they released that first album, I was aware of it, but I didn’t really pay all that much attention because I was into much heavier music at the time. I just bought the album “Is This It” last year, and felt like an idiot for waiting so long. Also the Wu Tang Clan – they are great lyricists (especially Method Man), but I was pretty ignorant of rap back then. Also Muse. The album Origin of Symmetry was released in 2001, and holy crap that’s a fantastic album. Another one I just bought last year. It would have definitely helped shape my guitar playing and songwriting had I bought it 10 years ago instead.

Reviewsic: Tell us about your music- where does the inspiration for it come from? Did you set out with the specific intention to make the kind of music you make? What does each member bring to the table to make this project what it is?

Trevor: Everyone contributes something to the songs. I think of our process as a big collaboration. No one has a specific task (aside from executing the part on their instrument) and sometimes someone will take the lead in one song and sometimes Peter (guitar) will sing or mime a drum part to Devin that he might not have thought of. Inspiration can come from anything. Something that happened to one of us, someone else we know, someone we don’t know.

Greg: Peter and I have this thing called “The Rock Pot”. For a couple of tunes I’ve given him a scenario of something that has happened to me or somebody I know. I paint him the picture. Give him as much information and detail as possible. He then takes that, relates it to something he may have experienced, and creates lyrics.

Peter: I tend to just jam on guitar until I come up with something. I’ve always wanted our band to be “high-energy rock”, but it’s funny because lately I’ve been coming up with more ideas for mellow songs, so I end up having to just put those away and keep trying til I get something that rocks. I think the best kind of shows are high-energy sweaty rock shows, so that’s the kind of band I’ve always wanted to be in. As for lyrical inspiration, every song is based on a true story at least partially, whether it happened to me personally or someone else. I like to right about things that actually happen to people, so we can get that real emotional connection with the crowd while we perform.

Reviewsic: How would you compare yourselves as musicians at this point as opposed to when you first began playing together?

Trevor: I think we’re all comfortable for the most part with the execution of parts on our instruments we’re just trying to gel and come up with “the” part/sound that best supports the song. I think the natural progression is to play a million notes and then realize that no one gives a shit about any of them—it’s just technique. While technique is important, you’ve got to play from your heart….that’s what connects with people.

Greg: I’ve learned a TON playing with these guys. I come from a classical background, so playing keys in a rock band is still new to me. No one in our band is afraid to try and tell someone else how to play their instrument haha. No one holds anything back; but that makes us all better ultimately.

Peter: That sums it up pretty well. I used to play solo a lot, and so did Greg, and now I think we’re all realizing how much better it sounds when you’re in a group to just not play as much – leave more space for the other musicians to fill.

Reviewsic: What are some of your favorite cities/venues to play? Any places you haven’t gotten to that you’re dying to play at?

Trevor: We really do love playing in Chicago, great vibe. We have had some great shows at the Beat Kitchen in the last year. When you enter the room you really are there to hear and experience the band. There are no distractions. So, this creates an environment where the band really has to be on their game to create a great vibe. There are a few clubs we would like to play in Chicago and we’ll get to them eventually….we’re having a great time putting on a great show wherever we play.

Peter: I want to play Madison Square Garden. Just because how cool would that sound? Molehill at Madison Square Garden!! I think that’s a little ways off though…. I do love New York City though. Awesome vibe, and I feel like our music goes over really well there. Energetic music for an energetic city.

Reviewsic: What are the best and worst band moments so far in your career?

Trevor: These last two Beat Kitchen shows were highs for me. The audience was just raging, dancing, sweating, and having a great time. We had a chance to open for Bret Michaels this past Nov and playing in front of 800 new faces was pretty great too.

Greg: I once told this female frontman that she sounded like Evanessence. A BIG no-no! My bad.

Peter: I think that Bret Michaels gig was the high for me so far, not only because of the show, but because it also seemed to make our band a little more “legit” to people who weren’t even there. It was a good milestone for us. Worst moment, probably kicking out our original drummer. He was a good friend of mine, he started the band with me, he was the only permanent member for our first 2 or 3 years, and I stood up in his wedding. Unfortunately, he didn’t have the time to commit to a band anymore, and we had to move on. That was a bad time for me.

Reviewsic: What would you say to convince someone who was on the fence about attending the show on the 21st to come out?

Trevor: Like I said above…this is a cool place to see a band up close and personal and the energy has been great there the last few times.

Peter: It’s the place to be. This show is going to be packed, I am sure. The crowd will be singing, dancing, yelling, sweating, and drinking. You have something better to do?

Reviewsic: What are your plans for your music in the next year?

Trevor: We are in the middle of working out details for our next record….we have assembling a great team for it and are taking our time to make sure we do it to the best of our ability.

Peter: Hopefully record 20 songs and pick the best 10 to make a rocking album. Rinse and repeat. - reviewsic

Molehill - November 4th at Joe's on Weed St
November began with something that was a bit unexpected for me - a Bret Michaels concert. A sold out Bret Michaels concert. The VH1 star packed them into Joe's on Weed St. on November 4th, but it wasn't Bret I was there to see. I was there for Chicago indie rock outfit Molehill, who were opening up for him. I knew Molehill could thrill a venue, but was curious to see how a room full of folks who had come to see the old rocker would react. They loved it. Molehill had a crowd there as well, but what really grabbed my attention was the way the newcomers dove right in. Frontman Peter Manhart played solos and rhythm while darting back and forth around the stage like a sixth grader who had too much Mountain Dew. I was delighted at the reception the crowd had to new, original and edgy songs. Luckily, Peter's guitar packs them so full of hooks that their nearly burned in the brain by the time the songs are over. The rhythm section sounded fantastic, with bassist Trevor Jones locked in to the drums and bringing the proverbial funk. All in all, it was a big stage and it welcomed Molehill with open arms. - Windy City Rock

Molehill is a 4 piece indie rock group that hails from Chicago. On this night they were playing at Joe’s on Weed, a nice modern mid-size venue, before a quick stint on the east coast. Molehill consists of drums, guitar, bass, and keys. They play a brand of rock which draws a lot upon the blues, but not strictly, as there are obvious indie and R & B undertones occasionally mixed into their sound as well. Songs can quickly become funky or groovy as these guys seem to be proud of their assorted influences. Drawing upon this ability to instantly alter their energy level, they use being incredibly in-sync with each other as a way to punctuate each song emotionally as well as musically. Often they move from a rock sound, into a move groovier rhythm and sound, only to quickly revert back to their more aggressive side. Often this adjustment occurs when the chorus enters, but not always. Such honed synchronization is a sign of a band that is very well rehearsed, and makes for a good live show.

The first thing one notices when taking in the band is that the lead singer/guitarist (Peter Manhart) is quite adept at playing while moving around the stage exuberantly. He does not appear to like to stand still, instead choosing to try to entice the crowd to be as sincerely excited about the music as himself. The next thing you notice is their aforementioned ability to play energetic rock with various foundations. Their numbers On The Wall and I Hope You’re Happy had great side-step R & B feel to them, songs that couldn’t help but remind this author of New Orleans. Then on others like, Money Life, they take on a more plodding & edgy rock sound. Jumper came off slightly funky with the faintest hint of electrorock. Now to be sure, each song seems to be anchored in blues-rock. But by being dynamic with the undertones of their tracks they engaged their crowd well.

Molehill could probably benefit from including their keyboardist in a more dynamic manner on some of their tracks. On their 7th song of the evening, I’m Okay, the keys seemed to take the lead on the beat and it created for one of their more captivating songs of the evening. Also, seeing what they could have done with a more subdued song would have been nice, seeing their adept flexibility with more spirited rock numbers. However, they can probably be forgiven for that, as Bret Michaels was playing after them and they were aware of what type of crowd they were playing to. All in All, Molehill is a young band that has the raw talent and that ineffable ability to consistently “play in the pocket,” which must come from resolute practicing. They are quite definitely worth checking out. - Ourvinyl.com

With digital recording, it’s easy to manipulate track listings for nefarious (or playful) purposes. In Molehill’s case, tracks 11 to 49 on Rock And Mole are only four-seconds long. As for the rest, they’re a mix of bluesy rock with irreverent lyrics, earnest ballads, and quirky, left-field pop. “Let’s Not Get Sentimental” is a cynic’s wry look at love; “People Let You Down” is an off-kilter, loopy pop number. (www.molehillmusic.com)
– Patrick Conlan - Illinois Entertainer

On a cold day with blizzard like
conditions, there was high energy,
bluesy, creative rock roaring
through Good Times Pub (675 W.
North Ave. Elmhurst, Ill. 60126)
as the crowd watched in amazement.
Smoke filled the stage while
the colored lights illuminated the
player’s movement. Molehill came
from out of nowhere and stole the
show from the rest of the bands.
No one ever saw them coming!

Molehill, a band just over 2 years
old, has several shows under their
belt already and now has bragging
rights for taking first at the Band
Collision ’07 over the other bands.
Although the competition was
fierce, Molehill climbed above all
the rest and snatched the first place position. This is a four-piece band
that plays original music in a
style similar to jazz, rock, and
surfer music. Bass, drums, keyboards,
and guitar is the recipe of
musicians that makes up the
Molehill.

All members have musical training
and are constantly improving
their sweet skills. Peter Manhart,
the 24-year-old guitar player and
front-man is the leader of the
band. Peter has been playing guitar
for 9 years; influenced by
Hendrix, Arctic Monkeys, and
Spoon – this guy puts on a solid
rock show, sacrificing his blood
during his performances when he
will tear his hand open while
playing (Manhart uses limited
effects). Manhart plays a Fender
Strat, with a distortion box and a
Steve Vai Wah, through a Fender
Twin Reverb. Currently Peter is
bartending, but he does have a
B.S. in physics and has a strong
piano background.

Peter started the group with a 22-
year-old drummer, Drew Russell.
Drew has a B.A. in Music Education with an emphasis on
Percussion and also a teaching
degree from University of Illinois.
Playing for 10 years, Drew is
influenced by Elvin Jones, Dennis
Chambers, and has an interest in
jazz. For live performances he has
been using a very respectable
Pearl Export drum kit. It wouldn’t
have mattered if this guy used pots
and pans; he can make anything
sound good.

The 24-year-old bassist, Kells
Nollenberger, has been playing for
10 years. Kells’ primary influences
are Miles Davis and Paul
Simon, but he said that, “Bob
Dylan is probably one of the greatest,”
writers ever. Classical bass
training is a huge part of his background
already and he is currently
pursuing a master’s degree in bass
performance at DePaul University.
This man uses no effects or pedals
at all. He plugs in a jazz bass
through a Fender Bassman 135.
Good choice in amps.

Yuri Lysoivanov, age 23, played
the only keyboard that appeared on stage during the entire Band
Collision ‘07. Yuri is classically
trained and holds a B.S. degree
from Berkeley College of Music
in Boston. Currently he is working
in production and advertisement
within the studies of his degree.
Influenced by Beethoven,
Rachmaninoff, and a couple of
others, Yuri is an excellent performer
to see. Keyboards that he is
using are a Yamaha S80 and a
Motif 7 to obtain the quality sound
he produces. Both Kells and Yuri
joined Molehill about a month
before the battle of the bands.

Molehill impressed everyone at
the Band Collision ’07.

Peter responded to the question,
“Where do you see Molehill
going?” He was very honest and
said that he didn’t know, but he
plans on playing until he is out of
money completely or until there is
no blood left in him to give. This
band’s career is going to be something
to see it develop. Everyone
is watching to see what these
geniuses will do next. - Buzz S&E Magazine - Chicago

Molehill isn't part of the "in-crowd." But that doesn't stop them from attracting capacity crowds at their shows. This Champaign-based trio is the best local band no one has heard of.

Molehill has existed in one form or another for two years but has only begun to come into their own in the last year. Molehill's two original members, Peter Manhart and Drew Russell, met through a Jazz combo and several music classes. With Manhart providing guitar and vocals, and Russell on drums, the band had a good start but still lacked a consistent presence on bass guitar.

Their revolving door of bass players often forced the band to find someone at the last minute and teach them the songs the day of the show.

For one show, the band was without a bass and had to resort to trying to steal one from a former bass player who had left the band after playing a few shows. Without a dependable third member, the band's live shows suffered.

Last summer, Molehill finally found its third member. John Supple had been on drumline with Russell and known him several years before being introduced to Manhart and joining the trio. Since Supple's arrival, the band has honed its sound and continued to get bettter and better. With a consistent bassist, the band's live shows have also improved dramatically.

After going through names such as "The Slam Dunks," "The Tomahawk Jams," "Session" and "Bulls vs. Blazers," they settled on Molehill. The name' was fitting for a band struggling for recognition.

"People get a bad impression before they hear us," Manhart explained. "We're not really hyped up; we're just a molehill."

Molehill's influences are an eclectic mix that includes Spoon, Jimi Hendrix, The Grateful Dead, and Coheed and Cambria. The band describes their sound as "Jeans and T-Shirt Rock and Roll."

With songs that range from reserved to manic in nature, it becomes a difficult task to accurately compare Molehill to any single band. At a recent show, one audience member compared the band to a cross between Jack Johnson, Radiohead and Modest Mouse.

Audience members can expect a high-energy, no-frills live
show packed full of solos, stage seizures and crowd interaction.

"If you think you know someone who can solo on guitar, come see Peter, and you might change your mind about that person," Supple said about the band's improvised live solos. Molehill is also proud of its interaction with the crowd.

"I'm proudly going to cuss out the crowd," Manhart said. Molehill's interaction with the crowd is anything but average. At a show played on Mom's weekend, the band dared a Mom in the crowd to chug a beer and then berated her after she failed to chug her entire beer. At another show, Manhart had a competition with the crowd to see who could yell "fuck you" the loudest.

Even after filling Cowboy Monkey to capacity for their last couple shows, Molehill remains relatively unknown. The band blames this on the fact that they always playoff-campus at Cowboy Monkey and that they "don't sound like Fall Out Boy." Without the word-of-mouth buzz and press coverage that comes with being a part of the "in-crowd," Molehill has dwelled in relative obscurity.

Molehill has plans to change all of that. According to Supple, "World domination starts in Chicago." After moving north, the band will continue to play regular shows in Champaign-Urbana, while attempting to get signed in Chicago. Getting signed would give the band the connections needed to go on tour, something that they have been unable to do so far.

For now, Molehill will continue to play shows in the Champaign-Urbana area. Their next show is Saturday, June 24, at Cowboy Monkey. They will be playing with experimental rock fusion jam band Soap. Cover is $5 and the show starts at 9:30 p.m. Molehill will take the stage sometime around midnight. - Buzz Magazine - Champaign, IL.

This week's song is by Molehill. Their influences include Cake, The Decemberists, and Spoon. Take a listen and see what you think. - Chicago Now- The Local Tourist

Although Chicago-based band Molehill has a long history of gaining and losing members, now with a new permanent lineup, Molehill is here to stay. With its high, crazy energy, witty, ingenious lyrics and catchy melodies, this fivesome rocks out to their own unique, eclectic sound throughout the Midwest and the East Coast. Be sure to catch the band performing with Brighton MA and Hot Cops at Cowboy Monkey on May 1 at 9 p.m. - The 217

Molehill is interviewed by Fearless Radio - Fearless Radio

Molehill is interviewed by Lake County Journal - Lake County Journal

Molehill's song "Let's Not Get Sentimental" is featured - My Indie Life-Maybe Hip TV

Molehill bassist Trevor Jones is interviewed - Gettysburg Times

Molehill's song "I'm Okay" is featured on Beyond the Pedway Blog - Beyond the Pedway

Molehill is Peter Manhart (singer/guitar/songwriter), Drew Russell
(drums), Trevor Jones (bass) and Mark Tomasino (keys/backup)

Clubline: How would you describe your style?
PM: I thikn we try really hard to mix things up and play songs with varying feels and styles... one reviewer said we were a mix of bluesy rock, heartfelt ballads, and quirky left-field pop. I think that's a pretty decent description.
TJ: It is a combination of different genres, but at least when I hear
it, it comes off to me as rock ‘n roll. I think Peter’s delivery can be
reminiscent of Bradley Nowell from Sublime, with a bunch lyrics
shoved into a small space, but he still does it in a style that is his own.
But, like any music has ever been, Molehill draws from past music and then puts its own spin on it.
MT: Last week I suggested to the band members that we just call
ourselves “All-American Rock” because I feel it is a unique sound that can only be created in the U.S. That idea got shot down pretty quickly for fear of sounding too Republican. Nevertheless, it really is a melting pot of styles and genres that I think has mixed nicely together to create a fresh and original sound.
DR: This is a question I am asked almost daily. I usually have a pretty
difficult time explaining our sound in terms of musical genre. There are
so many very specific genres that it is almost ridiculous to think that we
do not fit into a single one. But I have yet to come across a genre which encompasses the entire scope of our sound. Usually I answer this question with a single word: Rock.
ClubLine: There is a lot of blues and rock influence in your songs.
Who has influenced you the most?
PM: Well a lot of my favorite bands are from the ‘60s and ‘70s, like
The Doors, The Who, and especially Jimi Hendrix. I think that’s the
kind of music that really lasts. Just straight-ahead rock ‘n roll. Also, as a guitarist, I prefer the blues-style guitar soloing, as opposed to the more ‘80s-style ultra-virtuoso stuff. I guess I just got burned out by so many metal bands when I was a kid -- it just seems like showing off.
TJ: Considering that Peter wrote these songs, I have to say that I just try to fit in the skin of his songs and try to put my own personal stamp on it while always being supportive to the song. Personally, I am a huge listener of music that is more towards the funk, rock, jazz, world music
side of things.

Clubline: Why the name Molehill?
PM: I know, it's a stupid band name. Our three-song demo before we released this album was actually called “Our Band Name Sucks.” I guess I was thinking that we're such a small band right now, nobody knows about us, and no one expects anything out of us. But maybe someday
TJ: You got me on this one. I had no say... though I do have an old
friend whose name was Joel Hill and he always wanted us to call him
Molehill... I know, stupid tangent.
MT: I asked the same question when I joined the band! Whenever I tell people that our name is Molehill, they always repeat it back to me slowly and really accent the first syllable: “MOLE-hill?” It’s like they can't believe that would actually be a band name.
DR: Peter and I met numerous times to brainstorm ideas for band
names. Each meeting ended up deteriorating rather quickly, and
became more of a session discussing band names we would never use rather than developing a name for our group. Making a mountain out of a molehill has two meanings to us. Literally, we are relatively unknown, and would like to develop a large fan base and play as much as possible. But, we are also four pretty relaxed people. We try not to make issues into more than they really are. If anyone is really good at
coming up with band names, we are open to suggestions.

Clubline: Do you have any issues with the Chicago music scene?
PM: Well, we're really newbies to the scene, but so far it seems like
the place where you really need to know somebody to get quality gigs.
That makes it tough when you’re starting out, but I’m pretty sure that’s how it works everywhere. You almost can’t get a gig until you meet somebody who’s willing to let you play with their band, or give you a chance at their club. Also, sometimes it can be tough if you don’t sound indie or power-pop enough, but I think for the most part it’s a really cultivating, music-loving city. On the bright side, we never have to buy out all the seats in the club and sell them ourselves. I’ve heard that’s how they do it in LA.
TJ: I just moved to this city from the East Coast in August, so I am
just getting into gigging around here. I do the majority of my work with classical music, studying with Rob Kassinger from the Chicago Symphony and freelancing
around the area. As far as the rock scene goes, we are trying to make connections and use the tools that we can to build an audience and meet the other bands that play around town.
MT: As a band trying to get established on the local scene,
we want to play as much as possible, and our fans would like us to play more often as well. Some venues won’t book you, however, if you have another gig anywhere
else in Chicago that same month for fear that you won’t have a good draw to their venue. We’ve already had to turn down good gigs just to have the privilege of playing
a larger venue. In the end the band plays less gigs, the fans enjoy fewer shows, and we certainly get paid less. While I understand the reasoning behind it all, I wish more venues would work harder to cultivate a mutual
beneficial relationship with bands.
DR: In comparison to many other live-music hot spots, I would say that Chicago is a very good place to play music. Chicago offers many great venues that book live bands
nightly, and there is equal interest on the part of the listeners. We have been able to play for large crowds at nearly all of our performances. In many other cities that would be rare. I am happy with the music scene. At times it gets a little more callous than you would like, but if you surround yourself with people that play music for the right reasons,
this city can be great.

Clubline: What are your biggest challenges?
PM: Tough question. Playing music is a big challenge in so many
ways. I guess the hardest part is paying the bills--it’s not really easy to depend on music for income. More specifically, it’s almost impossible to get a lot of people to even listen to your music. Record companies get hundreds of demos every week, so unless you personally hand it to the guy listening, there’s a good chance your music will get lost in the
shuffle. People won’t listen until you have a big enough buzz. So I guess the real challenge is how to get that buzz.
TJ: It is always a challenge to construct music that is soulful, appealing and original at the same time. Many times people get caught up in making that “hit” to get them onto the national scene. I believe that it is always paramount to maintain artistic integrity and continue to work at your craft, whether it is songwriting, getting better at your instrument,
producing, etc. But on the other side of artistic development you have to be your own promoter, manager and account manager at the same time. Balancing all of these responsibilities can be a huge pain, so it takes organization and patience to grow.
MT: I'd say finding the time to do everything. Song-write, practice, gig, booking, promoting, e-mailing, Web sites, etc., all while working a day job. At the heart of it, all we really want to do is play music and always be striving to get better at our instruments. Today’s environment makes it very challenging to do that.
DR: It is hard to get people to believe in you. It seems like a black and white process. Either they want to book you every night, or they will not return your e-mails at all. There seems to be a very convoluted threshold that bands have to break through in order to gain “credibility.” It is difficult to figure out the which components contribute to breaking into the scene. If we continue to play and genuinely enjoy the musicmaking
process, I think it will come with time.

Clubline: What are your favorite songs to play?
PM: My favorite is proabbly "Let's not get sentimental.” It’s a fun,
catchy song that people like to sing along to, and I especially like it
because I get about a four-minute guitar solo when we play live, and that's always fun for me.
TJ: I like to play "See You Later” and “People Let You Down.” “See
You Later” is fun because it’s really a minimal song, but there’s tons of
space in the groove, which makes people want to dance and have fun.
“People Let You Down” is also a favorite because I really like how the lyrics flow along with the different grooves of the song. It’s also a nice way to change the pace of the setup a bit during the show.
MT: I'm gonna go with "See You Later." While I don't do a whole lot
on that song, it’s my favorite one to listen to on the CD, and the fans
seem to really enjoy it. That groove just makes you want to get down and dirty on the dance floor.
DR: "On The Wall." I remember the evening that inspired this song,
about a girl we all love to hate. And, I get to scream.

Clubline: What happens next with Molehill?
PM: Right now we have a cartoon music video in the works, so that
should be pretty cool. Other than that, we’re just going to grind it out--play as many shows as possible in Chicago and the surrounding area, hit the Internet hard and hope for the best. Maybe someday we can quit our day jobs and make a living with all of this!
TJ: Play live and write. There is nothing better than playing live shows. Between all of my musical commitments, I probably have somewhere in between 50 to 100 performances a year, and nothing is better than communicating through music with people on and off the stage.
MT: Build a stronger Internet presence, start playing more shows and introduce new material at every gig. We have some pretty sweet T-shirts in the works too.
DR: Every time we play, a new avenue seems to develop. I am as interested as you to see where the next few years will take us. - Chicago Clubline Magazine

"Easy-to-like-Rock"

-Matt Pais (Metromix music reviewer/critic for the Red Eye) - The Red Eye (Chicago Tribune Publication)

So, you are sitting in a bar or tavern or club — whatever you may call the place you go to unwind, have a few drinks perhaps and partake of some sort of entertainment — and you will see in a corner or on a stage a person or persons making music.

Jazz, rock, blues, polka, hip-hop ... it doesn't really matter, and we have long done this, seeking out sounds that soothe, excite or in some way enliven and perhaps even enrich us.

The city has a rich and lengthy tradition of this, tracing to early settler Mark Beaubien, who would often enliven his Sauganash Hotel with fine fiddle-playing and balladeering in the 1830s.

Why are we drawn to such places, to the sounds?

Over the last few years, higher education has fundamentally begun to change. See how the learning experience is pushing the shifts and ways you can evolve.

I have asked dozens of performers this question over the years. Perhaps the best answer — certainly my favorite answer — came from the late piano-playing singer Buddy Charles, who for decades played around the city, most prominently and memorably at the bygone Acorn on Oak Street and at the Coq d'Or in the Drake Hotel. He said, "There is something primitive about being close to live music. What makes it work is that people are inherently eager for intimacy."

Another question is, of course, "Why do people make music?"

For answers to that, let's hear from Molehill, a band comprised of four relatively young and thoughtful men: lead singer, guitarist and primary songwriter Peter Manhart; Trevor Jones, a classical upright bass player; drummer Devin Staples; and Greg Van Zuiden on keyboard and vocals.

This band has been together for seven years, a considerable length of time. Though based firmly in Chicago, they have traveled the country — "experiencing dirty motels, great people, missed exits and the freedom of it all," as Manhart puts it — playing hundreds of shows.

You can sample their music and learn more about them at www.molehillmusic.com. In so doing you will hear their latest, a three-song EP, "Hearts on Fire." All of their songs display not only a strong social consciousness and artfully engaging musicianship, but also a sure sense of storytelling, and they do more than hint at personal investments in those stories.

"Our songwriting process is becoming more collaborative, and we strive for songs that evoke a strong emotional response," says Jones. "But seeing us live is to see the whole personality of the band." And you can do so when the band plays Saturday night at 8:30 p.m. at Martyrs' (martyrslive.com) or on July 18 at the House of Blues (houseofblues.com/chicago).

But in the meantime, gentlemen, how about answering this question: Why do you make music?

Manhart: "I've been making music for as long as I can remember. It's always been a core part of my identity and just the way that I live my life. I can't imagine not doing it. It fulfills me, it gives me a deep sense of satisfaction, it entertains me, it gives me a daily goal to try to achieve. It also touches me on a very deep and spiritual level. When I play music, I'm having a conversation with my deceased father. When we create music and put it out into the world, now we're having conversations with complete strangers, both in the present and the future. Regardless of race, language, religion, politics, it connects us all in a way that almost nothing else can. I think music touches a lot of people on that same spiritual level but they may not be aware of it. Music is one of the best and purist parts of humanity. It's something we do instinctively as a species. It bonds us as a community and culture; it helps us make sense of some of the crazy things that life throws at us. It's there for us when we're celebrating and also when we're grieving. It helps us learn as children. It's a deeper form of communication than just words. If it weren't for music, I think life would be a whole lot harder and less meaningful. I'm always humbled to have the opportunity to even attempt to create something that would touch someone else on the same level that my favorite songs touch me. And if I can never attain that goal, I will at least be able to look back from my deathbed and be happy that I tried. I did something that I truly loved, and I was a part of the conversation."

Jones: "I make music to explore. Performing and writing music has provided the most life-affirming experiences I have had. Making music stimulates my mind, body and soul. Being part of a group that works collectively to provide that stimulation for an audience continues to be one of the most challenging and rewarding experiences of my life."

Van Zuiden: "Making music with Molehill fulfills so many different aspects of my life. As a classically trained piano player, since the age of 5 or so, much of my experience with music was independent. I certainly loved it, but it was an expressive and meditative process that oftentimes I was extremely nervous to share. Performing piano in college was a real struggle, but the band helped me shake that after a few years. Now I just get really excited before a show. I love the camaraderie and brotherhood aspect of the band. In many ways, we know each other better than anyone. We share the common wiring or 'mis-wiring' for a need to express ourselves in a musical way. But ultimately, the best part of making music is creating something that anyone could listen to and relate to. There is that feeling you get when you listen to a song, and it perfectly captures exactly what you are feeling in that moment in your life. All of a sudden you feel better knowing that someone else has shared that experience with you and come through it. If I've helped contribute to a piece of music that was able to do that for another person, then this whole thing was completely worth it."

Staples: "I play simply because it brings me a kind of enjoyment that I can't find anywhere else. Also, it allows me to converse with other musicians to go to a place that can make me forget all my troubles and worries."

These articulate emailed introspections may not enhance your listening experience the next time you visit a bar or tavern or club for some music. But they sure can't hurt. - Chicago Tribune (Front page of A+E section)

, you are sitting in a bar or tavern or club — whatever you may call the place you go to unwind, have a few drinks perhaps and partake of some sort of entertainment — and you will see in a corner or on a stage a person or persons making music.

Jazz, rock, blues, polka, hip-hop ... it doesn't really matter, and we have long done this, seeking out sounds that soothe, excite or in some way enliven and perhaps even enrich us.

The city has a rich and lengthy tradition of this, tracing to early settler Mark Beaubien, who would often enliven his Sauganash Hotel with fine fiddle-playing and balladeering in the 1830s.

Why are we drawn to such places, to the sounds?

I have asked dozens of performers this question over the years. Perhaps the best answer — certainly my favorite answer — came from the late piano-playing singer Buddy Charles, who for decades played around the city, most prominently and memorably at the bygone Acorn on Oak Street and at the Coq d'Or in the Drake Hotel. He said, "There is something primitive about being close to live music. What makes it work is that people are inherently eager for intimacy."

Another question is, of course, "Why do people make music?"

For answers to that, let's hear from Molehill, a band comprised of four relatively young and thoughtful men: lead singer, guitarist and primary songwriter Peter Manhart; Trevor Jones, a classical upright bass player; drummer Devin Staples; and Greg Van Zuiden on keyboard and vocals.

This band has been together for seven years, a considerable length of time. Though based firmly in Chicago, they have traveled the country — "experiencing dirty motels, great people, missed exits and the freedom of it all," as Manhart puts it — playing hundreds of shows.

You can sample their music and learn more about them at www.molehillmusic.com. In so doing you will hear their latest, a three-song EP, "Hearts on Fire." All of their songs display not only a strong social consciousness and artfully engaging musicianship, but also a sure sense of storytelling, and they do more than hint at personal investments in those stories.

"Our songwriting process is becoming more collaborative, and we strive for songs that evoke a strong emotional response," says Jones. "But seeing us live is to see the whole personality of the band." And you can do so when the band plays Saturday night at 8:30 p.m. at Martyrs' (martyrslive.com) or on July 19 at the House of Blues (houseofblues.com/chicago).

But in the meantime, gentlemen, how about answering this question: Why do you make music?

Manhart: "I've been making music for as long as I can remember. It's always been a core part of my identity and just the way that I live my life. I can't imagine not doing it. It fulfills me, it gives me a deep sense of satisfaction, it entertains me, it gives me a daily goal to try to achieve. It also touches me on a very deep and spiritual level. When I play music, I'm having a conversation with my deceased father. When we create music and put it out into the world, now we're having conversations with complete strangers, both in the present and the future. Regardless of race, language, religion, politics, it connects us all in a way that almost nothing else can. I think music touches a lot of people on that same spiritual level but they may not be aware of it. Music is one of the best and purist parts of humanity. It's something we do instinctively as a species. It bonds us as a community and culture; it helps us make sense of some of the crazy things that life throws at us. It's there for us when we're celebrating and also when we're grieving. It helps us learn as children. It's a deeper form of communication than just words. If it weren't for music, I think life would be a whole lot harder and less meaningful. I'm always humbled to have the opportunity to even attempt to create something that would touch someone else on the same level that my favorite songs touch me. And if I can never attain that goal, I will at least be able to look back from my deathbed and be happy that I tried. I did something that I truly loved, and I was a part of the conversation."

Jones: "I make music to explore. Performing and writing music has provided the most life-affirming experiences I have had. Making music stimulates my mind, body and soul. Being part of a group that works collectively to provide that stimulation for an audience continues to be one of the most challenging and rewarding experiences of my life."

Van Zuiden: "Making music with Molehill fulfills so many different aspects of my life. As a classically trained piano player, since the age of 5 or so, much of my experience with music was independent. I certainly loved it, but it was an expressive and meditative process that oftentimes I was extremely nervous to share. Performing piano in college was a real struggle, but the band helped me shake that after a few years. Now I just get really excited before a show. I love the camaraderie and brotherhood aspect of the band. In many ways, we know each other better than anyone. We share the common wiring or 'mis-wiring' for a need to express ourselves in a musical way. But ultimately, the best part of making music is creating something that anyone could listen to and relate to. There is that feeling you get when you listen to a song, and it perfectly captures exactly what you are feeling in that moment in your life. All of a sudden you feel better knowing that someone else has shared that experience with you and come through it. If I've helped contribute to a piece of music that was able to do that for another person, then this whole thing was completely worth it."

Staples: "I play simply because it brings me a kind of enjoyment that I can't find anywhere else. Also, it allows me to converse with other musicians to go to a place that can make me forget all my troubles and worries."

These articulate emailed introspections may not enhance your listening experience the next time you visit a bar or tavern or club for some music. But they sure can't hurt.

rkogan@chicagotribune.com - Chicago Tribune - front page of A+E Section

o, you are sitting in a bar or tavern or club — whatever you may call the place you go to unwind, have a few drinks perhaps and partake of some sort of entertainment — and you will see in a corner or on a stage a person or persons making music.

Jazz, rock, blues, polka, hip-hop ... it doesn't really matter, and we have long done this, seeking out sounds that soothe, excite or in some way enliven and perhaps even enrich us.

The city has a rich and lengthy tradition of this, tracing to early settler Mark Beaubien, who would often enliven his Sauganash Hotel with fine fiddle-playing and balladeering in the 1830s.

Why are we drawn to such places, to the sounds?

I have asked dozens of performers this question over the years. Perhaps the best answer — certainly my favorite answer — came from the late piano-playing singer Buddy Charles, who for decades played around the city, most prominently and memorably at the bygone Acorn on Oak Street and at the Coq d'Or in the Drake Hotel. He said, "There is something primitive about being close to live music. What makes it work is that people are inherently eager for intimacy."

Another question is, of course, "Why do people make music?"

For answers to that, let's hear from Molehill, a band comprised of four relatively young and thoughtful men: lead singer, guitarist and primary songwriter Peter Manhart; Trevor Jones, a classical upright bass player; drummer Devin Staples; and Greg Van Zuiden on keyboard and vocals.

This band has been together for seven years, a considerable length of time. Though based firmly in Chicago, they have traveled the country — "experiencing dirty motels, great people, missed exits and the freedom of it all," as Manhart puts it — playing hundreds of shows.

You can sample their music and learn more about them at www.molehillmusic.com. In so doing you will hear their latest, a three-song EP, "Hearts on Fire." All of their songs display not only a strong social consciousness and artfully engaging musicianship, but also a sure sense of storytelling, and they do more than hint at personal investments in those stories.

"Our songwriting process is becoming more collaborative, and we strive for songs that evoke a strong emotional response," says Jones. "But seeing us live is to see the whole personality of the band." And you can do so when the band plays Saturday night at 8:30 p.m. at Martyrs' (martyrslive.com) or on July 19 at the House of Blues (houseofblues.com/chicago).

But in the meantime, gentlemen, how about answering this question: Why do you make music?

Manhart: "I've been making music for as long as I can remember. It's always been a core part of my identity and just the way that I live my life. I can't imagine not doing it. It fulfills me, it gives me a deep sense of satisfaction, it entertains me, it gives me a daily goal to try to achieve. It also touches me on a very deep and spiritual level. When I play music, I'm having a conversation with my deceased father. When we create music and put it out into the world, now we're having conversations with complete strangers, both in the present and the future. Regardless of race, language, religion, politics, it connects us all in a way that almost nothing else can. I think music touches a lot of people on that same spiritual level but they may not be aware of it. Music is one of the best and purist parts of humanity. It's something we do instinctively as a species. It bonds us as a community and culture; it helps us make sense of some of the crazy things that life throws at us. It's there for us when we're celebrating and also when we're grieving. It helps us learn as children. It's a deeper form of communication than just words. If it weren't for music, I think life would be a whole lot harder and less meaningful. I'm always humbled to have the opportunity to even attempt to create something that would touch someone else on the same level that my favorite songs touch me. And if I can never attain that goal, I will at least be able to look back from my deathbed and be happy that I tried. I did something that I truly loved, and I was a part of the conversation."

Jones: "I make music to explore. Performing and writing music has provided the most life-affirming experiences I have had. Making music stimulates my mind, body and soul. Being part of a group that works collectively to provide that stimulation for an audience continues to be one of the most challenging and rewarding experiences of my life."

Van Zuiden: "Making music with Molehill fulfills so many different aspects of my life. As a classically trained piano player, since the age of 5 or so, much of my experience with music was independent. I certainly loved it, but it was an expressive and meditative process that oftentimes I was extremely nervous to share. Performing piano in college was a real struggle, but the band helped me shake that after a few years. Now I just get really excited before a show. I love the camaraderie and brotherhood aspect of the band. In many ways, we know each other better than anyone. We share the common wiring or 'mis-wiring' for a need to express ourselves in a musical way. But ultimately, the best part of making music is creating something that anyone could listen to and relate to. There is that feeling you get when you listen to a song, and it perfectly captures exactly what you are feeling in that moment in your life. All of a sudden you feel better knowing that someone else has shared that experience with you and come through it. If I've helped contribute to a piece of music that was able to do that for another person, then this whole thing was completely worth it."

Staples: "I play simply because it brings me a kind of enjoyment that I can't find anywhere else. Also, it allows me to converse with other musicians to go to a place that can make me forget all my troubles and worries."

These articulate emailed introspections may not enhance your listening experience the next time you visit a bar or tavern or club for some music. But they sure can't hurt. - Chicago Tribune

The night’s second opening act Molehill kicked it up a notch with their unique high-powered set with an intuitive and invigorating sound not widely heard in the metal/rock scene. Their dynamic sound quickly brought the crowd back to life, blood pumping and on their feet through sound and emotion. Molehill took to the stage with the goal to rock out and entertain and definitely did so by bringing their “A-Game,” filling the room with energy, passion and anticipation.

Chicago’s own Alternative-Rock band that is Molehill really know how to bring it and like with Red Sun Rising, when the lights fade the magic begins when playing live. Combining several musical elements into one energetic sound that in itself breaks the mold of what is normal, creating a sound that makes Molehill stand out among the rest. Last night, I saw not just an opening act from Chicago but a band with a lot of potential. With emphatic lyrics to songs like “Ghost Town,” “Old Soldier” and “I’m ok” there are so many thoughts, feelings and emotions that ran through my head. Add the heavy earth shattering beats of the drum, the deep buzzing hum of the bass, textured guitar riffs and variations of key sound and stroke…it’s mesmerizing. The addition of changing light patterns and strobe effect puts you into a trance, enter into the mood of lyrical and musical composition its as if you’re actually in that reality. Molehill has been working hard to make a name for themselves, and further solidifying the ground they stand on, given the opportunity, I see them going far. - Overdrive Music Magazine

So, you are sitting in a bar or tavern or club — whatever you may call the place you go to unwind, have a few drinks perhaps and partake of some sort of entertainment — and you will see in a corner or on a stage a person or persons making music.

Jazz, rock, blues, polka, hip-hop ... it doesn't really matter, and we have long done this, seeking out sounds that soothe, excite or in some way enliven and perhaps even enrich us.

The city has a rich and lengthy tradition of this, tracing to early settler Mark Beaubien, who would often enliven his Sauganash Hotel with fine fiddle-playing and balladeering in the 1830s.

Why are we drawn to such places, to the sounds?

I have asked dozens of performers this question over the years. Perhaps the best answer — certainly my favorite answer — came from the late piano-playing singer Buddy Charles, who for decades played around the city, most prominently and memorably at the bygone Acorn on Oak Street and at the Coq d'Or in the Drake Hotel. He said, "There is something primitive about being close to live music. What makes it work is that people are inherently eager for intimacy."

Another question is, of course, "Why do people make music?"

For answers to that, let's hear from Molehill, a band comprised of four relatively young and thoughtful men: lead singer, guitarist and primary songwriter Peter Manhart; Trevor Jones, a classical upright bass player; drummer Devin Staples; and Greg Van Zuiden on keyboard and vocals.

This band has been together for seven years, a considerable length of time. Though based firmly in Chicago, they have traveled the country — "experiencing dirty motels, great people, missed exits and the freedom of it all," as Manhart puts it — playing hundreds of shows.

You can sample their music and learn more about them at www.molehillmusic.com. In so doing you will hear their latest, a three-song EP, "Hearts on Fire." All of their songs display not only a strong social consciousness and artfully engaging musicianship, but also a sure sense of storytelling, and they do more than hint at personal investments in those stories.

"Our songwriting process is becoming more collaborative, and we strive for songs that evoke a strong emotional response," says Jones. "But seeing us live is to see the whole personality of the band." And you can do so when the band plays Saturday night at 8:30 p.m. at Martyrs' (martyrslive.com) or on July 19 at the House of Blues (houseofblues.com/chicago).

But in the meantime, gentlemen, how about answering this question: Why do you make music?

Manhart: "I've been making music for as long as I can remember. It's always been a core part of my identity and just the way that I live my life. I can't imagine not doing it. It fulfills me, it gives me a deep sense of satisfaction, it entertains me, it gives me a daily goal to try to achieve. It also touches me on a very deep and spiritual level. When I play music, I'm having a conversation with my deceased father. When we create music and put it out into the world, now we're having conversations with complete strangers, both in the present and the future. Regardless of race, language, religion, politics, it connects us all in a way that almost nothing else can. I think music touches a lot of people on that same spiritual level but they may not be aware of it. Music is one of the best and purist parts of humanity. It's something we do instinctively as a species. It bonds us as a community and culture; it helps us make sense of some of the crazy things that life throws at us. It's there for us when we're celebrating and also when we're grieving. It helps us learn as children. It's a deeper form of communication than just words. If it weren't for music, I think life would be a whole lot harder and less meaningful. I'm always humbled to have the opportunity to even attempt to create something that would touch someone else on the same level that my favorite songs touch me. And if I can never attain that goal, I will at least be able to look back from my deathbed and be happy that I tried. I did something that I truly loved, and I was a part of the conversation."

Jones: "I make music to explore. Performing and writing music has provided the most life-affirming experiences I have had. Making music stimulates my mind, body and soul. Being part of a group that works collectively to provide that stimulation for an audience continues to be one of the most challenging and rewarding experiences of my life."

Van Zuiden: "Making music with Molehill fulfills so many different aspects of my life. As a classically trained piano player, since the age of 5 or so, much of my experience with music was independent. I certainly loved it, but it was an expressive and meditative process that oftentimes I was extremely nervous to share. Performing piano in college was a real struggle, but the band helped me shake that after a few years. Now I just get really excited before a show. I love the camaraderie and brotherhood aspect of the band. In many ways, we know each other better than anyone. We share the common wiring or 'mis-wiring' for a need to express ourselves in a musical way. But ultimately, the best part of making music is creating something that anyone could listen to and relate to. There is that feeling you get when you listen to a song, and it perfectly captures exactly what you are feeling in that moment in your life. All of a sudden you feel better knowing that someone else has shared that experience with you and come through it. If I've helped contribute to a piece of music that was able to do that for another person, then this whole thing was completely worth it."

Staples: "I play simply because it brings me a kind of enjoyment that I can't find anywhere else. Also, it allows me to converse with other musicians to go to a place that can make me forget all my troubles and worries."

These articulate emailed introspections may not enhance your listening experience the next time you visit a bar or tavern or club for some music. But they sure can't hurt. - Chicago Tribune

As the influx of new music starts to bombard 2019’s eardrums, they’re a few standout musicians that can really flex their pecks, for the lack of a better phrase. One artist, in particular, Molehill, is able to keep the creative juices flowing, especially on his new track “Finish Line”. With a voice that’s reminiscent of Matt Bellamy of Muse, Peter Manhart splashes his own flavor onto this upbeat yet dark at appropriate times beat. If you’re trying to hear a frontrunner when it comes to indie pop, this is the track, and this is the band to deliver. - Get Some Magazine

So, you are sitting in a bar or tavern or club — whatever you may call the place you go to unwind, have a few drinks perhaps and partake of some sort of entertainment — and you will see in a corner or on a stage a person or persons making music.

Jazz, rock, blues, polka, hip-hop ... it doesn't really matter, and we have long done this, seeking out sounds that soothe, excite or in some way enliven and perhaps even enrich us.

The city has a rich and lengthy tradition of this, tracing to early settler Mark Beaubien, who would often enliven his Sauganash Hotel with fine fiddle-playing and balladeering in the 1830s.

Why are we drawn to such places, to the sounds?

I have asked dozens of performers this question over the years. Perhaps the best answer — certainly my favorite answer — came from the late piano-playing singer Buddy Charles, who for decades played around the city, most prominently and memorably at the bygone Acorn on Oak Street and at the Coq d'Or in the Drake Hotel. He said, "There is something primitive about being close to live music. What makes it work is that people are inherently eager for intimacy."

Another question is, of course, "Why do people make music?"

For answers to that, let's hear from Molehill, a band comprised of four relatively young and thoughtful men: lead singer, guitarist and primary songwriter Peter Manhart; Trevor Jones, a classical upright bass player; drummer Devin Staples; and Greg Van Zuiden on keyboard and vocals.

This band has been together for seven years, a considerable length of time. Though based firmly in Chicago, they have traveled the country — "experiencing dirty motels, great people, missed exits and the freedom of it all," as Manhart puts it — playing hundreds of shows.

You can sample their music and learn more about them at www.molehillmusic.com. In so doing you will hear their latest, a three-song EP, "Hearts on Fire." All of their songs display not only a strong social consciousness and artfully engaging musicianship, but also a sure sense of storytelling, and they do more than hint at personal investments in those stories.

"Our songwriting process is becoming more collaborative, and we strive for songs that evoke a strong emotional response," says Jones. "But seeing us live is to see the whole personality of the band." And you can do so when the band plays Saturday night at 8:30 p.m. at Martyrs' (martyrslive.com) or on July 19 at the House of Blues (houseofblues.com/chicago).

But in the meantime, gentlemen, how about answering this question: Why do you make music?

Manhart: "I've been making music for as long as I can remember. It's always been a core part of my identity and just the way that I live my life. I can't imagine not doing it. It fulfills me, it gives me a deep sense of satisfaction, it entertains me, it gives me a daily goal to try to achieve. It also touches me on a very deep and spiritual level. When I play music, I'm having a conversation with my deceased father. When we create music and put it out into the world, now we're having conversations with complete strangers, both in the present and the future. Regardless of race, language, religion, politics, it connects us all in a way that almost nothing else can. I think music touches a lot of people on that same spiritual level but they may not be aware of it. Music is one of the best and purist parts of humanity. It's something we do instinctively as a species. It bonds us as a community and culture; it helps us make sense of some of the crazy things that life throws at us. It's there for us when we're celebrating and also when we're grieving. It helps us learn as children. It's a deeper form of communication than just words. If it weren't for music, I think life would be a whole lot harder and less meaningful. I'm always humbled to have the opportunity to even attempt to create something that would touch someone else on the same level that my favorite songs touch me. And if I can never attain that goal, I will at least be able to look back from my deathbed and be happy that I tried. I did something that I truly loved, and I was a part of the conversation."

Jones: "I make music to explore. Performing and writing music has provided the most life-affirming experiences I have had. Making music stimulates my mind, body and soul. Being part of a group that works collectively to provide that stimulation for an audience continues to be one of the most challenging and rewarding experiences of my life."

Van Zuiden: "Making music with Molehill fulfills so many different aspects of my life. As a classically trained piano player, since the age of 5 or so, much of my experience with music was independent. I certainly loved it, but it was an expressive and meditative process that oftentimes I was extremely nervous to share. Performing piano in college was a real struggle, but the band helped me shake that after a few years. Now I just get really excited before a show. I love the camaraderie and brotherhood aspect of the band. In many ways, we know each other better than anyone. We share the common wiring or 'mis-wiring' for a need to express ourselves in a musical way. But ultimately, the best part of making music is creating something that anyone could listen to and relate to. There is that feeling you get when you listen to a song, and it perfectly captures exactly what you are feeling in that moment in your life. All of a sudden you feel better knowing that someone else has shared that experience with you and come through it. If I've helped contribute to a piece of music that was able to do that for another person, then this whole thing was completely worth it."

Staples: "I play simply because it brings me a kind of enjoyment that I can't find anywhere else. Also, it allows me to converse with other musicians to go to a place that can make me forget all my troubles and worries."

These articulate emailed introspections may not enhance your listening experience the next time you visit a bar or tavern or club for some music. But they sure can't hurt. - Chicago Tribune

As the influx of new music starts to bombard 2019’s eardrums, they’re a few standout musicians that can really flex their pecks, for the lack of a better phrase. One artist, in particular, Molehill, is able to keep the creative juices flowing, especially on his new track “Finish Line”. With a voice that’s reminiscent of Matt Bellamy of Muse, Peter Manhart splashes his own flavor onto this upbeat yet dark at appropriate times beat. If you’re trying to hear a frontrunner when it comes to indie pop, this is the track, and this is the band to deliver. - Get Some Magazine