The Sado-Maso Guitar Club

biography:

The Sado Maso Guitar Club – “We love you too” It all started four years ago, when Matthias Krejan, guitarist of the Sixties-Garage-Trash heroes The Incredible Staggers, launched his – then still solo – project The Sado-Maso Guitar Club on Myspace. Within a short amount of time, a solid fan base had emerged, gasping for songs like “The Feeling”, “Jackpot Cockeyed Girl” or the sitar-dominated track, “Take it as a Matter of Time”. Founder and mastermind, Krejan, then set out to find some kindred spirits to bring his musical visions to fruition on the stage. Et voilà! The band that with increasing frequency ensures crowded clubs, concert halls (The Church Choir Project) and streets (unplugged acoustic session), was born. Matthias Krejan (guit/vocs/sitar/banjo), Dominik Krejan (organ/vocs), Christoph Mandl (bass), Felix Krüger (drums) and Daniel Staber (guit/vocs) are the Sado-Maso Guitar Club. A name that “just so happened”, when front man Krejan larked around with his Staggers alias Shakin’ Matthews, namely SM, and – probably at a late hour – came up with the band name which is a real ear catcher as a certain idea suggests itself – a name that is both fascinating and polarizing, all the while leaving you wanting to hear more. Admittedly, a negative response came from the ultra-catholic side, where – obviously – not everybody sympathizes with a band whom names itself after a tabooed behavioral pattern/ sexual practice. Which again is amusing considering that Krejan himself – besides his artistry also studying at the University of Graz – is a theologian-to-be! But, now back to the musicians: The band members are far from being novices in the music scene. They've worked on other projects and have made names for themselves individually. Mandl has been Krejan’s band mate on the bass in the Incredible Staggers for many years, Dominik Krejan made his fellow Austrians prick up their ears with his former rock combo The Scarves, Krüger brandished his drum sticks in the hardcore noise band Sick of Silence, as well as for the power poppers, Once Tasted Life. Staber, maintaining a low profile during the last few years, has toured with many reputable international acts in the past. Although the musical genres and styles that have shaped the musicians of the SMGC couldn’t be more diverse, their harmony as a group on stage is completely organic. This may be because their creation has been influenced by a large number of diverse musicians. According to Krejan, “music is too precious to reject something out of hand.” And he is right. His childhood allowed him to grow up with the wild sounds of the Sixties and Seventies – The Beatles and The Stones (both equally, to be precise), Led Zeppelin as well as The Who and Tom Petty are some of the really great ones that have influenced him and who are among others responsible for the fact that he “doesn’t want to do anything but music” in his life. Unmistakeably, they also vibe with the British Kula Shaker and the rebellious alternative sensation the Brian Jonestown Massacre. Rock meets Psychedelic meets Hippie and a little bit of everything – that’s how the quintet’s musical output, that seems to be resistant to any categorization and narrow-minded pigeonholing, can probably be described most accurately. Does one feel transferred into a past time because of the big role models, does the SMGC convey the impression of being a revival band? Definitely not – they just give you the uplifting feeling of being in the right place, at the right time. Despite their different musical “preload” they form a unified, cohesive whole, the most important thing they have in common as individuals being their passion for music. This, combined with instrumental know-how on the highest level, characterize the SMGC. Therefore, when from time to time a string breaks, or one of the amps feels it must strike or drummer Krüger, driven by a strong desire to void his bladder, has to leave the stage, it really doesn't matter. Because these are the moments where the musicians demonstrate their most skillful capabilities as a jam band, their professionalism being reminiscent of the American rock legends Phish. So what can we expect from their debut album with the very promising title ‘We Love You Too’, being released in Germany and Austria on January 28, 2011 on Beatpop Records / Hoanzl. Well, ‘We Love You Too’ is a diverse collaboration of 13 independent songs, which, despite their autonomy, constitute a harmonious whole. This whole thing could almost be thought of as a declaration of love to the crazy sides of life. Consequently, it seems perfectly normal that “cockeyed girls”, jealous lovers, misogynists, eccentric weirdoes and phony politicians appear as the main characters in the lyrics, indulging in their desire to murder, pretending to be Jesus and condemning money as the root of all evil. Among other things, there are also lessons in music education (“Get the Sound”) – an appeal not to expose oneself to the constantly bad and monotone radio music, but finally to really listen again – and the five not quite word-shy lads even call for revolution. The album rocks (“Set Me Free” – a song that is a real treat (especially live), namely when singer Krejan, with energetic abandon and a wagging finger goes to the limits of his voice), it grooves (“A Day – A Script of Monotony”), evokes Indian spheres by means of the peculiarly exotic sounds of an esraj and sitar and sends shivers up your spine (“The Feeling”) – from tranquil arrangements to speedy rock’n’roll it offers a great variety of styles, without losing touch with authenticity. Speaking of authenticity: Much emphasis is put on this within the band as it mirrors their overall attitude, distancing themselves from modern mainstream music – the instruments sound exactly as they are supposed to sound, directly from the amps, without any big fuss. Straightforward guitar rock combined with catchy piano melodies, mystic sitar sounds, infectious banjo hook lines and Krejan’s distinctively melancholic voice, create an utterly intoxicating package that inescapably casts a spell on you, making it impossible to escape its effect. And in order to make sure that the finished product corresponds to the desired one, the first “baby” was, of course, produced solely by the band, much of it recorded in the guitarists’ remote house in the woods and finally mixed according to their very own desires. Real music by real musicians. Authenticity at its best. Where talent, truth and a love for music collide. Wonderful. Résumé: Go buy this baby and “let the sound right into your mind!” PS: I love you too! Susi Muhr