The sad saga of the Buttertones: #MeToo allegations and a band's demise

@robbersden

It has been almost two months since the Buttertones, a band that once had so much promise, instead imploded under the weight of sexual misconduct allegations.

It started with a single story about what seemed like a consensual encounter between the band’s bassist, Sean Redman, and a female fan on Instagram. It wound up with a band unraveling, one member being fired and two others quitting, the Buttertones’ label dropping the band, and then a disappearing act: first by the band on social media, then by most of its music off streaming services.

Some fans have declared the band unfairly canceled. Some are vowing to listen to the music regardless of the accusations. Others have stopped listening, permanently or at least for now. But everyone can agree that the Buttertones, instead of an up-and-coming band, are now a cautionary tale.

The sad saga of the Buttertones is a story about not just the band, but about Clem Creevy, Ava Hawk McDean, and many others.

After an Instagram account titled “Exposing the Buttertones” posted the story about Redman, others flowed in. The stories detailed accusations of sexual abuse in many cases and alleged misconduct in others, and the accounts were mostly anonymous.

Then Clem Creevy shared a brave account of her relationship with Redman, her former bandmate in Cherry Glazerr. The bassist initiated a sexual relationship with Creevy when she was just 14, falling solidly into the category of statutory rape. According to Creevy, Redman gave her a sexually transmitted infection and was a cheater and an abuser. The woman who made the initial allegation against Redman on Instagram had said that he didn’t ask her age or tell her that he had an STI before they had sex, which jibed with Creevy’s account.

Once the respected indie-rock frontwoman posted her story, the fallout was swift. The Buttertones offered a one-sentence statement on Instagram saying that Redman was no longer in the band. The remaining band members, save for singer Richard Araiza, posted their own more sincere statements.

Guitarist Modeste Cobián apologized for not speaking up sooner but denied the allegations against him. Keyboardist and sax player London Guzmán left the band, vowing to donate future royalties from the band to support women. Drummer Grant Snyder also called it quits. Innovative Leisure, the Buttertones’ label, dropped the band and soon removed their music from Spotify. Somewhere along the line, social media accounts for the band and various members were deactivated.

During all of this, there has been one constant: the silence of Araiza, who maintains an active Instagram account but hasn’t responded to the allegations. Privately, in messages detailed by fans, Araiza assured them that he’d post a statement soon. Almost two months later, we’re still waiting.

The Buttertones came into my life in 2017. I wrote blog posts praising the band, even declaring them "the next big thing.” I saw the band twice with guitarist Dakota Böttcher, a key member of the band who quit under somewhat mysterious circumstances last year. 

But things never really materialized for the Buttertones. Since the allegations surfaced about Redman, as well as Araiza and Cobián, fans have speculated about what role the band’s long-rumored behavior may have played in their trajectory.

The accusations against other band members centered on abuse, sexual and otherwise, and were mostly anonymous. The singer of the Aquadolls, Melissa Brooks, posted her story about an encounter with Araiza, but it seemed to stop short of sexual assault. 

Anyone who had doubts about Araiza’s character got some certainty when former girlfriend Ava Hawk McDean posted an account of her time with the singer. She broke her silence a couple of weeks after the band’s demise. According to his girlfriend of two years, Araiza was verbally abusive; transferred cocaine into her mouth, breaking her sobriety; and threatened her against speaking out after the two broke up.

Her account did not accuse the singer of assault specifically but was a tale of alleged abuse and poor character. Without hearing Araiza’s side of the story, followers of the band are left with questions and frustrations.

The Buttertones appear to be "no more," as fans have quoted Araiza as saying. The band isn't the first musical act to face misconduct allegations, and its music could still live on. But the band might be among the first to be done in by #MeToo allegations.

I'll still listen to the Buttertones. But with so many questions unanswered, it will be difficult to go back to earlier this summer, "a time when everything was fine." 

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Epilogue (February 2024): The Buttertones, nearly derailed by the 2020 allegations and with only two members left from its previous incarnation, are releasing new music again and recently played a string of live shows.

At top, this illustration by Jordan Wright (@robbersden) depicts the Buttertones in better times. The band's latest album, "Jazzhound," was released in April. About three months later, #MeToo allegations brought the band's seeming demise.

On Duran Duran Appreciation Day, a ‘Distraction’ well worth Duranies' time

Happy Duran Duran Appreciation Day! 

I must admit that I was a little stumped as to what to write about this year. It has been nearly five years since Duran Duran released a studio album, the band (and most others) has stopped touring amid the coronavirus pandemic, and even John Taylor’s excellent “Stone Love Bass Odyssey” tutorials have been on hiatus (though John and Nick Rhodes did plan an Instagram Live for DDAD).

It was during my search for this year’s DDAD topic that Duran superfan and archivist Andrew “Durandy” Golub reached out to me. During quarantine, Andy has been entertaining fans with his “Duranie Distractions” on social media. For DDAD, he’s sharing fans’ Duran Duran stories: what the band means to us, why we love them, and how Duran has affected our lives.

Putting together my submission was surprising easy. A few minutes and well more than the requested 75 to 100 words later, I had mine:

Duran Duran is more than my favorite band, it’s a way of life. My love of the band has left its stamp on my music collection, so much of which is filled with artists that Duran influenced or was influenced by. Duran has also led me to embrace movies, fashion, and even a more inclusive mindset. 

The band’s mood-lifting music made me a fan. It didn’t hurt to see the beautiful faces behind it. 

Hearing Roger’s four-on-the-floor drumming, John’s syncopated bass lines, Andy’s wicked riffs, Nick’s innovative synths, and Simon’s voice, instantly recognizable as Duran Duran, had me hooked. And here I am, near a quarter of a century later.

Duran has inspired me to travel to countless shows, where I even got the chance to meet John and Nick. I will never forget witnessing my first concert, when the band was a slimmed-down three piece with a “new” guitarist; the thrill of the reunion shows; or bringing my now-husband to his first Duran concert, at Red Rocks, of all places. I became a journalist so I could write about Duran for the school newspaper, then Examiner.com, and now at Duran Duran and Beyond.

I edited that bad boy down and sent it off, and Andy added his flourish to the ending of it.

Check out my story and many more on the DDAD edition of “Duranie Distraction.”

Me with John in 1997, and Nick in 2001, at top.

New record review: The Psychedelic Furs ‘Made of Rain’

It’s been 29 years since the Psychedelic Furs released its last studio album. Not only is “Made of Rain” (Cooking Vinyl) most definitely worth the wait, but it has the classic sound and energy of the band’s epic live shows, too. 

As a fan who has reviewed quite a few Furs shows over the years, I was excited when guitarist Rich Good told me last year that the Furs were preparing to release the long-awaited new album. An early 2020 release turned into spring and then, delayed by the coronavirus, summer. But it’s finally here. 

The album comes roaring out of the gate with “The Boy That Invented Rock & Roll,” bringing to mind the opening of the band’s first self-titled album that helped usher in the post-punk era of the early ’80s. 

A classic album is better than the sum of its parts, and on that count, "Made of Rain" delivers.

Some of the singles that the band released leading up to the album belie the greatness of the album as a whole. Heard in the context of the rest of “Made of Rain,” songs like “Don’t Believe” and “Come All Ye Faithful” have added punch. When sprinkled among aching ballads like “Wrong Train” and “This’ll Never Be Like Love,” higher-energy tracks like “No-One” get the chance to shine. 

The album, as much as the Furs’ live show, provides the perfect showcase for all the band has to offer. Richard Butler's vocals soar, his ever-acerbic lyrics backed by Good, bassist (and brother) Tim Butler, keyboardist Amanda Kramer, drummer Paul Garisto and Mars Williams on sax. It’s also a guitarist's album; Guns N' Roses guitarist Richard Fortus serves as producer, and the album ends with "Stars," which closes with a guitar solo.

The only letdown that comes with the release of “Made of Rain” is that the Furs, like most touring acts, won’t be able to play new music in concert until next year. But until fans can see the band live again, they can enjoy an album 29 years in the making. What’s a few more months of waiting to hear the songs live?