tag:blogger.com,1999:blog-41400822217992505112024-02-07T09:23:17.202-08:00FEAR/LOATHINGMusic, Art, Disarray, Reviews... a safety-pinned jolt of elegant trash, cheap booze, used records and unsafe sex surfing under the waves.Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.comBlogger108125tag:blogger.com,1999:blog-4140082221799250511.post-87076473932360855712018-12-31T11:38:00.002-08:002018-12-31T11:38:45.900-08:00Top Ten 2018<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfriv4IVCDdwwNSczsqYiTIbRstvE8OeLuKW4uxyFi0uv7ZJMS87U2r3A0pOZ1tJdvp69mOSzaGTh6xzkFy8VDNxRpl0edM9GyXQTbmOB3Mbt7vtj5iv3hx0uISorNBlmB8vc-O-l4dGs/s1600/kev.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfriv4IVCDdwwNSczsqYiTIbRstvE8OeLuKW4uxyFi0uv7ZJMS87U2r3A0pOZ1tJdvp69mOSzaGTh6xzkFy8VDNxRpl0edM9GyXQTbmOB3Mbt7vtj5iv3hx0uISorNBlmB8vc-O-l4dGs/s320/kev.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a></div><br />
The indifferent chill of east coast survival continues to keep my senses reeling whether I like it or not. More depth, more meaning, and a change in aesthetics were my focal points throughout the year. The whole concept of intellectual and moral outrage continues to bore me beyond belief so I wanted to immerse myself in subculture and destinations that live and breathe off the beaten path. After 2 long years of living with a west coast hangover, I had to pull myself out of the acid bath known as “starting over”. My new life in Pennsylvania had been depressing and kicked off with deflating and near fatal experiences. I’m approaching my mid 40s now so I’m sure this kind of shit typically comes with the territory. I decided to revisit all the untidy endings and waiting places of my abbreviated past. My life seems to revolve in a steady stream of relocations and tumultuous revisions. I don’t have a problem with it. I don’t like to sit still but I get annoyed at my lack of patience as well. <br />
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The selected road trips I took over the past year felt like impulsive drunken drives through the crowded attic of someone else's mind. Old highways and forgotten side streets littered the rusty landscapes and foggy memories. Memorable reunions were only an annoying reminder of how much time had slipped away while I was sleepwalking. The loud sounds of vital music and dim lights of seedy city life were nothing new but took on a whole new meaning when I actually paused for a minute to accept the unnerving ambiguity of it all. Contradictions and instability give life necessary meaning and detail. Nothing should ever be clear, concise, or perfect. As I slithered my way through the perceived fucked upness of my former years I realized it was perfect just the way it was.<br />
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<i>I like to look back at the end of the year and acknowledge the sights and sounds that made the time unique. Punk rock and horror movies are two of my favorite pastimes. I find myself gravitating towards more new cinema than music. It was a brutally uninspired year for new music but a few gems still appeared. Modern horror offered up a few nice surprises as well. Art is unpredictable and so is life. I have a feeling that 2019 will have some truly inspired insanity to offer. Here is my personal top ten for 2018. </i> <br />
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10. Future Girls – Bowing Out<br />
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<iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=3890133356/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=108290861/transparent=true/" seamless><a href="http://futuregirls.bandcamp.com/album/motivation-problems">Motivation Problems by Future Girls</a></iframe><br />
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9. Summer of 84<br />
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8. Surbort - Let's be in Love<br />
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7. The Strangers: Prey at Night<br />
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6. The Blankz - Sissy Glue<br />
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5. Hell House LLC II<br />
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4. honeychain - Happy House<br />
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<iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/track=3382130669/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" seamless><a href="http://honeychain.bandcamp.com/track/happy-house">Happy House by honeychain</a></iframe><br />
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3. A Quiet Place<br />
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2. Amyl and the Sniffers - Cup of Destiny<br />
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1. Hereditary<br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com3tag:blogger.com,1999:blog-4140082221799250511.post-42523534408432724952018-09-05T17:53:00.001-07:002018-09-05T17:53:04.998-07:00The Losing Kind<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjId6f0xwsFkY5CJjs63XGotXWNdkAjZIyY7bR1SiEUzmtJeOVi5mcNOh00n1MOtash47TQ_RQlHcMd-hAMLyst0sdDZOB5ZQrk2e0DIY0KbnDF7_TPt2S1q11RC5L5sUYFQsC5g8PG8Jk/s1600/losing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjId6f0xwsFkY5CJjs63XGotXWNdkAjZIyY7bR1SiEUzmtJeOVi5mcNOh00n1MOtash47TQ_RQlHcMd-hAMLyst0sdDZOB5ZQrk2e0DIY0KbnDF7_TPt2S1q11RC5L5sUYFQsC5g8PG8Jk/s320/losing.jpg" width="320" height="320" data-original-width="960" data-original-height="960" /></a></div>It's easy to get lost in the current swamp of punk rock. A lot of half hearted impersonators have polluted the art form with "product" and uninspired mediocrity. Where are the songs? Where's the energy? Where's the individualism that made it so appealing? Instead of a focus on songwriting and style, it seems to be more caught up in the cult of likability. <b>The Losing Kind</b> are on a mission to change this dire state of affairs and return punk to its eloquent and psychotic natural state. Their latest self titled EP delivers the goods with six scorching tracks of <b>Ramones</b> damaged back-alley punk.<br />
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Upbeat and restless, the bratty bourbon singed vocals blend gritty melodies with slashing power chords and uninhibited attitude. Down and out, going and gone, the lyrics address the never ending bad luck cycle of day to day existence. The raging punk rock accompaniment defines the tumultuous ebb and flow of fate with concise dynamics and reckless intensity. Fusing the classic sounds of the <b>Freeze</b> and <b>Zero Boys</b> with the drunken swagger of the <b>Humpers</b> and <b>Joneses</b>, this release rocks hard from start to finish. Your new weekend blackout soundtrack. Get with it and check it out. <br />
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<a href="https://www.facebook.com/Losingkindband/">The Losing Kind (Facebook)</a>Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com3tag:blogger.com,1999:blog-4140082221799250511.post-74195464888466621562018-03-28T19:46:00.000-07:002018-03-28T19:46:32.663-07:00Liquid Sky: Revisiting the Ultimate Restoration<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2m4DOxrMeL5ZhpdynR26NivN__WbDMrtVWdsSLIB2EvlM1uI8IW6X7D0S7nh4Qp2zM-l-cPH8jLuhlridAMrOJRjAy8aWVROE9NSXQAbtzanczS49fLjkk9fUAObuuhyphenhyphenGNWt83R_I1kM/s1600/liquid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2m4DOxrMeL5ZhpdynR26NivN__WbDMrtVWdsSLIB2EvlM1uI8IW6X7D0S7nh4Qp2zM-l-cPH8jLuhlridAMrOJRjAy8aWVROE9NSXQAbtzanczS49fLjkk9fUAObuuhyphenhyphenGNWt83R_I1kM/s320/liquid.jpg" width="320" height="180" data-original-width="640" data-original-height="360" /></a></div><br />
Radiant and impulsive, the disorienting world of <b>Liquid Sky</b> provides an unnerving pin-eyed look into the extraterrestrial terrain of early 1980s New York City club and underground life. Upon its original 1982 release, the film fascinated and appalled audiences. High art disguised as a cult classic. Surrealism collides with harsh reality as the simple sordid pleasures in life unveil their heart of darkness. This voyeuristic and jagged journey dreams its way through gratuitous obsession, lethal sex, and mind quivering fashion with a fevered uniqueness that is hard to categorize. <br />
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When I saw this as a young teenager in the late 80s, I was totally freaked out and obsessed with its strangeness. Junkies, models, aliens, and blaring minimalist new wave rhythms induced sensory overload. Life in the big city was full of sex, tons of drugs, violence, and cutthroat attitude. Was this a destination, someone's dark fantasy, or someone else's high definition nightmare? As with all genuine art, the interpretation depends on the viewer. The gracefully distorted narrative allows the subconscious to crackle and burn within its decadent perspective. The only movie I know of that truly depicts a killer orgasm.<br />
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Liquid Sky is slang for heroin. It’s everything and nothing. Happiness only lasts until the next time you need more. <b>Anne Carlisle</b>, who also co-wrote the film, stars in the dual role of high fashion model Margaret and her drug fiend nemesis Jimmy. Aliens, traveling by UFO, arrive in NYC to get their hands on the ultimate opiate fix. The search for the perfect high is universal and knows no boundaries. The aliens soon discover that the chemical released in the brain during orgasm achieves an even better high. Margaret's apartment of continuous destructive partners proves to be the perfect breeding ground for obtaining their stash of chemicals. The only problem is the mounting death toll that comes after casual sex.<br />
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Blurred sexuality and self destructive relationships detail the permanent neon landscape. Margaret finds empowerment within the chaotic gloss of weaponized fashion and endless depraved partying. The addictive dissonance and hard truths on display make this a mind bending must see. This visually striking film is even more stunning in its new restored format now available on Blu-ray courtesy of cult movie experts <b>Vinegar Syndrome</b>. The groundbreaking direction of <b>Slava Tsukerman</b> and the unforgettable cinematography of <b>Yuri Neyman</b> take on a new life for a new generation. The fine details and sordid nuances pop and scream wildly with a rejuvenated urgency. <br />
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In my extended time on this strange planet, I’ve found that society doesn’t really evolve, it just mutates into bizarre new variations. In a world of Instagram, Tinder, and unending feeds seeking to fulfill instant gratification, this cinematic oddity and masterpiece is more relevant than ever in its examination of the hedonistic and tortured human psyche.<br />
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<a href="https://vinegarsyndrome.com/">Vinegar Syndrome</a><br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-72501033351852071782017-12-25T17:34:00.000-08:002017-12-26T18:43:12.965-08:00Top Ten Music Releases 2017This past year was a bewildering one, filled with super highs and all time lows. That's the way it goes sometimes. I almost died, suffered temporary amnesia, and went through the worst depression of my life. The good news is I lived through it all thanks to incredible friends and incredible music. I'm glad I don't give a shit about politics, I find reality and writing my own narrative much more seductive. Go out and live your life or die trying. Keeping that in mind, here is what moved me in 2017.<br />
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10. <b>The Dahmers</b> - <i>In The Dead of Night</i> <br />
This horror influenced Swedish band serves up an interesting blend of nuanced speed glam and trashy 77 punk. A very solid full length that will slowly or quickly get stuck in your head. Sort of like an amphetamine fueled hybrid of the Adverts and Cheap Trick but better. <br />
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9. <b>Daddy Issues</b> - <i>In Your Head</i><br />
A digital single that caught my attention at the beginning of summer when I was randomly searching for something new in my Friday release radar. This all female trio knows how to write a pop song with bite. Crisp production and fuzz heavy guitars dominate the recording. Classy chord transitions and a bouncy haunting vocal make this track worthy of repeated listens. <br />
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8. <b>Sweet Knives</b> - <i>S/T</i><br />
Alicja Trout's new band. if you dig the Lost Sounds and River City Tanlines, you'll dig this. Recommended to me by Matt Coppens of Terminal Boredom fame. If you're ever looking for new sounds, ask him. He's always in the know. <br />
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7. <b>Pide Ayuda</b> - <i>Funeral Marches for Droids</i><br />
The soundtrack to the nightmarish movie that only exists in your head. This Brooklyn duo serves up a cerebral reconstructive surgery that fuses the mind of John Carpenter with the spirit of the Screamers. There is deep hidden meaning in the sound swirl but only if you're open to it. Get hip and listen now. <br />
<iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1813573689/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3263776667/transparent=true/" seamless><a href="http://pideayuda.bandcamp.com/album/funeral-marches-for-droids">Funeral Marches For Droids by Pide Ayuda</a></iframe><br />
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6. <b>Mike Spent Black Belt</b> - <i>I am a Lion/Sun Goes Grey</i><br />
Mike Spent of Spent Idols fame returns to the fold with a brand new sound and brand new band with members from the Dogs and Guns N Roses. This catchy single is a departure from Mike's normal brand of 77 snot punk and his most accomplished work to date. Influences are all over the place on this one and the genre blending is a success on all levels.<br />
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5. <b>Baby Brains</b> - <i>Eat Your Heart Out ep</i><br />
I was turned on to this band not too long ago and it turns out they're from Harrisburg, PA of all places. I guess I'm still in denial that I actually live here now and should look for signs of life every now and then. This extended play is the sleeper hit of the year. Phil Spector sophistication infused with Stooges intensity. Brooding melodies and reverb-soaked guitars provide the perfect meltdown.<br />
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4. <b>honeychain</b> - <i>Crushed</i><br />
The 1st full length from this Los Angeles power trio. A twisted journey through the ups and downs of modern day romance. Upbeat and moody, this is a heavy dose of power punk pop fury. Fans of the Muffs and Go-Go's take note. <br />
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3. <b>Nature Boys</b> - <i>Nature Boys 3</i><br />
The Tortured Tongues recommended this album to me and it did not disappoint. 10 tracks of eerie rough and tumble garage punk. A contagious blend of early LA punk desperation and Dead Moon explosiveness. The vocal style is one of the most original I've heard in a long time. The slithery surf punk guitar and menacing blues growl of the rhythm section create the quintessential after-hours molotov cocktail. Courtesy of Kansas City, Missouri.<br />
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2. <b>White Reaper</b> - <i>The World's Best American Band</i> <br />
A non-stop fireball of power pop with new wave sensibility rages on the latest full length from this Louisville, Kentucky rock n roll band. Serious rock action with a tasty bubblegum sneer, it's hard to find a bad track on here. Cool retro noise with a nice dose of modern gloss and loaded with hooks. Check out the stellar single "Judy French". <br />
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1. <b>The Side Eyes</b> - <i>So Sick</i><br />
Dangerhouse records on steroids. The band is red-hot and the sun drenched snarl of Astrid McDonald puts this one over the top. Short and sweet, this 25 minute album will kick your ass. Red Kross' Steven McDonald provides a cutthroat production that adds flavor in all the right places. Stream it now and pick up the vinyl while you're at it. <br />
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<iframe width="560" height="315" src="https://www.youtube.com/embed/EUHiGKivhZs" frameborder="0" gesture="media" allow="encrypted-media" allowfullscreen></iframe>Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com1tag:blogger.com,1999:blog-4140082221799250511.post-59498996900667885272017-08-23T20:36:00.002-07:002017-08-23T20:38:16.086-07:00Hate This Place (2nd Sequence)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0_sXVHAVzcvFYmE-8KjopE8BcMKzN6iCH1YUHuBHX31etyyn18P2A-4b2hjgvTubgJ5sN1fb5seLKF8fM081Y_6AcKVNZ2aONH6Hw5W0I0Ty_4zCWxe2NWPsLH4SoXSXz4RCvx0KzlI/s1600/aptreal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0_sXVHAVzcvFYmE-8KjopE8BcMKzN6iCH1YUHuBHX31etyyn18P2A-4b2hjgvTubgJ5sN1fb5seLKF8fM081Y_6AcKVNZ2aONH6Hw5W0I0Ty_4zCWxe2NWPsLH4SoXSXz4RCvx0KzlI/s400/aptreal.jpg" width="400" height="300" data-original-width="550" data-original-height="413" /></a></div><br />
I woke up next to a blonde girl with frizzy hair, smeared makeup, and a full bottle of Rolling Rock still clenched in her hand. I didn’t feel alarmed or worried, mostly because I immediately spotted two unopened beers on the scratched wood floor next to my side of the bed. My oncoming anxiety attack was put to rest as I grasped the severity of my odd situation. I don’t know her but she obviously liked me enough to take me home. I played a gig the night before and she was collecting the cover charge at the show. I didn’t make it past the first song. It didn't matter because my head had been swimming off and on in a cheap liquor sea of distraction and doubt for the past month. I was loaded out of my mind from a deafening booze binge I had been on the last few days. I quietly opened a bottle of beer while scanning the room for clues to the history of my new friend. All I could find was an overdue bill with her name on it. Perfect, now I can communicate with her and drink in peace as I sort through my scattered thoughts and blurry sense of self. <br />
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A few feet in front of the bed was a makeshift front entrance. A battered set of French doors with a broken chain lock barely holding its position in the off white walls. I could hear voices occasionally drift in from a nearby hallway. This wasn’t good. I like to keep my existence as anonymous as possible when I'm unsure of myself. I am a very paranoid person when it comes to privacy. I had to wake her up and let her know we were exposed and almost out of beer. It was close to noon and I felt like a melting vat of combustible chemicals. After I nervously nudged her to wake up, she opened her eyes, sat up almost instantly and chugged her beer in about 30 seconds. She said we would walk up to the Mexican restaurant nearby and slam Coronas all afternoon.<br />
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She then asked “So do you want to move to Columbus? You can just live with me I guess. I just quit my job two days ago. We can worry about that shit later. Let's get drunk.“ <br />
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I said “Well I guess so, I’m already here and my life sucks so yeah, this is where I'll live for now. Thanks.“ <br />
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That was that. All of the long torturous months leading up to this moment of instant resolution seemed like such a useless stretch of time. Instead of anticipating my worthless future while constantly living in my head, I could just drive blindly into it and let the ensuing crash make up my mind for me. I didn’t feel like announcing my new life change to anyone. In fact, I didn’t want anyone to know where I was. It felt so invigorating and eerily intoxicating to just vanish into thin air. I felt like I was finally freed from my previous world of predictable consequences, bargain bin teenage drama, and excruciating small city boredom. I wondered why it felt like I was the only one having a mid twenty-something life crisis. It didn’t really matter because I wouldn’t care to listen about it anyway. At that moment I realized I didn’t have my wallet, a change of clothes, or any idea of who I was actually staying with. I'll figure that shit out later... (to be continued)<br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-85954980796065626182017-05-24T20:07:00.003-07:002017-05-24T20:39:22.607-07:00honeychain - Crushed (review and interview)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAr6iZ6T_nuM_934fQf8QmUJcQYD1Vf2jMXM5w7m84A__XEK7l_yFpiawaoGgCmT_uHF6_qlcmyrgM8YUdBqhhVRxn8HPwwV5wsWBmMxtUOTNuv_5Xz1RgE3Z4LaUnqvbfeDecolJF7OI/s1600/honeychain-crushed-1500-x-1500-from-pat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAr6iZ6T_nuM_934fQf8QmUJcQYD1Vf2jMXM5w7m84A__XEK7l_yFpiawaoGgCmT_uHF6_qlcmyrgM8YUdBqhhVRxn8HPwwV5wsWBmMxtUOTNuv_5Xz1RgE3Z4LaUnqvbfeDecolJF7OI/s400/honeychain-crushed-1500-x-1500-from-pat.jpg" width="400" height="400" data-original-width="1500" data-original-height="1500" /></a></div><b>honeychain</b> unleashes a tidal wave of pop fury and rock’n’roll rapture on their hot blooded new release <i>Crushed</i>. Passion and betrayal burn wildly through the amplifiers while the heartfelt harmonies flow like a cool breeze wrapping itself around the hedonistic beauty of Los Angeles. With the flirtatious bite of <i>Beauty and the Beat</i> and scratchy grandeur of <i>Blonder and Blonder</i>, <i>Crushed</i> delivers a seductive tapestry of modern day pop wizardry. <br />
<br />
<b>Hillary Burton</b> continues to evolve as an intriguing and truly unique songwriter. Soon to be summertime anthems “Crushed”, “Messy Love”, and “Some Other Girl” twist and shout with shimmering choruses and unrestrained 60s garage finesse. <b>Kim Shattuck’s</b> intimate and raw production adds a new dimension to the band’s sleek and stylish sound.<br />
<br />
“When I Stumble” and “Ready for the World to End” jangle and gently shake with <b>Deborah Harry</b> sass and <b>Buddy Holly</b> vibrations. The infectious “Three Horizons” devises a moody magnetic pull that relies on the band’s skillful rhythm section and carefully colored notes to create an unusual detour in their already impressive catalog. From the red hot album opener “Bombs Away” to the hypnotic acoustic closer “Welcome to My Life”, <b>honeychain</b> delivers an unforgettable listening experience.<br />
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<b>( read a conversation I recently had with Hillary Burton about the new album below )</b><br />
<br />
<iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=3524492102/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2716061687/transparent=true/" seamless><a href="http://honeychain.bandcamp.com/album/crushed">CRUSHED by honeychain</a></iframe><br />
<br />
<i>It has been 3 years since your last record Futura, the world in 2017 seems to be a more paranoid and impatient place. Is the romance of rock n roll dead? If not, what role should it play in our ultrawired existence?</i><br />
<br />
(HB) I think now, as much as ever, rock n roll is vital; not dead at all. Essential. An ultrawired existence requires a soundtrack!<br />
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<i>If you had to describe your new record in three words, what would they be?</i><br />
<br />
Loud, passionate, storytelling.<br />
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<i>Crushed is an awesome collection of carefully crafted power pop rock. It has an understated aggression in its delivery. With themes of alienation, love, and betrayal, was there an underlying feeling or experience that you wanted to convey throughout these songs?</i><br />
<br />
I didn't set out to convey a specific experience per se, rather i wanted this record to be a collection of songs that invoke varied emotions. All of those themes you noted are definitely ones that infiltrate my songwriting. Sometimes from personal experiences and other times from trying to understand what other people are going through. <br />
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<i>“Messy Love”, the first single and video, is super catchy summertime bliss. It was embraced by your fans and the legendary KROQ. Is commercial success a goal or just a nice surprise?</i><br />
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It's a goal to share our stuff with as many people who will listen. I'm super proud of this record and my bandmates and I think the songs are strong. Commercial success, such that we reach a lot of people, is definitely a goal. <br />
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<i>I especially love the songs “Crushed” and “Three Horizons”. Can you tell me the story behind these two stellar tracks...</i><br />
<br />
That's cool you like these two. They are super fun to play live. Crushed has a bit of vulnerability in the lyrics but takes that vulnerability, (the expression of ones shortcomings) and 'i won't sit around just to watch you leave' and basically in the end is about me saying F you, 'sometimes being crushed isn't enough' in that i will always land on my feet.<br />
<br />
Three Horizons is about the realization shortly after being with someone that it just isn't going to work. It's not autobiographical. Although there was this one blind date...It's really just influenced by my observations and putting myself in the place of people who have to go through a lot of meaningless, short-lived romances.<br />
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<i>You do an amazing cover of Kathy Valentine's “Some Other Girl” on the new record. When did you first hear the original and what inspired you to cover it?</i><br />
<br />
I bought the 45 record by The Textones (her pre Go-Go's days band) when i was like 13 or so. I immediately fell in love with the song. Kim (Shattuck) actually took me to an engagement at the grammy museum and introduced me to Kathy and as coincidence would have it, it was not long after i had made Kim a mix CD of cool tunes (yeah, i still make mix CDs for friends like when I was in jr high making mix tapes ha ha) and i had put the song on it. I gushed to Kathy how i loved that song. Fast forward a few months and after I had sent Kathy a download of the FUTURA CD, we, honeychain, opened for Kathy's current band, The Bluebonnets, in Los Angeles. Then a conversation took place, maybe via email I can't remember exactly, but I asked what she thought about honeychain covering Some Other Girl and she was super supportive. She really likes the version we did and has been kind enough to mention it on twitter and facebook. The Go-Go's have always been one of my biggest influences and she has always been one of my favorite songwriters so to cover a song she wrote and have her like it, is super surreal to me.<br />
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<i>The band is now a power trio instead of a four piece. Do you find it easier or more difficult to deliver the songs live?</i><br />
<br />
There are a few songs we can't do live as well without Emma (who was our bass player and back up vocalist and appears on the record but has since left the band to devote her time to political causes and candidates that she is passionate about). But most of the songs on both records sound super cool live as a power trio and Andre has done an awesome job jumping from guitar to bass and picking up some more back up vocals to boot. We, Loye, Andre and I also have a handful of new songs we've added to our set over the last few months. Whereas it was super cool when Andre was on guitar too, I'm now super spoiled being the only guitarist and therefore always being able to hear myself!!!<br />
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<i>Do you feel that music is your full time occupation or do you prefer to have it as just one aspect of your life? What feeds your passion on a daily basis?</i><br />
<br />
It's an integral part of my existence. Like oxygen. I always tell my kids that the greatest thing they can do with their lives is to make other people feel loved and i'm passionate about trying to reach people through music in that i've had some people tell me they've been brought to tears by songs (Than You) to having felt understood (Violet) and as a songwriter, connecting with people like that, drives my passion sometimes for sure as i'm actually pretty shy sometimes and not the best verbal communicator, so reaching people through songs is something i'm super thankful for.<br />
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<i>Does new music inspire you or do you prefer to listen to the classics? What artists in your music library might surprise people?</i><br />
<br />
I'm inspired by both older stuff and newer stuff. I love Patsy Cline to Greenday. I'm also fond of the (new) band Skating Polly and their very raw and almost innocent approach to their music and lyrics. <br />
<br />
Surprises hmmm, I love Arctic Monkey and The Vines. I love old honky tonk. A few random songs in my collection people might find surprising: <br />
Genius of Love - Tom Tom Club<br />
My Life Would Suck Without You - Kelly Clarkson<br />
Cry - Tammy Wynette<br />
<i><br />
You also drum for the Pandoras. How did that come about and will you be recording new material with them?</i><br />
<br />
I was asked to go on a tour of Europe with them when their drummer at the time, Sheri, was not able to. Kim knew I also play drums so she asked me. This was fall of 2015. I stayed on as their drummer. We recorded some tunes together last year that, along with some tunes that were recorded with Sheri before I joined the band, will be released later this year. Stay tuned!!<br />
<br />
<i>What does honeychain have planned for the summer and when is the next single dropping?</i><br />
<br />
The title track, CRUSHED, is the follow up to the first single, Messy Love, and people have been loving it, which is super rewarding. <br />
<br />
We have our record release show scheduled for June 17th at Th Redwood in downtown LA, which is a place we've played at a lot and we love it there. Joining us are our pals The Touchies and Kim Shattuck is going to do a special solo set.<br />
<br />
We are also going on a mini tour (Vegas and Arizona) with The Touchies in August which is going to be all kinds of fun.<br />
<br />
We also just tracked our cover of the Material Issue song Going Through Your Purse which will be released later this year for the Girlsville / Nerve Centre Records Cassette Day comp.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHR5wAP_Njpvzb5rjofOBwitDVo1GXee-T04BypAn890HEzixsIbGbaalbW3myJsFHDG4XQhRn7mg_8gmomrsgCWusO98DYq2oTohnaqLnM6ONdOu5x_zE1N_mLoFaMU0rZdUBW5ZwaHY/s1600/honeychain-a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHR5wAP_Njpvzb5rjofOBwitDVo1GXee-T04BypAn890HEzixsIbGbaalbW3myJsFHDG4XQhRn7mg_8gmomrsgCWusO98DYq2oTohnaqLnM6ONdOu5x_zE1N_mLoFaMU0rZdUBW5ZwaHY/s640/honeychain-a.jpg" width="640" height="350" data-original-width="1600" data-original-height="875" /></a></div><br />
<i>-Kevin McGovern</i><br />
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<a href="http://honeychainmusic.com">honeychain official</a><br />
<a href="https://www.facebook.com/honeychainmusic"><br />
facebook </a><br />
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<iframe width="560" height="315" src="https://www.youtube.com/embed/aJzE51Kz0vY" frameborder="0" allowfullscreen></iframe><br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-47507442910742512402017-05-09T22:37:00.001-07:002017-05-09T22:48:25.192-07:00Radiohearts - Daytime Man<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw433hNat0Ajuf20sIKPlapEfTLU4mkaYyDj41-SqsiVYrPr3SJAdGU7KFHPU9hF6wgite8iseckrj1mHZfGWUFQiY5GAO6RlU8cJl2DASpCjsn6OpF7Ewe8K5xORve8_yIVx2bUlm7g0/s1600/a1086155467_10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw433hNat0Ajuf20sIKPlapEfTLU4mkaYyDj41-SqsiVYrPr3SJAdGU7KFHPU9hF6wgite8iseckrj1mHZfGWUFQiY5GAO6RlU8cJl2DASpCjsn6OpF7Ewe8K5xORve8_yIVx2bUlm7g0/s400/a1086155467_10.jpg" width="400" height="400" /></a></div><br />
I haven't been too thrilled with new music in the last few months, there are just too many reissues of reissues floating around and a glut of auto tuned, disgustingly overproduced reunion records. It's an annoying trend that highlights the lack of original new music actually worthy of a listen. My response to this is a new found obsession with 1970s one hit FM wonders. I've always been fascinated by the creepiness and hollow soul of the decade I was born. The world was new and everything looked so lopsided and strange. The radio stations were eerie and fascinating. It's like they were speaking in acid dipped tongues on those muddled sound waves. Saccharine atrocities committed by <b>Paper Lace</b>, <b>Nick Gilder</b>, and <b>Sugarloaf</b>. I swear to god, it's always raining and permanently gray with Jonestown, Guyana burned into the square TV screen whenever I try to locate my memories. Discovering new weirdness in forgotten train wrecks is a gratifying distraction. <br />
<br />
When I think of 1980, everything is sleek, bright, and neon just like one of my first records, <b>K-Tel's</b> “Rock 80”. This mind blowing compilation contained classic and crisp compositions by the <b>Knack</b>, <b>Joe Jackson</b>, the <b>Ramones</b>, and <b>Blondie</b>. A refreshing blast of radioactive candy to relieve me from the bell bottomed dreariness of the Me Decade. The latest release by Long Beach, California's <b>Radiohearts</b> would fit right in with the stellar lineup of “Rock 80”. This five song power pop dynamite is an impressive collection of eclectic punked out pop. While other bands bands in the genre continue to water themselves down in search of imaginary fame, the <b>Radiohearts</b> play in the red with a raw burning intensity. <br />
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The lead track “Daytime Man” is an explosive number that fuses the rough and rootsy melodies of <b>Impatient Youth</b> with the reckless sting of early <b>Damned</b>. “Alright” blasts even harder in the anthem department with it's <b>Cheap Trick</b>-esque structure and classy double stop guitar soloing. This extended play does not let up or disappoint. The hits are catchier than ever on this release. “Wasting Time” and "Know That Song” are some of the band's best songs to date. The guitars are edgier and the choruses punch harder. If you thought power poppers couldn't punk out, you're dead wrong. “No More” is a deadly shot of <b>Thunders</b> rock damage, wired to kill with its safety pinned purity and wired rhythm. If you dig this, you'll be all over their earlier releases. A worthy addition to your record collection. <br />
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<iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=586456247/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" seamless><a href="http://radiohearts.bandcamp.com/album/daytime-man">Daytime Man by Radiohearts</a></iframe><br />
<a href="https://www.facebook.com/Radiohearts/"><br />
Radiohearts</a><br />
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<a href="https://www.facebook.com/wandarecords/">Wanda Records</a><br />
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<i>-Kevin McGovern</i><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTO_i1yGqqpekM_6mLQiKkGl6OS-o2kVKZvCT8rJMEgUqoj_4w6B66PP-T6CoH1U7ABU1nhWEqEsJOj6wUbwNS0ARROI6XwUqbjk3M4WIZXTJ3RSH2BJEBpSNyPTcIwPxguhD8z67Ct6E/s1600/969516_10151710728269084_1710948992_n.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTO_i1yGqqpekM_6mLQiKkGl6OS-o2kVKZvCT8rJMEgUqoj_4w6B66PP-T6CoH1U7ABU1nhWEqEsJOj6wUbwNS0ARROI6XwUqbjk3M4WIZXTJ3RSH2BJEBpSNyPTcIwPxguhD8z67Ct6E/s400/969516_10151710728269084_1710948992_n.png" width="400" height="148" /></a></div>Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com2tag:blogger.com,1999:blog-4140082221799250511.post-348533846305200342017-05-01T20:06:00.000-07:002017-05-01T20:08:16.458-07:00Hate This Place<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4VLTrIL0bCrZDSNwhaTriz7_FZghyHZN7BJC41suMIW3rTkweAtRfyc0nDJqlBR51fhBBbQ543z4JnjXqxVkeYnvaNJL7m_mbg5XxeIOP7Dthji6FWUrDvPK67Rsyu20C3-x4kC9xIdQ/
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC4Vow1j2AyexeP0O0kI1kkpT9F9ZoQ0AchlaytarieekiKDZ0QlE10U9iSxIcm7pRrzsqxfNiF_d_kXQSHDJMRwJEmygq9VDJ55IGqe79Z9zNJm3lyAMEB1kyRCxjVhT2u_PbLML3nmQ/s1600/mall_cap_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC4Vow1j2AyexeP0O0kI1kkpT9F9ZoQ0AchlaytarieekiKDZ0QlE10U9iSxIcm7pRrzsqxfNiF_d_kXQSHDJMRwJEmygq9VDJ55IGqe79Z9zNJm3lyAMEB1kyRCxjVhT2u_PbLML3nmQ/s320/mall_cap_1.jpg" width="320" height="224" /></a></div>It was one of those endless years where I kept fucking everything up. I was 25 and working at the local mall service desk for 7 bucks an hour. I was going through a phase, a really lame phase. I would get super wasted on the weekends and ask out the semi-cute females I slightly knew from my place of work. On Saturday nights and Sunday afternoons I would drunkenly stumble into them at the local and always miserable dive bars. Upon arriving at work the following Monday morning, still ridiculously intoxicated, I would slur out a half assed hello and tell them I would call in a few days. Nothing beats starting off the week with a bad case of the shakes while having to stand all day. <br />
<br />
As the week rolled on, I would dry out, never call, and pretend I had never talked to them. I would get insecure and avoid eye contact. This self deprecating cycle had no rhyme or reason. One day, king of the nighttime world, the next, a total piece of aimless shit . Spring time was coming and my confidence was in seriously bad shape. Things had changed for me since I turned 21. It felt like I had used up all the vacuous fun and the joke was on me. Anger and sadness would come and go, but most of all I was bored. <br />
<br />
Hyperactivity and boredom make for a nasty combination. I missed having brand new experiences. I missed being a slimy punk rock underdog with my slimy punk rock friends. I missed having a steady girlfriend with a steady supply of uncut cocaine. Two years earlier, back when we were together, we abruptly decided to start a casual habit because that's what successful up and comers do. Our weekends of ultra confident white noise eventually turned into weeknight binges filled with early twentysomething nosebleeds and oversexed friendships. I thought if I could restart my punk rock band, with its brief second of cult popularity, I could get my mojo back in orbit or some shit like that. I was wrong but not entirely...<br />
(to be continued)<br />
Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-29134487959454818822016-08-04T17:02:00.002-07:002016-08-28T10:44:26.748-07:00Sympathy for the Record Industry (revisit)<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGiCrnlspbZ8olLaNKX-XaFZquTbrYBUYWYpMjMSG-aKxGbP29vVOHBnirfAzIUsDF1S91ZHQufiIGJwsdqIzHRcUrmTbc22QUfrvbKF_NhQFPGJlfYsa0gciBr7wKyT023_12Q8dri3U/s1600/FullSizeRender.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGiCrnlspbZ8olLaNKX-XaFZquTbrYBUYWYpMjMSG-aKxGbP29vVOHBnirfAzIUsDF1S91ZHQufiIGJwsdqIzHRcUrmTbc22QUfrvbKF_NhQFPGJlfYsa0gciBr7wKyT023_12Q8dri3U/s640/FullSizeRender.jpg" width="486" height="640" /></a></div><i><b>November 22, 2013</b></i><br />
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<b>(F/L) My first exposure to Sympathy for the Record Industry was in 1989 when I began reading zines like Flipside and Maximum Rock n Roll. Right away, I would notice the SFTRI ads and thought “that’s a strange name for a record label”, how did underground music speak to you and inspire the record label and corresponding name?</b><br />
<br />
(Long Gone John) The name for the label came to me as I was driving down the 710 heading for L.A. to master the first record. I’m a Rolling Stones fan and it just sorta came to me as if ordained by God or perhaps it was Mr. D. I thought it was a fitting name and apropos as the record industry was an easy shoe-in for the Devil. My distributor and many others thought it should be, no sympathy, but to me it was tongue in cheek as if I could really give a shit either way. The name has served me well.<br />
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<b>I soon got turned on to the Dwarves “I Wanna Kill Your Boyfriend” 7 inch followed by Hole’s “Retard Girl”, in my perspective, these singles began to define a new era of music in the1990s, a renaissance of sorts. How did this resurgence affect you and what aspects did you like and dislike in the decade?</b><br />
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Hole almost more than anyone was a big deal for me. I’d been seeing them a lot and to me it was pretty evident that with a force like Courtney at the helm, the potential was certainly there to be a solid contender for stardom. Although I fully understand, it is near sacrilege and I risk being stoned to death in the town square, I still like her. I think she’s talented, she writes some great songs and is a real rock chick and there are nearly no rock chicks around.<br />
<br />
The Dwarves were already a well-known entity and had records out…people really liked them they were sorta the poster children for the punk movement: short fast songs, set over in 15 minutes spiced with equal amounts of abandon and legendary nudity. Blag is an incredible songwriter and he has always surrounded himself with incredible musicians. I think Blag is a little more intelligent than most and he knows how the game works and takes care of business. He is serious about his career.<br />
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<b>What I love about SFTRI to this day is the folklore and mystique that surrounds it. Who is Long Gone John?</b><br />
<br />
Well, that is a name I came up with one night when i was going to the liquor store between bands, by the Cathay de Grande. I was with my best friend. We had been in a boys home together when we were 16-17 in Echo Park. We were in the liquor store and all of a sudden he was laughing really loud I went over and he showed me some porn magazine with an article about John Holmes titled Long Dong John. The name kinda stuck in my mind and sometime that night I came up with Long Gone John. I was unaware at the time there were a couple songs that used that name, one by Tom Waits, an old field holler and a pretty great one by Louis Armstrong called Long John From Bowling Green. Anyway I was actually studying to become al tattooist at the time and thought it would be a great name for me, so the name precedes the label by 5 years or so. Nowadays I actually prefer to go by two-bit Johnny cuz after the “Treasures of Long Gone John” film came out I kinda felt that chapter of my life was over. I always attempted to make Sympathy appear as a much bigger entity than it was and because I kept a high profile with advertising and such, people were surprised to discover it was a label run entirely by one guy out of his house. I’d get calls with someone saying, “Can I speak to someone in college promotions?” or “Can I speak to someone who handles foreign press?”, I always thought it was funny.<br />
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There were stories (some of which I created) that I was a trust fund brat, that I owned slaughterhouses and that I was heavily involved in the pornography industry. Stuff like that kept people guessing and probably made me appear more interesting. The truth was I got up, worked on Sympathy all day, and if I wasn’t off to see a band at night I just watched TV. I really had a pretty insular existence. There was a rumor going around Long Beach that I had Tourette’s Syndrome cuz I cussed so much. The reality is I was just a hard worker obsessed with records, trying to make things look good and releasing records at an astounding rate. At 10 years in business, I had a catalog that equaled a release per week for every week of existence. I did eventually slow down a bit. I just didn’t know what else to do, I didn’t know how to stop. I had so many friends in bands and bands would break up and splint off into new bands and I’d get so many recommendations from people whose opinions I respected. I never went out looking for bands and rarely choose things from submissions except for foreign bands.<br />
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<b>What was your opinion then and now about artists venturing from independent label notoriety to a major label, in search of a larger audience and paying the bills with art (if possible at all)?</b><br />
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It’s an inevitable and necessary step for an artist. I don’t begrudge anyone wanting to better themselves. It’s the reason I’ve never signed contracts and I never once asked a band for any portion of their publishing. Most artists were aware they would not get rich with Sympathy and I believe most thought of it as a springboard to something else. I was fine with that, but the lack of finesse and consideration with which it was done by certain parties was a very different thing. I think someone like me who put a great deal of faith and time and money into a band deserved something if they went to greener pastures, just seems like courtesy and honor to me. It’s a tough game for the label and artist, it’ll be tough wherever they go. The sad reality is that the chances of a band making it in a big way are pretty infinitesimal at best and if they make a bit of a splash it is usually pretty short lived. I released records with over 550 bands and I think most of them do it for fun and have realistic expectations. I think they are fortunate to get a label to foot the bill to put out a record, make it look good and get it out with proper distribution. The retail market has to know about the band, find the record in a shop and then plop down their dough. It’s practically magic if those 3 things happen in succession. There is so much product out there. A glut of horrible stuff by horrible bands. It’s difficult to wade through the shit to find the good stuff.<br />
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<b>If you had to trade places with an artist/musician from any era, who would it be and why?</b><br />
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I’m gonna say Hank Williams. Of course his life wasn’t glamorous and it was very short, but he was so prolific. He must’ve written every day and found inspiration in the simplest things. His music is pure and uncluttered, he was an early American treasure, and it seems his music was very much aimed at the downtrodden and working man sensibilities. He wrote songs of sadness and heartbreak and of love and tearing things up. I have a great admiration for him for that reason.<br />
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<b>As “part of the problem since 1988”, you helped introduce the world to Billy Childish whose work ethic seemed eerily similar to SFTRI. What similarities do you see between yourself and Mr. Childish, if any?</b><br />
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Well, actually there are similarities, I think our work ethic was the same and the result is: he put out a shit load of records and I put out a shit load of records. Billy is a real renaissance man. He is a prolific performer, he is an accomplished poet and he is an artist garnering greater accolades and success as the years roll by. Billy was always gracious and thankful.<br />
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<b>The label reissued some legendary works by the Scientists, Gun Club, and Roky Erickson to name a few. Why do you think music listeners do not catch the greatness of these artists the first time around or is that the classic conundrum most artists face?</b><br />
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I think with time the important/visionary musicians will be recognized and receive the status they deserve. Truth is there are very few that really rate any longevity in the history books. The Scientists, Roky and Gun Club rate pretty damn high. I’m also very proud of the Wanda Jackson, Wreckless Eric, New York Dolls and the Suicide releases I was able to do.<br />
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<b>Throughout the decade of the 2000s, what changes were you starting to notice in modern music at the time (good and bad)?</b><br />
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I’m kinda oblivious to time frame. It’s hard to make a definitive distinction between the 1990’s and 2000’s. It’s all a blur. I do feel the quality of the bands I was able to work with did continue to get better as the years rolled by and the last records I released before I moved from Long Beach are some of my favorites, like Matson Jones, the Ettes and projects with Jack Oblivion and Greg Cartwright. There isn’t much going on right now that I care about, I’d rather listen to old music than follow new bands that are merely aping the cool old stuff at best.<br />
<b><br />
You have a sincere passion for Long Beach, as the city was heavily associated with the label and amazing bands such as The Red Aunts and the Humpers. Why is your affection for Long Beach so strong and what do you consider the“heart of the city” to be?</b><br />
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I do love Long Beach. I lived there for 25 years or so. It’s a great city. I love that it’s by the ocean and it still feels like a little town. For a while it had a couple of the best venues and that was Fenders and Bogarts so it was nice to not always have to drive to L.A. to see bands. Now, there is Alex’s and they seem to get very cool acts. I only left cuz I was tired with Southern California in general. I was born there and lived there my entire life. I needed a change and wanted to be somewhere that it rained a lot. I wanted to live in a forest on the water and I was fortunate to be able to find that. Olympia is a quiet little town and I am 7 miles from there. I’m really happy here and appreciate the beauty and solitude every day.<br />
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<b>After years of varying accounts of your artistic dealings, what are your favorite misconceptions and rumors about Sympathy?</b><br />
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Well, it’s interesting that I worked with over 550 bands and only had one legal entanglement. There are those who were unhappy, but very few in light of the total. I made mistakes. I did not however promise things I would not deliver. It’s always the ones who sold the most poorly who are certain they’ve been cheated. I had an ongoing mantra; “anyone who can handle the humiliation is welcome to go through my files at any time”. The only reason I was able to sustain Sympathy for so many years is that I had so many releases and each month I’d sell a few of these and a few of those and it would add up to something. The ones that actually generated anything beyond the expense of the original budgets were few and far between. I spent most of the money on new projects. The recent ones subsidized the upcoming ones, it’s just the way I did it. I wasn’t Capital Records, I was an uneducated record collector that accidentally started a record label. I never had an office or an employee. In retrospect I think I did a pretty good job. I did not leave any bodies in my wake and I put out a lot of very cool music that likely wouldn’t exist if Sympathy operated on any other level. I think the important thing is that the bands have left behind a legacy and there are documents that they existed. So many performers never get that and are relegated to remain in the ether.<br />
<b><br />
As founder and sole owner of Sympathy for the Record Industry, indisputably one of the most influential independent labels over the past 20 years, what made you decide to stop doing the label?</b><br />
<br />
Well, Sympathy still exists although I’ve only done a few things since I’ve been in Olympia. I released the Waldos album as an LP, as I’d only done a CD originally. I released the Ettes last album on LP as well as putting out 3 singles with them with 3 different covers and 3 different B sides. Anyone who has run a label knows that’s a suicide mission, no way to break even on a project like that. I did it because I love the band and wanted to do something special for them. If the right project crosses my path I’d consider it, but I’m not interested anymore in spending money on losing propositions. I put my time into trying to document the music I thought was cool. It was never about making money to me. It was keeping me busy, out of trouble and cultivating friends I would cherish the remainder of my life. I have been fortunate to work with some amazingly talented people. I am grateful to every one of them for sharing their creative force with me.<br />
<b><br />
What consumes your creative appetite nowadays?</b><br />
<br />
I share my home with four cats, I stare out my windows, I walk on the beach and in the forest. I go to swap meets, yard sales, antique shows when they happen. I continue to fill my life with peripheral things; toys, books, art and records. I don’t think too much about tomorrow. I sleep when I’m able and watch lots of films and TV. I’ve just published a beautiful new book, called, “The Timid Cabbage” written by Charles Kraftt and illustrated by Femke Hiemstra and I still produce projects with my other venture, Necessaries Toy Foundation. The days disappear, I never run out of things to do.<br />
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<b>-K.M<i></i></b><br />
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<b>HOLE - RETARD GIRL</b><br />
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DWARVES - I WANNA KILL YOUR BOYFRIEND<br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com1tag:blogger.com,1999:blog-4140082221799250511.post-32629016062505739132016-05-15T23:49:00.000-07:002016-05-15T23:49:22.716-07:00BLOODY KNIVES - I WILL CUT YOUR HEART OUT FOR THIS<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ66T3hKZLyIsdGpD_vZTBlJMZNR9rZj-6Mq5t8N2GVJGe-dW1otBRjqc17HgyEb02JvPymLzABsxRfoEVucjF5ESuaf36-ZscHIlvnT8adGEvYAUhTQoyrNU6tXOSDYck881JSG7Wfxk/s1600/bloody-knives-I-Will-Cut-Your-Heart-Out-For-This.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ66T3hKZLyIsdGpD_vZTBlJMZNR9rZj-6Mq5t8N2GVJGe-dW1otBRjqc17HgyEb02JvPymLzABsxRfoEVucjF5ESuaf36-ZscHIlvnT8adGEvYAUhTQoyrNU6tXOSDYck881JSG7Wfxk/s320/bloody-knives-I-Will-Cut-Your-Heart-Out-For-This.jpg" /></a></div><br />
The latest full-length release by <b>Bloody Knives</b> twists the genre of post-shoegaze into an indescribable form filled with disturbed dignity and dilated turbulence. Like a sadistic wallflower placing salt on a slug out of boredom and sheer curiosity, the result is an explosive expression of melodic noise and tortured guitars. An orchestral cocktail of <b>Christian Death</b> goth-punk and early 90s industrial-fuzz oblivion contaminates the frequencies of <b>Bloody Knives</b>’ disheveled musical world. Above all else, the band establishes themselves as an independent and original entity in the vast arena of non-mainstream rock.<br />
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With <b>S&M</b> now becoming a more popular pastime in our current culture and individual expression revealing its inherent darkness and unpredictable soul, this is the sonic equivalent of seeking pleasure through extreme behavior. Guitars that are literally scratching and tearing through overblown amplification provide a delicate oxygen that lets the echoey vocals breathe with vicious contemplation. A relentless energy shoves the blurred passages. Restless drumming and icy bass lines ricocheting back and forth. Eerie keyboards and feverish reptilian guitar lines feed the electrified neurotic crash with a soothing suicidal acid rain. <br />
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This Austin, Texas based rock mutation kicks off the record with the dread-filled hyperactive goth-punk of “Cystic”. An infectious symphony of confusion and dark harmony instantly ignites. “Blood Turns Cold” continues the macabre melodies with its syncopated heavy drumming and super fuzz distortion. Disembodied vocals and disjointed radioactive solos create a hypnotic trance laced with deadly feedback, fragments of <b>Pailhead</b> frenzy hidden in the mix. The Knives boldly display their stellar songwriting and insidious hook ability on “Poison Halo”, “Reflection Lies”, and “Black Hole”. Heavy in its chic dissonance and angst-ridden wired-punk leanings, “Buried Alive” ends this collection in a suicidal fast-tempo firebomb wall of unsettled sound, repeated listening mandatory. Every track holds its own, without filler and without apology. With the enticing nervous vibration of summer well on its way, this may be the impulsive cure you’ve been searching for to ease your pain.<br />
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<b>BLOODY KNIVES - POISON HALO</b> (video)<br />
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<a href="http://www.saintmarierecords.com/"><br />
SAINT MARIE RECORDS</a><br />
<a href="https://www.facebook.com/thebloodyknives">BLOODY KNIVES FACEBOOK</a><br />
<b><i><a href="mailto:kevinmcgovern16@gmail.com">--Kevin McGovern--</a></i></b><br />
<a href="https://www.facebook.com/FearLoathingInLongBeach"><b>FEAR/LOATHING</b></a><br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com26tag:blogger.com,1999:blog-4140082221799250511.post-48062578233635876112016-03-31T00:39:00.000-07:002016-03-31T00:39:27.630-07:00LEAVING CALIFORNIA REDUX<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpKM3JCwQ5bAimZgfrtknYleO3ZlUmNsCKLA7gvtbk7JPR3jgHzpVV-BztoTZ92h0dEAs173nk7EuGEbHxWKKasxYLphhuyNNB5JBWyPSQu5G6pExBdWgOj1Ru7wpB7eaAEKWPgPibAeM/s1600/CAL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpKM3JCwQ5bAimZgfrtknYleO3ZlUmNsCKLA7gvtbk7JPR3jgHzpVV-BztoTZ92h0dEAs173nk7EuGEbHxWKKasxYLphhuyNNB5JBWyPSQu5G6pExBdWgOj1Ru7wpB7eaAEKWPgPibAeM/s320/CAL.jpg" /></a></div><br />
<i>I originally wrote this piece almost two years ago. A few months later, I returned to California for an abbreviated stay. I deleted this entry at the time and then headed out again, and again. I currently call Las Vegas home. I would like to say that happiness comes from within, but it usually comes from whatever is in a 10-mile radius of me.</i><br />
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If I were a building, it would be a luxury high rise that rents outs the penthouse for porno. This is the death of a teenage dream: a dream that ran its long mile with brutal delusions, stuttered impulsiveness, and not-so-glamorous dares of death always in the air. The insidious narcissism and superficiality that burn bright in the Los Angeles County sky operate like an amoral compass. Something was missing in my quest for unending seediness and uncensored relationships. I was chasing an illusion, the famous one that used to lead struggling creative types to hang themselves from the Hollywood sign.<br />
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I wasn’t comfortable with the suicide thing because I have so many places and people to meet, but not in Long Beach or Los Angeles. Empty relationships are considered business or networking possibilities. All the while, you’re slowly losing your mind while trying to follow the lead of overachievers, workaholics, irritating alpha males, and poor little rich girls. I couldn’t take the loneliness of it all. What fucking happened to me? Why does purgatory seem like such a good idea? I realized I didn’t have much in common with these people or many other people in the various cities I had lived in.<br />
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I had been in and out of a bitter and twisted marriage for five years or so. I was trying to align my visions of a bloodthirsty gypsy existence with a world of heavy money, fast cars, false egos, and deadly doses of OCD. At the end of the day, my only accomplishments were primarily auspicious beginnings. But that’s just the thing, you know? Aspiring this and aspiring that, potential and possibility, pieces of an unreality that embraces you with betrayal and psychic vampires. <br />
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My psyche was maxed out, my libido was in limbo, and my passion was rotting away. I packed my clothes, records, laptop, and two guitars into my small two-door cruiser. It was time to travel into the unknown, the direction of wherever, that would be the starting point. Goodbye California and goodbye yellow brick road. Goodbye to the good times I wouldn’t let go of and the bad times I used for repetitive stagnation. Goodbye to the dreams of living in a Bret Easton Ellis novel and goodbye to the imaginary city that should’ve been overcrowded with classy decay and punk rockers worshipping at the altar of the Masque. <br />
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It all made sense as I finally crossed the California state line to depart into the future. Those ambitions and goals were based upon someone else’s scene, someone else’s memory, and someone else’s retelling of history. I have my own history, my own memories, and my own scene. My own scene is whatever I want it to be, and it exists when it’s supposed to. I’m a slacker, a writer, a musician, sometimes-scumbag, and I have some of the coolest friends in the world. You can react to reality or create your own. I like unknown destinations and my favorite place to live is between somewhere here and somewhere there. <br />
<i><b>-Kevin McGovern--</b></i><br />
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<iframe width="560" height="315" src="https://www.youtube.com/embed/Kz1GxLXlqy4" frameborder="0" allowfullscreen></iframe>Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com1tag:blogger.com,1999:blog-4140082221799250511.post-986364725123750122016-03-15T00:39:00.000-07:002016-03-15T00:39:00.728-07:00EUREKA CALIFORNIA - VERSUS (INTERVIEW-VIDEO-REVIEW)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEVPWD5n1EajjZck6Eb4lPUN5B8b77IHnquFiKNBHG7MOIry0YQaaRwJnWCM_OvO_8lE6vaRVA-Cjr2ej5vqGpgmFqpurKSYei7MF79kWCerQTgnOX0kmIWnVqzSssU36Oz1teFgNfHYs/s1600/EUREKA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEVPWD5n1EajjZck6Eb4lPUN5B8b77IHnquFiKNBHG7MOIry0YQaaRwJnWCM_OvO_8lE6vaRVA-Cjr2ej5vqGpgmFqpurKSYei7MF79kWCerQTgnOX0kmIWnVqzSssU36Oz1teFgNfHYs/s320/EUREKA.jpg" /></a></div><br />
<b>Eureka California’s</b> <i>Versus</i> is the underground breakthrough album this decade has been waiting for. Clever and cunning in its deconstruction of personal ambition and self-destruction, a ringing distorted blast of cerebral rock smashes and scorches its way through dead-end jobs, insidious self-doubt, the dumbing down of our population, and bureaucratic hypocrisy we all endure every day as we watch our future slip away. Harmonious anarchy and chic songwriting stubbornly co-exist in a collection that plays like a “greatest hits” album of a legendary cult classic. Fortunately, every song is brand new on the third full length by this Athens, Georgia duo. The introverted punk-pop of <b>Superchunk’s</b> <i>On the Mouth</i> does a futuristic dance of death with early <b>Violent Femmes</b>. Over caffeinated self-awareness and <b>Big Star</b> style chord phrasing are amplified to the point of no return among the devious tempos of these short but bittersweet snap shots of the human condition. A huge wall of distorted guitar reigns supreme with tasty splashes of reverbed vocals and sleek single noted rhyme. “Sign My Name With An X”, “Sober Sister”, and “Cobwebs On the Wind” rock fearlessly with the jagged grace of <i>Kryptonite</i>-era <b>Gaunt</b>. The acoustic numbers, “Everybody Had A Hard Year” and “Fear and Loathing In The Classic City”, are unforgettable twisted reflections of disillusionment and solitude. The new <b>Five Easy Pieces</b>: <b><i>Five out of five stars</i></b>. <i>The future is here and the time is right for getting blackout drunk in the street.</i> (release date March 25, 2016) Keep scrolling to see their premiere video and read the interview we just did last week...<br />
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<b>VIDEO PREMIERE: EUREKA CALIFORNIA'S NIGHT IN</b><br />
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<b>INTERVIEW WITH EUREKA CA's Jake Ward and Marie A. Uhler:</b><br />
<i><br />
What made you decide to go with the band name “Eureka California”?</i><br />
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<b>J: It sounded like a good name and I had to call the band something. However, a lot of people get confused or assume that we’re from California... so, ya know, I’d probably rethink it if we were starting the band now.<br />
</b><br />
<i><br />
Why do you think people feel so hopeless and isolated in 2016?</i><br />
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<b>J: Trump is ahead in the polls. King of the Hill isn’t on Netflix. You can work a full time job (40 hours a week which is already ridiculous), have a degree and still just skate by above the poverty line. You’re only as good as your Instagram account. But it’s really easy to get hung up on the negative. Glass half full, glass half empty, glass is broken and water is everywhere.<br />
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M: You can work full time, not get benefits, have multiple degrees, and live below the poverty line. I love how social media can connect us, and I really love seeing photos of everyday life stuff from my friends and family I otherwise wouldn’t get to see, but it does make you compare yourself to people a lot of the time, unintentionally. I think people feel pressure to always put their best face forward, and when you never see people having a bad day, it can make you feel even more isolated if you’re having one. But everyone has bad days, everyone struggles with something. Those should be as acceptable to talk about as successes.</b><br />
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<i>I’ve been listening to your latest record “Versus” non-stop, it feels more aggressive in its musical attack and lyrical content. How did the recording and writing of these songs come together?</i><br />
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<b>J: The recording was like a dream. We recorded it at Suburban Home with MJ and it was such a pleasure to work with him. Honestly. I really can’t say enough great things about the experience. We recorded it in about 4 days after coming off a two week tour of the UK. It took a lot longer, obviously, to write the record. I think we started writing around the summer of 2014? I remember there were periods where it seemed like nothing was coming together and then we’d have days where something great would pop up out of nowhere. “Realizing Your Actuality” spontaneously came together during practice and the whole thing was written in about 30 minutes. But then things like “Sober Sister” took about 6 months to really get to where it is now. “Another Song About TV” is another one where it was written but it really changed after we started playing it live. I consider that an extension of writing. The songs don’t really reach their potential until we’ve played them in front of people.<br />
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M: This one was a bit weird because we had a deadline on when it had to be finished, and we only had a maximum of five days in the studio. We recorded it in Leeds and we going to the UK to play a festival, so the dates were set in stone for a long time. It was a big change from recording in whatever house one of us lived in where we could be loud. MJ was amazing and the nicest person to work with and spend time with and knew exactly what to do to make things sound the best way possible. He is so talented. While we were in Leeds and afterwards we couldn’t stop talking about how wonderfully dreamy the recording process was.</b><br />
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<i>Is the slacker lifestyle an influence on your music and personal lives?</i><br />
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<b>M: I don't really identify with being a slacker, except maybe sometimes it's hard to devote 100% of my attention and focus to what I'm working on in the moment, even if it's music, or leisure time or something for fun. We both work multiple jobs and struggle to make ends meet. Usually at any given moment one or both of us is over-caffeinated and trying to do a million things at once.<br />
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J: I don’t consider myself a slacker but lately I’ve enjoyed being labeled ‘Slack Rock’ so go figure. We’re constantly working, whether be that on the band or at either of our multiple jobs. I personally don’t see anything slacker-ish about the band or our music.<br />
</b><br />
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<i>What are the pros and cons of self-destruction in your opinion?</i><br />
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<b>M: I guess the biggest pro of self-destruction could be an opportunity of re-birth.</b><br />
<i><br />
What types of personalities bore you?</i><br />
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<b>J: Opportunists, cynics, and Carolina Panthers fans.</b><br />
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<i>The band writes some extremely catchy hooks that are super addictive, what influences your songwriting and is it usually a fast or slow process?</i><br />
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<b>J: Really it’s influenced by everything - books, movies, television, other music, conversations, mishearing lyrics, etc. You kinda just take everything in and never know what it’s going to be that influences you. You just have to keep your eyes peeled. It really depends on the song with how fast it takes to write. “Cobwebs”, “Hard Year” and “Potomac” were all written in the same afternoon. However, “Fear and Loathing” took a while to write and rewrite. I spend a lot of time on the lyrics and pride myself on those. Still, the songs don’t really take life until we play them together. With the music, we take an economic, no-frills approach. We won’t repeat a part just for the sake of repeating it or making a song longer. I think self-editing is very important.</b><br />
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<i>Do you get pissed off when people say things like “music is dead’ and “new music sucks”?<br />
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<b>M: In Athens I don't really hear that a lot, but I think people that say those things aren't really listening to what's around them. Now you can internet search any combination of genres or words and find multiple bands and artists that you've never heard of, that are making music now, or maybe made one album a few months ago and stopped, or maybe just put a song on Bandcamp every once in awhile...there are so many people doing so many things. You can walk down the street here or in any city with a music scene and see any kind of band any night of the week. Maybe it's not all to your liking but every imaginable and unimaginable genre has never been more accessible for listeners or artists.<br />
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J: Not really. I think when people say things like that it’s just incredibly narrow-minded and it’s actually easier to just write those people off. It’s a huge, wide-sweeping, misinformed generalization and, ya know, who has the time to put up with that? Every generation has had people who are like “what is this shit? I’m telling you, music hasn’t been good since…(insert: George Gershwin, Elvis, The Beatles, The Supremes, The Smiths, Public Enemy, Led Zeppelin, Pink Floyd, The Spice Girls, Nicki Minaj, etc).” I don’t really pay it any attention. I work at a local music venue and at one show, a very drunk gentleman came up to me and was like,“This sucks!” All I could say was, “Why’d you pay to get in?”<br />
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<i>“Fear and Loathing in the The Classic City” has some of the greatest lyrics I’ve heard in a long time. What’s the story behind this awesome song?</i><br />
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<b>J: First off, thank you! That’s really nice of you to say. It started off with the “I’ve got no time for Eureka California” line which was all it was for a long time and that was just me trying to mimic Brand New. After a few weeks, a John Cale reference, a lot of coffee and some chord changes, I had the final version you hear on the record. I would work on it almost every night until I had all the words/chords exactly as I wanted them.</b><br />
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<i>You have a ton of live gigs coming up in many different cities. What do you like about touring and what are the biggest problems you face when touring?</i><br />
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<b>M: I love touring. I love playing a show every night, which you can't really do in one place, so you have to tour to do that. Seeing new places and meeting new people is wonderful, and returning to the places that are good to you is wonderful too. I love seeing new bands every night and not knowing what to expect. It's interesting to see which places start to feel like a second home after awhile.<br />
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J: I have a lot of fun touring. Getting to meet new people, travelling to different places every day, trying new food, going to museums, seeing the world. I can’t imagine being in a band and not touring.<br />
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M: Booking is hard and as a two-piece, being around one other person 24/7 can be challenging, no matter how well you get along. If it wasn’t worth it we wouldn’t keep doing it.</b><br />
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Any plans to hit Vegas (where I live) or the West Coast in the future.</i><br />
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<b>M: We have only been out to the west coast twice and are trying to plan our next time. If you know anyone that puts shows on in Vegas we would love to play there.</b><br />
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<i>What do you think about the retro 90s movement and did the music of that decade have an influence on you?</i><br />
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<b>J: I grew up in Raleigh and got really into bands like Superchunk and Guided By Voices in my teens. Still that was in the early 2000s, but you get the idea. I was 12 in 1999 and wasn’t really into music at that point -- or was just starting to get into it and then it was mostly Black Sabbath and Metallica. I’m definitely enjoying it though and I’m being exposed to artists that I definitely missed out on the first time around.<br />
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M: I'm really into it. I grew up in the 90s but I was a little too young to participate in a lot of aspects of the culture at the time -- plus I lived in a very rural area with kind of strict parents. I wasn't allowed to watch PG-13 movies or listen to the same music everyone at school did and I wore a lot of hand-me-downs. But I was really into The X-Files. It is fun to have an opportunity to participate in certain things that I wasn’t able to the first time. We had a Superchunk cover band for a hot minute and played in a 90s cover band with a couple of our friends called the Clinton Years. Post-90s I’ve really enjoyed listening to The Breeders, Superchunk, The Amps, Throwing Muses, Guided By Voices, and everything I had only heard of or missed or didn’t get enough into before.</b><br />
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<i>Last question: What are your top three favorite albums of all time and why?</i><br />
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<b>J: 1. <i>The Who - Quadrophenia</i><br />
It was 2001. I was 13 years old at a Turtle’s music. My dad held up this record and a Frank Zappa album. He said I could pick one. The record I chose was Quadrophenia and it started my absolute obsession with The Who. I remember, being bored in class, writing out the words to “Sea And Sand” all over my notebooks. I would blast “The Real Me” from the passenger seat. I remember riding the buses in college, with nowhere to go, and just listening to “I’ve Had Enough” on repeat. This was probably the first record I ever owned that had me completely captivated. In fact, Pete Townshend is one of the biggest reasons that I even play guitar. I’m 28 now and still fucking love this album.<br />
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2. <i>Titus Andronicus - The Monitor</i><br />
I slept on this record for a long time. It’s funny thinking about it now because when this finally clicked, I fell for this album hard. Initially I was put off by the name of the band. Then I remember finally listening to “A More Perfect Union” thinking it was good and then for whatever reason, I didn’t listen to the rest of the record. I would just listen to that song on repeat and then move on to something else. Finally I sat down, listened to it in it’s entirety and was blown away. The writing is top notch and I identified with this record on so many levels. Then Mike (at HHBTM records) got me The Monitor on vinyl and I fell in love all over again. I know for a fact that I drove Marie insane constantly playing this record on the road. In fact, “The Battle of Hampton Roads” was my go to anthem for the drive home after tour. I consider this one of the most uniquely ‘American’ records ever made along with Camper Van Beethoven’s Key Lime Pie.<br />
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3. <i>The Damned - Machine Gun Etiquette</i><br />
In my humble opinion this is the best ‘punk’ record of all time. What’s not to love?<br />
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M: I never have a running list of my favorite anythings at any given time so here are three that come to mind:<br />
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<i>Sleater-Kinney - Dig Me Out</i><br />
This was the first Sleater-Kinney record I ever heard and I felt kind of uncomfortable hearing it. But I couldn’t ever stop listening to it, and now it’s one of the most comforting things for me to hear, and that circle of how I feel about this record is reflective of how I felt and feel about a lot of other things...it was ideal timing for it to come into my life. There isn’t a time I don’t want to listen to this record. I’ve blasted it in the car, I’ve yelled the words, I’ve learned the drum parts, I’ve cried to it, I’ve shared it with anyone I could get to listen, I think it’s perfect.<br />
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<i>Simon & Garfunkel’s Greatest Hits</i><br />
I feel like this is a weird thing to have here but for a long time when I bought my van I only had two cassette tapes for it -- this and Purple Rain (which I also love), which I found together at a thrift store that only had one tiny box of cassettes. So I’ve listened to it over and over and over again. It’s currently been on repeat in the van for over a month. It contains every feeling. I keep coming back to it. It’s a great album to listen to while driving around America.<br />
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<i>Cowtown - Dudes Versus Bad Dudes</i><br />
The first time I heard this record I was absolutely blown away. I couldn’t stop talking about how amazing it was while listening to it. I took it home and listened to it on repeat, and listened to it at work on repeat, and in the car, and while walking around town, for months and months. When I put it on it’s hard to take it off. I think all the songs on it are outstanding. And really good artwork. It’s so catchy and the drums are ridiculous. We kind of tried to cover one of the songs once and it was, um, a fun challenge for me.</b><br />
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<b><i><a href="mailto:kevinmcgovern16@gmail.com">--Kevin McGovern--</a></i></b><br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-29521589506396119262016-03-08T00:43:00.000-08:002016-03-08T00:43:08.008-08:00NEW PLANET TRAMPOLINE - DARK RIDES AND GRIM VISIONS<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDnb2eSETmxP49E7jG4vl5tY7ik46NL9Nqvxeuy4OWDtjAy3DkcB55tXagDL9-CnzsyqTokKzQuY8ln0PNcftb2bvXqRmjNLRdh2J_W0dDPzHOOlr4E9nXU7Hn1tRSR8Jfkpr0sOQgOv8/s1600/new+planet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDnb2eSETmxP49E7jG4vl5tY7ik46NL9Nqvxeuy4OWDtjAy3DkcB55tXagDL9-CnzsyqTokKzQuY8ln0PNcftb2bvXqRmjNLRdh2J_W0dDPzHOOlr4E9nXU7Hn1tRSR8Jfkpr0sOQgOv8/s320/new+planet.jpg" /></a></div><br />
<i>It was all just a dream. It was only a movie. No one was watching you that closely. The psychedelic burn that comes with the fever of living never seems to reveal the unexpected twists that land us in the future we never saw coming. 2008 was a bizarre year for me, filled with animalistic inebriation and pharmaceutical elation, feeling completely secure while losing myself in the sparkling purgatory of Southern California. That time eventually passed and the reliable decadence of Las Vegas became my new artificial high a year ago. In 2008, the birth of a new cosmic psychotropic symphony was taking place in Cleveland, Ohio. Almost a decade later, it is finally complete and its DNA mysteriously altered by the strange times that have passed.</i> <br />
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<i>Dark Rides and Grim Visions</i> is a fantastic voyage through hedonistic hallucinations, euphoric black holes, and the unpredictable shades of gray that live within the human condition. <b>New Planet Trampoline</b> wants to expand your mind, disintegrate your perception, and infect you with capricious lysergic rock heavily drenched in psychedelic double vision. The unhinged soul of <b>Syd Barret</b> seethes through this vinyl maze of calming acid rock madness. Vibrating <b>Manzarek</b> organ lines and reverb-singed vocals spin like diabolical clockwork feeding off the ruins of <b>Pink Floyd’s</b> <i>The Piper at the Gates of Dawn</i> and <b>Second Hand’s</b> <i>Reality</i>. Guitars spin in and out of orbit while the hyper-focused rhythm section adds a spark to the themed compositions with creative tempo changes and gritty garage rock dexterity. The band exists in many dimensions on this double album, floating through psychedelic pop, avant-garde garage, and primal progressive rock. The artwork of the gatefold packaging on this double LP is just as intriguing as its contents… tune in and drop out. <br />
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<iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=3764306257/size=small/bgcol=ffffff/linkcol=0687f5/track=2006392324/transparent=true/" seamless><a href="http://newplanettrampoline.bandcamp.com/album/dark-rides-and-grim-visions">Dark Rides and Grim Visions by New Planet Trampoline</a></iframe><br />
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<a href="http://www.stowhouserecords.com/"><br />
Stow House Records</a><br />
<a href="http://www.newplanettrampoline.com/index.html">New Planet Trampoline</a><br />
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<b><i><a href="mailto:kevinmcgovern16@gmail.com">--Kevin McGovern--</a></i></b><br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com1tag:blogger.com,1999:blog-4140082221799250511.post-11007138454267238062016-02-25T01:28:00.000-08:002016-02-25T01:28:03.363-08:00WITCHING WAVES and GREAT LAKES<i>The lingering stale smoke of haunted hotel rooms and doomed romance share a beautifully tragic quality, the same backwards on/off switch that resides in serrated sunrises and elusive sunsets. Heavy emotions and hollow memories swaying in an obscene motion while creating more questions than answers. Who else has stayed here? Why do I feel chained to something that I despise? Why do I keep returning to this place? Disheveled reflections and an aggressive unease saturate the latest releases by Witching Waves and Great Lakes. Mental music, expanding and contracting, painting complex electric portraits that disintegrate when touched.</i> <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqgIcDwL6_rkWSD8b9ZISIPHMsQFPMjPU4TVuNdyQJTRntpf_LIodp-Ln02H1g7dCGpcVIJYa-WGif2sHQk3t7JQC9pzNS8va5ACqAKfn43ewZaeHA_rWbQVp13VoY3JzK16KP8Hf5OYc/s1600/Witchingwaves143sleeve.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqgIcDwL6_rkWSD8b9ZISIPHMsQFPMjPU4TVuNdyQJTRntpf_LIodp-Ln02H1g7dCGpcVIJYa-WGif2sHQk3t7JQC9pzNS8va5ACqAKfn43ewZaeHA_rWbQVp13VoY3JzK16KP8Hf5OYc/s320/Witchingwaves143sleeve.jpg" /></a></div><b>Witching Waves</b> – <i>Crystal Cafe</i> (HHBTM Records)<br />
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<b>Witching Waves</b> bash the bleak mid-decade slump with raging pristine minimalism and slithery post-punk tunefulness on their latest creation <i>Crystal Cafe</i>. This album grabs you by the throat and doesn’t let go. The pounding tribal punk beats, chunky bass lines, and scratched fuzz guitar lay the foundation for the insanely catchy noise pop vocals of drummer <b>Emma Wigham</b> and guitarist <b>Mark Jasper</b>. Aggressive art punk and experimental garage noise collide, creating a new animal born of anger, despair, and frustration. The grungy symphonic grind of <i>Pink Flag</i> era <b>Wire</b> blends into the white-hot intensity of early no-wave and <b>Vaselines</b> grandeur on this 11 track full length of manic rock meditation.<br />
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Heavy with hooks and rawboned single noted phrasing, tracks such as “Twisted”, “Seeing Double”, and “Make It Up” deliver pleasantly eardrum-piercing candy. The intense and deliberate detachment in “Pitiless” and “Flowers” offers a somber detour into the band’s more introspective moods. The red-hot single off this collection is the irresistible and unnerving “The Threat” with its new-wave inspired melody and sophisticated dirty pop production. This is one of my favorite albums of the year so far and definitely a worthy addition to your vinyl or digital library. If the end of the world sounds this good, I hope that it comes tomorrow. <br />
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<b>WITCHING WAVES – THE THREAT</b><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-JbNmWoxpUs1em-pfTdaKaDtXnZaZdnnnwzAsaxOhN-Jg4YjB_oumbQMv_4iv58xl3nrZjnUaZQE5RwQmPZOT4ldRXzi-oakDUCW1WnvBVCwMFO42PJyAlWQPiPA1khNKz_k8fT6y1Ok/s1600/great+lakes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-JbNmWoxpUs1em-pfTdaKaDtXnZaZdnnnwzAsaxOhN-Jg4YjB_oumbQMv_4iv58xl3nrZjnUaZQE5RwQmPZOT4ldRXzi-oakDUCW1WnvBVCwMFO42PJyAlWQPiPA1khNKz_k8fT6y1Ok/s320/great+lakes.jpg" /></a></div><b>Great Lakes</b> – <i>Wild Vision</i> (Loose Trucks)<br />
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<b>Ben Crum</b>, with his latest incarnation of the long running <b>Great Lakes</b>, mischievously remodels <b>Wilco’s</b> <i>Sky Blue Sky</i> with the subtle abandon of <b>Whiskeytown</b>. The singer-songwriter sheds the psych-folk of earlier releases in favor of a darker roots rock approach sprinkled generously with whispered indie intensity. An uplifting melancholia guides the exposed mid-tempos and edgy alt-country ballads. “Swim to the River” and “Kin to the Mountain” demonstrate a firm grasp of mid-70s <b>Neil Young</b> and <b>Rolling Stones</b> country tinged laments. “Bird Flying” and “Blood on My Tooth” are notable standout tracks, extended harmonies fueled by decadent chord changes and brooding percussion.<br />
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“Wild Again” perfectly captures the essence of this record with its hallucinogenic slow burn and sweet but bitter psychedelic country choruses. Vibrant but low-key female harmonies accentuate Crum’s unique understated vocal delivery throughout this collection of song, adding to the strength of the refrains and nuanced transitions. <i>Wild Vision</i> is a warm reinvention of Crum’s subliminal artistic vision, every song a crucial component in its soothing shadowy stroll. <br />
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<a href="https://www.facebook.com/Great-Lakes-127699500611431/">Great Lakes Facebook</a><br />
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<b><i><a href="mailto:kevinmcgovern16@gmail.com">--Kevin McGovern--</a></i></b><br />
<a href="https://www.facebook.com/FearLoathingInLongBeach"><b>FEAR/LOATHING</b></a><br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-7991235419343700742016-02-19T00:41:00.000-08:002016-02-19T00:41:42.332-08:00SUSAN SURFTONE - 2016 SINGLES<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqsT-EMz5MXtbdrjUIFu1HlK2q6MNbKVD3wSZqwdjt3cskl07tJQuExIfKOBdaqYsFUIlhfw8cvR3fU78A16xIzsNLQ2luZhQusm7xvPe1dx3g02CQeW_M6KMaIkjSGkp7BFq-pUhnooM/s1600/Little%252520Bit%252520Lied%252520To%252520cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqsT-EMz5MXtbdrjUIFu1HlK2q6MNbKVD3wSZqwdjt3cskl07tJQuExIfKOBdaqYsFUIlhfw8cvR3fU78A16xIzsNLQ2luZhQusm7xvPe1dx3g02CQeW_M6KMaIkjSGkp7BFq-pUhnooM/s320/Little%252520Bit%252520Lied%252520To%252520cover.jpg" /></a></div><i>I love the feeling of driving through dimly lit desert roads late in the night. A hallucinogenic purity fills the air, as it pulses through the mind creating attractive patterns of confusion and secrecy. The endless road going on and on, like the waves crashing where I used to live. A steady stream of jangled rhythm that rewrites itself whenever the mood strikes and the timing is right. As always, my mobile soundtrack is essential. I got lost along the way. I didn’t mind and I didn’t forget the cool new sounds that were coming out of my car stereo speakers.</i> <br />
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The swift beat of loose spontaneity cracks the frozen ground of preconception on the two latest singles by legendary surf guitar maestro <b>Susan Surftone</b>. As a leader in the third wave surf revival, beginning in 1995, she continues to boldly venture into areas not commonly visited by surf guitar purists. With a love of 60s garage rock and 70s NYC punk, it’s obvious why Surftone has a renegade attitude when it comes to making instrumentals that rock and songs that madly swing.<br />
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Brimming with a mysterious musical sexuality and grooving in a hot cold trance, “Little Bit Lied To” is an exceptional single. Combining the suave grit of <b>Mink DeVille</b> and the earnestness of <i>Broken English</i> era <b>Marianne Faithful</b>, this surf-wave pop bomb keeps the melody flowing with a rocking staccato backbeat. Susan’s vocal performance on this number is instantly memorable with its sweetly detached and punky delivery. <br />
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“ShadowLand” kicks out the jams with an unapologetic <b>Thunders</b> style six-string aggression that rides a rockabilly wave of bouncy percussive bashing. Spastic and fun, this titillating track flies by way too fast. A nice and volatile slice of surf-garage finesse combined with punk purist simplicity. Both of these singles complement each other by accentuating the different dimensions that always make any Susan Surftone release a required listening experience. These singles are now available on her official site. Support independent music and check out her unforgettable live show when she comes through your town. <br />
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<a href="http://www.susansurftone.com/">SUSAN SURFTONE OFFICIAL SITE</a> <br />
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<b><i><a href="mailto:kevinmcgovern16@gmail.com">--Kevin McGovern--</a></i></b><br />
<a href="https://www.facebook.com/FearLoathingInLongBeach"><b>FEAR/LOATHING</b></a><br />
Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-63929377248003716732016-02-18T00:33:00.001-08:002016-02-18T00:33:51.515-08:00RADIOHEARTS - TELL YOU<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw7PJxE6kST7i1bIkY4QwUEG66AUwHuR3XPzdhqaeizEdTVFOd29SSeK-fsN_YKT9LLnOGE8RevTrRdLlLgbof7qgxxUK-p8ZIGVd_Hlw9DXG00hn4Wl-zYqSo_SUe5-2-gJgm8aHferE/s1600/radio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw7PJxE6kST7i1bIkY4QwUEG66AUwHuR3XPzdhqaeizEdTVFOd29SSeK-fsN_YKT9LLnOGE8RevTrRdLlLgbof7qgxxUK-p8ZIGVd_Hlw9DXG00hn4Wl-zYqSo_SUe5-2-gJgm8aHferE/s320/radio.jpg" /></a></div><i>With heroin overdose deaths beginning to reach levels of the AIDS epidemic at its height, I can only come to one conclusion, people are seriously bored in the USA. I don’t blame them. I totally understand that there is nothing fun about paying bills and planning your own cost-effective funeral. Where have all the good times gone? Brilliant minds ignored while the nauseating cycle of political sloganeering takes center stage. Winners and losers, black and white, and an ornery public obsessed with emphatic expression about nothing.</i> <br />
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During times like this, the brightest people I know use this opportunity to dive into their passions, their art, their music, and their dreams. Uncertain times are a fertile ground for the creative mind and its temperamental disposition. I’ve had a severe craving for some raw garage power pop and the <b>Radiohearts</b> are the best dealer in town. Back with a new EP after just releasing the scorching <i>Lot to Learn</i> EP a few months ago, this masterpiece of garage pop art insidiously crashes the backyard party of underground music, burning bright and burning fast.<br />
<br />
“Tell You” kicks off the festivities with its revved up <b>Barracudas</b> meets <b>Modernettes</b> uppercut. Gnarly single noted riffs and crunchy string amplification crackle and spin. The production packs a severe solidity lacking in most modern garage creations. “So Low” follows next with its <b>Top of The Pops</b> hit single sounds, haunting the earbuds with the ghost of <b>Buddy Holly</b> and the hyper angst of the <b>Nerves</b>. <br />
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The rhythm section of <b>Jason Cordero</b> and <b>Mike Yager</b> locks in tight with a thunderous boom and snap that gives this record an addictive underlying rumble. “My Heart Has an Obituary” masterfully highlights how the bass and drums play a huge role in the controlled recklessness of the band’s hook-filled compositions. “Who Are You?” wraps up this quick fever of classy madness with the surefire guitar interplay of <b>Ed Stuart</b> and <b>Tony Ferralez</b>. The glue holding the heart of the Radiohearts together is the unique croon and snarl of vocalist Ed Stuart. An ambitious and appealing urgency shines in the vocals throughout these tunes. This is the band’s second release on the infamous <b><i>No Front Teeth Records</i></b>. These Long Beach boys are moving fast and with their current momentum, I can’t wait to see what’s coming next. Vinyl is limited to 300 copies, sleek colors and two different covers, so move fast. <br />
<iframe style="border: 0; width: 400px; height: 274px;" src="https://bandcamp.com/EmbeddedPlayer/album=2955651489/size=large/bgcol=ffffff/linkcol=333333/artwork=small/transparent=true/" seamless><a href="http://radiohearts.bandcamp.com/album/tell-you">Tell You by Radiohearts</a></iframe><br />
<br />
<b><i><a href="mailto:kevinmcgovern16@gmail.com">--Kevin McGovern--</a></i></b><br />
<a href="https://www.facebook.com/FearLoathingInLongBeach"><b>FEAR/LOATHING</b></a>Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-1054810716579480622016-02-03T02:05:00.001-08:002016-02-03T12:24:14.984-08:00RETRO INTERVIEW: SCOTT "DELUXE" DRAKE<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtbC6SiqawMckhXmDTF26DqnjpPSr2YWTxoaghDvWsTpZNLUKTWU2wizrGd5IwfQoaxgVdWVtLsLtiW7UpPpDpSGRunJyCE65e3p2m4TpJSwDXCdQMxZc5cBiswfrA6_suHR2uj_0ENb4/s1600/drake.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtbC6SiqawMckhXmDTF26DqnjpPSr2YWTxoaghDvWsTpZNLUKTWU2wizrGd5IwfQoaxgVdWVtLsLtiW7UpPpDpSGRunJyCE65e3p2m4TpJSwDXCdQMxZc5cBiswfrA6_suHR2uj_0ENb4/s400/drake.jpg" /></a></div>I was first introduced to the <b>Humpers</b> courtesy of a feature in <b>Flipside</b> magazine in the early 1990s. What caught my interest was the comparison to the <b>Dead Boys</b> and the action packed photos of a drunken live set that seemed unreal at the time. I was only getting my fix of garage rock n roll through reissues that were coming out, of bands that no longer existed. Other than that, it was an underground world filled with <b>Fugazi</b>, <b>Screeching Weasel</b>, and math rock hardcore bands taking up space in my favorite zines. This sound and intoxicating wildness was something I craved and when I got ahold of <i>Journey to the Centre of your Wallet</i>, I was officially hooked. <b>Scott “Deluxe” Drake</b> was the charismatic front man that held this loaded gun of a band together. The <b>Humpers</b> ruled the 1990s garage scene and became bigger with their signing to the Epitaph label. As the decade ended so did the band. Drake continued with the <b>Vice Principals</b>, an impressive solo career, and his latest and greatest, the <b>Lovesores</b>. The following is an interview I did back in the summer of 2014 for Fear and Loathing LB magazine. This is the official digital blog reissue of that interview, one of my most enjoyable too. -KM<br />
<br />
<i>What was your first experience with the LA music scene and what led you to start playing guitar and singing?</i><br />
<br />
SDD: Well, like most people, I started out as a fan, buying records and going to gigs. I moved to Southern California in 1980 (from Central California), so it was a great time for music. Black Flag, X, Adolescents, Weirdos, Flesheaters, Social Distortion, etc etc etc. There were so many great bands. I sang with a band in Merced called RH Factor, but we only played live one time at an Air Force party. The first band I joined in SoCal was The Naughty Women in 1983, playing guitar,barely hahaha. I joined them because I liked that they were a cross between punk and glam (not Sunset Strip style glam, but 70’s trashy stuff like Dolls, Stooges, Runaways, etc).<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGrG4a5gVit8hUeRAbafJCPL9vVFpi6Oj3-G0igi5FCBANnV0ICwVkyETe5crGGxHwowlnPnjEUySsL0qwDVKj_O4it8-4Pf53NJBvBQFgZCJwBDSN85W-lPpeZjlWNNasE-p7aTFxyF8/s1600/kings.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGrG4a5gVit8hUeRAbafJCPL9vVFpi6Oj3-G0igi5FCBANnV0ICwVkyETe5crGGxHwowlnPnjEUySsL0qwDVKj_O4it8-4Pf53NJBvBQFgZCJwBDSN85W-lPpeZjlWNNasE-p7aTFxyF8/s320/kings.jpg" /></a></div><i>What was the atmosphere like at the time… filled with debauchery, exciting, or dull?</i><br />
<br />
Suicide Kings started around 1984, after Naughty Women broke up. Mike Crescione (guitar player from Naughty Women) and I started it. The scene itself wasn’t debauched, but The Suicide Kings certainly were! Around that time most groups were either playing Hardcore or trying to be Red Hot Chili Peppers, so there weren’t a lot of punky rock and roll bands around, especially not in OC. We were based in Stanton.<br />
<br />
<i>I was first introduced to the Humpers through your landmark album “Journey to the Centre of your Wallet”, how did the band form and what was your favorite early release?</i><br />
<br />
The Humpers started when I broke up Suicide Kings. A couple of the guys were really strung-out and we just weren’t moving forward. I wanted to do something more high energy musically as well. At first, I intended The Humpers to be all new people, but Jeff Fieldhouse came over to my place and said PLEASE let me be in this new project,so I said okay, which is one of the best decisions I ever made! We met Jimi Silveroli through a mutual friend (I think it was Kerry Martinez?) and Jimi had no background in punk rock at all, he was into Rush and stuff like that, but I guess he had fun playing with us, because he ended up drumming with the Humpers for good. <br />
<br />
Billy Burks we got through an ad in The Recycler (the only time that THAT ever worked) and on bass at first we had Jaybird Blake, who became another drug casualty…and then Billy’s friend Mitch Cartwright took Jaybird’s place. We picked-up guitarist Mark Lee alongside the road in Sioux City, Iowa. He was a stowaway hahaha. I didn’t really like many of our early recordings to be quite honest. I’m very self-critical, the songs were good, we just didn’t know what to do in the studio. I don’t think we really started to get into a recording groove until “Journey…” which was our 3rd LP. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp5jsbNi7f-yFwanIMpszhmvbNuhvdU6lu1KhE0yLAymWPnKMJS8nC7wJxLNVvyFt76NvdZGe_Ytpma_aTtpkGBancRDGXJLBLcDMoOqzOO9S1Cj6kqyo2SOLL8RFFpLIf7olJ6cYhpSk/s1600/journey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp5jsbNi7f-yFwanIMpszhmvbNuhvdU6lu1KhE0yLAymWPnKMJS8nC7wJxLNVvyFt76NvdZGe_Ytpma_aTtpkGBancRDGXJLBLcDMoOqzOO9S1Cj6kqyo2SOLL8RFFpLIf7olJ6cYhpSk/s320/journey.jpg" /></a></div><i>I remember seeing the band early on, on tour in Philadelphia playing to a small crowd and at the end; you were playing to packed houses. What do you think led to the band’s rise to mass underground popularity?</i><br />
<br />
I think we appealed to a wide range of people. We always wanted to be “inclusive”. Like, if you like loud guitars with memorable riffs, 3 chords, maybe some funny / smartass lyrics, you’ll like us. You don’t have to dress a certain way, or have any certain politics, all you need is a love of high-energy rock and roll, and a few drinks probably helps.<br />
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<i>After being signed to Epitaph, the band went into the studio and re-recorded fan favorites from past albums, what made you decide to redo certain songs?</i><br />
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Well, the LPs we put out before only pressed 1 or 2 thousand copies, Epitaph was pressing 40,000. So the vast majority of people who bought that LP had never heard us before. We figured it would be wise to stack the thing with our best songs.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-GnmwmGfUGkPfka6TQTwDKs0hzml9Tzs_jNLEo7BABIrZ2NWbNBiIPFiuEmKlVa6twT92eeS1gflx48gPhJkhwERNXIQxfT-k9z_mKYspctd6-G5J7i18K-rw-Ff5a1myE4HmgG8GoU/s1600/live.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-GnmwmGfUGkPfka6TQTwDKs0hzml9Tzs_jNLEo7BABIrZ2NWbNBiIPFiuEmKlVa6twT92eeS1gflx48gPhJkhwERNXIQxfT-k9z_mKYspctd6-G5J7i18K-rw-Ff5a1myE4HmgG8GoU/s320/live.jpg" /></a></div><i>What are your thoughts on the last Humpers record you did with Epitaph? I’ve always loved “Ghetto in the Sky” and the different approach that song took.</i><br />
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The last LP had some good songs on it, but it was pretty unfocused. We were burned out from touring and the band was on the verge of splitting up, so there were starting to be musical differences and everyone was just sick of each other to some extent.<br />
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<i>If I remember correctly, at a show in the mid-90s you told me that the band was going broke touring and owed the label money. Is it true that Epitaph wouldn’t let you record under “The Humpers” name after you left the label? </i><br />
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Well, they stopped supporting us MID-TOUR on our last tour. Our van broke down and we called them and asked for help and they said NOPE. So, their patience with us ran out and they cut-off the cash. But, no, they never said we couldn’t use the name or anything like that. We had a contract with them for 3 LPs and we gave them 3 LPs,then the band broke-up and that was that.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDSWZXnWrF6QePkAZJtm_u7vrvebLGuIxaiI-qwsb0dVdIoisSSdEfWjNvdz3rHlkEoEXidYVxE11btw4XK-ciCRUtz-arahcD0Ke3LhgCrGK2C3RkyXn_zo5YlwF7fJg2vUpDZjZPfWM/s1600/hump.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDSWZXnWrF6QePkAZJtm_u7vrvebLGuIxaiI-qwsb0dVdIoisSSdEfWjNvdz3rHlkEoEXidYVxE11btw4XK-ciCRUtz-arahcD0Ke3LhgCrGK2C3RkyXn_zo5YlwF7fJg2vUpDZjZPfWM/s320/hump.jpg" /></a></div><i>How do you feel about the Vice Principals recording you did after the Humpers? Was it cathartic or a change of pace in any way?</i><br />
<br />
Well, the whole point of the Vice Principals was for my brother (Jeff Drake) and I to do a record together. I see it as an opportunity lost. To me, the expectation was that we’d write a bunch of new tunes together, but we ended-up only writing 2 or 3 together and the rest of the LP was covers and things that we wrote individually. So it was a bit frustrating, but it’s a pretty fun record anyway.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZkV3eqplBWlNTiEbv9kLrYsErutE5zxj1Rxamm9ZXQhLviPjREmf_hJtMhyphenhyphenrn8VZCaonAQgYkRFLHqbAPPrzlesUbSzH5Bw5gtI0OZgiuYlA4B9ETLqwpGtn8HUag1W5rJHv0LalrXvQ/s1600/Vice+Principals+-+After+School+With___+front.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZkV3eqplBWlNTiEbv9kLrYsErutE5zxj1Rxamm9ZXQhLviPjREmf_hJtMhyphenhyphenrn8VZCaonAQgYkRFLHqbAPPrzlesUbSzH5Bw5gtI0OZgiuYlA4B9ETLqwpGtn8HUag1W5rJHv0LalrXvQ/s320/Vice+Principals+-+After+School+With___+front.jpeg" /></a></div><i>I know so many fans that love your solo record “Grand Mal” and treat it as a long lost Humpers record. How did your approach differ with this album than your other solo releases?</i><br />
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Well, the main difference is that I wrote EVERYTHING on “Grand Mal” (except 1 cover) all at the same time. It’s sort of a concept album, really. All about the dangers of love and crap like that hahaha. My other solo records have been more “patched-together”, old stuff and new stuff, with no over-riding theme.<br />
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<i>Your newest band the Lovesores kicks ass! What made you decide to get back into the band racket again?</i><br />
<br />
Cheers! The main thing that made me want to start a real band again was collaborating with Jeff Fieldhouse again. He’s by far my favorite person to write songs with, so when he expressed interest in starting something new I was very excited. He’s no longer with The Lovesores (he left due to some family medical issues) but I’m really proud of the stuff we wrote together. And I really like all the other guys in the band. It’s a way more relaxed experience than being in The Humpers and everybody pitches in, which is cool.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_U1Cff8VAryVNEPVTMDod4CQrDAZpPvoVGS4c2EXW31NXxl3qZU-hbSdOZwKsBmcDQAq_l7OtlIJIyPqJWSXg2M_mGGSvVCb5gSKloER4hC0GgrxUlYDrPb4cQn_w3m9T3QOJ3ESuQ94/s1600/love.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_U1Cff8VAryVNEPVTMDod4CQrDAZpPvoVGS4c2EXW31NXxl3qZU-hbSdOZwKsBmcDQAq_l7OtlIJIyPqJWSXg2M_mGGSvVCb5gSKloER4hC0GgrxUlYDrPb4cQn_w3m9T3QOJ3ESuQ94/s320/love.jpg" /></a></div><i>Do you prefer writing your own material or collaborating on songs with a band? I know that on such Humpers classics as “Fast, Fucked, and Furious”, you were the sole writer. </i> <br />
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I like both. Sometimes I come up with a complete idea and it’s fun to flesh it out by myself, but other times I’ll have a lyrical idea and I’m stumped for music. So it helps then, to have some input.<br />
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<i>Will the Humpers make another record? Do you enjoy doing the occasional reunion gig?</i><br />
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Ahhh... the $64,000 question. I really don’t know. It’s up to the other guys. I’ve told them if they put some music together, I’ll write the words and, so far, nada. Meanwhile, I have a working band in The Lovesores, so that’s where my energy is going. I have no qualms about recording with The Humpers, but there’s more expectation attached to it. I don’t want to put something out just to put something out. It’s got to be good. And, yeah, I always enjoy playing with those guys, they’re my brothers, even when we’re pissed off at each other!<br />
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<i>What made you decide to leave California?</i><br />
<br />
It was just time. My wife, Jeannie, and I wanted a change. Sometimes you have to shake things up a bit to keep it fresh. So, not one thing in particular, maybe we were just bored!<br />
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<i>Any words of wisdom after serving your time in the rock n roll machine? </i> <br />
<br />
Hmmmm, words of wisdom. Well, if you go to the grocery store to grab a few items, and you need milk, get all the other stuff first and get the milk last. Because that gallon of milk is pretty heavy to carry around while you’re shopping...That’s all I’ve got. Cheers!<br />
<br />
<iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=976398534/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=556377874/transparent=true/" seamless><a href="http://lovesores.bandcamp.com/album/the-puking-unicorn-ep">The Puking Unicorn EP by Lovesores</a></iframe><br />
<b>THE HUMPERS - MUTATE WITH ME</b><br />
<iframe width="420" height="315" src="https://www.youtube.com/embed/qgZNXoREC10" frameborder="0" allowfullscreen></iframe><br />
<b>THE HUMPERS - WAKE UP AND LOSE</b><br />
<iframe width="420" height="315" src="https://www.youtube.com/embed/szCVG9qp9Vk" frameborder="0" allowfullscreen></iframe><br />
<iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=2369855919/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2746576281/transparent=true/" seamless><a href="http://scottdeluxedrake.bandcamp.com/album/grand-mal">Grand Mal by Scott "Deluxe" Drake</a></iframe><br />
<b><i>--Kevin McGovern--</i><br />
FEAR/LOATHING</b><br />
Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-2543901549661102262016-01-28T11:37:00.000-08:002016-01-28T11:37:24.440-08:00ANIMAL DAYDREAM: CITRUS EP 7"<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKC6K3aXDWlIM-yTdhKItf2Lurn_1mYvkUUGPC1csfuLrae8bgQdi4BP7-iUBMnj0qhmcACdqOEWAgxilOrVDP37HiJKv3JuSO350XZBcWRUoI9Zml-oghZ4h4PnqZa-SZBGg-44BePm8/s1600/animal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKC6K3aXDWlIM-yTdhKItf2Lurn_1mYvkUUGPC1csfuLrae8bgQdi4BP7-iUBMnj0qhmcACdqOEWAgxilOrVDP37HiJKv3JuSO350XZBcWRUoI9Zml-oghZ4h4PnqZa-SZBGg-44BePm8/s320/animal.jpg" /></a></div><br />
I remember being a little kid, agitated and bored in the backseat of our family station wagon. I was young enough not to be in school but old enough to be aware of what was around me. I would have to ride along with my mom to pick my dad up from his job. It felt like it was always gray, always cold, and everything just stood still, nothing to look forward to in the near future. I just witnessed people looking miserable, doing their daily routines and it depressed the hell out of me. Why the fuck would I want to be an adult? What a drag! What a serious fucking drag. I would escape into my head while sitting restlessly in the car, listening to the softer rock featured on AM Radio at the time. I would dream of places that had nonstop sunshine, full moons every night, and people who talked to each other about exciting things.<br />
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The radio was a friend that gave this dreary atmosphere a mysterious soundtrack, made-for-television movies about teen runaways made me feel like I possibly had a chance to go somewhere else. Those last words from the lost souls of the lost late 1970s haunted me in the early 1980s. The luminous sullenness of <b>Fleetwood Mac</b>, <b>Gary Wright</b>, and <b>America</b> held a darker meaning. It was the sound of neighborhood couples having affairs, going to strange parties, and losing their way in an impromptu sexual revolution.<br />
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<b>Animal Daydream</b>’s <i>Citrus</i> EP takes the soft strains of dark feelings and polishes them with a charismatic college-rock blade. The opening track “Citrus” lifts off immediately, with a contagious cocaine fluidity. The abundant harmonies and vibrant strumming bring to mind the retro daze of <b>Fleet Foxes</b>. The <b>Brian Wilson</b> bliss of “Sun (Turn Around)” has a nice touch of psychedelic expansiveness that beams into the ultraviolet buzz. “All That You Can Give” keeps the blissful flow moving along with a slight detour into folk rock balladry. Closing out this four-track collection of retro softer rock eccentricity is the choice cut, “In My Room”. This track has a serene and wired aloofness that eerily echoes the vibes of the <b>Love</b> classic, <i>Forever Changes</i>. If you’re looking for something different, then look this way. <br />
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<iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/234625558&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false"></iframe><br />
<br />
<a href="http://jigsaw-records.com/">JIGSAW RECORDS</a><br />
<a href="https://www.facebook.com/animaldaydream/">ANIMAL DAYDREAM</a><br />
<br />
<i>--Kevin McGovern--</i><br />
<b>FEAR/LOATHING</b><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikoLcDMef2NaQxA9LGLrCt5Po7WY_sudn-MYv-Ppr1mtLCDcVEsCq03K0Vt_JmXUYTHSBeY6dbGP_rZKGgvYg1HyB-IXY3eIwQsLidhrO8ZWcOgVus4GdCoNVw-2dSdKh1Cc5KsqdPE6w/s1600/animal+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikoLcDMef2NaQxA9LGLrCt5Po7WY_sudn-MYv-Ppr1mtLCDcVEsCq03K0Vt_JmXUYTHSBeY6dbGP_rZKGgvYg1HyB-IXY3eIwQsLidhrO8ZWcOgVus4GdCoNVw-2dSdKh1Cc5KsqdPE6w/s320/animal+2.jpg" /></a></div>Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-17062226918626697282016-01-14T00:37:00.000-08:002016-01-14T01:41:56.721-08:00ANTLERED AUNT LORD – Ostensibly Formerly Stunted (And on Fire) / Throwback Bikes Premiere<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFWxQN_Sw4m3cj5YiXZfjt5F_BvnKAv2yScRXrw6zqzVLOn74G24sJ1Gn_W_bkG5AGh8ZsXIKsV78Z9b7gWRgXLF9SqsjI0Dp3uJDnT9lAiHscEP0aJP0jj5aIqNgZwzWP38lOukz571s/s1600/antler.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFWxQN_Sw4m3cj5YiXZfjt5F_BvnKAv2yScRXrw6zqzVLOn74G24sJ1Gn_W_bkG5AGh8ZsXIKsV78Z9b7gWRgXLF9SqsjI0Dp3uJDnT9lAiHscEP0aJP0jj5aIqNgZwzWP38lOukz571s/s320/antler.jpg" /></a></div><br />
Video in motion, prisoners of our own electronic devices, the dull thud of a door closing, and the nervous shudder of one opening create unusual monsters in our imagination. There’s nothing more beautiful than a twenty-four hour establishment, reliable availability is so hard to find in an age of face-time dating and inconsistent suspicion. You can give into the constant state of panic, or just not give a fuck. I prefer the latter. Is it really worth wasting valuable moments of your life wondering if you have a safety net or back up plan? The neon laced violent dance of nature carves the tempo and twists reality into unrecognizable fashion statements constantly. The latest full length by <b>Antlered Aunt Lord</b> creates an alternate universe of apathetic gold for the unsuspecting masses. Impetuous hooks of melody and insomnia fueled chord changes forge a new wave of songwriting that is difficult to define but soothing in its syrupy uncertainty. This motherfucker of musical mayhem requires several listens to acquire a proper addiction, it shrieks and whispers like a fallen star staging a comeback with a live suicide for the final act.<br />
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Vocal commotion and overdriven amplified harmonies instigate a joyous paranoia of indie-glam-pop that hits hard and caresses with uncleanliness. If <b>Frank Black</b> covered the first two <b>Squeeze</b> albums and used <b>Frank Zappa</b> as his producer, it might come close to the opulent cacophony presented on <i>Ostensibly Formerly Stunted (And on Fire)</i>. <b>AAL</b> consists of only one band member, the eccentric <b>Jesse Stinnard</b> (recording engineer and drummer of the infamous <b>Tunabunny</b>). This collection is a shortened showcase pulled from hundreds of songs that Stinnard has accumulated in an impressive short amount of time. Brigette of <b>Tunabunny</b> shot the video premiere (featured here) for “Throwback Bikes”. A very impressive debut that leaves you wanting more, but each listen opens up a fourth dimension that allows this body of songs to reshape and reinvent itself with repeated exposure. <br />
<i><b>Choice Cuts:</b></i><br />
“Hi-Beam Hi-Priest”-“Pray for Glam”- “Questions from Our Publicist”-“Munsonfly”-“Sigil to Noise” <br />
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VIDEO PREMIERE - <b>THROWBACK BIKES</b><br />
<iframe width="560" height="315" src="https://www.youtube.com/embed/TGd1WYGQ6cI" frameborder="0" allowfullscreen></iframe><br />
<a href="http://hhbtm.com/">HHBTM RECORDS</a><br />
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<i><b>Kevin McGovern – FEAR/LOATHING</b></i><br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-70293851584640803392015-12-03T13:09:00.000-08:002015-12-03T22:16:23.235-08:00SPC ECO and MARK VAN HOEN<i>The world can be a very bizarre, very loud place at times. The insane volume of the current year’s unimpressive conclusions mixed with the annoying murmur of lives in motion, cars starting in the morning, empty laughter on lunch breaks, and meaningless chatter that booms within the walls of happy hour every day. December comes strutting in like a wounded woman, unknowingly beautiful feeling painfully invisible, but if you attempt to strike up a conversation, you will feel the sting of her disgust with reality. Art should never refer to itself as art. Those who observe it and flirt with it should decide that. The state of modern music is perplexing in many ways. Sonic introductions now reduced to a Tinder-like existence, swipe left, reject, swipe right, and listen. The average person now has an attention span of around seven seconds or so. This concept and fact-finding method has been applied to cinema, music, and newsfeeds that we all partake in. Flash and grab, strike a nerve, rattle an emotion but you better make it fast. I guess people are pretty scared to jump into the pool, the unpredictable chill of immersion. But then again it is December, and it does get pretty fucking cold.</i> <br />
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Rearranged moods and obsessive grooves are the name of the game in two current releases that I’ve been letting myself get lost in recently. <a href="http://www.saintmarierecords.com/">Saint Marie Records</a> is a relatively new label with its own distinctive sound, there’s a certain crispness and mysterious hum within all of its releases. Whether it’s post-punk, shoegaze, dark-dream, or indie pop, each release is unique because it’s very obvious that artistic vision and creative prowess come before the need to launch “the next big thing”. The sounds of unhinged lust, jilted lovers, jealous rage, uncooperative desire, and mind-altered contemplation come to life in the latest albums by <b>SPC ECO</b> and <b>Mark Van Hoen</b>. <br />
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<b>SPC ECO</b> – <i>Dark Matter</i> (Saint Marie Records)<br />
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A dream within a dream soundscape that hesitantly advances into a lurid emotional conundrum, the quavering bang croons and rocks loosely with its slow brooding beats, techno drenched sex vocals, and delicate dark synth layers. With the vampire burn of <b>Portishead</b> and experimental shades of <b>Chelsea Wolfe</b>, this entity forges a sound that is decidedly current and seductively hostile in its use of slow, gyrating techno pop and plasma soaked bass line allure. The opening track “Creep In The Shadows” exemplifies the atmosphere of <i>Dark Matter</i>. Disappear into the night, dissolve in the bedroom, and daydream in sepia. <br />
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The hypnotic intercourse takes a smooth drop into gloomy hip-hop on “Down Low” which lays down a racy groove with sweet sparks of breathy distortion. Disfigured dream-pop luster creeps its way into the ultra-catchy “I Wont Be Heard” and coy tunefulness of “Playing Games”. “Under My Skin” produces a dreamy doomsday lullaby with a beautifully ravaged melody that floats and dissipates into <b>SPC ECO</b>’s Technicolor void. The entrancing vocals of <b>Rose Berlin</b> and composition skills of <b>Curve</b>’s <b>Dean Garcia</b> create a listening experience that is euphoric and uneasy with a deliberate and sculpted pacing that allows this record to breathe and sway, distraction free. <br />
<iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/222800787&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false"></iframe><br />
<iframe width="560" height="315" src="https://www.youtube.com/embed/njkMw68vpXI" frameborder="0" allowfullscreen></iframe><br />
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<b>MARK VAN HOEN</b> – <i>Nightvision</i> (Saint Marie Records)<br />
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Night and day warp into a blinding stream of buzzing opiate resonance on the latest release by underground ambient legend Mark Van Hoen. Surreal and winding in its spectrum of melody, with characteristics not unlike the ambient works of <b>Steve Roach</b> and <b>Tangerine Dream</b>, Hoen claims his own territory in the hazy world of symphonic drone. Beginning with his groundbreaking work in <b>Locust</b> and <b>Scala</b>, his non-linear evolution continues, bold and uncompromising in artistic vision. <br />
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Eerie sequenced harmonies of psychedelic bleakness gently invade the atmosphere with bewildering dynamics and vigorous lead melodies. <i>Nightvision</i> encompasses a series of techno orchestral movements that bleed together into an otherworldly listening experience. A psychological mind game that mourns and celebrates the horror of everyday life using a lush array of synthesizers and haunting loops as the narrator. Love and hate, beauty and terror, in the end we all face the inevitable. <br />
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<b><i><a href="mailto:kevinmcgovern16@gmail.com">--Kevin McGovern--</a></i></b><br />
<a href="https://www.facebook.com/FearLoathingInLongBeach"><b>FEAR/LOATHING</b></a><br />
Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-75336315947665150762015-11-05T00:53:00.001-08:002015-11-05T10:27:24.313-08:00 RADIOHEARTS and JUKEBOX ZEROS<i>After a pleasant summer in the mouth of madness, playing Russian roulette with the the vast opportunities that breathe within instant gratification, problematic self-admiration, and self-loathing, I finally found the motivation to reconnect with some incredible new music after making a deliberate effort to disconnect from writing about anything, period. Getting lost in the winding waves of anonymous highways, dizzying displays of lights, and rechargeable personalities that wander like ghosts provided an opportunity to spark and drown in the rise and fall of summer 2015. Where does one go after such a thing? Fate decides that or spontaneous decision-making, whatever you want to call it. Two brand new releases caught my attention in the last two weeks that gave my nervous system a much-needed jolt of garage born electro-shock rock.</i><br />
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<b>Radiohearts</b> – <i>Lot To Learn</i> (No Front Teeth) <br />
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The brand new EP by Long Beach, CA’s power-punk-mod kings rages and roars like the bastard child of the <b>Buzzcocks’</b> <i>Singles Going Steady</i> and <b>the Damned’s</b> <i>Machine Gun Etiquette</i>, staying out past curfew and stealing the neighbor’s car, running it straight into the ocean. Last year the band released the very solid Nothing At All EP, showing off their <b>Clash</b> inspired power-pop prowess. However, their latest offering is by far their best to date. The band’s sonic assault is more aggressive and cohesive in its delivery with the guitars up front and Ed Stuart’s vocals displaying moodier nuances than on their previous outings. With the rhythm-section providing a dirty and menacing pop swagger, bass lines twist and the percussion bounces in a volatile but sophisticated fashion that makes the band rank high among their fellow pop-rock noisemaking peers. <br />
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This four song collection wastes no time in delivering its infectious creations, I’m talking straight and no chaser. It’s pretty impossible to stop listening to the first two tracks “Lot To Learn” and “Decisions” (my pick for the “hit song” here). These two are a classic single in themselves with punky chord crunching and contagious hooks that dance and slice with the perfect bite. The two closing tracks “Heartbeat” and “Let Them Know” continue the razorblade-sugar assault with slick verse-chorus combos bringing to mind the intelligence of vintage <b>Blondie</b> and sharp attack of early <b>Generation X</b>. Kill the future and free your mind, you need this band. It’s hot and it’s happening now. <br />
<iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=3250883261/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3394032530/transparent=true/" seamless><a href="http://radiohearts.bandcamp.com/album/lot-to-learn">Lot To Learn by Radiohearts</a></iframe><br />
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<b>Jukebox Zeros</b> – <i>Count To Ten</i> (Rankoutsider Records)<br />
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The long awaited full length from these infamous Philly garage-rock demons has finally arrived and it was definitely worth the wait! Produced by the legendary <b>Dean Rispler</b>, this album is a monster. A fun-filled terror train crashing through the streets of Philadelphia at 2 a.m., this Molotov cocktail of cheap booze, prescription pills, and rock n roll angst terminates everything in its path. Search and destroy is the mission and this record accomplishes it and even more. The Zeros have upped their game with Peter Santa Maria delivering unforgettable vocal performances on all the tracks, emphasizing melodies while using syncopated punk snarl to burn the house down. A heavy dose of pissed off punk infects the proceedings and the band heavily utilizes its secret weapon, powerhouse drummer Justin Lee. Lee pounds the drums like there’s no tomorrow and adds a whole new dimension to the garage-punk genre with his combination of thunderous floor tom bashing, pounding surf grooves, and 4/4 grind. The band dynamics blend in perfectly, explosive and trashy, this kicks ass. <br />
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“Snot Rocket”, “Hey Now! Oh My!” and “B Train” take the genre of punk rock n roll to dizzying new heights. “My Love” and “Green Wave” show off the power-pop chops of the band with sleazy guitar finesse and insidious surf stylings. “Drama Queen” and “Insomniac” are classic Jukebox Zeros with an enhanced 2015 venom that puts this band in a category of its own. Before you have your next nervous breakdown, drink a 40 oz. or three, shoplift some frozen pizzas, and tear the town up with this impressive and memorable powder keg of punk rock fury. <br />
<iframe style="border: 0; width: 100%; height: 120px;" src="http://bandcamp.com/EmbeddedPlayer/album=2931308039/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=804975755/transparent=true/" seamless><a href="http://jukeboxzeros.bandcamp.com/album/count-to-ten">Count To Ten by Jukebox Zeros</a></iframe><br />
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<i><b>-Kevin McGovern-</b></i><br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com1tag:blogger.com,1999:blog-4140082221799250511.post-70919700926253541052015-08-18T22:38:00.000-07:002016-02-18T00:24:56.456-08:00LUNCHBOX - SMASH HITS<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwvm90R7MkPUfDz5F14E9fBUlozgEHadssCmLcbe9wBnHtuIvqb6t1PpV6ycRKlYaA36MZAxPn-YssqeASK3TE-efpTDw-OeKE2uoXyTQY4AgFZpqIKO1l0VDUZ6Ei3n2kwAcGvH9H36g/s1600/lunchbox.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwvm90R7MkPUfDz5F14E9fBUlozgEHadssCmLcbe9wBnHtuIvqb6t1PpV6ycRKlYaA36MZAxPn-YssqeASK3TE-efpTDw-OeKE2uoXyTQY4AgFZpqIKO1l0VDUZ6Ei3n2kwAcGvH9H36g/s640/lunchbox.jpg" /></a></div>Seattle's <b>Jigsaw Records</b> has begun an onslaught of catchy and idiosyncratic 7" vinyl and full-length releases. I just got hip to their stylish and wayward celebration of independent music. With an ethos similar to early indie upstarts <b>Beserkley</b> and <b>Stiff Records</b>, the label is crossing boundaries while bringing back focus and fun to the scattered independent music scene. The cool thing about indie in the Internet age is that it is more accessible than ever. There was a time when you would have to stay up late to catch your local college rock station's prime hours on a Sunday night from 11:30 pm until 2:00 am. During that time, you would hear <b>Minor Threat</b>, <b>Dinosaur Jr</b>, the <b>Smiths</b>, and the <b>Descendents</b> all in one show. Now in place of having to record the proceedings on your boom box with a 90-minute cassette, we have blogs that filter and provide instant access. Gone are the days of waiting up for a midnight show or a monthly zine to show up at a record shop an hour away. I do miss the days of rummaging and hunting down mysterious band names you would read or hear about from a friend of a friend. At the same time, things change, move forward, and transform to fill the present void.<br />
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<b>Lunchbox</b> is like the pleasure-seeking orphan of the <b>Weezer</b> <i>Blue Album</i>, ditching the prom with their date to go hang out in the local graveyard, dancing on the burial sites of <b>Nick Lowe</b> and <b>The Simpletones</b>. Fusing the fuzziest nuances of pop with a careless and playful fever, while burying their own inhibitions, new sounds with familiar echoes are brought to life. The kids aren't alright and the world's a mess, ground zero for reckless summer fun. "Smash Hits" is 13 minutes of pure indie pop-punk bliss with the just the right amount of dirty ambiance to let the raw guitar and trashy drums highlight its five star tunefulness. The 7" format fits this extended song collection perfectly. The packaging includes a nice homage to the 90s with its cool front cover, featuring a reel-to-reel recorder and the classic back cover "footwear" photo, not to mention the perfect "slacker" font style. Six look-sharp blasts on one small record, perfect brevity. <br />
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The record fizzes with a wild aloofness and briskly cruises into overdrive producing a saccharine concerto of noise-pop wizardry. The EP kicks off with “Heaven”, a sweet <b>Phil Spector</b> by way of the <b>Ramones</b> inspired number. It’s followed by the scorching “Paws of Destiny”, which is reminiscent of the great singles that <b>Shredder Records</b> used to assemble on its classic CD compilations. The tracks “Friends” and “Flatland” provide punchy anthems replete with <b>Rich Kids</b> guitar style and garage rock aplomb. If you have any doubts about the rock prowess of this band, check out the kick ass “(It’s Your) Lovesong”. “Most Unlikely to Succeed” ends this collection with its self-deprecating <b>Beach Boys</b> harmonies and <b>Queers</b> style chord progressions. An essential addition to your vinyl or digital collection, my only complaint is that this classy noise-bomb of trashy pop goes by too quick, leaving you wanting more. Actually, that’s a good thing, this band plays hard to get, just the way I like it. <br />
<iframe style="border: 0; width: 100%; height: 42px;" src="http://bandcamp.com/EmbeddedPlayer/album=1117210606/size=small/bgcol=ffffff/linkcol=0687f5/track=3490270484/transparent=true/" seamless><a href="http://jigsawrecords.bandcamp.com/album/pzl077-lunchbox-smash-hits-ep">PZL077: Lunchbox - Smash Hits EP by Jigsaw Records</a></iframe><br />
<iframe style="border: 0; width: 100%; height: 42px;" src="http://bandcamp.com/EmbeddedPlayer/album=1117210606/size=small/bgcol=ffffff/linkcol=0687f5/track=1898026806/transparent=true/" seamless><a href="http://jigsawrecords.bandcamp.com/album/pzl077-lunchbox-smash-hits-ep">PZL077: Lunchbox - Smash Hits EP by Jigsaw Records</a></iframe><br />
<a href="https://www.facebook.com/lunchboxpop">LUNCHBOX FACEBOOK</a><br />
<a href="http://jigsaw-records.com/products/lunchbox-smash-hits-ep-7">JIGSAW RECORDS</a><br />
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Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-72207410886201840752015-08-01T01:46:00.000-07:002015-08-01T02:31:27.914-07:00CHELSEA - SATURDAY NIGHT SUNDAY MORNING<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSyatscoQ0oijujQ7fWaWBwedduKbSrQCA_0M7-D5aapucuYBxfDqIg0iCDkSCmgptiTD1PO39F7CXR_qlx1hCENLtHGH9D_IZtqjXR_WBVNOC1zDeGyw7-XcU16wpjTU4r03llKhulG8/s1600/Chelsea+Sat+Night+front+cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSyatscoQ0oijujQ7fWaWBwedduKbSrQCA_0M7-D5aapucuYBxfDqIg0iCDkSCmgptiTD1PO39F7CXR_qlx1hCENLtHGH9D_IZtqjXR_WBVNOC1zDeGyw7-XcU16wpjTU4r03llKhulG8/s640/Chelsea+Sat+Night+front+cover.jpg" /></a></div><b>Gene October’s</b> Chelsea, from the original punk rock class of 1976, have always been one of the definitive bands from that era. With an explosive sound of gritty vocals, insanely catchy guitar leads, and revved up classic rock n’ roll chord progressions, the musical beast known as Chelsea continues its impressive and incredible songcraft to this day. Just listen to their back catalog of classic albums including <i>Alternative Hits</i>, <i>Evacuate</i>, and their legendary self-titled debut. You’ll hear how influential this force has been in punk rock music created during the last 25 years. The band has had two amazing comeback albums including the mind blowing <i>Traitors Gate</i> (1994) and the cool but powerful <i>Faster, Cheaper and Better Looking</i> (2005). <br />
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After 15 years, the band has returned to the studio with October and legendary band fixtures <b>James Stevenson</b>, <b>Nic Austin</b>,<b> Mat Sargent</b>, and <b>Lee Morell</b>. Why? Because life is just not right without a new Chelsea album to sink your teeth into and get your proper punk rock fix. Other bands from that era do not have the chops that October continues to wield throughout the tumultuous decades the band has survived in its own cool and confident pattern of existence. Impressive indeed, this new collection infuses the melodic ferocity of <i>Alternative Hits</i> with the introspective grit of <b>Billy Bragg</b>. October’s voice is in prime form and the musicianship is more dynamic and expressive than ever. Unlike other “reunion records”, this full length is relevant and vibrant in its delivery and execution. Spirited anthems for the current disgruntled generation, certainly present in the stellar tracks “Fuck All”, “It's About Time”, “You Never Ever Listen”, and “Johnny Has No Respect”. The real standout that displays their songwriting chops is the acoustic laden and hook filled “Saturday Night Sunday Morning”. Overall, this very solid outing will instantly grow on you with repeated listens, as a proper album should. <br />
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I remember the punk revival that occurred in the mid-1990s. I was really digging on bands like the <b>U.S. Bombs</b>, <b>The Stitches</b>, <b>Stiffs Inc.</b>, and the <b>TKO Records</b> roster. I kept hearing the name Chelsea repeatedly in reference to these bands, it all seemed so new and alive to me. Later on in the decade, my own band played a Friday night show completely annihilated at a hotel in Allentown, PA. We were met with an awkward response due to our insane debauchery before and during our set. We decided to lay low in our rented van parked out front before we played instead of hanging out at the bar with the locals. We weren’t trying to be snobs, but were more concerned about getting busted with our conspicuous consumption of all things illegal in order to give the show that “extra bang”. <br />
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Extra bang indeed, and the following morning I woke up with my handy bottle of Bombay Sapphire to chase away the blues from the outlandish after show party. We headed to Lancaster, PA’s infamous <b>Angry, Young, and Poor</b>, downed a few beers before going inside and I went on a CD/record shopping spree with a recently acquired credit card (back when they just handed them out to anyone working at least 30 hours a week). Low and behold, I saw Chelsea’s <i>The Punk Singles Collection 1977–82</i>. I snatched up a copy, passed out on the van ride home, fell out of the van seat, hit my head on the door after nodding off, and woke up in my bed with a gnarly headache.<br />
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The first thing I did even before grabbing a glass of water and a sedative was getting this collection loaded onto my stereo. The speakers blasted with an uncanny power and fury, like the first time you hear <b>Beethoven's</b> "Ode to Joy". I was hooked for life. How could a band have an output like this, where every song is great? Only Gene October would know that secret. I’ve been following them ever since and they are always a mainstay in my playlist only with the <b>Sex Pistols</b> and <b>Johnny Thunders</b> <i>LAMF</i>. <i><b>Saturday Night Sunday Morning</b></i> is a worthy addition to my playlist, and I’m a tough customer when it comes to my favorite bands releasing new records. This extremely memorable affair will outlive another tumultuous decade and if October continues to march on, we can look forward to another unforgettable outing in the near future. <br />
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<b><i>-<a href="mailto:kevinmcgovern16@gmail.com">-Kevin McGovern</a></i></b><br />
<a href="https://www.facebook.com/FearLoathingInLongBeach"><b>FEAR/LOATHING</b></a>Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-58023492756605546442015-07-23T23:52:00.001-07:002015-07-23T23:52:34.816-07:00BUNNYGRUNT - VOL. 4 <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqTMdDJ0TOiSmnZkZIO-2RZTHeC9tXoKIA3enMwndwliS0MFSG7gIx0n1ObX6Pd7oKdyuzqvseAcyItStXraPQNd7wfVU0KhI5r4K9zLn1vn7GK8c2G4fDNJbM7VjGIsOniKiCn3g0XqA/s1600/bunnygruntORCHARD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqTMdDJ0TOiSmnZkZIO-2RZTHeC9tXoKIA3enMwndwliS0MFSG7gIx0n1ObX6Pd7oKdyuzqvseAcyItStXraPQNd7wfVU0KhI5r4K9zLn1vn7GK8c2G4fDNJbM7VjGIsOniKiCn3g0XqA/s640/bunnygruntORCHARD.jpg" /></a></div>Ruin me. That’s what I want. Money, that’s what I want. Life is a bent spectrum of absurdity and circumstantial evidence that vacillates in a bewildered pattern, throwing its passengers from side to side. It’s hard to say what you mean when everyone else lives in a black and white box or constant state of confusion. Energy and noise are the great equalizers that sometimes surpass the human condition of blankness and envy. Whether a pure situation is short lived or long lived, the impact remains if its victims are wholly consumed. The nocturnal breeze of distaste and pleasure comes and goes on its own terms.<br />
<br />
Bunnygrunt was a band that almost ended before it even began in the hazy fog of mid 90s indie music. However, while they were there and slid into the future, the band left behind five full lengths and countless vinyl singles. Bunnygrunt has arrived again, fashionably late, and kicks out their own ephemeral and enigmatic jams in a reckless trash rock fashion that permeates with a grimy elegance. An interesting move for a band that made a name for itself with a sound that was firmly rooted in indie pop understatement. In the peculiar case of Bunnygrunt, it is the dawning of a new era. If you firmly close the door to the St. Louis band’s eclectic past, the new full length <i><b>Vol. 4</b></i> is their first release. <br />
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A slurred speech of <i>Wild Gift</i> era <b>X</b>, <b>Sonic Youth</b> and the <b>Fastbacks</b> relentlessly inebriates its compulsive blur throughout this eight song power-garage blast bender. <b><i>Vol. 4</i></b> is the cracked Rosetta Stone of teenage slacker ingenuity. Making out while blacking out, the desperation you feel when you’re stuck between the ages of 18 and 21. The sound of vandalizing your best friend’s apartment complex while popping ecstasy with the girl next door in an uneasy euphoria. An addictive and unnerving journey with trace evidence of the <b>Rezillos</b>, <b>Vaselines</b>, and <b>Hüsker Dü</b> scattered along the dark path to wherever you want to go. Fade in or fade out but the angst ridden background boom will drown out the silence of people living in silence. <br />
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The track “I Quit, Mr. White” is an exceptional standout among this eccentric and euphonious chemical rearrangement of modern music. It has one of those melancholy melodies that rocks and haunts you at the same time. “Open My Eyes” and “Still Chooglin” cruise into overdrive with diabolical verse and chorus combos that crack like a lit match on lighter fluid. “The Book that I Wrote” and “Just Like Old Times” deliver solid hooks and crunchy instrumentation with the outcome being disheveled and instantly memorable. “Frankie is a Killer” is a choice cut among this collection for the sheer fact it sounds exactly like one of those obscure punk tracks from the infamous <i>Killed By Death</i> volumes.<br />
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On a final and tastefully stinging note, the band deviously sneaks a post-punk opus on the listener entitled “Chunt Bump”. At a duration of 7 minutes, you would expect some kind of pretentious filler. This track rocks purely and intelligently with harmonious disarrayed chords and tempo changes that actually blend into a beautiful lament of days gone by, insatiable cravings, and the state of being stuck. The composition builds into a <b>Tubeway Army</b> like finale and uses a repetition of eerily pretty notes to burrow its way into the center of your mind. After all, isn’t that what reality is? What exists in the center of our minds? Our memories and our perception define all, whether it really happened or not. The facts don’t matter but this record certainly does. Five stars out of five stars. <br />
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<b><i>-<a href="mailto:kevinmcgovern16@gmail.com">-Kevin McGovern</a></i></b><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb-r6eMXziZ8jHelZQk3eem2Yaq90XPJZjlHuEiDt8gImSnsD_4D6gJAjYhOy2qUNNL5Lv0fWYTj4J7OuV_vYX7SQezXiffOuAn7At9BE8rzZ6XeSNRLmO10ub5RubmnNLShJDi5TiGzY/s1600/bunnygrunt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb-r6eMXziZ8jHelZQk3eem2Yaq90XPJZjlHuEiDt8gImSnsD_4D6gJAjYhOy2qUNNL5Lv0fWYTj4J7OuV_vYX7SQezXiffOuAn7At9BE8rzZ6XeSNRLmO10ub5RubmnNLShJDi5TiGzY/s640/bunnygrunt.jpg" /></a></div>Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0tag:blogger.com,1999:blog-4140082221799250511.post-32311472226929126302015-07-12T10:22:00.000-07:002015-07-12T10:22:35.476-07:00JESSICA LEE WILKES: LONE WOLF<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOdV7oz93RGzIfHhEozlHaMaxUfxkN-RFVQnRHSe9-GCndQBTGp9-vNr_bJoxkkiEmJyw6ScdaAyHdXl9yf4R5MFTBOfMPcp0t_cHdwrcdylCnQY2jIi2diSaJzD_581Hg8NgOkVlUKY/s1600/jess.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOdV7oz93RGzIfHhEozlHaMaxUfxkN-RFVQnRHSe9-GCndQBTGp9-vNr_bJoxkkiEmJyw6ScdaAyHdXl9yf4R5MFTBOfMPcp0t_cHdwrcdylCnQY2jIi2diSaJzD_581Hg8NgOkVlUKY/s640/jess.jpg" /></a></div>Bang bang goes the drum, bang bang go the wars, bang goes the American dream, and the sexy never-ending suicide of rock n roll lives on. A music form that reproduces itself no matter how many limbs you cut off it. Steamy grooves and grandiose curves, hot and bothered, naked and unafraid, the swinging starlight always finds a new life force. Jessica Lee Wilkes dances with the devil on her new ep<i> <b>Lone Wolf</b></i> and masters the jump and jive of seriously rocking rhythm and bloody blues. A licentious symphony of garage rapture soaked in boozy 50s rock n roll that devours and moves with snakelike exactitude.<br />
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The venomous surf swing of opening track “Groove’s Too Shallow” explodes with <i>Sonics</i> aggressiveness and a crushing vocal that stays soulful but beautifully menacing. “Love Like Crazy” comes next and hits with a classic <i>Shangri-Las</i> bebop that delivers the hooks and sophisticated grind of a musician in her prime. Jessica takes on electric bass duties for this recording after serious time plucking the upright with the legendary <i>Dirt Daubers</i>. In her first solo outing, she never flinches and the beat never gets stale. <br />
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One of my favorite cuts is the grindhouse go-go rocker “Lone Wolf”. The slicing punkabilly of <i>Los Straitjackets</i> guitar hero Eddie Angel is on fine display here and all throughout this sacrilicious Friday night high school dance of decadence. Closing tracks “Go Ahead Baby” and “Something’s Goin’ On” provide the perfect roadhouse finale with dirty luster, edgy melody, and a twisted pretty twang. This five song collection is a must-have and restores my faith in real down and dirty rock n roll that never forgets its swamp born evil blues roots. Jessica recently took the time to do an interview with me about her music and life. Check out her hot new video and read the interview below. <br />
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<i>Who is Jessica Lee Wilkes and how would you describe yourself to someone unfamiliar with your illustrious background?</i><br />
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Well, I've been touring around the world with my other band, JD Wilkes & The Dirt Daubers, for the past five or six years and I've just recently stepped out on my own with this new EP. I'm writing, playing bass, and singing Rock 'n' Roll music. That's about it!<br />
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<i>After playing in the Dirt Daubers for a solid amount of time, is it liberating or intimidating to be doing a solo act?</i><br />
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A little bit of both, but it feels like the right time for me. I don't know that I would have been ready before now. Playing in the Dirt Daubers has been a great education. I got to play on stage with some of my favorite musicians. That only makes you better.<br />
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<i>How does the title of your record “Lone Wolf” describe your own attitude?</i><br />
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Aside from the obvious "solo career" thing, I guess you could say it sums me up! It's a bit cliche for an artsy-type to describe herself as an introverted loner, but, in my case, it's true! I was a weird little kid and I mostly kept to myself. It's kind of an anthem for me in that sense. It's difficult to be alone like that as a kid. As an adult, I've not only embraced it, but I'm making a living writing about my experiences. It's kind of redeeming.<br />
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<i>When I heard “Groove’s Too Shallow”, it stopped me dead in my tracks with its menacing grind and edgy vocal. What inspired you to go for a more aggressive approach?</i><br />
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Well, cool! It's a fun tune to play! I never really made a conscious decision to take an "aggressive" approach. I just write and play what comes naturally. Maybe that means I have some deep-seated rage issues to deal with? Haha!<br />
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<i>When did you first start playing bass, was it your first instrument of choice?</i><br />
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I've been playing bass for a little over two years. I started on the upright. It really was more out of necessity. The Dirt Daubers needed a bass player at the time so I bought an upright, and two weeks later I was playing it on stage. I don't recommend that, but we got through it!<br />
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<i>What artists shaped your perspectives and style growing up?</i><br />
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As with most people, I listened to my parents’ record collection growing up. It was mostly classic rock stuff, The Rolling Stones, The Doors, etc. The one that really stood out to me was a John Lee Hooker record my dad had. It stopped me in my tracks and I started seeking out more blues music like Howlin' Wolf, and Muddy Waters. Those were the earliest influences on me.<br />
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<i>What is the most intense form of music you listen to and what is the mellowest?</i><br />
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Well, it depends on what you mean by intense. If you mean heavier rock stuff, I dig AC/DC, ZZ Top, which I realize isn't that intense for most people. If by intense you mean in an emotional sense, I'd have to say soul singer, Lee Moses. His music breaks my heart. I consider that a pretty intense experience! As far as mellow goes, lately I've been digging on Steve Allen with Jack Kerouac. That's some pretty mellow stuff, right there!<br />
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<i>Having spent so much time on the road, do you prefer life on tour or at home?</i><br />
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I need both in order to stay sane. If I'm home for too long of a stretch, I'll drive both myself and my poor husband crazy! If I'm on the road too long, it just wears me out and I'll start to hate it. It's definitely a balance thing. <br />
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<i>Are there any current trends in modern music that bother you?</i><br />
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Well, aside from the overall lack of melody in most of what I hear on popular radio, I really can't stand the overly produced quality, i.e., vocoding and overuse of auto-tuning. I can even forgive that if there's a good, catchy, pop song underneath it all, but it's becoming very rare. <br />
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<i>Is this just the beginning of your solo career or is it a one-time project?</i><br />
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It's just the beginning! I'm in it for the long haul. <br />
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<i>Do you write all of the music and lyrics, where do most of your ideas come from?</i><br />
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Yes, typically. As far as the writing process goes, most of my ideas come in weird little fragments. I'll get a catchy melody line in my head, and then the lyrics seem to follow. I often wake up in the wee hours of the morning with an idea that I'll record on my phone. Sometimes it's terrible, other times it winds up as a song on the record. I'd say about two thirds of the song writes itself and comes together rather naturally. When it's time to record I'll sit down and start to arrange things, I might add a bridge, etc. It just depends on what the song needs.<br />
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<i>If you could have one wish come true this year, what would it be?</i><br />
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Hm...I probably should say something that isn't completely selfish, but no, I wish for a moderate amount of success with this record. Nothing crazy, just enough traction to keep moving forward with this whole "touring musician" thing.<br />
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<i>Where can fans find your new record and follow you online?</i><br />
<br />
I'm on all the usual forms of social media: <br />
Facebook as Jessica Lee Wilkes<br />
Instagram: @jessicaleewilkes<br />
Twitter: @jessicaleewilx<br />
<a href="http://www.jessicaleewilkes.com/"> www.jessicaleewilkes.com</a> <br />
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<i>-<a href="mailto:kevinmcgovern16@gmail.com">Kevin McGovern</a></i><br />
<b>FEAR/LOATHING</b>Anonymoushttp://www.blogger.com/profile/12878208884722424406noreply@blogger.com0