Hi The City Limit! It's fantastic to have you here on BuzzMusic! Tell us about the bands musical journey with each other thus far?
Scott Lewis: Thanks so much for having us! I met Anthony because we were sharing the same rehearsal studio as roommates, and our previous projects both happened to be coming to an end at the same time. We were already drinking buddies who knew we had extremely similar music tastes, so it didn't take long for us to start jamming together, which quickly led to us writing together and forming a band shortly after that.
You guys have really been active with recording and releasing songs for your listeners! "Anything at All" is one of your most recent releases that we really came to appreciate, with all of the integrated instrumentals and musical elements to the track. Tell us more about the creation of the track, and how it finally came to be about!
SL: Thank you! That was a tune I had written not long before meeting Anthony, but I honestly never saw much potential in it back then. Anthony and our previous drummer, Sean Meyers (who is now the frontman of the prog-metal band Gates to the Morning), really breathed new life into that song, not only with their chops as players, but with the amazing arrangement ideas that they brought to the table, as did Sean's brother, pianist Matt Meyers, who wrote that incredible keyboard solo that you hear on the track. It was such a collaborative process that transformed "Anything At All" from one of my least favorite tunes to one of the highlights of our first EP, 'Dreaming in the Backroom'.
The guitar solo in "Anything at All" was phenomenal! We also noticed the heavy guitar riffs in your other track "Fading Away". Can you explain to readers how you each find the right balance of contribution and sound towards the music you put out?
SL: One of the great things about this band is that everyone in the band is always working in a very copacetic way, where it's not about who gets to shred or who gets to solo on which song, but rather "What's going to best service this song and make it the best track possible?". With "Anything At All", as well as with "Fading Away", they both always had these bluesy, Eric Clapton-unfluenced vibes to them in our minds, so really melodic, wailing guitar solos just seemed like an undeniable fit in both cases. The ripping keyboard solo in "Anything At All" and the beautiful sax solo at the end of "Fading Away" were the whipped cream and cherries atop the sundaes, of course.
"Collateral Damage" is another track that has caught our eye from The City Limit! It's very easygoing and calming. What's the intended atmosphere for your listeners when they're listening to "Collateral Damage"?
SL: Musically, it's definitely the jazziest song on 'Dreaming in the Backroom'. When I first wrote the opening riff, I remember thinking "This is music that makes me want to cook breakfast and sip coffee.", if that makes sense! Just the kind of song that brings to mind lazy Sunday morning kind of vibes. Lyrically, that vibe is kind of juxtaposed by a narrative that has a little more turmoil and anxiety brewing beneath the surface.
As a predominantly Blues/Pop band, your music is relaxing and funky all at once. We love the sound you're all about to blend together into a beautiful experience! Can we expect to see The City Limit performing anywhere in the rest of 2019?
SL: Thanks so much for the kind words! We're playing several more indie festivals throughout New Jersey and Pennsylvania to finish off the summer, and after that, in terms of shows, our focus is going to be on expanding more into New York City and then up the East coast into the New England area after that. People can check out our Instagram handle, @The_City_Limit, to keep up to date on all of our upcoming performances.
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