Music
Press
Which song to release on the radio is the hot conversation point at the listening party for Worlds Collide, the debut album of Lost Satellites; longtime musician Frank Scott’s newly created studio project.
Scott is no stranger to the music scene and industry. He has played in rock bands for over a decade, and most recently with local Richmond favorite, The McGuffin.
“A lot of the material on Worlds Collide was written while I played with those guys, that influence is certainly there,” Scott says. Scott characterizes The Lost Satellites as a “collection of musicians who share the common goal of creating quality music and stimulating songs.” Having written, engineered, and produced Worlds Collide, Scott believes that the role of producer is one that “really forces you to take a more objective look as to the big picture.”
He realizes the importance of acquiring “experienced people’s ears on your project.” The majority of collaborators are from the Mid-Atlantic region and include Peter Holsapple (R.E.M., Hootie and the Blowfish, The Db’s), who rocks the Hammond organ on song 4, “Not for Profit.” Chris Stamey, (Whiskeytown, Caitin Cary, The Db’s) mixed the album and offered a synthesizer track on “Hole.”
“The best collaborations,” says Scott, “are those that develop organically between people who have good or interesting chemistry.” Spend ten minutes with Scott, and you will soon be privy to the fact that he is one to provoke the endless, natural struggles of life. His lyrics serve as a life-line to break free from the mixed emotions of love, self-evaluation and affliction.
Combine this lyrical base with a strong musical presence influenced by ’60s rock, ’90s grunge and an indie style orchestration and you have one solid album that, according to Scott, remains “truer to the art of indie rock, than commercialism.” - Urge Magazine
The Lost Satellites encompass a mature sounding indie rock styling which reflects a reminiscent sound of ’60s rock fussed with ’90s grunge. Singer-songwriter, engineer and producer, Frank Scott has created a collective sound that’s whimsical, poetic and introspective much like Jim Morrison did with The Doors. Worlds Collide features guest musicians Peter Holsapple and Chris Stamey (The Db’s, Hootie and the Blowfish, Whiskeytown) and a group of musicians from the Mid-Atlantic area brought together and created an album that’s, a little off the beaten path, but is musically refreshing to the ears and satisfyingly original. Worlds Collide is like a mix-tape in the way in which it offer’s a variety of topics lyrically and a variety of aesthetic sounds from catchy, toe-tapping and upbeat to low tempo, melodic, acoustic and dark. - Soundcollective
I had a funny conversation this past weekend about local radio. This kid I work with was complaining about how Richmond’s “new rock” stations continue to play Nirvana as if they were a band making music in the here and now. “I was 8 when they came out. Shouldn’t they be considered classic rock?’ he justifiably asked still under the delusion that radio aimed at pleasing the wet dream demographic of 18-to 35-year olds should play music made by people of his generation.
Oh, the folly of youth. You got to love it.
Corporate radio is scared shitless of music made in the present day. They won’t play anything new unless it has a million leeches signing off on it. DJ’s, if you can call them that, have no say whatsoever over what is played during their shows as they are nothing but announcers reading scripts from the corporate office. Any semblance of spontaneity, regional identity and personality has so long been vanquished from the airwaves that anyone under 30 doesn’t even remember what real radio used to be. I feel sorry for this generation. All they know is the sound of the machines.
Though the Internet has greatly increased the amount of music people can be exposed to, it can’t compare to hearing a great new song or band on the radio. That was magical and it is that special magic that radio has sacrificed in order to play “Smells Like Teen Spirit” with mind-numbing regularity and have the nerve to call it new rock.
Here is some new music more than worthy of your attention that is made in the here and now.
My Pal Foot Foot
http://www.myspace.com/footfootfoot
Any band named after a Shaggs song is going to draw my attention. Formed in Tokyo in 2000, this Japanese group makes wondrously frail and immediately catchy pop music in the vein of Deerhoof, Daniel Johnston and the beloved sisters from Fremont, New Hampshire that inspired their name. Look for them when they tour the States in the fall.
Wendy Ho
http://www.wendytheho.com/
Gloriously profane, New York provocateur Wendy Ho sounds like a late on the rent Peaches with enough trailer park perversity and dance floor gusto to rise vulgarity to a high art form. This is one woman you wouldn’t want to bring home to meet your parents, but she definitely would be the best one-night stand you ever had.
Munk
http://www.myspace.com/
munkfromgomma
The sinister disco sleaze of these German dance floor merchants is infectious in the same way that has made Calvin Harris and LCD Soundsystem underground favorites; only these makers of self-proclaimed melodramatic popular songs have the chutzpah to make it not sound like a trend. Their breakthrough hit “Live Fast Die Old” makes it clear that they are in it for the long haul.
Lost Satellites
http://www.thelostsatellites.com/
Thoroughly listenable space age rock that learned its Pink Floyd dreaminess from notes taken by the Flaming Lips, this Petersburg, Virginia group put together by Frank Scott doesn’t reinvent the wheel, but has the good sense to not fix what isn’t broken. Peter Holsapple’s (REM, DB’s, etc.) Hammond organ colors four of their tunes on their new release, “World’s Collide” produced by legendary indie pop knob twister, Chris Stamey (Yo La Tango, Whiskeytown, Pylon, etc.).
There are a million bands and artists out there, people. Just don’t expect corporate radio to help you find any of them. They’re too busy raping the corpse of Kurt Cobain. - Brick Weekly
Discography
Worlds Collide - 2008
"Worlds Collide" charted at many CMJ core stations around the US.
Songs that received the most play were "Worlds Collide", "National Anthem," "Hey Doctor," and "Not For Profit,"
Photos
Bio
The Lost Satellites began as a studio project in the spring of 2007 in Petersburg, VA. The sound is a colorful mix of songwriting and lyricism continuing the traditions of 60's rock and 80's and 90's grunge and alt rock, blanketed with contemporary indie style and attitude. Openly introspective, often provocative, a bit irreverent, loads of fun, certainly post modern...In a medium where image has become more important than integrity, The Lost Satellites are staying focused on the music and true to the art. The band fully formed in 2008 following the release of the first album, so catch a show.
The debut album, Worlds Collide, was written and produced by Frank Scott at Flying Squirrel Studios in Petersburg, VA. Featured are many of the former members of the Richmond, VA based band, The McGuffin. Chris Mitchell contributes all but one drum track, and other players appear scattered throughout the songs. Special guest appearances are made by Peter Holsapple (R.E.M., Hootie and the Blowfish, The Db's), who plays a stellar hammond organ arrangement on song 4, "Not For Profit." Another former Db's member, Chris Stamey (Whiskeytown, Caitin Cary, The Db's) mixed the album, and lended a nice synth track on "Hole."
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