“Being on a label means nothing, unless they can do something for you. You don’t need a label for distribution anymore.”

Most bands survive by evolving over time, but the ones that last beyond a trend are those who constantly reinvent themselves. Atlanta-based Stokeswood have effortlessly tapped into this recipe for success in the fickle and wavering world of music. Stokeswood doesn’t abide by the notion of “stick to what works.” Instead, the sextet is willing to try anything and makes it all work by injecting their charisma and infectious vivacity into every musical metamorphosis it can muster.

From the studio to the stage, Stokeswood remains sublimely unpredictable, venturing throughout acoustic, electronic, soul, and dance rock territories that seem to fit any of the multiple stage personas conjured up by the band. Costumes and spontaneity are alluring, but it’s Stokeswood’s characteristic traits that stand out, particularly the magnificent and soul-gripping vocals of Adam Patterson and the effervescent raw energy produced by the collaborative creative force of each Stokeswood member.

Stokeswood – “If It Makes Sophia Dance” by performermag

“The problem is that Adam [Patterson] is so very good,” says electric guitarist Mark Godwin sarcastically about the cohesive musicianship of the group. Godwin and Patterson started the band over seven years ago. Since then, they have continuously transformed their aesthetic by adding to their clan, bringing in broad influences from Reed Irvine (piano, synth, bass) and drummer Jon Joiner. The newest members, Justin Mullinix (bass, keys, sampler) and Megg Serrano (back-up vocals, sampler, keys) have been two of the most influential in bringing a fresh approach to the kaleidoscopic Stokeswood repertoire.

Before joining the band, Mullinix worked with Stokeswood as producer on the band’s first album, Carassia. He also introduced the Stokeswood boys to Megg Serrano during the recording of their second full-length. She originally came in to add a feminine counterpart for just one song. “This is the absolute most perfect voice for this,” says Mullinix of Serrano’s sweet, yet powerful delivery. The rest of the guys agreed and without hesitation Stokeswood swooped her up as a full-time band member, realizing her vocal range worked brilliantly on many of the other songs being worked out in the studio at the time.

Stokeswood kept up a relentless schedule of gigs and studio sessions for most of the past year, culminating in the unveiling of In the Field of the Vibrations in the spring of 2011. The group took an entirely new approach on the recordings for this album. “Instead of writing the songs live and then rehearsing them and then recording them, we wrote the songs while recording and then had marathon practices to pick parts,” says Irvine, adding, “We threw caution to the wind and didn’t worry about how we’d reproduce it live.” Bringing Mullinix in as a band member gave Stokeswood a unique opportunity to experiment with sound during songwriting. “Justin’s [Mullinix] involvement as producer has helped our sound,” reveals Joiner. “We can bring in individual ideas, that by themselves can’t be songs, but Justin can put them together.” Mullinix’s ability to arrange songs and work Pro Tools to create intricate samples helped manifest a genuinely artistic album with a fierce electronic edge.

In the Field of the Vibrations is fully exhilarating with whirling noise, intensity, and intriguing poetic verses. Much of the magic experienced throughout the album stems from Patterson’s vocal tenacity and storyline lyrics. The band members spoke in awe of Patterson’s aptitude as a lyricist and songwriter. “Adam sat there in one take, without knowing he was being recorded, singing and playing a guitar that wasn’t even tuned – and that made it on the album,” explains Mullinix. Several of the songs on the new album feature the original vocals and melody that Patterson came up with off the cuff. Mullinix further reflects, “Some of the very first moments he came up with the melody and the line made it to the end, and we were like, ‘That’s the chorus!’”

In the Field of the Vibrations diverts from the predominantly organic essence on Stokeswood’s first album, Carassia, which highlighted the acoustic guitar work of Patterson with accents of electric guitar and keyboard on imaginative and danceable melodies. However, the new album doesn’t veer off in a completely new direction. Instead, the acoustic and electric have just traded places for the dominant roles on In the Field of the Vibrations. This subtle difference gave Stokeswood the opportunity to delve into more innovative musical terrains.

Not only did Stokeswood switch gears after their first album, but they also took an inventive approach to testing out the new direction, which began to emphasize the electronic-dance sphere, as opposed to the frantic acoustic guitar. Stokeswood became Neckbeard for a short time, in order to perform their newest material in a live setting and inconspicuously gauge the audience’s reaction. Not surprisingly, the band received raving responses from the unsuspecting folks at the Neckbeard shows. This was enough to let the band know that they were on to something.

With newfound confidence in the band’s sonic transformation, Stokeswood left the Neckbeard alter-ego behind. The Stokeswood boys eagerly set up a grueling schedule of shows, primarily between Atlanta and Miami, where they found a home away from home. The energetic dance vibe transmitted through an animated live performance attracted many Miami club-hoppers, including Galena Mosovich, who swiftly began booking and promoting Stokeswood all around Miami’s club scene. In a town where DJs outnumber bands, Stokeswood began enticing the club crowds by bringing the dance experience through real instruments and an impassioned stage presence.

The stage is where Stokeswood shines most brightly. “We want to be innovative. Everything for us is about not doing the norm. But then the unique stuff becomes the norm,” says Patterson. This drives Stokeswood to constantly push beyond the parameters of comfort, aspiring to remain original and engaging. “Anything that’s awesome goes,” adds Irvine. Stokeswood often implements a theme to their shows, urging the audience to play along while they dress up as superheroes or robots. The band also refuses to shy away from atypical venues. Instead, Stokeswood thrives on owning the room in any environment, playing in dive bars, hotels, posh and sophisticated nightclubs, and run-down strip clubs. “We like to do weird things and concept shows while making it entertaining, making it an experience. It’s not an option to just show up and do the conventional band thing,” says Irvine.

Stokeswood also chose an unconventional approach for the release of In the Field of the Vibrations. The usual method for self-releasing an album includes making it available through standard distribution websites (i.e. iTunes, CD Baby), offering physical copies at shows and celebrating with an official release party.  Stokeswood instead chose to throw a listening party poolside on the rooftop of the W Hotel Downtown in Atlanta and then later at The Stage in Miami, where the group performed the album live in its entirety. There were no physical CDs to buy, but the band gave out download cards, which was the only way for fans to access the new release. This bought the band some production time, at the same time appeasing eager fans vying for a copy of the new music. The download cards now offer a limited edition version of the album, and the final physical album will be released after mixing is completed by renowned producer Billy Hume (Nelly, Rehab, Nas) at his Atlanta studio, The Zone.

There is no interest, on Stokeswood’s part, in getting with a record label. The group has been functioning independently since the start, and though they’ve partnered up with Galena Mosovich for management and publicity and recently signed a contract with Nimbleslick Entertainment to book an upcoming national tour, the guys have resisted any ties with a label. Godwin clarifies, saying, “Being on a label means nothing, unless they can do something for you. You don’t need a label for distribution anymore.”

Stokeswood marvelously caters to a myriad of musical tastes, mainly because the group implements such a variety of means to entertain. Mullinix sums it up, saying, “I always thought of Stokeswood as similar to My Morning Jacket, but not musically speaking. We’re teetering on this pyramid of a few different sounds and genres and our shows can please an indie rock crowd, a hippie crowd, a rock crowd, or an electronic dance crowd.” Indeed, it’s not hard to enjoy Stokeswood.

www.stokeswood.net

photos by Kelly Embry