The newest ensemble in the ORL's eclecticism scene is the Sugar Oaks. They've got juicy rhythms, tangy riffs, and harmonies that'll keep you regular. Friday, June 8th, they'll be hostin' the release party for their debut album, Red Grapes in the City, at the Social. But before they get a chance to blow up and be too good for Orlando (or fail miserably and be unworthy of our attention) we decided to chit chat with them about music and shit. First off, there's a continuing theme of plants and foods not only in your songs, but in your name itself. What do you feel is the importance of plants and food? How do they affect your music? Do you think raisins really are "nature's candy?" I'm not sure why these types of images recur in our songs, actually. Plants and foods are commonplace things that furnish vivid sensory experiences that everyone can relate to--which is cool--but in our music, I'm pretty sure they're just meant to be simple, colorful images. It's more a lyrical handicap than anything else. On the subject of raisins, I am pretty much ambivalent. As with many Orlando bands, especially those with an arsenal of instruments used for shows and recording, you have a group of friends who join you to squeeze a little extra nectar out of your songs. Which local celebrities and budding stars do you gain assistance from? Chris usually raids the UCF music department for talent. Nate Anderson (tenor sax) plays with us most often. Brett Walsh plays accordion and sings from time to time. None of them are local celebrities, though in a better world they would be. Chris, do you feel your playing is affected by the state of your facial hair? A family friend once told me that she thinks a man with a beard is always hiding something. And somebody asked me if I have a beard to look older. I typically have a beard because I don't like the upkeep of shaving. However, there are times when I like the upkeep of shaving. Those are probably more manic, productive, positive times in my life. Plus I look and feel younger so I am probably more exuberant in my playing, without turning to the dark side and playing more dark and abrasive ideas. Your debut album, Red Grapes In The City, is just over the horizon. What sorts of things have gone into the production of the album and who is producing? With the assortment of instruments used, what approach do you use to record them? Jon Kraft worked the producer/engineer angle for the CD. Jon has a keen ear and is a fine musician. Without being able to explain technically any of his recording practices, I can tell you we didn't play to a click, we did a shitload of overdubbing and there was ne'er a MIDI cable in sight. We also exploited what was dubbed the digital humanization process. You may infer your own definition.. Inferred. Again, with having more involved in your sound than guitar/bass/drums/vocals, how do you go about constructing the song? Would you say it's an organic process (get it, going back to the nature thing)? No! It's partially hydrogenated, loads of preservatives. All of the instrumentation is carefully, scientifically, and infallibly calculated beforehand to achieve maximum harmony and balance within each song, given its mood and structure, before a single note is ever played by the band. Actually, that is the ideal. In real life what usually happens is: I work a song out on my guitar--chords, melody, lyrics--and play it over and over while thinking about what, in general, the other instruments should be doing. Then at band practice these thoughts are refined in conjunction with the rest of the band. The peripheral instruments like strings and woodwinds are written last by Chris and I. But sometimes they're conceived in the beginning. Aye lad, this is a difficult question, for it's ultimately total chaos. Fractals of intention synthesizing spontaneously. Uh, what was the original question? Your music is heavily rooted in Florida, as a place and idea. Your bio mentions the idea of "from the soil." As a writer who's lived in Florida my whole life, I can certainly relate to the meaning it can hold, good or bad. Do you think there is something truly unique in Florida, or is it simply the kinship every person has with their home state? The kinship that each of us has with our home state, developed over time, facilitates our understanding of the true uniqueness of that state. And the understanding fosters the kinship. Along with Florida influencing your sound, do you think Central Florida influences your sound? That is, would backwoods North Florida or exhibitionist South Florida have changed your sound if it were your home base? Do you mean, like, if we lived in North Florida would we be more country-rock? Or if I lived in Miami would I find myself composing porn music or salsa? That's a good question, but not having lived anywhere other than Tampa Bay and Orlando, I have unfortunately no way of knowing. Have you ever eaten gator tail? No. What's one word you'd like to end this interview with? Thanks! Story by Matt Harrison