THE SKINNY LIMBS - MOZART FOR MARTIANS
Kenzie Gay - @kenzwrites
“It was mostly centered around the theme of feeling broken, confused, like you're stranded deep in space with no way home” Says Max Knoth in regard to his band’s newest release, their third EP titled Mozart for Martians.
Knoth, a native to Beer City (or Grand Rapids depending on who you are), is the front man and lead vocalist for indie coastal rock band The Skinny Limbs, the very first local group I found as a music journalist.
Aside from him, the group is composed of Andrew Deters (guitar), Mitch Garcia (keys), and Max’s brothers Nate (bass) and Jake (drums), all of whom are also based in the greater Grand Rapids/West Michigan area. The group has been on the up and up over the last two years and on April 12th, they released Mozart For Martians nearly three years after their last EP, Jade.
(from left to right) Mitch, Nate, Max, Jake, and AndrewThe EP is five songs long and includes To The Limit, Too Little Too Late, and For So Long!: three tracks that were dropped as singles to promote Mozart for Martians.
The EP was officially announced at their headlining show at renowned bar and venue The Pyramid Scheme back in late February (which I attended) and now that it is finally ours, I have the opportunity of reviewing all five songs along with interviewing Max Knoth himself for some much-desired answers regarding The Skinny Limbs.
MOZART FOR MARTIANS - A REVIEW
TRACK I - TO THE LIMIT
To the Limit is probably the best possible song to kick off Mozart for Martians. It is a sonic boom that introduces listeners to the atmosphere of the new EP; an atmosphere that is funky, fun, and innovative.
The piece’s lyrics are deep and pensive in great contrast to the bright sound it gives out, involving themes of heartache (as Knoth describes later on in his interview with us.) that give the song a sort of uncanny vibe due to the conflicting nature of it all. That conflict works, though, as it tends to do in indie music, and To the Limit serves as not only a great starting gun but also a fantastic song for those of us that want relatable music that doesn’t specifically invoke tears.
TRACK II - MONDAY
Monday, as mentioned earlier, is one of the two songs on this EP that wasn’t released as a single beforehand. Pieces like that tend to be the best on album and EP works so I was more than excited when I saw the track list and like clockwork, it didn’t disappoint.
With a sort of Mac Demarco vibe, Monday is cosmic and leisurely as it holds a disorienting energy that allows listeners to get lost, to truly seep into the notes and become one with the music. That is up until the halfway mark, when the song does a total 180 and just kicks up the power, switching the environment from hazy and calm to psychedelic and rock-adjacent.
This is heavily due to the keyboard and synth work from Garcia that I can’t help but compare to, funnily enough, Eddie Van Halen’s work on the same instrument from the 1980s (underrated in comparison to his guitar work, but notable all the same).
TRACK III - TOO LITTLE TOO LATE
My favorite off of this new EP is none other than Too Little Too Late and holy shit is it even better live.
The song is bubbly and again, a great example of Garcia and his undeniable skill as a musician. It is poppy but not in the Taylor Swift (sorry, Swifties) or Justin Bieber way but in a way that is loud and heavy-hitting.
Too Little Too Late has the overall feeling of spring time (REAL spring time, not the constant rain and mud we have up here in the mitten) with its chirpiness and fluidity and it even makes me, someone who notoriously has no rhythm, want to get up and move.
TRACK IV - I KNOW THAT YOU CARE
Groovy. That’s the best word to describe I Know That You Care and that’s all because of the work from Knoth (Max) and Deters.
This track particularly reminded me of popular indie band Peach Pit, specifically their 2018 LP Being So Normal (their claim to fame, in a way). Knoth
(Max) holds that same calm yet emotional vocal timbre that Neil Smith does and Deters really has a sort of Christopher Vanderkooy style about his work that transcends the song.
It is on the sadder side, however, so be prepared with some tissues.
TRACK V - FOR SO LONG!
Last, but certainly not least, is For So Long! With an exclamation point in the title, it was bound to be a revolutionary ending and that might be the understatement of the year.
I’ve talked much about the impeccable talent of Garcia, Deters, and Knoth (Max) in this review but Jake and Nate really make just as much of an impression that deserves the same recognition.
They serve as the rhythm section, arguably the most important part of any and all pieces of music, and they steer For So Long! in a specifically wild way. Jake keeps it light and electrifying on the kit whereas Nate balances it out with a distinct groove on bass. It all melds together in a satisfying manner that makes the song an undeniable treat.
A Conversation with Max Knoth
K: Who is your greatest musical influence (doesn't have to be the same genre as your own music)?
M: I would say right now I've been listening to alot of Last Dinosaurs and King Gizzard & The Lizard Wizard. Those Australians really know how to make music and put on rock shows, and I've been trying to emulate that- maybe it shows up in our music. I do love Henry Mancini and all the mediterranean music he makes, and I've tried to incorporate that into our tunes when I can. Lastly, I've gotten into Japanese City Pop in the last couple years and artists like Masayoshi Takanaka have taken prevalence in my music consumption. His high flying guitar lines are something I would love to put into some TSL tunes soon here.
K: Is there a backstory to the band’s name?
M: No big back story to the name really, I know a lot of people make jokes because us Knoth brothers (Max, Jake, and Nate) are a bit tall and lanky, and the "what if someone gets fat?" question gets thrown around a lot. It's ridiculous... but yeah, I was thinking of tree limbs more so when I thought of the name, and I thought it would be a nice name that would stick in people's heads. It's a goofy name but I think it lends to the playful nature of our songs.
K: How did the band come together?
M: The band came about by nature of Jake Nate and I being brothers and all growing up taking music lessons. It only took so long before we assembled Nate on Guitar, Jake on bass, and me on drums (to start). Since that point 15 years ago, we've all switched instruments and added Mitch and Andrew to the mix- those guys fit right in so naturally and it's a pleasure to play with all of these fine gentlemen.
K: Being a small/independent artist, what are some trials and tribulations you’ve gone through as a group that outsiders wouldn’t expect to hear?
M: I think as a small indie project these days, it's so difficult to draw attention to yourself and music without spending all day on Tiktok making 6 videos a day. The market is incredibly flooded and you really have to believe in yourself and the friends you make along the way, along with the strength of your songs to propel you to that next level. I'm still hoping for somewhat of a big break for our band, but I will say since the pandemic I've gotten much more comfortable with enjoying the ride and the journey of the band rather than solely focusing on how we haven't hit it big yet.
K: Describe your creative process - from the beginning stages to the final product.
M: Our songs usually start with me demoing guitar parts and bass and programming drums on my laptop on Logic, and then Jake comes in at some point to clean up the drums. Then I add any synth or sample patches to the song, and lastly the vocals. I like to work on vocals last as they don't come as naturally to me, and I want the vibe of the song to be done before I try to write vocals over it. Once the demo's done we take it to our buddy Connor Robertson (Trauna, formerly of Leland Blue) to produce the song and beef it up!
K: If there is one thing you want your music to do, what is it?
M: I want our music to bring people together, and to give them peace in hard times, or lift them up to a calm space when they're feeling down. I've heard a lot of folks say they love to listen to our music on summer drives with the windows down, or at the beach in the sun- and that's all good too. When we play live, I love to see people smiling or vibing out to the tunes, I feel like music is something we can all tap into and connect with, even if you don't play any instruments you can still FEEL songs, ya know?
K: Are there any particular albums/EPs that helped to change your perspective or style as a musician?
M: Pet Sounds by The Beach Boys always blows my mind, and reminds me that so many songs sound really, really great with backup vocals and harmonies. Synchronicity by The Police and On Guitar by Masayoshi Takanaka taught me that you can still make palatable music for the masses even while being a master of your instrument and creating complex musical arrangements that some might find off-putting. Lastly, Golden Hour by Kasey Musgraves shows that you can execute a simple but solid songwriting idea at the start with great people around you and masterful production.
K: How do you reconcile the commercial pressures of the music industry with your artistic integrity?
M: We don't care much for commercial success unless it's sustainable here at Wizards Only Music (our self-run label of sorts) and we've long ago put away hopes of trying to make millions on a one hit wonder or a Tiktok bop. That stuff would be fun but exhausting, and it wouldn't last. We want to build success playing live shows and making friends- and hopefully along the way that leads to success, but if not- we're ok making cool records and playing fun shows with our friends while continuing our songwriting and artistic pursuits here in Michigan.
K: Are there any non-musical influences that shape your work?
M: I'm obsessed with vintage cartoons from the 50s and 60s and I love to put that inspiration into our music project. We've got upcoming videos planned and more artwork to do for some future releases coming up soon (wink wink), and you bet that some old cartoonish art will make its way to the forefront.
K: With this new EP, were there any specific concepts you focused on or was it a more go with the flow form of creation?
M: This EP was mostly centered around the theme of feeling broken, confused, like you're stranded deep in space with no way home. It's how I felt after ending a 3 year long relationship in 2022 when I wrote all these songs- with the exception of I Know That You Care, which was written earlier and focused on reciprocating love and support from my parents. The rest of the songs are full of an energetic angst that we haven't before encapsulated in TSL songs, so I'm really hoping people that listen find a different edge to these songs, and find them to be a lot of fun.
K: How do you view the current state of the music industry?
M: Well... it's not great. As I mentioned before, many musicians who got into projects pre-Covid didn't anticipate having to do 2 jobs instead of 1 when creating a band (vlogger/social influencer and musician/songwriter). But we try our best to create thoughtful and funny content when we can, I really only have the time for those things when my mental health allows for it. Being chronically online isn't super sustainable for me personally but I do try to inform our fans and followers about what we're up to and our process as a band.
K: Describe the EP in 3 words.
M: Remorseful. Otherworldly. Intentional.
With a sound reminiscent of Wallows, Briston Maroney, and Dayglow, a style that is booming amongst certain sectors of popular music recently, The Skinny Limbs are projected to make waves both here in Michigan and elsewhere across the map.
Max Knoth was a fantastic interviewee and he truly opened my eyes (and hopefully yours, too) to the extensive background and lore behind this funky fresh band of his.
Mozart for Martians is available for listen on all streaming platforms and you can catch The Skinny Limbs at Mulligan’s Pub in Grand Rapids on April 25th, which I highly recommend.
