The Stitches, CH3, Idol Lips...read loud!

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STITCHES, CH3, NOIZEE, KINGQUEEN, IDOL LIPS AND MORE

Helen Money: Deadly Nightshades of Cello

“Arriving Angels” is your brand new album. As soon as I played this chaotic beauty of orchestral maneuvers into the abyss, it was like the witnessing the most spectacular sunset during the middle of a catastrophic earthquake. How would you describe your new album to our readers interested in a dance of death with an uncompromising cello and tribal rhythms of uneasiness?

To me, the songs are dark, and intense, brutal sometimes but also really intimate, if that makes sense. Kind of minimalist doom, I guess.

The legendary Steve Albini produced the new record and it does have reflections of the U.S Steel Cello Ensemble and Big Black, was either one of these an influence on you?

It’s hard not to be influenced by Steve – as an engineer, a musician and a writer. But the thing that I didn’t fully appreciate until I toured with Shellac, was how great a guitar player he is. His tone and his style. I am definitely a huge fan.

A member of the underground noisemakers Neurosis contributes as well, how did that come to be?

Steve suggested Jason when I was ready to record. Fortunately Jason had heard me play when I was touring my first record and was a fan, so he said he’d do it. I can’t imagine the record without him. He’s an amazing player, of course, but a wonderful person as well.

This is album number three with a tour coming right up, when does the tour begin and how far will you travel?

I’m doing some Midwest/east coast dates in the spring. I’ll go back out in June, hopefully doing some shows with Rachel Grimes. In the meantime I’m looking forward to playing some shows in and around LA. I moved out from Chicago a couple years ago and I’m really looking forward to building an audience here.

Do you tour alone and what are your favorite cities to play?

I do tour alone. My favorite city to play in is Chicago – I lived there for 20 years and feel like I have a strong relationship with the city. But I’m looking forward to what the West Coast has to offer. It’s nice to have a new challenge – new people to play for.

During touring, what do you do in your time between and after shows? Do you have an intimate relationship with your listeners in terms of getting to know them and staying connected?

I try to at least find the heart of the cities I go through – stray off the interstate a bit if I have time. And I do love to meet people at shows. It’s interesting to me how different people are from one city to the next. A wonderful thing to be able to experience.

In the 90’s you were part of the alternative/underground rock movement, how did that experience translate into your decision to go solo?

It was kind of an organic process. I left Verbow but still wanted to play rock. I didn’t see any situations where I could be as integral to the band as Verbow, so I just started to write.

The cello was my first instrument when I was eight; I was not very good at it and to this day cannot figure out how to play a power chord on the fret board. How did your unique style of cello playing come to be? Your cello playing is more expressive than most guitarists in the current world of music are.

Thank you! I think it’s all about sound. What you hear in your head and feel in your heart. And finding your own way to express it. I love the cello – I started when I was 8, too, so it’s a part of me. I think I’ve probably used it to express myself for a long time.

What is the difference between Helen Money, the performer, and the offstage personality?

Well, I’m pretty soft-spoken in “real life”. I think when I have the cello and pedals and the amp to help me I’m able to express a part of myself that’s more assertive and maybe emotional - the side of me that I normally keep to myself.

You have some extensive experience in the world of metal, is it a passion of yours as well? What is your attitude towards the punk/hardcore movement and were those sounds influential?

Definitely. I really like how visceral that music can be. It’s serious stuff, not arty. I like music that isn’t afraid to wear it’s heart on it’s sleeve.

There has been a renewed interest in the New York No-Wave scene of the late 70’s, what are your thoughts on experimental music and playing?

I’m for it – but I don’t see myself ever playing it. Sometimes avant garde stuff loses me because it can be either too conceptual or too heady. But then there’s stuff like Glenn Branca, which is pretty conceptual but very powerful and visceral. That I like.

Does your new label offer adequate tour support and how difficult is it to conduct such an endeavor with a public reluctance to live music? Will this be the rise of experimental improve because everyone can just YouTube live performances of their favorite pop/rock/ metal artists?

My label is pretty small and they aren’t able to offer me that kind of support. It’s very hard to tour in the US, but I think to really reach people you have to play for them. It’s important to connect with your audience in that way. To put yourself in a live setting, where you’re dealing with the unexpected – where you’re communicating directly with other people. That’s the best part of it, for me.

Where can readers see your amazing live show and hear your records?

I’m playing an in-store at Permanent Records in Eagle Rock on March 2nd. And I have other tour dates posted on my website – I’ll keep updating it as more are confirmed. This record is available at Profound Lore’s webstore. And all three are available on my website. And I’m sure Amoeba and Permanent Records in have it or could order it.

Any last words you would like to share with us before we part ways into the abyss.

Just thank you. And hope to see you at a show!

CHECK OUT SHOW DATES AND TIMES AT HER PAGE AND SUPPORT INDIE MAYHEM MUSIC MAKERS!
CLICK HERE FOR HER SITE!


As always we’re nearing completion of volume three and like to keep things fresh on our blog, make sure to say hi

bookmark us at F&L LB, and thank you Helen Money….

Japonize Elephants .... let's get bizarre

The new record is a dizzying array of masterful instrumentation that sounds like Bach and P.T Barnum leading an amphetamine-fueled orchestra of crazed and unpredictable players. Many of our readers are new to the Japonize Elephants experience, how would you entice them to listen to this other worldly new record?

Well, think of the album as a story in which not everything is divulged in the beginning but in which it develops throughout the album and characters come and go as the narrative progresses.

Throughout the Mélodie Fantastique album, unpredictability is omnipresent, with styles ranging from Appalachia to Country, Swing, Blues, and Baroque. Is this intentional in its origin and how do the varying styles play into the fact that the disc was recorded in several different locations, including your own living rooms.

The music on Mélodie Fantastique is largely a reflection of all of our musical influences. The varying styles and unpredictability is most likely a result of writing music for the individuals in the group and then letting each person's musical voice lead the direction the arrangements take. We don't necessarily seek to create music that is unpredictable, and to us (or at least most of us) it isn't. Although this particular album was recorded in many different locations, the individual songs were pretty much already arranged before we began the recording process. In reality much of the diverse styles present in the music are probably more a result of everyone in the group being in a room together hashing out musical ideas.

We have many readers into Johnny Cash, Tom Waits, and hardcore punk as their playlist mainstays. How would you lure the “hardcore punk” fan to check out the Japonize Elephants Old Time Eastern Honk Orchestra?

We have a pretty raw rhythmic core driven by junk percussion (heavy buckets, lamps, etc...) and driving rhythm guitar. Musically we try to really embrace the visceral aspects of music. On this album we also experimented with re-amping the junk to give it a very heavy and punchy feel. The beginning of The Zorlockian Anthem is a good example of a super driving section with machine gun like guitar/bass/junk percussion riffs supporting a circusy horn-driven melody. We also have songs about pirates, whiskey, gambling, and debauchery in general.

Is Burlesque included in the live show? A carnival atmosphere of whiskey drenched belly dancers and back woods erotica flows throughout the disc. Do you consider your music romantic or more sexual in nature?

We don't provide the burlesque in our live shows although I guess there is some sort of a weird circus/pirate clown/whiskey drenched/red neck/belly dancer vibe that does seem to run throughout our music. We do provide quite a bit of banter at our live shows which will no doubt bring tears of laughter to your eyes...or at least to mine. I never really thought of it, but I guess I would say our music is more romantic than sexual, although both descriptions don't seem to fit in my mind. With that said, I hope that everyone feels free to find what they want in our music.

What led to the initial formation of the group, where did you begin, and what has kept you gigging throughout the years from New York to San Francisco to Los Angeles.

David Gantz (junk percussion and vocals) and I (guitar and vocals) began the group in Bloomington, Indiana as an excuse to make up songs. We ended up randomly playing at an open mic in Chicago and soon afterwards we were joined by our likeminded friends that liked hanging out and playing different music with us. The Japonize Elephants has always been a band of friends and that is definitely what has kept us playing for almost 20 years. Moving from Bloomington to San Francisco only solidified the bond and made us more determined to keep it going. We are now spread out between San Francisco, New York, LA, Boston and Italy but the idea of getting together and playing a gig or working out music for a recording definitely brings us together. Basically it provides us with an excuse (not that we really need one) to hang out.

How many lineup changes throughout and is it a natural growing apart or do people decide to leave a recording and touring group altogether because of the hardships?

I would say that although we have slightly different personnel at our live shows, the lineup hasn't changed and has actually gotten bigger. When we moved from Bloomington to San Francisco we actually did stop playing as the Japonize Elephants for a year or so but then realized we enjoyed it too much to let it go. As the years have gone by we have gotten more spread out throughout the country (and the world) but no one has "left" the group. Because not everyone in the original group could make all of the gigs we began adding people to play their parts. I don't think we've ever thought of anyone as a sub for someone else though. As a result, every album the personnel gets bigger and bigger. On Mélodie Fantastique we have a total of 20 musicians.

What is your biggest turn off with modern media and modern music? Does it affect the band?

I don't really have anything against modern media...I'd like to have less interest based propaganda parading as news, but other than that it is what it is I guess. As far as modern music, I know there's some I love and some I don't really care for but I can't say I'm against any of it.

I love the track, Mélodie Fantastique, with its spiraling arrangement that entices and caterwauls at the same time. The sound is very atmospheric and I was wondering if the group has had any soundtrack offers or working relationships with cinema?

Getting into composing soundtracks and syncing is definitely something we'd like to become more involved with and something I've wanted to do more of but never really had the time to get into. We don't have anything we're working on just yet but look forward to seeing what type of opportunities present themselves.

Being from the mid-west originally, what cultural differences in attitude and style do you notice in your current residence of San Francisco? Are your crowds in NYC and LA strikingly different in any areas?

The Japonize Elephants has its roots in Bloomington, IN which is a cool little college town centered around a big university with a great music school. Being a college town, Bloomington is pretty open to other cultures and we were able to really let loose and experiment musically and find people who were drawn to that. We were also exposed to music from all over the world and because of the small town nature of Bloomington we were actually able to meet some of these incredible musicians. For instance, the Master Musicians of Jajuka came to town for a concert and after their show they were looking for something to do so we invited them to our house for a jam session that went until the early hours of the morning. But I digress...as far as our crowds go, they are all over the map. We've played for punk warehouse scenes, jazz festivals, bluegrass festivals, unitarian churches, cafés, art openings, silent films, chili cook offs, new music concerts, bars, theaters, and busked in the streets all over the US and Europe playing for tourists and locals from everywhere...I'm not sure that answers your question. I guess I don't really notice a specific cultural difference in our audience, based soley on local, that I can quantify.

Since 1998, what differences have you witnessed in live and recorded music? Is it a positive or negative evolution? Where do the Japonize Elephants fit, if anywhere, in the music wasteland of 2013?

In music in general I've definitely noticed more and more of a "world music" influence. In modern pop you can hear "eastern" sounds more present either with introduction of new instruments or different types of ornamentation and modes making their way into western music.

Once again, the new record is AMAZING and I recommend all of our readers to catch the show and pick up the CD or LP! I love vinyl, as I am an avid collector. What prompted the vinyl decision that seems so popular nowadays?

Each one of us in the group has a modest vinyl collection and has always been enamored with the sound and feel of vinyl. The physical format is also larger making the LP more of a work of art. As far as the listening experience goes, it is a little more interactive than cds and way more than mp3s. Because each side can only be 20 min or so, you can't just let the music run on for hours, you have to actually get up and switch sides if you want to keep listening. Also, I really enjoy the concept of the album as a whole work or piece that flows from the beginning to the end and we've always conceived of our music in this fashion. Finally getting the chance to release an LP only made sense.

Any last words of caution, knowledge, or wisdom for our readers? Thanks for hanging out with us!

We hope you enjoy the record as much as we do!

CHECK IT OUT HERE!

2013 ISSUE COMING !!!! VISIT OUR SITE AT WWW.FEARLOATHELB.COM MAKE SURE TO SAY HI ON OUR CONTACT PAGE!
NEW PROMO FOR 2013!

Who is Whoring Who? Virtual to Reality

In the past month or so, I experienced self-induced and intentional destruction of my psyche. When I attempt to grasp meaning, I realize the whole meaning is to stop analyzing the bullshit culture we currently reside in. Facebooking and Blogging (which I am doing right now) equals technology taking the place of interpersonal communication, leading to a complete breakdown in our connections with other human beings that are creative, unique, and on the fringes. This is the new economy in which we pay outrageous sums of money for degrees to obtain jobs we had without degrees, but making half as much. The cost of gas incurs the rising cost of food and government assistance is at an all-time high, which is fine by me.

My current state of varying sobriety gave me a glimpse into the pipe dreaming I was taking part in. Number one, most artistic and creative endeavors do not pay shit and you are working for free, as a lot of us are, in hopes gaining notice to have the ability to EEK out a living doing something we “kinda” like doing. My thoughts raced, and instead of panicking, I thought to myself, who fucking cares? Why do I put people on a pedestal, when we are all trying to act as if nothing is wrong in the antiquated, old rusty world we live in. EVERYTHING IS WRONG. Who has the most! Who is the happiest! Who knows the secret to life! No one, and if you did, it would kill all of the exciting skin crawling bullshit we get to do in between trying to keep a roof on our heads, navigating relationships, and just hoping for a day to breathe and not have to worry about some bullshit obligation to keep someone else from being uncomfortable.

I am uncomfortable with the simple fact I have to censor myself in the public realms where everyone is more concerned about having the most “likes” and “views” than having a real purpose, whether that is rescuing animals or subverting the financial institutions of the world. Ted Kaczynski had it right, when he declared in his 1990’s masterpiece that technology was robbing the human race of its own unique thought processes and destroying creativity and human dignity all in the name of “progress”. What fucking “progress”? Life has turned into one giant world of sadistic “make believe” and the kids are all drinking the Kool-Aid with just enough not to kill.

The latest decade of the 2000’s is about the evaporation of the individual. It is a tragedy that we require so much virtual validation instead of validating ourselves, because no one wants to admit that life right now is hard, it’s really fucking hard. If we can openly discuss these things, the beauty of conversation appears and real human connections happen. At this point, I realize, fuck that Facebook shit, IT’S NOT REAL. I am guilty of all charges and all I seek is an honest indictment of myself. A thought for the day that always keeps me going from the author of the 1990’s masterpiece mentioned earlier is “they were going to die anyway”.

I am going to die anyway, so I need to get moving and energy flowing and I can’t do that stuck behind a computer screen trying to fill an imagined hole of the necessity to have an explanation for everything I do. I do not have any explanations that I care to share, it doesn’t fucking matter. What does matter is that every day has personal meaning… through the lenses of fear and uncertainty of the world that surrounds, I did the best I fucking could… if speaking your mind means getting thrown down a flight of stairs, funny looks from people, and ostracized by “well balanced” individuals…in my book… my life had purpose, only known to me…… we’ll see what’s next and thank you. On another note, I love Brigitte Bardot and Bill Joel’s “The Stranger” is a great album, sorry I’m all out of punk :)

MY BULLSHIT MAGAZINE IS HERE! ENJOY THE NOTHINGNESS

FALL ISSUE: A TIME OF DYING, cyanide fantasies, pretty things and all.

I almost died twice doing this one and thanks to everyone for being around. enjoy.

This issue features Kim Fowley, Versailles, Jeff Smith of the Hickoids, The Dollyrots, Susan Surftone, Ralph Carney, Spit Records, Dime Runner, and an extensive interview with Robbie Fields of POSH BOY RECORDS!!!! great exclusives by Chuck Foster, DIRK LE BUZZ!, and special thanks to Shawn Abnxious in a great supplement RIGHT HERE!!

I went Hollyweird on this one and don't think I came back the same person. I am currently waltzing solo by the beach watching slow waves on an overcast day. Dancing with the Devil too much and getting stuck in someone else's B MOVIE. I talked about the process earlier. Imagine Foxes meets Hardcore with a bit of Leaving Las Vegas. I'll have more to come and please contact through the magazine site right here FEAR & LOATHING LB

BENEATH THE NEW ISSUE ARE SOME GREAT WRITINGS BY SHAWN ABNOXIOUS< read them :)

Open publication - Free publishing - More dollyrots

Kim Fowley Tells All: CHAPTER 1 & NEW MUSIC TIME BOMBS!!!

We have the new issue cuming this Friday and what a long, strange trip it has been to accomplish the second installment of Fear and Loathing LB Online Magazine

in the meantime...

WORLD PREMIERE OF KIM FOWLEY ULTIMATE INTERVIEW: CHAPTER ONE! Soak in the venom and bathe in a massacre of Explosion, Fury, and Rawness to end your Worrisome Life with an unrelenting tour de force of the Legend himself! BEWARE, THIS IS NOT A MOVIE



NEW MUSIC SELECTIONS FROM OUR STAFF THAT YOU NEED TO CHECK OUT!!!

NOiZEE™'s cover of the CLASSIC Ramones song "Somebody Put Something In My Drink"....(RAW AND AUTHENTIC VERSION)... THIS IS HOT AND HAPPENING!!



SNOW MERCY- I think the the clip will tell you everything I can't ...enjoy



Let Us not forget about our beloved Long Beach!!

Wrong Beach rips up a classic! Exclusive Interview in the upcoming issue!



Noxious Gurlfriend - car crash between Echo & the Bunnymen, GG Allin, & The Ventures



FROM ITALY, THE BLACK MONDAYS!



Have an uncomfortable monday..... as always, do not keep it clean.

KIM FOWLEY: EXPLOSIVE & EXPOSED EXCLUSIVE

we're going LIVE with this explosive preface to the EXPLOSIVE full length interview with the legendary Kim Fowley and Versailles. YOU WILL NOT BE DISAPPOINTED!
FALL ISSUE OCT 23 at F&L LB