Coming from the worm depths of San Antonio Texas there comes a young band by the name of The Union UnderGround. Their unique name actually came from their studio that was owned by founders Bryan Scott (vocals/guitar) and Patrick Kennison (lead guitar). The studio was known as The UnderGround Union, the band just turned around the name and there you go. This exciting new band that is sure to kick your ass. One lessens to their debut album An Education In Rebellion and you’ll agree. Their whole concept is just to make as mush notice as possible and nock you off your ass, with has worked. With such songs like Turn Me On Mr. Deadman, Killing the Fly, Revolution Man, and South Texas Deathride. With their rebellious riffs and pounding drums, The Union UnderGround is definitely one of those bands that will be around for a long time and defiantly need respect.
Founded by Patrick and Bryan (the two have known eater for 10 years) in 1994, in their personal 24 track studio. The Union UnderGround did not take the shape that we know as the Union UnderGround until 1996. That’s when the doe (Patrick and Bryan) hooked up with Drummer Josh Memelo, before singing to their label (Columbia) and Basses John Moyer did not come on until after the band had signed.
In 1996 the three (Bryan, Patrick, and Josh) started looking for a record company that would produce there album. After sending out countless demo's they finely got a call form a record company, however the caller was not interested in producing their album he wonted to be there manager and get the band on a major record label. After sending out more demos and hundreds of calls Colombia finely took the band under there wing and produce there album.
Onstage, Union UnderGround guitarist Patrick Kennison cuts a finger like a classic punk, with red tinted hair spiked skyward and an abundance of attitude. With a foot on his monitor, a fist in the air, and a grimace for the crowd, Kennison is in your face, showboating the guitar-centric material of the bands major label debut … And Education In Rebellion. Funny, though, Kennison doesn’t play like a punk (he’s the least energetic). With a keen ear for pointed countermelodies and shred-style fills, Kennison sounds more like Mick Mars then Johnny Ramone.
It’s a day after a triumphant Union UnderGround gig, and Kennison is now tucked into a booth at a diner in front of a plate of eggs (How could he stand eggs?). His gnarly rock-star attitude from the night before is non-existent-stripped away in favor of a genial smile- his red/black (my two favorite colors) is tucked under bandanna, (usually its either red or black). Despite a brutal hangover, Kennison, who shares guitar duties with singer/boy-hood friend Bryan Scott (they’ve known etcher for 10 years, HA, me and my best friend have known etcher for 12), stays focused and articulate.
”I started playing guitar,” he recalls, “When I was in 5th grade. (He saw the ‘looks that kill’ video on MTV) that was it. I could play those solos and songs mainly by ear. I did take lessons shortly after that. I remember one of my first teachers couldn’t transcribe a Motley Crue song I wanted because he didn’t understand the tuning. The whole thing was tuned down a step. I figured that out later on my own.”
After he and Scott mixed it up with hair metal and cover bands for years, they moved on to shred. “I remember buying the Paul Gilbert video and learning every lick on it. It was fun. I had friends who went on to record a couple of albums for Mike Varney of Shrapnel.” But Kennison and Scott never took the shred so far as to paint themselves into a corner. Then came Appetite for Destruction and the shred era, at least for these two, came to and abrupt end. “I remember seeing some GN’R concert on MTV, and you could feel the vibe, not just hear it; it was so volatile. And it had nothing to do with people shredding. The actual songs were memorable.”
And so Kennison and Scott changed their tune, opting for the more song-oriented approach present on…An Education In Rebellion. They disbanded their 80s-style outfit and started writing songs that sounded like the future rather than the past. More important, they invested in a 24-trck studio, and spent all their income (about $600 a week) on the band (and most of it came from odd jobs). They where making cassettes, distributing them, and accumulating adequate equipment. Word in and around South Texas started building. “Who the is The Union UnderGround.”
They ditched their original singer, leaving Scott to do the vocals (thanks Bryan we love you for it) and Kennison as the sole guitar player (you can’t even hear Bryan any way). “Bryan kept playing guitar for a while (by the why Bryan is left handed), but we realized we doubled a lot of parts. Some of the songs like ‘Bitter’ were simple songs and there was no need for it. So I ended up getting a stereo rig; with certain effects it sounds so phat that Bryan just told me to play. He plays on only tow or three songs not.”
With Kennison as the lone holdout on guitar, The Union UnderGround arrangements underwent dramatic adjustments both live and in the studio, “Now I use stuff like a whammy pedal for weird little harmony things and a lexicon MPX unit that runs with my preamp that goes into my Peavey 5150s. There’s so much stuff that sometimes it sounds like two guitars. Plus John [Moyer], our bassist uses a guitar amp, and when I go into a solo, he turns on this amp for a real distorted bass sound.”
With the help of his 5150s, Kennison’s Gibson Firebird and B.C. Rich do the rest. “With the amp, I found out that you have to turn the treble back and you don’t have to crank the volume all the way up. My problem live is that I didn’t want to stop. In a studio, I can just overdub one part with my phaser pedal and overdub another part with whatever. I didn’t want to be a tap dancer live so I got the Lexicon. Now, when I plug my guitar into it, it sends effects to the effects loop, and it also sends the distortion and extra gain to the front of the amp. I also have a wah in my pedalboard, so I’m all set!”
Now, with …And Education In Rebellion climbing the charts, powered by the emphatic single “Turn Me On Mr. Deadman,” The Union UnderGround has at last pulled it together at a time when the climate is ripe for innovative, melodic hard rock. “The best compliment we’ve gone so far was when someone said they liked the whole album, not just ‘Deadman’ (it’s and easy statement to understand). I’m a huge fan of great records, not just records with a single radio hit on it and the rest filler. I’m into records like Appetite for Destruction, Dirt and Master of Puppets (one of the best albums ever), records you can sink you teeth into.”
Once upon a time there were 2 kids from San Antonio who hated the standard of their home state. Both loved Motley Crue and both had a dream to start a band. When these 2 kids collided their dreams combined. They envisioned themselves in lights. They formed a great friendship & began to go with their dream by writing songs and music to go along with their writing. This was the beginning of what is now The Union Underground.
Bryan Scott & Patrick Kennison began finishing songs around 1995. They already had full tracks finished before the addition of a permanent drummer & bassist. Through the course of 1996 & 1997, Bryan & Patrick sought the perfect line-up. They came across Josh Memolo who took the position of playing the drums. Still seeking the final spot for the band, a talented bass player from Austin was found by the name of John Moyer. The Union didn't start out as a 4 piece. Bryan was originally playing guitars while another unamed person was doing vocals. Once demos were recorded, though, Bryan's small vocal parts were beginning to sound very good. The original "lazy" vocalist was kicked out and Bryan took over singing. For a while he even played most guitar parts while singing but later forced Patrick to actually WORK live and be the sole guitar player minus a song or two.
Once the line-up was solid the band began somewhat of a small tour playing local clubs. The Union Underground quickly gained popularity and became one of the hottest underground bands in the southwest. After playing many shows, James Jeda took notice of the band. He was working for a small indie label. He approached the band but did not want to sign them. He believed the band needed to be signed to a larger label to help them achieve their dream. He had faith that the UU could do it too.
Jeda eventually became their manager. He began playing demos and trying his hardest to get only the best for the band. Finally after a year & a half the band caught the attention of Sony. The band was signed to the Columbia/Portrait label.
Working with a big record company wasn't too bad for the band. They got their say in on how they wanted their record to be & even got some good suggestions. The opening track on An Education in Rebellion was originally slated to be a hidden track until it was suggested to the band to put it at the beginning. They agreed & the result was amazing. They finished recording their album & began touring to help build up its release.
While playing a live show the UU have certain standards. The most important one is that they have to have 2 large video screens on both sides of the stage which display images which the band finds essential to their music. Images can range from Charles Manson to clips of independent films. The screens aren't flashing images for the entire set. Usually half of the songs played will get the clips. The rest of the time they display a large UU logo. The screens also range in size depending on the size of the club.
After the release of their debut album the UU continued touring. The band is happy to be out on the road. They have actually stated that they feel out of place in Texas and tend to get a lot of shit from local rednecks and hillbillies, while they tend to blend in with the culture of L.A. or N.Y.C. In fact they've also said that the only other band from Texas that they listen to is the almighty Pantera.
Being from south Texas may be tough but this band keeps fighting. After receiving airplay with their first major single "Turn Me On 'Mr.. Deadman'" the band began to rise in popularity. Record sales increased and the turn up at live shows was growing. The Union Underground began to tour with other hot new acts such as Disturbed, KiTTie, SpineShank, Dust for Life, Slaves on Dope, Flybanger, and not to mention others such as the not so new masters of manufactured metal, Fear Factory. This also helped the band get noticed. Not long ago, the second single, "Killing the Fly" was released on the radio. The band is now touring even more!
The Union Underground have gotten publicity at last! They are already one of the hottest new bands around & they are now on the rise to be one of the greatest bands of all time!
Looking down the dark corridor that consists of dressing rooms and production offices, a soft "clank" can be heard ever so slightly. The metal on metal clasp grows louder and the drummer for Union Underground slowly comes into light, like a vampire rising from the underworld. The braided-in-metal sideburns and beard offset the freshly-shaven head. The sources of the clinks and clanks are now known, and Josh Memolo extends his hands and softly introduces himself.
It is often mesmerizing how individuals can be so calm and laid back for 23 hours a day, and for the hour they take the stage, and rage, fury and energy is released that is no where in the body motions and voice reflections. But looking into the eyes of Memolo, there is an energy and intensity that shows nowhere else, until hours later when he takes the stage and then it's a forty-five minutes of "hell."
The dressing room has been redecorated for the night, as colored film covers the overhead spots, making the room a lackluster bluish-purple as beads decorate the entranceway. A mismatched array of chairs and couches fill the room, and water, beer and snacks are piled in the corner and in the dorm room refrigerator. A brand new, cream guitar sits in the middle of the room like a shrine. Guitarist Patrick Kennison has a new toy to try for the first time tonight.
Although the band knew and expected "Deadman" to be the first single, the second single "Killing the Fly," according to Moyer, is a better representation of the diversity and complexity of the band. Although both these tracks have received kudos from radio listeners, it's those with the CD that get to hear "South Texas Deathride" and really experience what The Union Underground is all about.
The interview wraps to a close and Josh and John pose for a few shots outside a graffiti-filled abandoned building. Then it's dinner and relaxation before their hour-long set in front of the sold-out crowd. After performances from Spike1000 and Slaves on Dope, the crowd is in a frenzy to see The Union Underground.
The lights dim and video screens on each side of the stage warn fans from performing the tricks seen on stage at home. Then, silhouetted against the video, Moyer on the left and Kennison on the right, strobes flash from a light box on center stage as Memolo's self-described hour of total chaos begins. A black knit cap subdues Scott's signature spiked hair and the feeding frenzy in the pit begins and seems to go on forever. Chains and metal bracelets clink and shimmer lights everywhere as the strobes continue and the illumination from the light box cast unusual and strange shadows across the band.
The band is full of energy tonight, as Scott is jumping around like a madman (like ushal) induced by the speed and timekeeping of Memolo. Kennison is the least active, but does not stop from bantering with Moyer and playing with force with his newest guitar. And Moyer is into the crowd, looking at everyone in the eyes and getting up-close-and-personal as he makes his way from one side of the stage to the other.
After their torturous set, it's off to clean up, take a few more publicity shots and sign autographs for an hour and meet fans and do something that most bands forget at the meet-and-greet: Talk to the fans. It's the usual signing of posters, CDs and body parts ... business as usual. And just when the night seemed to be coming to a close, its off to a bar two doors down where everyone, including those waiting outside to catch a glimpse of the band, is invited for an after-show party.
The Union Underground is a rarity that delivers live and in Memorex. Their true-to-life and genuine appreciation for fans allows them to write music that is not filtered by outside elements. Although Rebellion is only 45-minutes long, its non-stop without filler and material added to pad the minutes and record.
The Union Underground has been added to the second stage of Ozzfest and will continue touring and recording until the summer festival.
If you ask Bryan Scott if he always knew his band was going to be successful, the vocalist/guitarist for the hot new heavy metal group The Union UnderGround will probably just offer you a wink and a smile. It’s not an expression of arrogance or indifference, but rather one of supreme confidence-the look of a guy who just senses in his soul that the music his unit is making is destined to make a major impression upon the world’s rock and roll masses, apparently. And judging by the kind of reaction provided the band’s debut album, An Education In Rebellion, it would seem quite apparent that Bryan Scott, guitarist Patrick Kennison, bassist John Moyer, and drummer Josh Memelo are well on their way to becoming impact players in the every-expanding field of New Metal practitioners. Like I had said, there every thing.
“I’d be lying if I didn’t tell you that we’ve always wonted to be a successful band,” Scott said. “I know we’ve all just come through a period in rock and roll when it seemed to be un-cool for musicians to say that they wanted to be big. But we’re not like that. We play ‘big’ music. We believe that we can be a really big band (with they already are). But I don’t want that that to sound cocky or over confident. We know how much more work we’ll have to do in order to really start making our mark. Let’s just say that we’re planned it since the beginning. Even when we were playing in clubs, we were doing and ‘arena’ show.”
Well, while they may still be a few months away from playing any arena-sized gigs (some of them are pretty big, I should now), it’s easy to understand the quiet confidence that courses through the veins of these heavy-handed rockers. But such an emotional responses to their present lot in rock and roll life certainly did not come overnight for this San Antonio-based unit (sorry but I love Texas, I think its because its hot, just like UU). In fact, it took the band’s creative nucleus-Scott and Kennison- nearly three years of hard work to begin to get anyone out side of the group’s immediate family to give the Union UnderGround a second look. Indeed, just finding other like-minded musicians provided to be quite a test for this aspiring duo. After they first started writing and jamming together in 1997, the two had to cut a broad swath through the local rock and roll talent before finally “discovering” Memelo and Moyer, who at the time were looking for major step up from their current musical employment.
While this fledgling unit’s immediate goal was achieved some sort of recognition it their home state, they sensed that an on-going stint in the relative isolation of San Antonio could proved to be a major hindrance to their long-term career aspirations, so as the group rocked on, filling area rock hangouts and gradually building a reputations as the hottest club attraction in the Southwest, they also started eyeing more expansive musical opportunities. At the exact same time, a number of indie labels were beginning to become aware of The Union UnderGrounds’s local appeal, and quite a few. Of these firms stepped forward then-and-there to offer the band a recording deal. But these guys knew right from the start that they wanted to shoot for the top, and only a major label contract would permanently draw them away from their Texas foundation.
“We always wanted to be on a major label,” Scott said. “But at the that point in owe career, the only people who were contacting us were guys from the indies. We really appreciated their interest, and one of those guys in particular took such an interest in us that within a few months he agreed to become our manager. Initially he had come to check us out and sine us to the label he was working for, but after seeing us on stage, and witnessing the kind of reaction we were getting, he came to the quick conclusion the we needed a much bigger forum than his label provide. He ended up working our demo tape for more than a year, and that’s when a major label stepped forward with the kind of attitude and the kind of support we were looking for all along.”
With their long-desired recording deal in their back pocket, and their road-tested swath of heavily metallic tunes firmly in hand, The Union UnderGround felt more-then-ready-to take their act into the studio. There they began laying down the wall-shaking, hard-hitting tracks that comprise their album, a disc that loudly and proudly serves as this unit’s rock and roll call to arms. And that clarion call has quickly been answered by tens of thousands of young metalheads, around the nation, all down to the group’s cause by The Union UnderGround’s rough-and-ready sound and their no-nonsense approach. With songs like Revolution Man, and Natural High being performed hundreds of times in clubs-provided all who hear them an overwhelming test of the power and passion housed within each not this groups lays down, both on the album and on stage.
In many ways it does seem as if The Union UnderGround has come along at just the right time in rock and roll history. With a sound that blends the discordant harmonies of Alic In Chains with melodic structures of Motley Crue and the cutting-edge sensibilities of Rob Zombie, it is clear that this unit is perfectly situated to carry the heavy metal from to exciting new frontiers in the weeks and months to come. But while they’re quick to acknowledge the impact that their extremely aware that this is the dawning of a new day in the heavy metal world, and they’re anxious and excited to be part of it.
“Obviously, everything we’ve ever heard has had an influence on us,” Scott said. “I mean at one time in my life, Motley Crue was ‘it’ for me. Then in the 90s, [it was] Alice In Chains emerged as the most influential band on me. Layne Staley had the most evil voice in the world. But even if we have a familiar sound her and there, I think th awhole attitude of the band is vary fresh and interesting. We’ve taken our influences, and added some new twists, and the results are all us.”
Aggro-rockers Union Underground formed in San Antonio, Texas in 1996. Guitarist Patrick Kennison and vocalist/guitarist Bryan Scott met in junior high school and, upon graduating high school, opted against entering college, instead investing their money in a 24-track studio. Working solely in the studio, the two musicians released their songs on free hand-out cassettes, eventually selling more than 5,000 copies of an EP showcasing their harsh industrial rock and attracting the attention of major labels. Drummer Josh Memelo joined at the end of 1998, and bassist John Moyer followed soon after they signed a deal with Portrait (a subsidiary of Columbia Records). Unlike many of their contemporaries who signed with an indie label and worked their way up to one of the larger record companies, Union Underground took a different approach; vocalist Scott explains that "we just didn't want to do the indie thing, because it wouldn't have done us any justice." In 2000, with a sound and a fanbase similar to Powerman 5000 and Godsmack, the band released both their major label debut An Education in Rebellion and their hard rock website which contains such surefire street-cred features as a Union Underground windows theme and screensaver.
Ask Bryan Scott, lead singer and guitarist for the San Antonio rock powerhouse The Union Underground, what sets his band apart from the emerging multitudes of new heavy music acts, and he gives this ambitious, yet direct, answer: "We know that we can be a really big band -- bigger than your average club-sized, two-thousand-seater rock band."
Scott has large-scale goals, but one listen to The Union Underground's debut album An Education In Rebellion will convince even the most jaded fan of hard rock that the band deals in large-scale music. Their sound is nothing if not huge: massive guitars, earthshaking grooves, and Scott's own monster voice are the main ingredients in what's sure to be hailed as one of the most electrifying debut albums of 2000.
Scott knew he was destined to be a musician when he was thirteen, hooking up around that time with partner and bandmate Patrick Kennison to cement a partnership that has lasted more than ten years. "MOtley CrUe was it" for Scott back then, but as he got older, he began looking to other strains of rock. "The most influential band for me in the last ten years, hands down, has been Alice In Chains," he confesses. "That's my favorite band of the decade, for sure. Layne Staley had the most evil voice in the world."
Scott and Kennison played in a couple of fledgling musical combos as they grew up, making pocket money through part-time restaurant jobs and getting paid in free beer once they began playing at parties and such. The Union Underground gradually coalesced in these formative years: "We originally had a singer, with me just playing guitar. But I would sing on the demos, so finally Patrick and I looked at each other and said, 'this is an amazing waste of time. We're trying to get him to sound like you, why don't you just do it?"' It was 1997 when The Union Underground took the shape it has today, with drummer Josh Memelo coming onboard in '98 and bassist John Moyer, the most recent recruit, signing on a mere six months ago.
"San Antonio's definitely not a hotbed for music," says Scott. "We knew from the beginning that we were not in a place where we'd be playing and an A&R guy is just gonna walk in and see us. But we had a home base here, and just networked ourselves out."