Meet Dinoczar yet another epic band throwing waves around the Boston music scene.. AND WE LOVE IT! For those who like their music raw, look no further, songs like Ghost Slam draw you in with the heaving bass line. All the while your head is spinning with nearly two minutes of mind bending instrumentals. Then wait for those piercing vocals! Now it is time to talk to the band.
Dinoczar is a pretty crazy band name! How did you come up with it and what does it mean?
Paul: I came up with the name in high school on accident and we needed a band name. Like, it doesn’t mean anything but aesthetically it seems to fit with whatever abrasive, stomping tone our music has. So that worked out nicely.
You hit the studio early August last year, just before you took off on the Hella tour with your friends , Midriffs. Did you experiment with the new songs on tour and with such a long period between the initial takes of these tracks to the release of Sick Wind how much evolution took place between those first sessions and the final product?
Aaron: A lot of songs on the record we had been playing for months before. Cream was on House of Rising Fuzz and a different version of Daggers was on our first release. At the time of tour, those didn’t undergo much evolution. However, the newer ones we wrote closer to tour, like Burnt Out, Ghost Slam, and Sick Wind all have elements that we developed on tour that we still do live and didn’t get to make it on the recording. We still need to work out details but we already have enough songs for a new release and we want to do the analog route this time around.
Paul: I didn’t record most of the lyrics or guitar solos until after tour so I had lots of time to fuck around with what seemed right, there was a skeleton structure to the theme and sound but I would try something new depending on the feel of the show.
Your music sounds very rooted in the live performance. It has a real pumped up live feel to the LP. How does the live show compare to the recorded music? And how did you get that live feel to transcend into the recording?
Aaron: This was the first release that we didn’t rush to get out and the first that wasn’t recorded totally live.. In a way we tried to differentiate the record from our live shows. Like Paul mentioned, he did a lot of overdubbing and other recording tricks that we can’t replicate live. The record still has that live feel though because most of it was recorded live. There’s just more energy in a live setting because of the crowd and we all feed off of each others energy.
Paul: This is the first time we really used overdubbing and spent time on getting it to sound right. I think our live sound feels so manic and dynamic but in a studio it gets a little lost. Again, the Hella tour took place mid last year. Not including the Boston show, you covered seven states in roughly ten days! That must have been insane. Tell us a little about the tour and what Dinoczar gained from it as a band.
Aaron: TJ Freda from Midriffs and I mostly did the booking for the tour months before. Honestly, I think the craziest part of it was booking the thing. Not that it was difficult! It was just time consuming. Once we were on the road though it wasn’t too insane (minus a few very long drives – thank you Owen Harrelson). For me personally I realized that I could tour with my band and book shows, something I never really thought we’d be able to do. As a band, the positive response to all our new songs was awesome. Additionally, we just became tighter and stronger performers because we played everyday.
The first two EP’s were full DYI, self-recorded affairs. What steered the band away from this approach with Sick Wind?
Paul: I actually think this album was oddly more DIY; our first EP we had help from our school’s record label and the second one we utilized Converse Rubber Tracks. I recorded most of the guitar for this album in a barn in Connecticut and had some time to fuck around with some different studio tricks when recording and mixing. But yeah, since it was our first album we all agreed that it would be better to get some solid recordings that would encapsulate our sound. With our EPs I would duplicate all the cassettes in my room in real time and imprint the shells with a stamp; it seemed like a good time to cut that out of the equation and dip into the band fund. I doubt we’ll ever do an EP or LP release the same way.
I understand, House Of The Rising Fuzz, was a pretty big deal when it came out, really pulling bands together. To quote yourselves, “This is the greatest thing we’ve ever been a part of”. For all of us that live in a cave, can you explain this compilation and what it has meant for both Dinoczar as a band and your scene there in Boston, since it’s release?
Aaron: The House of the Rising Fuzz compilation is a 10 song comp that Ben from Black Beach put together. All the bands on it are local and we all made it together. I think Dinoczar officially started in the Fall of 2013 when we met Jake. Up until that point, Paul and I started the band in High School purely to play shows, however, we didn’t play a show until then. Finding out about the Boston music scene was a big deal for us and then actually playing shows with bands we had admired from afar was even cooler.
Being part a tangible thing and with all the bands we admired for so long was rewarding and just really cool. The scene we’re apart of is really supportive and tight-knit and the compilation shows that. I don’t think Sick Wind would have come out the way it did, or at all, had we not been on the fuzz comp.
The LP Sick Wind is also available on Cassette tape (which also includes free download of the album). This is such an underground practice these days. What made you consider Cassette and what have the reactions to it been?
Aaron: Paul and I grew up with Burger Records so cassettes were always kinda around us – we didn’t know anything else. Like if ya wanna release music physically it’ll be cassette or vinyl. A lot of bands now are doing the cassette thing so the response from them is always positive. It’s more family members and kids not involved in local music show confusion towards tapes.
Paul: I think it’s really important to us to have a tangible product when it comes to music. The album art, liner notes, different variables in cassette shells and possible designs; it’s just a lot of fun, it’s affordable, and it has a quick turnaround time. And CDs are pretty much the equivalent of digital music to me since you can just skip tracks. With a cassette you listen to the album, start to finish. I think like 7 of the 10 songs on our album transition into each other. We’ve never been in the position time-wise or financially where vinyl was really an option but it will be in the future.
Can you name drop a few acts that you feel could be really blowing minds there in Massachusetts but haven’t really hit the radar yet?