The Minor Second

Birthed from the weirdest corners of Nashville (by way of Alabama and Kentucky) from the head of Zeus (if Zeus was a record store jockey who spent a little too much time in bedroom learning Built to Spill songs on his guitar) comes The Minor Second. An alchemic blend of current and former members of Friends of Humanity, Transcenders, the Swiftlets, droneroom, and Lucy Stoner, The Minor Second utilizes a staggering encyclopedic knowledge current and past music to create a unique brand of off kilter indie rock music.



The Minor Second is the brain child of Trevor Evans-Young, a formidable songwriter influenced by outsider weirdos such as Pere Ubu, Lou Reed, and Jonathan Richman, among others. Trevor creates distinct songs that meld heartfelt and clever lyrics. They are enveloped in full, catchy melodies, counter melodies, and rounds via subtle, but uniquely complex arrangements through his distinct guitar playing. These arrangements are shot forth from his tender yet full throated singing.



These askew tunes are anchored by Trevor's steadfast rhythm section from Friends of Humanity consisting of Jon Bynum on bass and Edward James Carter. Jon's influences draw from bombastic pop (ala Paul Mcartney) and the driving low end heavy post punk of the 80s (Ala Echo and the Bunnymen). His basslines are thoughtful and tasteful, teasing the chord progressions while never simply following them. Thick and fuzzy or nimble and playful when needed.



Edward James Carter brings intricate and powerful drumbeats and fills. Influenced by a combination of hip hop and hard rockers, his beats are hard hitting and inventive, while always serving the song.

Phillip Ko of the Swiftlets plays the steadfast rhythm and melodic leads inspired by his love of 60s-90s rock. Bringing a tasteful, sophisticated and often subtle touch to his guitar, Phillip's fretwork provides the forceful glue to hold the songs together.



Wild card in this mix is guitarist Blake Edward Conley. A versatile player who has ties to the Nashville experimental scene, the metal scene, and weirdo punk scene, Blake utilizes guitar concepts taken from the bread and butter of indie rock past shoehorned onto elements of drone, minimalism, and the avant garde (see the minutemen, meat puppets and the rest of the 80s SST catalogue as a prime example). Dredging up understated leads, aggressive one chord vamps, and sheets of noise in the most unexpected places, Blake's diverse set of guitar moves attempt to honour the song while also brashly subverting it.



And that's what it really comes down to in the Minor Second. The song is all. How to make the song the best and most unexpected goddamn song you've ever heard is their mission. and they are ready, willing, and able to do just that.