random thoughts...

Music is a seductive creature, capable of arousing, angering, and inducing various states of consciousness. It always attacks me the same way a vivid memory does. The perfect song seems to place itself in the perfect memory, that one night you were looking for where the action was at, and you finally found it. You spend the rest of your life trying to reconstruct this thing but you’re never quite there, because the people, spaces, and dramatics cannot be duplicated. At best, you find something similar, maybe somewhere else, far away in an unknown time zone. Then just for a moment, you get to touch it and it runs away from you at a speed so fast you realize you’re just talking to yourself. Life twists its residents into a constant flux of fucking the past, attempting to fuck the present, and inducing fear of what will be fucking us over in the future.

So let us give thanks for being fucked-up strangers in a fucked-up new world crashing into each other. Blasphemy breeds independence and noncompliance gives premature birth to pretty creatures. The gift of rummaging through the dumpster makes us consume the failure of superficiality while collecting the remnants of unused genius. Treat yourself to a brisk walk afterwards, take a left at the next corner, and stroll down memory lane. Maybe you’ll see a new face there, one you’ve never seen before. You might find an unknown someone to help you chase “that thing” and realize it never left you.


Kevin P McGovern, November 2013

Fear and Loathing in Long Beach

REVIEW: CULTURES "TOURETTES" EP

Never hit on a dreadlocked blonde girl in a Sushi bar with a Nazi skinhead boyfriend, especially after consuming an impractical amount of LSD. An acid soaked rock n roll show I almost played. Seconds before I had the chance to ramble my mouth at the mic, the boyfriend came in brandishing a guitar that was death marked with “this is for that guy, the one up there at the front of the stage”. Was I about to stick around to get my head smashed while in the middle of an acid fantasia girl-bomb crush? No fucking way…. Time to get in the van and split ASAP! Check one, check two, and another fleeting chance to engage in destructive lust, damn. Well, on that sad note I welcome the super fucking cool CULTURES of Phoenix, Arizona and their incredible video for the soon to be underground smash hit, “1987”.


This omniscient production takes my loathsome brainwaves back to the days of those endless night punk house parties, where the music booms and the inhibitions let loose. Primal rock rhythms lead the way to unexpected conversations and outbursts of pure adrenaline. The band’s current EP release entitled “Tourettes” contains a noxious mix of Pistolian surf rhythms with Jesus and Mary Chain swagger, while shedding its own skin. The tracks are solid and this stands out from other bands doing lame renditions of these cool influences. The lead track “Tourettes” is distinctive with its subtle homage to New Order’s “Age of Consent”, the pounding tom-tom beats and spidery guitar lines drive this one all the way into the beautiful abyss. Check it out now, dig…

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-Kevin McGovern, 2013

NOVEMBER ISSUE ONLINE...read now if you'd like right here

The Newest Issue of F&L LB is online now. CLICK HERE to begin reading. Interviews with The Adicts, SFTRI, Henry Rollins, Honey Bane, Nina Antonia, ANTI, Helios Creed, Piñata Protest, Bob Derwood Andrews, Generation X, Exopolitics, The Urinals, Ava Adore, Teddie Dahlin, and more...

REVIEW: MAN HANDS, a Hot Mess of Prime Sonic Swill

What the Fuck is Going On? …The Phoenix band begs the question in the opening track “Misadventures”. This 7-track gathering of hot and scattered thoughts permeating through the Arizona heat blends “A Different Kind of Tension” and “Confusion Is Sex” into a hastily duct taped ransom package that contains an unstable libido. Led by digital airwave troublemakers Jackie Cruz and Marcus Berry, this album rawks incessantly in experimental noise variables with an emphasis on song and hook through the blurry emotions laid out for your ears. The combination of major and minor scales in the chording blares through with megaphone urgency. The vocals start coursing through your veins to remedy that itch you just can’t cure.

“Fatal Flaws” shakes up your lifeless soul with its spastic swing of dissonance and addictive chorus. I have seriously listened to this track like 50 times. This one is my new favorite as a prerequisite personal anthem to include in all of my questionable activities. Seriously fucking good folks. Choice cuts from this lethal and conniving affair of the poison heart include: “Misadventures”, “Fatal Flaws”, “Teenagers”, and the introspective jagged jangle of “Nothing Left For Me”.

I remember the last time I was in the Phoenix area. I was living with a girl at the time, she was obsessed with my past girlfriend named “Jen”. Drenched in delusional jealousy, everywhere she went, she saw the letter “J”, and kept picturing Jen with me. I went insane having to downplay my relationship with Ms. J to the girl I was dating and living with. It hit a boiling point and May Cause Dizziness Records from Phoenix offered to fly me out. I forgot to mention I was intoxicated for 48 hours straight before arriving at LAX. I’m not sure how I got to LAX or even how they let me board the plane, which I think I missed twice getting sidetracked in the airport bar. I made it to somewhere in Phoenix, I don’t recall how I handled myself after I emergency landed from the 45 minute flight. Wes of Erratic! Radio was my tour guide after Nate of MCD Recs turned in for the night. I was shipwrecked at Wes’s place for a few days, fucked up and thoroughly enjoying the contentment of numbness and pure irresponsibility. I jammed on a Prostitutes track or two with Wes, my girl ended up flying me back to LB. I think Nate and Wes were the only two guys to ever give me a “record release” party for “Kill Them Before They Eat” in 2008. That girl that flew me back, her name begins with a “J” too. That’s the best metaphor I can give for this must-have release. As always, I never review things that I do not like.

–Kevin McGovern


Fear & Loathing in Long Beach Magazine

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THE ANXIETIES: Richard Hell does a line with Stiv...

WARNING: THIS RECORD WILL KICK YOUR ASS

Rule Number 1: Most live recording full-lengths suck… Why? Most of the time all you can hear is a paper-thin drum sound, way too loud trebly bass and the guitar is almost nowhere to be found. On the worst live albums, the vocals are cranked up beyond what is necessary and it sounds like some dude singing over a sound check of a drum kit. I used to get so pissed, when I would buy one of my favorite band's live CDs in the used section and then be subjected to 45 minutes worth of sub-par renditions and crappy re-writings of classic songs with unnecessary “recently added” dumb ass "spoken word" parts. The garbage in the middle of the song where the singer is going on and on about something really stupid.

When I listened to the Anxieties Live at Centaur Guitar, I was fucking stunned by the energy, snot driven fury, and sharp musical attack of Scott Von Rocket and his droogs from Portland, Oregon. Portland has been cranking out some serious punk rock and new wave damage for years with record collector staples such as Sado-Nation, The Neo Boys ( a must), and The Wipers. The Anxieties subliminally carry on this tradition of garage rock that punches hard with punk rock viciousness. In fact if you took the chord stylings of the Neo Boys and combined them with Richard Hell’s best 5 songs, did a line of the pure white stuff for good measure, you’d come out sounding like this. Von Rocket has a distinct vocal style that bashes your skull in while soaking the fragments in neurotic rhythmic melody. I’ve been diggin’ on these guys since their “Black Hole” 7” a few years back, when I really sunk my teeth into what this band was about. Desolate themes of Sci-Fi experimentation, psycho girls, and wild noise rule the land in an “anything goes” nightclub, where no one paid to get in tonight.

The guitar is fuzzed, crisp, and cranked like a motherfucker on this live album, and it’s all here without charge, but donate to this worthwhile band! Fuck man, if we do not support our punk community, we’ll be left with nothing, seriously, these bands put their hearts and energy into this process and it’s never for money. It’s for the human need to rock like fuck, exorcise displeasure, and allow self-expression while keeping the sounds of sonic freedom alive. Download it, blast it, and send them some scratch for a 12 pack… “Panic Room”, “ Lab Rats”, and the nail biting spastic rock blast of “Blank Stares” are the future soundtrack to your next downward spiral. You know, the one with that fishnet and garter girl you met at the show, who promised you that there would be No Tomorrow and No Future. When you wake up in your own vomit with a new girlfriend and a smirk on your face, don’t blame me. I’d go get a refill and play this album again and again.

-Kevin McGovern


HEY PUNKER, ROCK OUT NOW WITH OUR OCTOBER ISSUE ONLINE…

HORROR SHORT + Q&A: "MANNEQUIN" AWAITS, WATCH NOW

I am really getting into the new craze of horror shorts on YouTube, given my short attention span and the lack of “new” horror with actual terrifying appeal. The big studios miss the mark every time and we get watered down PG-13 style garbage instead. Just type in “horror shorts” in your search browser and you’ll be exposed to a whole new world of indie filmmakers and actors/actresses that I feel have more to offer than the prevalent nepotism in commercial Hollywood film. -k.m

What was the inspiration for “Mannequin” in its creepy, surreal, twilight zone, meets sheer terror approach?

( Deric Nunez) You pretty much hit the nail on the head! The surreal nature of the Twilight Zone was a constant source of inspiration when producing Mannequin. There was also a show I would watch as a kid called “Are You Afraid of the Dark?” which too had that blend of surreal meets terror. Throughout production, I kept saying that I wanted Mannequin to feel like an adult version of that show.
I should also credit my overactive imagination. The idea for Mannequin actually came from when I was taking the trash out to that exact dumpster featured in the movie, and wondered to myself what I would do if when I turned the corner to toss the trash, something out of place was standing there.

How long did the writing and filming process take?

Mannequin took about a month to write, a 15 hour day to film, and approximately two weeks to edit before it was released on the Cowmaster Studios YouTube Channel on May 3rd, 2013.
The writing process was definitely the most stressing due to the sheer number of rewrites and edits.

Amelia Gotham provides a very convincing and compelling performance, did you discover her or is there a set group of creative individuals you prefer to work with?

A bit of both… I have a crew comprised of friends that I have worked with and known for years. Once Mannequin was written up, I had my crew in place, but just needed that perfect actress to bring it to life.
I discovered Amelia through an online casting service called LA Casting, which has been tremendously helpful when trying to lock down great talent. Amelia submitted a video audition for the role and just hit it out of the park, she was perfect. The crew and I were so pleased and grateful to have been able to work with such an amazing talent.

I love the horror-short format, do you plan on full-length features in the future, or to continue the eerie succinctness of the short film, which mimics the fast happening terrors of everyday life?

I would love to do a horror feature in the near future, but right now I feel the best course of action is to continue with the horror-shorts in order to build a fan-base that enjoys my work.
The horror-shorts are a lot of fun because they allow me to explore new ideas and techniques at a quicker pace than a feature-film.

What films inspired you to write and create in the world of horror.

It was less a single film that inspired me, and more the genre as a whole. I just love being scared, so when it came time to come up with my next film concept, horror just made sense. My first horror film was called Knock. The crew and I had so much fun working on it that I figured the horror genre required further exploration. The great reception it received was tremendously inspiring as well.
I am constantly drawing inspiration from the techniques other horror movies utilize to get reactions from their audience. I’m really big on studying techniques.

What advice could you give to aspiring independent filmmakers and writers to realize their nightmares on the digital screen, the way you have skillfully done?

I’ll rattle off a few:
- Study the techniques that other horror films utilize to create tension. Absorb the horror genre because you can’t successfully make a film in a genre you know nothing about.
- Make a film that you believe in, based around a technique or challenge you want to explore.
- K.I.S.S (Keep it Simple Stupid) Make something that is within a reasonable scope based on your budget, team size, and skill level.
- Stop thinking about it and just go for it. You will make mistakes, but that’s part of the process.
How necessary is adequate backing in the making of a quality and terrifying horror short film?
The great thing about horror films is you don’t need much in terms of budget to create a terrifying experience. Horror is about the pacing and setup, both of which are free.
Take the Blair Witch Project or Paranormal Activity for example. Both of those films are inspiring to me due to how successful they were at building that sense of terror, while staying on a shoestring budget.

There’s a nice flow of isolation, relationship strains, bloodshed, and poetic conclusion to your past films, A New Day and Last Hand, was your writing process in Mannequin deliberately different in the use of minimalism?

For Mannequin I just wanted it to be a very simple story about a girl and a random encounter she experiences. The hardest part about writing Mannequin was actually trimming the script down until it both told the story I wanted to tell, and contained no extra fluff weighing it down. Thankfully I had my co-writer, Erika Kotero, to help keep the integrity of the script on track.
I should also point out that Last Hand was my film partners work, his name is Michael Papilla. Though I did lend some consultation work on the set, I was more there to act and help edit. I would really recommend checking out his film, Forgiven Faith. It’s not horror, and it’s a bit low budget, but has really terrific pacing and is entertaining to watch.

What locations do you primarily film in and is it easier to do it local?

I stick to local spots or locations that have been thoroughly scouted. I like being able to just set up at a location with no worries of pedestrians or "the law" intervening and ruining a shoot. Plus, it is very important to have a location you are comfortable working in.
I would also like to take this opportunity to thank my family, friends, and fans that have contributed to and supported to the continuing growth of Cowmaster Studios.

SEE FULL ARTICLE AT Fear & Loathing LB:OCTOBER

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BIG DEAL: It's a secret.... post June Gloom interview

This interview with BIG DEAL originally aired in our September Issue of F&L. It goes a bit out of our normal fare but has the attitude we admire, not to mention I really like this album. Some cool perspectives on being a band and the whole racket that is involved with it, while explaining the cool concepts on the June Gloom LP. – Kevin

With your newest release June Gloom, music fans and purists can bask in the underground/pop/garage intricacy of these amazing compositions that appear to draw upon such groundbreaking releases as Blondie’s “Parallel Lines” and the Pixies “Bossanova” while adding a completely new component. What was the process in the writing and recording of the newest collection?

KC- We started writing for it when we were in California after SXSW. We really wanted to move on from the first record and keep evolving into what we glimpsed the band could be. Our favourite bands and our favourite times in music were when, for lack of a better word, independent bands changed the mainstream. I don't really think that's possible anymore as mainstream is now tied into reality TV shows where they engineer emotions and everything else is squabbling for scraps.

The coolest thing about the newest release is the inclusion of a double vinyl release and it comes with an iron on transfer to make your own T-shirt. As a product of the 1990s myself, it’s refreshing to see a DIY approach that embraces slacker ideology and the concept of beautiful dropouts and losers. How does this type of approach affect the band’s personal belief system and lifestyles?

KC- In part we just wanted to thank people who actually wanted something physical , who are either aware enough to pitch in and help a band survive , or have a real appreciation of the format. Personally , I love things that you can make your own, or modify to suit you. It was also a lot more feasible then putting a shirt in every vinyl!

AC: When it' so easy to steal music I think it's cool to reward those who don't do it and are actively supporting bands. They can wear their iron on transfers as a badge of honour!

“In your car” is a monster hit on the digital airwaves. The video has an entrancing quality to it with brilliant simplicity, not to mention a great single! What was the basis for the song and accompanying video?

KC- This is news to us! Great news! though we are skeptical without seeing it for ourselves. Alice started the song in California, I finished it in London when we returned. I really wanted the video to be in the desert where I grew up. It has this incredible beauty that's threatening and brutal and a bit scary. The creatures in the video, i wanted to look like the guitar lead sounded in my head.

A favorite of mine is “Close your eyes” on the latest album, on this track it’s like a daydream experience with the Velvet Underground and the Vaselines providing the second hand buzz. How does the band balance more straight ahead synth garage rockers with moody ballads in the writing process?

KC- They are both parts of us, and something we miss from a lot of modern rock music. Balance is a really important idea to us, but it's also really liberating as you can go as far in each direction. Led Zeppelin records were almost always half acoustic ballads, which isn't the way a lot of people remember them, but makes it better going back to it.

Have you had experience with Southern California’s notorious June Gloom? It always gets the best of me every year but remains oddly cathartic at the same.

KC- We have! My mom now lives in San Clemente and she finds those months really hard, and I find it funny. I lived in Costa Mesa for a couple years and I liked it the most when it was gloomy and dark and cloudy, and moody. Such a relief from the endless sunshine! And now, it's the inverse. London is gloomy for all but a few weeks of the year. That is balance for you.

What are some of your favorite bands that played a role in your decision to make music for a living and outside of the band, do you have non-musical occupations?

KC- I love Nirvana and the Beatles and Depeche Mode, Smashing Pumpkins, Afghan Whigs, Sunny Day Real Estate. Those bands got me through growing up. I feel a sort of debt in that respect. I have/had all kinds of jobs, teaching guitar and working in a pizza place , waiting tables. I was a roadie for Dick Dale.

What is your opinion on how the digital revolution has changed the release of recordings and accessibility to artists? Do you feel you have more control in the creative process or does the help of a recording company offer a more lucrative lifestyle in terms of distribution and live gigs?

KC- Accessibility is the easy part to understand. Anyone who hears of something can immediately look it up, which is amazing, but also kind of sad. It's the hearing about it part that is now the commodity. And that’s where it gets confusing. We have never been written about on a high profile blog in the states. Major labels have the power to market their bands relentlessly. Still not an even playing field but…

From your combined experience, what is your advice for new indie bands looking to make an imprint in the indie/underground music world? What DIY methods work? Which ones don’t?

Alice: To be honest I don't think we're in a position to be giving advice on what works, as we're definitely still figuring that ourselves. But this seems to be the plan that new indie bands are following for success.

1) Make your band name a misspelt word to make it easier for people to Google. Usually it's coolest if you take a fairly mundane word but just change it slightly. For example ' I've just started a new band called 'Cetchup'.
2) Make sure you have a logo ( this is more important than the songs). It must look good on t-shirts, that one day might be sold in Urban Outfitters if you're lucky.
3) Make sure you have a collectively clear image and brand that people want to get behind.
4) Play some songs…(maybe)

OR
1) Work really hard on writing some great songs that you really believe in and want to spend the next part of your life playing all over the world.
2)Be in a band with your best friends. If you're going to be stuck in the back of a van for most of your life you're going to want to be stuck there with people you love.
3)Don't compare yourself to everybody else, especially if you're on an indie label. Trying to compete with bands on major labels is like trying to compete in a marathon against Olympic athletes who have money and support behind them and you're just a normal guy and all you've got is a really cheap pair of running shoes. There is a chance you could win, or even just make it to the finish line but you're going to have to work twice as hard.


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