Sunburst Summer Live @ The THMV

A little over a week ago I was invited out to the Terre Haute Music Venue to watch a local band called Sunburst Summer, who I’ve actually seen once before when they played with Brave Souls and was pleasantly surprised. This was their second show, and again they’ve surprised me on multiple fronts. The band is fronted by David Clark pulling lead vocals, backed by guitarists and backup vocalists Aaron Norris and Jordan Daley, Caleb Mustin on bass, and Marc Pemberton on the skins.

Time Will Tell

They opened up the show with their first song, which was also my personal favorite, called Time Will Tell (embedded above). The reason this is my favorite song is because it does an excellent job of showing off the strengths of all band members. The song opens up with Daley playing an ambient riff and Clark putting out some rather impressively solid vocals. The rest of the band kicks in after a few lyrics and the song is in full swing, showcasing Mustin and Pemberton’s solid abilities to keep tempo and beat while synchronizing their instruments with the guitar and vocals. Most impressive, though, is Norris on lead guitar. He pulls out shreds and licks that perfectly accompany and even enhance his band mates melodies.

Under the Bridge

They followed their performance of Time Will Tell with Under the Bridge which is a little more deep than it’s former, introducing more song parts and coinciding guitar work. The song starts off very similarly to it’s former, with Daley playing a mellow riff and the rest of the band following suit, introducing more energy and a deeper sound. This song provided louder and more energetic instrumentals which allowed Clark to push his vocals to a more aggressive level. Pemberton also had more fills than in the previous song, which helped to keep things sounding fresh and interesting.

Only in Your Presence

The bands final song was also their most epic, playing at a lengthy 7 minutes. Despite it’s length however, the song manages to keep a fresh sound thanks to several different sections and constant shredding from Norris. This epic tune also did the best job for showing off Pemberton’s drumming ability, with awesome jams and an impressive ability to hold endurance and keep a solid tempo through the whole thing. It also displays Mustin as a far more than adequate bass player with plenty of riffs and, like Pemberton, perfect stamina in keeping a tempo.

Sunburst Summer delivered an exceptional performance from all band members, with the only thing to really gripe about being onstage antics. There aren’t enough. Mustin needs to get more involved in the energy, and the whole band needs to run around on stage a little more. Other than that they played their set near flawlessly and impressed more than just a few spectators. A good performance overall, and I’m sure there are plenty more to come.

Go check out the band’s MySpace, or hit up Everyview’s YouTube Channel for more videos!

15 thoughts on “Sunburst Summer Live @ The THMV

  1. not to get confused but this band is not related to byoh in any way.

    Time To Worry was the result of everyone quiting byoh and starting a new band but it only lasted only through spring-fall.

    But this band is made up of Aaron Norris-guitar (formerley of FAL) which when we started the band we were only aquitences and Marc Pemberton-Drums which none of us knew him until he asked to join this band about 2 1/2 months ago.
    Then Caleb Mustin-Bass, was formerley in Time To Worry for a little bit, but not in BYOH at all.
    David Clark-Vocals, which joined BYOH right before it ended and started Time To Worry with me during earily spring.
    Then fianlly me, Jordan Daley-guitar, i started BYOH and im over joyed that it ended because i hated about all the music. and then me and david started ttw then when Time To Worry was over all of us in this band started this project and thus a epic legacy lol

    sorry for the story lol just dont want people to think we are related to Be your Own Hero in any way.

    -Jordan TSS

  2. You guys are pretty good, keep playing shows and you might eventually earn a decent reputation. But one thing bugs me, don’t get mad its just constructive criticism IMO. Your songs all start off too similarly. With the mellow guitar intro, yknow. Its not bad, just too similar to each other. Other than that you guys rock.

  3. Meh, not bad. Definitely the most accessible band you’ve covered, but also the most generic sounding. Their intros are all too similar and whatnot, but they also just sound really structured. They just need to work on making a unique sound.

  4. Oh, and I really like the singers voice. The kids are all fairly talented, but they just don’t sound too inspired to be original.

  5. Pingback: Weekly Recap for Dec. 8th - 12th « Everyview

  6. All though I am a friend, this is not really a biased statement. On a more mainstream note this may not seem original to the ear, but in a town where the last band that sounded anything close to this was The Red Racer and now everything is either inaudible or should be, I would consider it original for Terrible Hoe.
    (Bias comes in!)
    As I all ready stated, I know these guys personally, and they have a lot of potential. They were also only together as a band for two months at this show and their bassist had been with them for less then a third of that time.

  7. Thats just the style of the music though. Their intros sound the same because the style. That was a great show. FFtG loved playing it! Check us out!

  8. The Intros don’t sound the same at all. The three of these songs are in different key signatures. They all start out slow at about half of the bpm and go into a moderate tempo of around 120bpm. Thats about the only similarity between them.

    And how can you say the unoriginal you name one band that sounds like this that is VERY well known?

    I mean there mixing so many genre of music together. I hear bit and pieces of Progressive, blues, pop, punk, swing, rockabilly, indie, and just good ol’ rock and roll.

    I mean their music is nothing special, but there doing what everyone else is stupid to do.


  9. Okay, let’s not get in a tizzy about this. lol I just hope we had a good show, and that people enjoyed us. We’re also trying to get a message across, as that’s the most important thing that we try to do through our music. God is the reason why we all live and breathe, and praising Him and glorifying Him through our music is very important. I’m not trying to make this into a religious debate or anything, but perhaps just something to think about.

    But yeah, as long as people like us, I don’t really care what genre we get pinned under. But for right now, let’s just leave it at “indie” lol

    Thanks everybody! Hope to see you at our next show!


  10. indie isnt a genre you fucks
    but i think you guys have some potential
    some stage presence would help
    but i like the structure and the vocals
    good stuff

  11. indie isnt a genre?
    When did indie quit being a genre?

    Here’s Alot of Info on “Indie Pop” “Indie Rock” “Indie Emo”

    Indie pop is a genre of alternative rock music that originated in the United Kingdom in the mid 1980s, with its roots in the Scottish post-punk bands on the Postcard Records label in the early ’80s such as Orange Juice and Josef K and the dominant UK independent band of the mid eighties, The Smiths.[1] While the term ‘indie’ had been used for some time to describe artists on independent labels (and the labels themselves), the key moment in the naming of the genre [2] was the release of NME’s C86 tape in 1986. Although featuring a wide range of bands including Primal Scream, The Pastels, and The Shop Assistants, it over time became shorthand for a genre known by a variety of terms. Initially it was dubbed ‘C86’ (after the tape itself), the more ambiguous Indiepop, Cutie or a term coined by John Peel: shambling bands. Retrospectively, the term Twee[3] was used, initially ironically, due to what commentators called the “revolt into childhood” of its followers.

    Musically its key characteristics were jangling guitars, a love of sixties pop and often fey, innocent lyrics. The UK label Sarah Records and its most popular band The Field Mice, although more diverse than the label indicates, were probably its most typical proponents. It was also inspired by the DIY scene of punk and there was a thriving fanzine, label and club and gig circuit. Scenes later developed in the United States particularly around labels such as K Records. Genres such as Riot Grrrl and bands as diverse as Nirvana, Manic Street Preachers, and Belle and Sebastian have all acknowledged its influence.

    In the mid to late 80s, indie pop was criticised for its tweeness and underachievement but many now argue that C86 and the birth of the genre was a pivotal moment for independent music in the UK.[4] It continues to have a strong following and inspire musicians, not just in the UK but around the world with new labels, clubs and bands devoted to the sound.

    Indie rock is a genre of Alternative rock that most notably exists in the independent underground music scene. It primarily refers to rock musicians that are or were unsigned, or have signed to independent record labels, rather than major record labels. Genres or subgenres often associated with indie rock include lo-fi, post-rock, sadcore, C86, and math rock, to list but a few; other related (and sometimes overlapping) categories include shoegazing and indie pop. Indie rock artists place a premium on maintaining complete control of their music and careers, releasing albums on independent record labels (sometimes their own) and relying on touring, word-of-mouth, and airplay on independent or college radio stations for promotion. Some end up moving to major labels, often on favorable terms won by their prior independent success.

    Emo (pronounced /ˈiːmoʊ/) is a genre of music that originated from hardcore punk [1] and later adopted pop punk influences when it became mainstream in the United States.

    It has since come to describe several variations of music with common roots and associated fashion and stereotypes.

    In the mid-1980s, the term emo described a subgenre of hardcore punk which stemmed from the Washington, D.C. music scene. In later years, the term emocore, short for “emotional hardcore”,[2][3] was also used to describe the emotional performances of bands in the Washington, D.C. scene and some of the offshoot regional scenes such as Rites of Spring, Embrace, One Last Wish, Beefeater, Gray Matter, Fire Party, and later, Moss Icon

    In the mid-1990s, the term emo began to refer to the indie scene that followed the influences of Fugazi, which itself was an offshoot of the first wave of emo. Bands including Sunny Day Real Estate, Far and Texas Is the Reason had a more indie rock style of emo, more melodic and less chaotic. The so-called “indie emo” scene survived until the late 1990s, when many of the bands either disbanded or shifted to mainstream styles. As the remaining indie emo bands entered the mainstream, newer bands began to emulate the mainstream style.

    Today popular bands like Fall Out Boy, My Chemical Romance,[4] Panic at the Disco,[5] and Paramore[6] are described as emo.

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