Hometown: Alameda
Next local show: 2/7, The Uptown Nightclub
Recent release: For Better or Worse, 2005

We don’t have many Heartland rockers here on the West Coast, but East Bay native Paul Manousos is definitely one of ‘em. “Something caught me,” is all he can say of his lifelong connection to music. Five years of incubation in a music-loving household led him to sit down at the family piano and play. By age sixteen he was writing songs on guitar — moved to make his own racket by eternally influential rock ’n’ rollers like Mick Jagger, Elvis Costello, Roy Orbison, and Bruce Springsteen.

From 1999 to 2002, he played in blues-rock quartet Power 13, which released two albums on Manousos’ own label, Shock and Fall Records. In ‘03 he embarked upon a solo career; his debut, For Better or Worse, came in ‘05. Since then he’s been touring like mad, embracing the publicity side of things, and finally looking to sign with a label — all evidence that his sophomore solo album may be his biggest yet. We don’t have any information on it yet, but for a career musician like Manousos, it’s gotta be in the works.

For Better or Worse is a collection of modern Americana that’s refreshingly loyal to pioneers of the craft, yet sharing in the progression of second- and third-generation roots-rockers like John Hiatt and Ryan Adams. Manousos knows the genre doesn’t thrive on new ideas so much as naked talent, and his music teems with earnest familiarity.

DEFINITELY FOR BETTER:
-For Better or Worse was produced by Steve Fisk. The Seattle-based songwriter/producer has also worked with Nirvana, Soundgarden, Beat Happening, and Screaming Trees. Manousos doesn’t fit into that alt-rock/grunge mould, but says he and Fisk have been friends for years.
-Manousos has received positive press in the Oakland Tribune, PopMatters [scroll down a bit], and HARP Magazine, among others.
-His album’s leadoff track, “Another Day in the Life,” has been added to college radio and commercial stations across the country.

Ready for the heavy shit? Totimoshi can bear all manner of sludgy, stoney weight upon you. This despite having only three members and not being the slightest bit Japanese. Maybe the title of the new record (“thief” in Spanish) is a better indicator. Japanese, Latino, or Martian; Totimoshi is for real. The band’s been hand-picked to open for the Melvins and Helmet, godfathers of modern heavy. With nine years and four albums to its name, it’s poised to — any day now — become the next buzz band in the new hipster/indie metal scene led by groups like Mastodon, the Sword, and Isis. To be fair, Totimoshi are much closer stylistically to those indefatigable Melvins, who copped Black Sabbath’s slow chug 20 years ago and never looked back. If there’s any young band ready to introduce that sound to new ears, it’s this one.

Ladrón, which was just released Oct. 24 on Crucial Blast Records, begs to cranked. New drummer Luke Herbst pummels his kit when he plays, but is never overzealous. Lead guitarist Tony Aguilar (who also sings, in a voice that’s sometimes a little more overtly metal than it needs to be) delivers the all-important sludge factor, metal riffage, and psychedelic solos (and even some acoustic in “These Meanings”). Bassist Meg Castellanos keeps the low end heavy and full and steps into the spotlight when called for. Despite having played together as Totimoshi since 1997, Aguilar and Castellanos keep their interplay raw and loose; a little more grooming and tightening would improve their sound and send more fans calling. In the meantime, it’s enough to keep current fans’ heads banging. As well we all know, that’s the peak concern. Lose that and you got nothing.

TOTAL MOSHING:
-A few more heavy bands Totimoshi may call to mind: Clutch, Blue Cheer, High on Fire, Nirvana, Mudhoney.
-Ladrón was produced by Helmet’s Page Hamilton.
-The group is currently on tour on the East Coast. On Nov. 2, for the annual CMJ Festival, they play the Knitting Factory in NYC with a revived Blue Cheer. In December, they head to the UK for a few dates.