EUREKA CALIFORNIA: CRUNCH

Eureka California
Crunch
HHBTM Records
reviewer - Evan AD

Athens, Georgia’s Eureka California have been active since 2007, with singer/songwriter Jake Ward remaining the only static member since their formation. On 2014’s Crunch (HHBTM Records), Ward bares his proclivity for higher knowledge once again, stating in the album’s opening track Edith (One Day You’ll Live In A Bunker) that “I’m a deep thinker, and I know who Descartes is.”

At times, Ward’s voice is reminiscent of that of Rhett Miller of Austin, Texas’ The Old 97’s: a pining, bourbon-drenched ode to someone or something lost long (but not too long) ago. On tracks like I Bet That You Like Julian Cope and Happy Again, Ward resembles a Teenage Hate era Jay Reatard: a snotty, vibrant display of corduroy angst. This comparison is eased by the overdriven, home-mixed touch that Ward has bestowed upon another quality recording, as he is also the band’s head studio man.

Rounding out the 1+1 equation is drummer Marie A. Uhler, who’s rhythmic tempos certainly help to magnify the band’s already prevalent Alt-Country-Polaris (the one off band from Pete & Pete, not the ATV company) sound. Uhler assists Ward in taking the listener to such locations in time as Berkeley ’89, London ’79, and Austin ’98 without ever making them leave the couch. The finishing track How Long Til The Medicine Takes echoes Roy Orbison, not so much in actual sound, but in chord structure, guitar tone, and the eerie, ethereal way Ward closes with a haunting reminder “It all seems normal until you sound it out”. – AD
8.2 / 10

FFO: Billy Bragg, early 90’s indie rock, The Old 97’s - Too Far To Care, ice cold lemonade on a porch swing in mid July
Standout Tracks: Sneaky Robby, Twin Cities, Happy Again


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SUSAN SURFTONE: RECKONING (INTERVIEW)

Embrace escapism, let the rain leak through the roof, and when everyone around you feels comfortably numb, make them move and shake like they have a life worth endangering. The swagger and punch of surf-guitar rock is essential. Essential in the process of experiencing the demands of pleasure that radiate throughout this planet… Susan Surftone returns to the fold with her latest record “Reckoning”, an attractive car crash of Link Wray, the Ventures, and The Raybeats.

“Mojo Junction” rumbles and slides into high gear with a slight homage to the classic “Pipeline” but twisted into a new surf anthem for a new millennium. Susan has a classic soloing style that brings to mind the raggedy lead playing of Dave Davies in his prime. “Circles” builds on the white heat, crashing and building with Johnny Thunders style dynamics allowing the sultry string bends to surf the raw tuneage.

The title track “Reckoning” displays a darker side of the wave spectrum, with a haunting melody that cruises the crisp night air in a wayward pining. A sparse and plodding heavy beat courtesy of Steve Kravac, gives this track a hypnotic psychedelic sound. Kravac’s drumming always compliments Surftone’s vision perfectly with a keen awareness to bold rock n roll structure. The follow up track “Secrets” is surf-party reckless fun with its flirtatious and bouncy go-go swing.

The track “Vortex ‘59” is a true standout among the recordings with its bright and menacing chord and solo combinations bringing to mind the best of the 80s garage-rock revisionist movement. Top-ten material in this reviewer’s universe, with its notably sharp and slick pop/rock collisions. The closing number “Mystery Train” provides just that, a saloon-blues infested one-way ride out of town, destination unknown…. Susan took some time to talk to me about her latest release in the following interview down below.

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How does the new record differ from your past recordings?

“Reckoning” is probably a bit further away from what would be considered traditional surf music than I have gone yet. I think my three solo recordings have each moved progressively toward other influences. Also I’ve done my first slow original song on “Reckoning”.

Was there a different approach in the studio with the latest collection?

The new record was recorded at my producer, Steve Kravac’s, studio Hell’s Half Acre outside of LA. “Shore” and “Too Far” were recorded at Jackpot! in Portland. We used some different effects on “Reckoning” and one song has a twelve string on it.

Who is currently in the band and what are your tour plans?

Well, for recording it’s me and Steve Kravac. He plays drums and I play guitar, bass and keys. For tours there’s a line-up on the east coast and one on the west coast. West coast is Avory Gray (keys), Dan Ferguson (bass) Paul Barrell (drums) and East coast is Kim 13 (keys), Brian Goodman (drums). The bass slot is open right now. A documentary is in its initial stages right now so tour plans are dependent on when filming happens.

Do you think recordings or playing live benefit you more as a musician?

I think I’ve seen more growth as a musician from recording. I saw a big leap forward in my songwriting when I started to play bass on my recordings. It gave me a better understanding of how parts really fit together and enhance each other.

In the past two years since we last spoke, what changes have occurred in your life that had a profound effect on your outlook?

I broke my right hand last summer. I tripped and fell on a sidewalk while on the east coast in Hudson, NY. My first thought while lying on the sidewalk was “it’s over”. I have a chronic pain condition in my right hand as a result of a severed nerve and I didn’t know if my hand could recover from the break. The original songs on “Reckoning” were written shortly after the hand healed enough for me to play. As it turns out my ability to play is as it ever was. I learned sometime you have to get up and dust yourself off literally.

What inspired the intense cover art on your latest CD?

That photo was taken by me in a small park very close to where Avory and I live. We noticed the very strange red sky at night and thought it might make an interesting cover for the CD so we made several trips to the park to take photos. In some of them mist appeared. There is no photo shopping or anything like that. The cover is the actual photo. We didn’t see the mist until we got home and looked at the photos on my computer. We have no idea what that is but we do have other images with mist in them.

Have you witnessed the surf-garage scene growing bigger as you’ve toured and is there a new interest in the genre that you witness at your live shows?

I think there will always be a core audience for surf-garage but it does ebb and flow a bit. One thing I have noticed is more women are at the shows and are interested in surf-garage. I think that’s great although there is now occasionally a line in the ladies’ room.
-Kevin McGovern

SUSAN SURFTONE

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CLOSE LOBSTERS: KUNSTWERK IN SPACETIME EP

I was pretty stoked when I placed the new single by Close Lobsters on my turntable. Two songs of Love Spit Love and early Alarm catchiness with a brooding intensity well worth repeated listening. It conjured a memory of my awkward junior high days back in the late 80s and the cool mix tapes I would get with a diversity of bands consisting of The Alarm, New Model Army, Black Flag, and The Accused. I remembered a summer night at the local public swimming pool, where they would let the “teens” hang out, blare tunes, and have their own space for a few hours.

There was a really cute skate betty named Shannon at the get together that night, I was trying to impress her. I could barely get two words out of my mouth while I had New Model Army playing on my boom box poolside. At that moment, two creeps from the wrestling team decided it was time to lift me off the ground and throw me into the pool. I had to plead with the dimwits and they just dropped me on the concrete. I felt so stupid that I couldn’t pull some heroic move to knock these two goons out. Oh well, I would spend the rest of that summer recovering my self-esteem. I did run into Shannon again when I was 21, got her number, and never bothered to call her. Sometimes you can’t repeat the past and it changes its shape as you move on in life.

The Close Lobsters have made a nice explosion in their return to the scene of moody post-punk. The lead track “Now Time” has a classic picked apart chord opening with a nice drum break-in of Echo & the Bunnymen proportions. The guitar work is melodic and uses clean distortion mixed with tasteful chorus effects to compliment the atmosphere. If you’re a fan of early John Hughes films, this would fit in perfectly with those timeless soundtracks of youthful confusion, distrust, hope, and bright-eyed irresponsibility.

The follow up track “New York City in Space” has a hypnotic and slower paced groove that moves along with bluesy new-wave inspired interplay. Solid playing and carefully crafted songwriting shine through on this strong release. Close Lobsters are legendary in their own right, with their debut in 1986 on NME’s seminal C86 compilation and singles with Enigma Records that had serious airplay back in the days when college radio ruled the indie airwaves in 1988. Hey, that’s around the same time I was thrown around at the pool party. Perfect timing then and perfect timing now. Available on blood colored vinyl exclusively from Shelflife Records. Until next time and the time after that…
-Kevin McGovern


Close Lobsters

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THE BASTARDS OF FATE: VAMPIRES ARE REAL AND PALPABLE

A thin line exists between nightmares and memories in the swamp of interpretation. If you can picture the hangouts that you loved as a teenager and the bars that solidified your psyche in your 20s, stand back, and absorb all of it in. Was it that good or was it that bad. Now envision a spiked wrecking ball tearing through those mental sights with violent sound and you will be arriving at a destination called Vampires are Real and Palpable, the latest musical deconstruction by Roanoke Virginia’s Bastards of Fate.

An uncut and unstable substance that sucked the usable blood from Lou Reed’s Metal Machine Music, The Remains, and The Faint. The finished product is a cacophony of an apathetic concerto that mocks the world falling down around it while getting high from the fumes of the ensuing debris. The lead track “Winter of our Discontent” is a maniacal revision of rock music that blends crooning, noise damage, and anthemic phrasing into a twisted guide for the senses.

“Chromosome I” and “Go No Further” add another element to this lethal dose with bizarre and catchy renderings of LCD Soundsystem and Oingo Boingo, at the height of their experimental phases. Unlike others attempting to sail the turbulent seas of experimentation, the hooks are still firmly in place, just not where you’re used to finding them. A map of a brilliant schizophrenic’s mind replaces antiquated songwriting formats that numb us in car commercials, grocery store Muzak, and superficial brain-dead television shows.

“One True Love” displays severe psychedelic corrosion with almost angelic harmonies swirling above deranged balladry. This track along with “Identity Theft” are my picks for playlist inclusion, if not the whole album. A unique catchiness and addictive fever bleeds off these tracks.

Manson Family (the real one) choirs and electro machinery drilling pulverize your cerebellum on “Own It” and “Ultimate Death”. The Bowie-esque pop snarl of “Credit” seriously kicks my ass every time I hear it, the beauty of the line “Did you figure out the answer, oh no…did you figure out the cure for cancer?” gives a glimpse into the soul of a generation left with nothing, and they don’t care.

Coming near the closing, “Copilot” shakes up the feeling in your bones of being so far away from home, only nostalgia makes you miss it. Even though the home you had, was never a good one and long since disappeared into the void. The rock crumbling uproar of the melodic middle-section is a true moment of rock n roll grandeur.

The downward spiral of jangled honky-tonk cacophony in “Optometrist” will ensure your head is spinning when the bomb drops on your neighborhood. After this, imminent extinction of all you know will arrive in a form no one has witnessed before.
FIVE STARS… - Kevin McGovern

LISTEN TO "GO NO FURTHER" HERE...

THE BASTARDS OF FATE

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COSINES: COMMUTER LOVE 7"

Missed opportunity, waiting in line, and life brutally speeding by while you lie awake disheveled in the middle of the night. Minutes and hours lost to minutia. I don’t know what to say. What will she say? I just can’t speak the language and I don’t know the “code”. The fevered feelings of frustration and trepidation are running rampant on the new 7” by Cosines. A sophisticated silver bullet constructed of clever and devious musical hooks that cling to you, like a pair of Calvins on Brooke Shields. A two-song affair highlighting the different dimensions of composition that breathe within these new-wave art rockers.

“Commuter Love” is a full-bodied buzz of glam with a punky pulse. The lead track revs itself with a Bolanesque riff that rides slightly off the rails with a sparse synth accompaniment. The sleek repetitions of melody and chord crunch accentuate the painful parting of one’s nightlife for the responsibilities of day-job survival. The drag of growing old never grows old. A totally worthy A-Side that has enough angst, musical muscle, and self-awareness to give modern indie-rock bands a run for their money.

The follow up track “Disclosed Stories” sounds like a psychedelic melding of Pete Shelley and The Lightning Seeds. Pop with just enough bite to keep the grooves surfy and the undercurrent raw. A pining for something more out of a relationship that never lends itself to more than just intimate conversation. Conundrums and uncertainty provide guaranteed anxiety in our daily lives. Unfortunately, glib solutions and psychobabble never provide us with insight or resolution. This nice slice of British Invasion tainted pop does what a great song should do, it offers a realistic observation. As a whole, this nice shot in the arm of edgy pop reminds me of those cool gems you would hear on the early Enigma Variations compilations. This single comes courtesy of the UK’s Fika Recordings label, which I might add, takes 7” artwork to a completely new level. -Kevin McGovern

COSINES

FIKA Recordings

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BURGER RECORDS: THE CASSETTE REVOLUTION

The cassette revolution of Burger Records continues as it has become a major force in developing new bands and reissuing long lost classics of underground music infamy. This is an interview I did with Sean Bohrman, one of the label's key members. Definitely a unique success story in the world of music where boundaries between fan, band, and label no longer exist. It seems like we live in a time where the glass ceiling is on the first floor, but I think that's a matter of perspective and how far you are willing to go in order to live the life you want. -KPM

Which came first: Thee Makeout Party, Burger Records Label, or the Burger Records store?

Sean--- I met Lee at show in high school in 1998, I was a junior, and he was a freshman. We became friends; started band called the Noise and created a zine together called the Newsletter. We hung out, smoked weed, played around with music, and I went away to College. Lee started a band called Thee Makeout Party and I joined when I came back four years later. Things started happening and we were constantly touring. We released the first Makeout Party 7” and started Burger Records, we did an LP and it went from there. In 2009 we were going to go on tour again but I was working as the art director for a boating & fishing magazine. They didn’t let me go so I cashed out my 401k, quit, and started a record store with my friend Ryan, who ran Third Eye Records. He had tons of records sitting around his parents’ house so I said, “Hey, let’s start a store” and that was it.

How did your own experience as a “musician” influence your approach to running the Burger label?

I know how I would want to be treated, and how important it is to have your own music released and heard. We all the importance and time spent making these things is. The blood, sweat, tears, and respect needed to give the attention and love music deserves. It’s what we’re all about, and I think it’s what musicians want. I think musicians want someone like me or Lee to be like Hey this album is amazing! That’s what we do.


Vinyl has been making a comeback for some time and now it seems like the cassette is too. Why do you think the cassette is catching on in such a big way?

Who knows? We were first putting just CD and Vinyl and then we released Apache, The GO, and Traditional Fools on cassette and were like, WOW, we’re selling cassettes now! And now, we have put out over 500 bands on cassette and sold close to 200,000 in the last 6 years. It’s bigger than any of us could’ve possibly imagined it would be.

With this resurgence now taking place, do you think it’s the death of the MP3 or is the digital-online format more of a portal to check out bands & labels?

Oh yeah, but I think record labels nowadays have to use every social media outlet at their disposal(Facebook, Twitter, Tumblr) to get their music heard. It’s also awesome for bands to have 300 copies of their music on cassette to take on tour and sell for extra money people to collect. Most are listening to our music online, we’re getting around 5,000 listens a day on Soundcloud. I doubt there are that many listening to cassettes every day but who knows? I think it’s a matter of ease of use with online music. You’re on your job all day on the computer or your phone and you can listen right then and there. But it goes hand in hand with being successful with putting out cassettes and bringing attention to them.
People think it’s a dead format, but most who are listening were born in the 90s and not around when cassettes were popular. They’re driving their parent’s cars with cassette player and don’t have any cassettes to play in their cars. No one else was making tape cassettes.


The label covers all genres of garage for lack of a better term, anywhere from hardcore punk to indie power pop and psychedelic freak-outs. Do you base your releases on quality of songs or just gut instinct?

Sometimes they’re friends and there’s always a number of reasons why we put things out, but most of the time it’s because we like it. We listen to tons of demos every day and I’ve always loved discovering new bands and their music. I did it before we started Burger and still do because it’s what I love to do.

How integral are the constant live shows Burger supports and is there a Burger records culture that is important to its existence?

Yeah, we have the Burger Revolution tour where we did shows all across the world from Tel Aviv to Glasgow to London. We currently have the Burger-rama tour in Santa Ana and shows all across the U.S, Canada, and Australia. It all started with us sitting around bullshitting and saying, “Wouldn’t it be cool to just start doing shows everywhere”. We just sent out a massive emailing telling people what we were doing and to let them know they can put on show themselves too, it doesn’t have to be a Burger related show to make it happen.

What advice do you have to anyone who wants to pursue their passion as a way of life, instead of joining corporate culture?

You have to work really hard and take that leap of faith. There’s been times when I would think about the years I had to work to get good health insurance and now I was throwing it away. It’s definitely scary. We work harder now than before Burger, from the time I wake up at 11 a.m. to 3 or 4 in the morning I’m working. I’m working constantly and I’ve been on that schedule for almost two years now. That’s our way of life. We work Burger all the time, non-stop. There’s never time to relax but I’m never bored and it’s worth it to be your own boss. There’s times I just want to chill and I have 500 bands to think about. At the same time, I realize what we’re doing is actually changing something that keeps me going. It takes a lot of sacrifice and dedication to become and stay independent. I was never really into partying, I don’t always have the time to check out shows or a party. Weed is about it. I just enjoy being at home and working on stuff all the time. Just watching bands grow and get bigger, it’s cool.


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RECKLESS SUMMER: NEW ONLINE EDITION OF THE DIGITAL ZINE

Another crazy day in the LB, so I decided to make my way into LA today and attempt to get this new issue up and running. I like going mobile and keeping the DEVO turned up to ten the entire time. The flesh is willing and the mind is weak, that's a good thing. It's always fascinating how a live show never never takes the place of the personal attachment we make to music or an image. We connect with what is going on internally and externally when that sounds hits us and the first thing we see in the moment burns itself permanently into our memory. Thanks for tuning in and more to come very soon.