VOL. 6 NO.

2 • FALL + WINTER 2011 • ISSUE 105

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FREE FLEXI 45 BY
THE NOCTURNES!
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RAS_G
THUNDERCAT
FLAMIN GROOVIES
R. STEVIE MOORE
BRUTAL TRUTH
CORRIDOR
PORTISHEAD
TAV FALCO
MOAB
AND MORE
 THE FLYTRAPS
32 Janet Housden

36 MOAB
Ron Garmon

TAV FALCO
38 Gabe Hart

THE NOCTURNES
42 Matt Dupree

44 BRUTAL TRUTH
Adam Beck

50 JONWAYNE
Lainna Fader
R. STEVIE MOORE
6 Chris Ziegler
52 DJ SHADOW
Lainna Fader
8 CORRIDOR
Dan Collins and
Daiana Feuer 54 THUNDERCAT
Chris Ziegler

12 UV POP
Howe Strange 58 RAS_G
Chris Ziegler

16 IGGY AZALEA
JACUZZI BOYS
Rebecca Haithcoat 62 Jason Gelt

20 PORTISHEAD
Kristina Benson

22 ZOLA JESUS
Daiana Feuer

24 FLAMIN GROOVIES
Dan Collins and
Chris Ziegler

28 DEVON WILLIAMS
Chris Ziegler

30 BRYAN FERRY
Oliver Hall
IGGY AZALEA by FUNAKI
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4
R. STEVIE MOORE
Interview by Chris Ziegler
Photography by Aaron Giesel
R. Stevie Moore has been home-taping pretty much since audio tape became available, and after an
uncompromising and idiosyncratic discography that feels like hundreds of distinct geniuses at work together,
he has become the undisputed king of the righteous outsiders. Now R. Stevie says he’s past the DIY thing and
into the NPR thing, where documentarians and record labels and websites and magazines are fighting to talk
to the guy who never gave up the good fight. Pay the man already!
Things are just exploding through the roof to worry about to get into the commercial member! ‘Who’s your favorite?’ I like them though—seek it out! He was the exception
lately. It’s all a blur! There’s so many dif- mainstream. I mean, I hate the commercial all! This isn’t a sporting event with number to the rule because I was stuck in Nashville in
ferent ones—every day I wake up there’s a mainstream! Let’s face it—that’s the ultimate one, number two and so on. ‘We wanna this middle-class family upbringing because
new stunning development with a label or peak! Seeking acceptance means fame and know the record that was most important to my father was making all this money doing
something on vinyl. My most exciting thing fortune and all the other crap that goes with your career.’ Well, I have no idea what that these amazing Nashville hit record sessions,
is L.A.-related: my recordings with Ariel it. I’m sick of struggling and I’m so egotisti- is! It’s all of the above, always. The obvious but we didn’t have any kind of relationship
Pink and Jason Faulkner. A dream come cal and into my viewpoint here that I feel influences are there—Beatles, Beach Boys, hardly at all. I was just a normal growing-up-
true! We’ve only done three songs so far, but I have to battle to get anywhere. It’s not as Zappa, Captain Beefheart. in-the-60s school kid, but just blown away
they’re huge mega-smash-hit productions much suicide as it used to be when you had Are those the ‘idea people’ you say rock ‘n’ by all the music that was happening in that
thanks to Faulkner. We’re getting all these to worry about record labels and hit singles. roll needs more of? amazing decade. And Uncle Harry was the
labels in competition—bidding wars! I’m just floating on my overall resume and Ideas? Conceptually or musically or … only one besides myself that shared that, and
Is this your first bidding war? philosophy. I still have a teenage head and I’ll take any ideas. he was always supportive, and once I started
We shouldn’t even say that. I’m exaggerat- I’m approaching 60 years old. … But I gotta It’s all about being creative. Sometimes it sending him reel-to-reel tapes, he was blown
ing. be proud of my punk arrogance as well! I’ve seems like we’ve ‘run out of ideas’ as a race away. … The home recording thing, it used
We could help you generate one! been beaten up my whole life, just psycho- of humans, but that can’t be true. People get to be such a dilemma. ‘These are fantastic
OK—you got my approval. I’ve never been logically—it’s a tough thing! The whole un- dragged into nostalgia, or try to put two or tapes but they sound terrible! There’s noth-
so busy in my life. I’m working so hard and derdog thing. I love it and it keeps me going three things together and make that new, ing I can do with them. I know somebody
I hate to work, but it’s like a locomotive— but I’m also sick of having to knock on doors and that’s better than not creating at all, and who’d be great to plug something with, but
nonstop. I can’t step back and enjoy the ride and compete with generation of generation yet … I don’t know. When I hear a record, I we’d have to go into a studio.’ And I hardly
cuz there’s so much work to do. And that’s of new kids, and this year that’s all changing! want surprise. There’s gotta be a lot of listen- ever did. I couldn’t afford to, I didn’t know
the major story! Forget the DIY thing, the Everywhere I go I’m treated like royalty! It’s ers out there that have never heard this kind how to coordinate it—ironic, since I’m in the
quality of the music and the diversity—it’s a funny joke, but I gotta admit to it—being of stuff as much as I have, so they don’t need middle of Nashville, Tennessee. I just did the
starting to become an NPR-style story of this professor, this old philosopher from an- surprises. But I’m just desperate for surprises. best I could do with what I had, which was
this old guy who’s just getting started! other planet that used to do home recording Very impatient with mediocrity. tape recorders.
From DIY to NPR? before their parents were born! Are ideas finite? What did people around you think when
It’s good to be armed with quality content— What happened? Has the world come Sometimes things come fast, sometimes you showed up one day with 100 copies
it’s not just the style. And I do have to deal crawling back to you? things come slow. I don’t worry about it be- of your own LP? That was really rare back
with the age issue and today’s youth-driven I enjoy going through my rants but that’s not ing finite. I don’t deal with writer’s block as then.
market … ha ha. really what I wanna do. I’m a musician and seriously as I used to. I don’t worry about it. Friends dug ’em! My only friends were my
What long-delayed R. Stevie dreams will composer. I don’t wanna give speeches on I’m tooting my own horn here, but by this musical friends. They never did what I did,
come true? Will you do an arena tour and what went wrong with civilization. time of my career, I’ve developed an almost as far as the creation of songwriting and play-
guest host with Terry Gross? What did go wrong in civilization? automatic King Midas touch! When I do ing all the instruments. Otherwise, nobody
There’s so many miniature dreams. There’s Madonna. Madonna. Madonna. Madonna. pick up an acoustic guitar, I might not come heard about Phonography! It’s only in retro-
no favorite. It’s all about raising awareness— Madonna. ... She’s just the ultimate poster out with a complete brilliant masterpiece— spect now that people have gone back to it
let’s face it! I’m trying my best to promote- boy for style over content. She was the ex- that’s my main problem, I’m not able to and said something about it now. The big
promote-promote and be in people’s faces pert manipulator, so she put herself to the complete things. … But I love my little un- break came cuz—and again this was Uncle
till they bleed! There’s so much desperation very top. It’s the public I should blame, not finished shards. They’re all unique. It’s like Harry who knew Ira Robbins, the head of
because we’re racing the clock at this stage her! That’s when it just became a dancefloor classical music. You can come up with an Trouser Press, who reviewed it in 1977. And
in my life. sensation, and there’s no songwriting or abil- impressive unique riff or chord progression the rest is history! We never went deep into
That’s some brutal candor. ity to play an instrument—not that that’s the and even if it’s incomplete, at least it’s there. advertising budgets or promotion—there
That’s me! I’ve really had to become some- end all, and if you can do it in a studio with There’s no mediocrity. I can’t believe I have was just no money.
what of a personality. Not just the music a DJ mixmaster, go for it! There’s nothing this gift of not ever settling. That’s why I get Did you sneak them into the stacks at the
and the DIY. I’ve having to entertain with wrong with that. I love all music, but that so impatient with a lot of mediocre record- Sam Goody you worked at?
my passion and conviction! I can’t stand me- just cemented the teen-pop thing forever. I ing artists over the decades. I did that! Sam Goody even carried the HP
diocrity and I can’t understand why the arts loved when Nevermind hit cuz that blew the Who was this Uncle Harry who got you catalog for a time.
have settled so much over the decades. Ev- roof off of it, although not for long. Though started? He helped you make that very So are uncaring ex-mallrats in New Jersey
erything is accepted. There’s nobody doing I am enjoying this twenty-year anniversary. first record. sitting on rare original pressings of Pho-
anything original or even making an effort Boy, did I love Cobain! I guess I loved him so He had great ears and he was of the perfect nography at this very moment?
to twist and turn and try to be distinctive. much—like other people—that it killed him generation—he was ten years older than me. I’m sure!
The tunnel vision, too—the music thing is for me to love him so much. He just wasn’t When I was 15, he was 25 and he knew all What do you want most and how can we
always so compartmentalized. Since I was a prepared for all that. To become a spokes- about the New York music industry and he help you get it?
little boy, my life was a mixtape! I wanted to man and all that. was in a great progressive acid rock band from Acknowledgement. Parentheses—bank de-
hear every extreme back to back. You said you’ve been a slave to music since Boston. Ford Theatre, named after John Wil- posits.
You said once that ‘to be a versatile artist is 1955. What records drew you off the sim- kes Booth. They had two albums on ABC Re-
to commit suicide.’ Is that what happens ple path and forever prevented you from cords, and just kinda imploded—they started R. STEVIE MOORE’S ADVANCED LP
when you’re not sellable? becoming an investment banker? to build a following, but the label didn’t sup- IS OUT NOW ON 2000 RECORDS.
I guess—the way the internet has taken over I hate dealing with the preponderance of ply the merchandise in the cities they were VISIT R. STEVIE MOORE AT RSTEVIE-
the world, I don’t think I have anything people having ‘favorites’ or ‘firsts.’ I can’t re- playing and blah-blah-blah. It’s great stuff, MOORE.COM.

6 INTERVIEW
CORRIDOR
Interview by Dan Collins and Daiana Feuer
Photography by Grace Oh

Every rainbow owes its existence to a rain cloud, and that dark space between the two is filled by
Corridor’s music. As Corridor, Michael Quinn has just released his second album, Real Late, with
Manimal Vinyl. It’s heavy, intense stuff that wields a fine metal edge to reveal something beautiful. We
went into Quinn’s house and sat him on the couch between L.A. RECORD’s Dan Collins and Daiana
Feuer to simulate the kind of claustrophobic intimacy that brings human nature bubbling to the surface.
DF: When you go to a strip bar do you put DC: Do you listen to classical cello music? go and I think, ‘Well, if I have the possibil- DC: Isn’t it weird that the personal is more
the money in a woman’s underwear or do Some I do. I’m not authority on it. I have a lot ity to put something there rather than not, I universal?
you just watch? of friends who are so I don’t even bother trying will try to do that tastefully.’ Or un-tastefully If someone in a dark place, darker than I’ve
I just throw it onstage. to assume I know anything. sometimes. ever been, gets a moment of relief from listen-
DC: Is that disrespectful? DF: You have a lot of friends that are au- DC: You’ve managed to make an extreme ing to my record … There are plenty of re-
People have different terms for what’s respectful thorities on cello music? form of music that is not reliant upon the cords that I listen to because they relate to how
strip club etiquette. I don’t really want to touch Let’s put it this way: I have more than four, way metal went—where it’s all demon voic- I’m feeling when I don’t want to feel better. If
anyone unless it’s extremely necessary. Maybe which is a lot. I’ve played with people who es and fast and loud as possible. don’t want to get out of the dark place, I just
it’s disrespectful to throw money at someone’s are classically trained. I honestly feel like I’m I come from that format of music. There’s so want that misery loves company feeling.
feet, but I also don’t feel comfortable just stick- insulting them. I can see in their eyes, them many kinds of heavy music in the Northeast DF: Why do you feel this way? Why does
ing money in a stranger’s underwear. judging my technique. It’s definitely their that weren’t metal or hardcore. Lightning Bolt your dark side come out in music?
DF: Which one is more disrespectful? problem. But I respect where they’re coming is a good example. I grew up hearing that The easiest answer is that I have to go out in
It’s a question for the ages and I’m definitely from. It is an art form. But some of my favorite band. They’re heavy technically and crazy but the world and be an approachable person and
not the right person to try to answer. If I musicians aren’t schooled but just made sense they’re not really metal. They don’t sound like I have to do the things I have to do for basic
could, I would steam it flat and gently place of the instrument and made it what they want Slayer. I grew up in an artistic time with heavy functioning in life. The one time I can be at
it down on a little pillow but I don’t have that it to be. music. There weren’t really boundaries. You ease and feel how I want to feel without judg-
kind of time. DC: Isn’t that what rock ‘n’ roll is at its best, could still be heavy and crazy and mosh and ment is when I create music. When I sit down
DC: Which of your songs would be best for a bastardization? trash the place. The music I make now comes to write music, I’m not trying to get people on
someone to strip to? Absolutely. I just happen to make music with from that. I was molded a certain way to begin a dance floor. It’s not happy or sad but it’s this
I guess it depends if you’re doing some kind of classical elements so I get lumped in with the with. I would like to pretend to fight that stuff tonality. It’s not to bring anyone down. I know
intense power dance or if you’re trying to do genre. It’s cello, but it’s not ‘classical.’ It’s ‘avant- but I don’t have the ability to fake it. The hon- the both of you, and we’re sitting in my house,
some graceful pole-sliding. garde.’ est truth about my music is that this is what and we’re fucking around a little bit, but to
DF: Which one do you like better? DF: What was the first song you learned to comes out of me without any premeditation truly answer your questions I have to step out-
I find pole-sliding impressive. ‘C.I.T.M.’ on play? or boundary. But, of course, the music is defi- side of myself. This isn’t an artist rant but it’s
my new record is a kind of piano industrial I got a guitar in seventh grade and I would nitely orchestrated. I have to compile and do more like an alter ego. This [points to himself]
ballad. That would be a good one to get down learn everything from Minor Threat to all the it piece by piece. is all the performance and this [points to CD]
with but also be very graceful with. songs on Ride the Lightning on guitar and DF: You created this music entirely yourself is all that’s real. This is my attempt to exist the
DC: The first Corridor record was very same with drums. It all stemmed off this ado- in order to play it by yourself. Why are you way I would like to exist. I would rather exist
clean but it had lot of ferocious technical lescent shit. I grew up in a rural city, a kind of now playing it live with a band? on record than in real life.
activity. Is that different on the new record, shitty area in Massachusetts called Brockton. There was a sort of romanticism to starting DC: I do feel that your music is very real but
Real Late? It’s an old industrial city that got everything Corridor as the anti-band. It was like flying the ability to be purely on record is an illu-
As far as ferocious technical approach, it’s defi- taken away from it and it just became sort of a space ship—one false move and the whole sion.
nitely been pulled back a bit. The first record like Detroit, though not as bad. The business- thing collapses and crashes. I learned to do it It is an illusion but it’s no more an illusion than
was more my own self-discovery of what I was es were gone, there was a lot of poverty and from playing awful shows. It wasn’t even trial- reality, I’d say. We’re all an illusion. I don’t think
capable of doing. It turned into what it turned crime. It wasn’t the greatest place to grow up. and-error. I was just learning from error, and anyone’s really real unless they’re alone. I’m not
into and was released. As the virgin release for It wasn’t in touch with ‘the now.’ It was very then eventually it got good. But after six years trying to sound spiritual or melodramatic. I’m
Corridor—I mean, this is the only project that suburban. The music I could access was very of it, I feel like I’ve hit the ceiling with that. I’ve really not. I’m really boring and normal.
I’ve written, sang and played everything for. technical, intense stuff—very hard and fast. I conquered that aspect of this project. DF: I don’t think you have enough shirts
My history as a musician until this was as a didn’t grow up listening to the Beatles or Roll- DC: One of your new songs is called ‘Re- and shoes to be normal. But you do like to
drummer for ten years. I never did anything ing Stones. It wasn’t in my house. My brother building My Internal World.’ Is this album watch News Radio, which is very normal.
outside of that. I wanted to write a record and sister liked 80s hair bands. Everything I more personal? DC: You’re getting all dark on us but I feel
where I played all the instruments I could play heard had a face-melting solo, from any room It’s definitely more introspective. I wanted to you’re moving in very human directions.
to the best of my ability. I wasn’t trying to be in the house. So that’s what I came to know as make the album more accessible and to do I can only look at myself in the mirror and
grandiose or over-the-top, but I wanted to music. It wasn’t until later in life I realized this that, I had to focus more internally on what I think I’m normal. But I’m sure most people
make something with every ounce of my be- represented only a small percentage of music. thought accessible meant. These songs are ac- think I’m somewhat different. I’m not saying
ing. I’m not showing off or being pompous. But it’s how I learned to play, and the records tually influenced by experience. The first one I’m not human. I’m as human as you or her.
DF: When did you learn all these instru- I heard as a kid turned into what I do now. was more for everyone and this one is more Music can be taken too seriously and literally.
ments? Once you push yourself that hard, it’s hard to for me. There’s a paradox, I know. I wasn’t up I take it too seriously and I take myself too se-
I’ve been playing guitar as long as I’ve been regress. I try to hold back. there shaking my ass, just a guy sitting onstage. riously. But I have to find a balance between
drumming, sixteen years. Cello has only been DF: You hold back the impulse to shred. It was bare bones: ‘I’m here for you to listen to, being serious with what I do and not being ar-
five or six years. I’m not classically trained. I don’t sit around in my room anymore trying not to be entertained by.’ Now that I’m trying rogant about it. I love what I do.
DF: I imagined you playing in a school to melt people’s faces off. But I’m interested to entertain people by giving them something
band. in time and space in music. The space that they can relate to, I have to reverse everything. CORRIDOR’S REAL LATE IS OUT NOW
Not at all. I bought that off a roommate who is in music to be filled. When I’m writing, I I have to dig into a place that’s more personal, ON MANIMAL. VISIT CORRIDOR AT
was moving and taught myself. listen to all the empty space where things can like a diary. MYSPACE.COM/EASTCORRIDOR.

INTERVIEW 9
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UV POP
Interview by Howe Strange
Illustration by Luke McGarry

John White has been UV POP since the 80s, and he’s gone from being a gaunt youth hunched over a guitar with
only backing tapes behind him to being in a full band that has his wife as a member, but he’s never stopped.
The first two LPs go for over $100 on Discogs, but John doesn’t see any of that—he’s just a humble boy from
the small mining town of Doncaster who repairs guitars, eats weird stuff and plays what he wants how he
wants to studio audiences in his kitchen. Sacred Bones just reissued the first UV POP 7” from 1982, and will
be reissuing the first LP, No Songs Tomorrow, early next year.
Tell me about your first foray into mu- selves in their studio. They weren’t a com- ing noise with a drum kit in my cellar and JW: Probably a plateful of tripe—raw tripe.
sic—the I Scream Brothers. mercial studio. They didn’t do it for money, scream into a microphone, I didn’t feel like In England, it’s a bit of a Northern work-
John White: We were a three-piece working they were encouraging people who wanted I had to be restricted to one kind of style. ing-class thing. It’s sort of dying out these
from Sheffield. I’m from Doncaster—which to be creative. … While we were there they I was making it for myself; I wasn’t mak- days. Vinegar and pepper, and you just eat
is fifteen miles away—an industrial mining were showing films constantly while we ing it for an audience. … When the thing it raw. It’s foul.
town on the outskirts of Sheffield. … The I were recording. They were showing things was finished, I split it into two halves and In those early days, were you playing a lot
Scream Brothers were guys I’d met just from like The Texas Chainsaw Massacre. put the jangly pop stuff on the A-side and of gigs around town?
being in local music scene. We got together What about Texas Chainsaw Massacre the more experimental, industrial-sounding JW: I was playing in Europe—Manchester,
to make some tracks and we did a recording can you hear in that single? stuff on the B-side. It sounded better be- London, Sheffield—probably playing two
for the Pax record label from Sheffield—an JW: Me screaming, probably. ing presented in that way, that’s all. I would or three times a week. I was making my
anti-war track and something else for them. And then you started work on your first have happily just put it in any order, but own backing tapes. I was playing a drum
They were really a punk record label, but LP, No Songs Tomorrow? people do like to categorize things. It’s bet- machine and a bass guitar and a keyboard
they put out our first single, ‘Tree Grow- JW: Yes. I bought some equipment with ter to have something that you can put a into a tape recorder and then using that
ing Wrong’/‘Avoid the Surgery.’ We went in the money I made out of the first single, label on sometimes. as a backing track, and playing guitar and
different directions very early. We broke up and decided to record it in my own home. I read that you wrote ‘No Songs Tomor- singing live. … I played with Hula, In the
after about nine months. I was going in an I bought a 4-track tape recorder because I row’ after killing a bird? Nursery, Culture Club, Nico …
experimental direction, where they wanted heard that the Beatles had done their album JW: When I was a teenager, I used to go out Did you hang out with Boy George?
to make sort of pop music. on 4-track, so I thought, ‘Well, anybody with a bunch of lads, we were into motor- JW: Yes! Not in a sexual way. We did have
What bands were influencing you toward can do that then.’ So I put my gear up in bikes and, you know, hanging around. A few a bit of a natter in the day. He was a re-
the experimental direction? the kitchen and recorded it in the house of them had air rifles and we’d go out and ally lovely guy—quite a big guy—and he
JW: Bands like early Human League, Caba- on my own. I played all the instruments. It just shoot at targets—tin cans and things, looked after me at the club, helped me
ret Voltaire, and the German bands—the was just the way to be. You could do what and one day a couple of us were shooting at with the soundcheck. He was a really nice
Krautrock bands. The Sheffield scene: you liked, spend as much time as you liked pigeons and I shot a bird in a tree. I wasn’t guy—a genuine sort of bloke. … [Culture
Clock DVA, and friends of mine called In doing it, and you weren’t paying somebody very good at shooting, but I hit this bird Club] weren’t really famous at the time. Al-
the Nursery. They were experimenting with else to do it. I didn’t have a lot of money at and there was a big thwack and this thing though they were number one in the charts
marching drums and industrial rhythms the time, so No Songs Tomorrow was a very just fell off its perch and fell on the floor. I the week that I’d played with them, prior
and film music. homegrown product. was really upset, you know. I couldn’t be- to that they were virtually unknown in the
Did you feel like part of that ‘Sheffield There seems like two very different angles lieve I’d done it afterwards. U.K. They almost came out of nowhere.
scene’? on that record: the experimental, abra- So safe to say you’re not a hunter now? Was fame something you were after, or
JW: Definitely. I was playing in Sheffield in sive sound and the more songwriting-ish JW: If I was hungry I might kill a rabbit something you could take or leave?
the early 80s. The bands around that were stuff. or a chicken, but I don’t go around shoot- JW: Something I could take or leave, re-
playing at the time were In the Nursery, JW: At the time, I was definitely torn be- ing defenseless sparrows off of people’s ally. All I wanted to do was be creative and
and Pulp, who went on to do great things tween two sides. I enjoyed listening to the garden fences anymore. please myself. I’m quite selfish in that way. I
in the U.K. pop scene, you know. And lots post-punk/pop music of the day—bands Are you a vegetarian? make music for myself—that’s what I’ve al-
of small experimental bands. I was heavily like the Psychedelic Furs and the Cure. And I was a vegetarian in the 80s, but I didn’t ways done and I still do to this day. I’m not
influenced by Cabaret Voltaire, and they then on the other side, I was listening to sit with it very long … I got over it meself. saying I’m not interested in an audience,
produced the first UV POP single, which Cabaret Voltaire, SPK, Einstürzende Neu- I’ll eat anything. I went to China last year but I make things to make me happy.
is the one coming out on Sacred Bones. I bauten, DAF—people like that. I like all and I was eating chickens’ feet and fishes’ What’s the most interesting interaction
went in to their studio and they put plenty kinds of music so I wanted to be involved in eyeballs. I will eat absolutely anything. As you’ve ever had with an audience member?
of input into the single. They encouraged everything, really. I didn’t really know what long as it’s got a label that says ‘some kind JW: I played at Bath University one day, and
me to do what I wanted to do but they direction I was going to follow in the end. of food’ on it, I will try it. Christ, I can even somebody pulled me off the stage. I’m quite
didn’t try to mold what we were doing. I was trying to be creative and not have any eat olives. If you can eat olives, I think you keen on photography so I was showing slides
They said, ‘What do you want to do?’ and boundaries. If I wake up today and want to can eat anything. on the back of the stage and the audience was
they recorded it, and they made it sound write a jangly pop song, that’s fine. And if What’s the most disgusting thing you’ve shouting at me, telling me that I was being
exciting. They wanted people to be them- at 12 o’clock at night I wanted to start mak- ever eaten? self-indulgent and conceited and I got really

INTERVIEW 13
annoyed with them. I mean, I’m at a fuck- Tony Nicholson (bass): A band is not a de- of doing that without any help from me. them now. … We always go down well
ing art college and you’re calling me self-in- mocracy, it’s like a benign dictatorship. … Technology has put fantastic creative tools wherever we go, so we don’t even think
dulgent? And this guy got a hold of me hand If you have a democracy, a band tends to into the hands of ordinary people—I can about it these days. The people who want
while I was singing at the front and pulled me not really work that well. … I think you do things at home now with music and the old stuff, the people who were into
down to the floor and we were wrestling on have to agree—you know, somebody has film that would have cost tens or possibly the band in the 80s—the dark wave/in-
the floor. … Just students having a go. Which an idea and everyone’s kind of like, ‘Yeah, hundreds of thousands of pounds—but at dustrial scene—they’re still fans, it’s just,
is what you want. If you don’t provoke any that’s a good idea.’ And then, within the school we were told that technology would I wouldn’t say they are locked in the past,
reaction at all, you’re not leaving an impres- realms of them agreeing with the idea—you free the working classes from manual labor but they enjoy what they liked when they
sion, are you? If people don’t respond to you know, you can make suggestions, but ulti- and the 48-hour week and we would have were teenagers, and cling on to that. We’ve
in any way whatsoever then you’re not doing mately one person has to make a decision more leisure time and money to spend— sort of moved on as performers, because
anything positive, are you? An aggressive reac- whether it goes or not. now we have 10 percent unemployment, I’m not 20 anymore. I can’t behave like a
tion—I like that! So John is like the Margaret Thatcher of first-time buyer’s housing that no one can 20-year-old, it’s just a ridiculous concept
What was the recording process like for the band? afford, and banks that won’t even lend to me to be trying to recreate what I did
your second full-length, Bendy Baby JW: Adolf Hitler. mortgages to people who are in employ- 30 years ago.
Man? TN: I think you missed out on the benign ment. Do the banks really have our money? What is it you think you ‘outgrew’?
JW: Bendy Baby Man was recorded in my dictatorship part. You can still have a guy with, say, a £100 JW: At the age of 21, I was married with
daughter’s bedroom while she was at school. Who’s a worse model? million yacht alongside someone with no a son. We tried to find some common
We programmed the drums with a com- JW: I don’t think Margaret Thatcher exter- food, running water or sanitation. Doesn’t ground for a five-year period, but we didn’t
puter, and then we played our instruments minated six million—that would have to be really make a lot of sense does it? So much even know about love. My wife left me. I
over the top. … We had neighbors on both the worse one. But I would say she’s a close for progress. was 25 and had just started playing guitar.
sides, so we couldn’t use a drum kit—we second. What’s the smallest number of people Our break-up gave me something to write
had to use a drum machine. I demoed all On their website, Sacred Bones sort of touts you’ve ever played to? about for the first time in my life. I’d been
the songs previously, so people were play- you as a political band. Does that fit? JW: Seven people. I drove 350 miles to Ex- in a couple of bands, but was never confi-
ing the parts that I’d written. It was just an JW: There was a definite period in the 80s eter on the south coast of the U.K., and dent or pushy enough to contribute to the
extension of No Songs Tomorrow really. It and 90s when there was a lot of political there were seven people there. And there songwriting. Eventually I started to record
didn’t go down as well as the first album. … unrest in the U.K., and we wrote about the were bands on from Exeter at the same time my own ideas and then decided to have a
It did get quite a negative response, that al- government at the time. Songs like ‘Ghost and there was nobody there to see them at go as a solo act. I was terrible at first, but I
bum. I think, at the time, the songs weren’t Bloody Country’ was about Margaret all. So we didn’t do bad, really. … I’ve done was developing as a person. Gaining con-
given the production they needed. We play Thatcher’s government in the 80s, and how soundchecks in my house for people who fidence in my own ability and starting to
some of those songs now, and they’re really she sort of wore the working-class down wanted to see the band, but couldn’t make make important decisions for myself. So
strong songs, but when I recorded them in and fought the trade unions with the army a show for some reason or another. If you the decision to become a solo artist wasn’t
the house, it probably didn’t bring out their and the police. And we wrote an anti-war came here now and said, ‘Play me a con- optional, there was nothing else on the ta-
full potential. … My first album got really song called ‘Just a Game.’ I wouldn’t say we cert,’ I would play you a concert. … The ble. I did improve, then people wanted to
positive reviews everywhere, and the second were heavily political, but we have had our podcasts we do, we always have a studio come on board so I let them. I was being
album basically bombed, if you like. Many political elements, because you write about audience in my kitchen. We get between accepted and I felt good about it. I went
a mickle makes a muckle, as they say. … what you know about. If I wake up and I’m 15 and 30 people in there. It’s quite a small on a solo tour in Holland in the early 80s,
The album was done on a very low budget. seeing the news and the miners are being kitchen so it makes for a good show. had a great time and went down really well
It cost less than 200 pounds to make. And beaten with clubs by the police, then I’m Have you ever been to Los Angeles? at every show. It was a little bit lonely but I
the album reviewers, they were comparing going to write something about it. JW: I’ve been to Houston. think it was a big part of my cure. … These
it to the Cure album and the Psychedelic What’s the sexiest UV POP song? So your impression of the States is based days I’m happy, confident and not bothered
Furs album, and the Talking Heads album, JW: I don’t think we do sexy. Maybe ‘Do on Houston? at all about what anyone thinks of me.
that were probably costing half a million What You Like.’ That’s quite sexy. Or ‘Any- JW: Where’s Hollywood? Is that in Los An- What’s the most ‘science fiction’ experi-
pounds. We were spending peanuts. one For Me.’ You can work that one out, I’m geles? I don’t know. It’s just a place where ence you’ve ever had?
What is a bendy baby man? sure. Looking out the window, fancying your people live. I don’t really have an opinion JW: I regularly see people in my bedroom,
JW: The song was about a friend of mine neighbors, the women in the street. That song one way or the other about Los Angeles. say if I wake up in the early hours or the
who was having an affair with a woman was me looking out the window and eyeing Sounds like a nice place to live. lucid period as you’re dropping off. I can
called Wendy. I wanted to write a song up the local females. Bringing all sorts of po- What would someone come to Doncaster sit up and they don’t go away—your ste-
about his affair without blowing his cover, litical elements into the song as well. for? reotypical ghost-like figures, kneeling, pray-
or anybody else’s. So I called his girlfriend So checking out girls and making it po- JW: I’ve never lived anywhere else. We live ing, standing around in groups … I don’t
Bendy Baby Man, and then we wrote a song litical? where we were born. It’s a mining area— believe in ghosts and I’m an atheist as well,
around it called ‘Turkey Bones.’ … He was TN: Looking at girls and singing about heavy industry. Sheffield steel is made just fortunately, so I’m not scared as such. I
a businessman, and people who knew him power stations. up the road. imagine that people who do actually believe
regarded him as a bit of a turkey, a bit of a JW: Huge chimneys, there you go. What would be the best UV POP song in ghosts must be having the same halluci-
no-hoper. A turkey is like a loser. So what was going on in the 90s? UV to have to listen to over and over again if nations—if that’s what they are. … Wait
What is that first song about—‘Music to POP suddenly got quiet … you were trapped in a mine? a minute though, what if they are visitors
Yeah To’? JW: What happened in the 90s was I became JW: I think most people would rather be from the future?
JW: I think of it as one of UV POP’s ‘hits.’ It’s a family man, and I took a little bit of time trapped in a mine than be forced to listen Do you watch ghost shows on TV?
about dreaming, and me being in charge of out to bring up my children. I worked in a to one of UV POP’s songs over and over JW: I don’t watch TV ever. I watch films.
things. It’s about me being in control of my power station, I was a lorry driver, I worked in again. I like quirky, left-field stuff, you know.
band, and it’s about things you see in your a music shop. I build guitars and I’m a guitar How do you deal with fans who still want Things that you don’t necessarily have to
dreams. Combined imagery. The thing about repairer now—that’s what I do for a living. to see you on stage by yourself with some know what it’s going off about. … Also,
turning black is about—you know those I’ve had proper jobs all my life, really. backing tracks and a guitar? anything with Paddy Considine in it.
dreams you have where you become some- What did you do at the power station? JW: The release coming out on Sacred Given a Venn diagram containing Boy
body else, and you become, say, Afro-Carib- JW: I was the bloke in charge of operating Bones is 30 years old, and the upcom- George, Paddy Considine and John
bean, and you’re seeing things from the other the boiler and the turbine. ing podcast we are going to recreate that White, what would be the label of the
side where people are treating you a totally dif- Did you ever have the temptation to just sound with synthesizers, drum machines, area where all the circles intersect?
ferent way because you look differently, even pull some switch and have the whole saxophones. But these days we go out as JW: The male rape scene where everyone
though you’re the same person? That’s part of thing malfunction, so that your local a band and people generally accept what ends up stabbed to death?
the song, and the other one is I was having a people could have some peace and quiet we do as entertaining. We still play some
bit of dissent in my band at the time and the away from technology? of the old songs, but they’ve been devel- THE REISSUE OF UV POP’S “JUST A
‘captain’ part of the song is me trying to assert JW: No, I’ve never been inclined to wreck oped over the years into a band format, GAME” B/W “NO SONGS TOMOR-
my authority. … That was Mark Smith, Rob the public services or utilities that we have and people are happy to listen to that. ROW” IS OUT NOW ON SACRED
Jeffrey, Neil Bonsall and Colin Vale. It was come to rely on. The world leaders, govern- The songs are good. It’s not a question BONES. VISIT UV POP AT UVPOP.
probably the first full band. ments and capitalists are more than capable about the songs, it’s the way we deliver CO.UK.

14 INTERVIEW
Ig
A
Int
Ph
Iggy
In her videos for ‘Pu$$y’ and ‘Two
Times,’ Iggy Azalea is intimidating.
The 21-year-old Australian rapper,
who grew up in a tiny town but moved
to the U.S. by herself when she was

Azalea
16, is glamazon tall with Snow White
skin and baby-blond hair slicked
back into a ponytail that hangs
halfway down her back. Of course,
she’s also suggestively licking ice
cream and superimposing cartoon
cats on her crotch. But in person,
Interview by Rebecca Haithcoat she’s self-deprecating and giddily
Photography by Funaki girlish, peppering her animated
storytelling with dramatic voices.
Her debut mixtape, Ignorant Art (a
nod to Basquiat), was released the
last week of September, and she has
just one request: Will people please
stop comparing her to Kreayshawn?
How many ice creams did you go through for the ‘Pu$$y’
video?
Oh my god—eight. It was a lemon sorbet—disgusting. Af-
ter the first take, I asked if I could have a different ice cream
and of course they said no cuz of continuity. I wasn’t even
swallowing it by the end of it, just spitting it out.
I was just listening to ‘Drop That Shit’ from the mix-
tape. Have you been to any strip clubs in L.A.?
Oh yeah. We call it ‘Ming Lee’s Asian Fantasy.’ We went to
Déjà Vu at 4 AM, and it seemed like they really didn’t care
to be strippers. Someone got thrown, like, four dollars. It
was so bad it was funny. In the South, we go to strip clubs a
LOT—we go to eat chicken wings; it’s nothing weird. They
were very skinny here, and gave us fruit punch. One girl
texted for half her set and got, like, two dollars. They didn’t
know any moves! And their underpants were from Target.
If you’re a stripper, I expect you to have a costume made out
of Lycra. She was in her period panties!
Why the name Iggy Azalea?
It was my dog’s name when I was a kid, and he was badass.
He used to go around and get in fights with all the other
dogs. I used to try to rap with my real name [Amethyst],
but it just doesn’t rhyme; it has too many letters. My grand-
pa was telling me there is this science behind the perfect
stage name. It has to have a certain number of syllables.
Have you ever battle rapped?
Yep. And I lost. I didn’t start wanting to be a battle rapper,
but I come from a town where’s there’s nowhere to record
so if you wanted to be a rapper, you had to catch a bus to
go to battle raps or open mics, and it would always be both.
So you would do both because you want to be up there as
much as you could. I’d be the only girl, and I would defi-
nitely lose and get booed EVERY single time. I was so bad!
Once a guy said to me, ‘You have a vagina and you’re on
your period.’ After I choked, I was like, ‘Well, I NEVAH!’
And I didn’t know what to say, I lost and I got booed heaps.
I was crap. I was 14.
So what did you do instead?
They let me perform at the school dance. I got booed at
that, too. I lost my voice, and everybody was like, ‘Your
show was OK, but your mic cut out halfway through.’ No,
I lost my voice cuz I was practicing so hard! I did like seven
songs, which was probably too many now that I think about
it, but I was like, ‘This is my concert.’ Someone filmed it,
and when I watched it, people were talking: ‘She fucking
sucks.’ I muted it, and dubbed my songs over it so it looked
like everybody loved me, and put it on MySpace. I started
going to competitions. There’d be a lot of festivals where a
little local group would perform, and I’d do a song. They’d

17
“The Illuminati helped wherever they could.”

have little awards. I never would win, but Yeah, so I told her my friend from Sydney’s No, Houston. This producer saw my music and it just blew up!’ No, it didn’t: I had to
I’d think, ‘Why didn’t I win best costume? I family lived in Miami—which is true— on MySpace and said if I were ever in Hous- move countries, be here in this country for
had the best costume! I can’t even win best and we were going to stay with them. But ton to hit him up and I could have some of like six years with everybody telling me to
costume?’ my friend wasn’t really going with me. My his beats. So after all that in Miami, I didn’t fuck off, and put out a video that nobody
Like what? mom found out I’d dropped out of school, know where to go cuz nobody wanted to gave a fuck about, and then Perez Hilton
So this is when the Pussycat Dolls were and that I was really sad and had no friends, work with me. I decided to go to Houston puts it on his site and everybody cares. But it
popular, and they had those jackets with the so she said I could go. But you know how for the weekend and work with that guy. I wasn’t a fluke or overnight. My career didn’t
words on the top. And I wanted words on when you’re about to do something really went and never left. I only stayed for eight start a year ago. I had to fight to prove that
my clothes. I remember cutting out stencils big, and before you do it you start thinking, months cuz Hurricane Ike came and ruined I’m good enough for a long time.
and spray painting it onto my jacket and ‘What the fuck am I doing?’ I had the ticket, my apartment. Everybody there was gonna So you’re prepared for all the inevitable
my jeans. I did it on my mom’s path, and though, so I went. My mom’s godmother is go to Atlanta cuz they said it was where the hate.
I didn’t put enough newspaper down so I American and lives in L.A., and she came music industry was moving. It sucks—no one wants to be hated. But
spray painted her path gold. She was realllly to LAX to help me switch terminals. I was This whole time, did you have other jobs? I’m used to it. I’m sure I’ll get booed many
pissed. She was like, ‘I got these tiles im- scared! I didn’t know if they would even let Yeah, we [she and her assistant, Shawna] have more times in life but I’ll also get love let-
ported from Indonesia!’ me in. I made my step dad, who works for a hair business. It’s online. I’ve always had ters, too.
And no best costume! Qantas Airlines, get the forms and help me long hair; mine’s not a wig. I’m a foreign Do you feel like these are your last days of
And I didn’t even win best costume. I was fill them out before I left. I made someone investor. She earns and I invest. We went to peace and quiet?
certain! One, my grandma sewed these escort me off the plane like a fucking kid to Thailand together. It’s not as glamorous as it I get really paranoid about it. Nothing is
clothes for me. They were an original de- go through customs. looks. You’ll go through alleys, and a lot of guaranteed. People say I just have to ride
sign. Two, they had gold words! How could What did you do once you got through the hair will have lice in it, or be gray. the wave now, but I don’t really know. I
I lose? And I had a grill! customs? You have a veneer of having seen it all, haven’t made it, I still have to put out con-
Why did you feel isolated in high I got to Miami, and I did see my friend’s but in person you’re just so ebullient. tent and be consistent. I don’t have a record
school? family. I was just happy to be here. I always It’s sorta like I had to be like that. Every- deal or a visa. Hip-hop is competitive. I only
Nobody where I lived liked hip-hop. I al- wanted to come to America, even before body tells you no! No, no, no, no, no, no, hear Nicki and Kreayshawn on the radio—
ready didn’t have friends cuz I would get I wanted to rap. It was my dream when I NO so much. It makes you … not tough they’re the only ones with videos and proj-
teased for wearing weird shit and making was a kid: I would move to America, have like you have a knife in your pocket, but ects out. It’s like hip-hop is the husband,
my own outfits and thinking that was some a convertible, lots of dogs, and a long leop- just more like a man. People always said I and there can only be one wife. Everybody
next-level shit. Or I would do dress-ups. In ard skin coat—cuz I used to wear leopard just should model. And they hadn’t even else is like, ‘Get the fuck off my man!’ Being
elementary school, I would get my friends skin EVERYthing, velvet leopard skin cuz heard my music! Mind you, it was shit at a girl, you feel that you wanna be the only
or my little sister to paint our faces and of Scary Spice; I would have my grandma the time, but fuck, give me a chance. one. But you don’t want to be number one
walk through town past all the adults and make me outfits. I would have lots of dogs You have more in common with older fe- by default. I wanna be the best, but I don’t
say, ‘Yeah, Rebecca’s birthday party is gonna on one leash, wear my leopard skin coat, male rappers—or maybe Nicki Minaj at wanna drag anybody through the mud.
be so fun.’ I know they were all like, ‘This and walk them. And my name would be the beginning of her career. There used to be a lot more women.
bitch. She does this every month. What Jane or Quinn, off of Daria, because I hated Yeah, now she wants to be a Harajuku Bar- There did. But never—and I know you
dress-up party is she going to? There are my name. When I first saw a car with rims bie. My videos weren’t always sexual, and don’t want to be classified as such—many
2,000 people in this town!’ People thought in Miami—an Escalade spraypainted to people would say it was going to take me, white female rappers.
I was weird cuz of that, but I just had too look like the ocean, with coral—I thought like, six years longer because of that. Fuck Even if there was a brilliant white female rap-
much time on my hands. it was fucking cool. We were at the gas sta- off, if I’m going to do it, I’ll do it how I want per ten years ago, I’m sure they wouldn’t have
So how did you fund coming to America tion, and I just freaked out. The guy was to do it. That’s why I did the ‘Two Times’ put it out because they didn’t think it was prof-
when you were 16? so embarrassed. There was this theater that video like that [with cats on her crotch]—I itable. So one happened to fluke it, and the
I worked, I saved, the Illuminati helped had an arcade in it and it was done up like was mocking it. If I want to be sexual, I’ll media’s like, ‘Ahhhh! That’s profitable!’ People
wherever they could. No, I’ve been work- a pyramid. I thought it was fuckin’ crazy! be it in my own way and be funny. I’m not say, ‘Oh, you wanna be like Kreayshawn.’ I’ve
ing since I was 13, and I never spent my Everybody was like, ‘Uh, it’s a cinema.’ But doing it in a man’s version of what women’s had this dream since I was 13. A lot of people
money cuz we lived in a town where there I thought it was insane. I didn’t even see the sexuality is allowed to be, which I person- have the same dream. A lot of people wanna
was nothing to spend your money on. I beach in Miami till I moved away and came ally think is bullshit and most of the time be the president, a lot of people wanna work
worked a cleaning job, and my mom sug- back, and I lived there a year. We would sit demeaning. I’m not going to rap in a video at McDonald’s and make chicken nuggets.
gested I register my own business. You can on the porch with a bunch of Jamaicans with lingerie on and my ass out for World- There aren’t that many occupations! I wanted
work as a contractor and get paid whatever and rap for each other. My boyfriend didn’t StarHipHop. People will think I’m a prosti- to be a rapper and so did she; that doesn’t
you wanna get paid. I dropped out of high want me to hang out with them. They tute and that I want to be a video vixen. mean we want to be each other.
school six months before I came, so I had ended up robbing my apartment and my And you’ve been working seriously since
saved up about $4,000. I told my mom I boyfriend broke up with me. I moved from you were 17. IGGY AZALEA’S IGNORANT ART IS
was going on holiday. Miami after that. That’s why it drives me crazy when people AVAILABLE NOW. VISIT IGGY AZA-
And she said no. To Atlanta? say, ‘She just put out her video in February LEA AT IGGYAZALEA.COM.

INTERVIEW 19
PORTISHEAD
Interview by Kristina Benson
Illustration by Alice Rutherford

Portishead should have been a classic film but instead manifested as a band, and their strange and dreamy
sound echoes even decades after they first emerged. Their debut full-length bent minds with its hip-hop beats,
reverbed guitar lines, and haunting vocals, and it kept fans devoted to them through the decade between their
second and most recent albums. Guitarist Adrian Utley speaks now about his secret friend Banksy and why he
doesn’t trust in the government at all.
So you were signed before you even played That’s what we did. We were fascinated by the working and doing things I wanted to do. I I remember about twelve years ago cy-
a show? sound—well, people had been sampling from did some work with Sparklehorse, and that cling through an area of Bristol and see-
Adrian Utley (guitar): Yeah, we made a record records through the late 80s—Public Enemy, was a good time for me in a way, but it was ing a stencil—it was one of those ones of
before we played a show. all the hip-hop bands we knew, were sampling not a good time for Portishead. But it wasn’t a clown with a gun, on a signpost—and I
So many bands play half-empty clubs for from vinyl. So we made tracks, and made it a big drama. That’s another thing about press: stopped on my bike and thought, ‘Who’s
years, hoping for a break—you didn’t have like an album of our own sample, and sam- ‘They split up and they hate each other and Banksy, this is amazing!’ And I knew this
to go through any of that. pled them from the vinyl after we’d jumped Geoff attacked Adrian on the plane and tried arty couple who moved to Bristol who were
I can tell you, ‘No we didn’t,’ but I did, my about on it on the floor and rubbed it around to kill him with a knife!’ No one ever said that. really fucking weird and they tried to get art
whole life. And Beth [Gibbons] did some of in the carpet. Honestly. And then we’d get it We finished touring for a year and a half, a re- happenings happening and stuff, and they
that. Geoff [Barrow] didn’t because he was re- on the record deck and Geoff would cut up ally long stint, our whole lives were fucked, introduced me to Banksy when I was going
ally young when we started it and he didn’t re- on one beat of it for ages, just so that part was the keys didn’t fit the doors of life anymore to see Polly Jean Harvey play. I said, ‘Do
ally play instruments. Although when he was worn. Sometimes you get to a sample and you when we got back, and Geoff and I mixed our you want to come to the Polly Harvey gig?’
at school he was in a band that played ‘Final hear a certain snare in the beat and it sounds live album, and went out to the countryside. And we went to the gig together. He has
Countdown’ and all kinds of terrible covers duller than the other ones because someone After everyone had gone home, we straight world mystique but he’s been to my house
like that, when he was in school, you know. had been cutting up and destroyed the vinyl, filled up the car with alcohol, went to a studio at parties and stuff.
So no, he didn’t do that but I’d done a lot of so we got really deep into the technique of out in the country, got fucked for about three You said in a recent interview that there is
that and I used to get paid to play with people making the music sound like it did. It came weeks, mixed the live record, and walked a negative feeling in England now most of
to play to nobody, to have showcases for re- from not having other facilities to do—we away from there thinking we would not do the time. But when I think of England, I’m
cord labels. I’ve seen all of that. But luckily just worked it out, had to do it ourselves. anything with each other for a long while. like, ‘Well, even if I don’t have a job, I don’t
we didn’t ever want to play live, it was always In a 1997 interview with Spin, Geoff said, In the 90s you could put out a record and have to take out loans to pay for school and
a studio project, and we were never going to ‘The industry is a monster. It’s a nasty beast.’ just sort of let it marinate for a couple there’s free health care.’
do that. When the record started to be suc- How would things have been different if years. But now, everything is old the sec- I think a lot of people feel disgruntled. That’s
cessful, there were discussions that we had to you’d been in charge instead of the label? ond it comes out. It just doesn’t seem sus- what those riots were about in some ways.
play live. I remember saying to Geoff, ‘I don’t Yeah, well, it was a bad time then. I remember tainable. We don’t trust in the government at all, no
know how we’re going to do that.’ that we were all feeling a bit shitty about the Yes, and a lot of bands don’t sustain it, and one does. There’s a lot of shit going on as
What was it about that time that allowed a whole deal, the whole world around. From the don’t survive it. And some bands—some of always, same as in your country as well. I
chance for your music to be so popular? very early days—it’s usually down to money, my favorite bands—who have had albums I know we have health care, but we’ve always
I think that time was an important time for or down to control, that kind of thing. And don’t really like, you can tell they weren’t really had health care. If we didn’t have it we’d be
change, and making music in new way. I we’ve never taken a lot of money from a re- inspired when they did it. There’s a sense that more aware of it. But we’ve had it all our lives,
was excited by hearing Massive Attack, and cord company so we’ve never been in debt they did it because that’s what they do—even and I think of course it’s a brilliant thing, and
Smith & Mighty stuff, and before that, to them that much, or at all. Not that it was older bands, real favorites of mine. And then there’s good stuff here—good free educa-
Public Enemy. That’s why Geoff and I got an Us and Them situation, it’s not. We’re not they make a killer album. I suppose there’s tion. But I watched TV this morning, and
together, listening to hip-hop, really. I had signed at the moment. It was probably just a something to be said for that, but I don’t it was just horrific the stuff that was going
given up my whole life of sort of session bad day when Geoff said that, but I always think that’s anything we’d want to do. We just on, the politics all over the world. Endless
playing and everything to start a studio— think that about the record industry. want it to be something we can really stand nastiness and shit around the world. And all
saved all my money and got it together and You said that after you did the second al- behind. the phone hacking stuff in England. They’re
did that, and eventually me and Geoff start- bum, it was like the doors were closed— Ikey Owens told me, ‘I don’t believe in in- finding more and more stuff, really bad stuff.
ed working together. It was a magical time you’d hit this Lara Croft moment where spiration, I believe in ritual.’ We found that journalists had been finding
in a lot of ways. I felt the spirit of newness, none of the doors would open, and you I like to have inspiration and do less, I think. private phone numbers of people whose chil-
a new world, a new life ahead. I decided I couldn’t find the key to open it. Just recently I’ve been running from one dren had been murdered. They’d gotten ex-
didn’t really want to play with the people There was definitely that feeling going on. We slippery rock to another, jumping from one directory numbers. I don’t really understand
I’d been playing with before, even though did other things. We had money trickling in slippery rock to another one. And surviving how that can happen. There’s a lot of negativ-
I needed to make money. I’ve never done to keep us going through that. We aren’t os- through it. All ways are valid, but with Por- ity and shittiness. But you’ve got that in your
anything but make music in my life. I’ve tentatious and I think it was a creative deci- tishead we wait for inspiration. Ritual is a country as well.
always managed to survive, and play with sion. We didn’t want to work on Portishead at good way, but I don’t think we could ever do Yeah, well don’t get too complacent about
some of my heroes as well. But I kind of that time so we worked on other things. We that. I’m excited by stuff I listen to at the mo- that health care. We’ve had Social Security
didn’t want to do that anymore. There was would make money from the other things we ment and there are periods of my life where I since the New Deal, and I’m not so sure it
a really cool feeling around Bristol at that did and that was cool. And then we got an ad- couldn’t give a fuck about what I’m listening won’t be privatized by ten years from now.
time, and I was very pleased to be working vance to make our next record and Geoff and to, it’s a deluge of nonsense. Now it’s a good Something that has existed my whole life,
with a new person, and we had a very like- I worked around 2002 or something, 2003. space—I feel inspired and ready to do a re- that I counted on existing when I’m old,
minded approach to things. At that time I was working with Beth—I pro- cord when we come off tour in January. that I pay into—it’s on the table now, and
When you guys were making your record, duced a lot of tracks for her solo album and How did you figure out you were friends who knows what will happen.
you would make a guitar line and then had gone on tour with her—so I was really with Banksy? Given that he doesn’t tell Really? That’s fucked up.
you’d press a copy of the record with the busy all the time, Geoff was busy, he took a people who he is. Did you come home to
guitar line—so you’d actually be sampling big time-out and went to Australia and hung find a stencil on your wall—‘Bob! Did you VISIT PORTISHEAD AT PORTISHEAD.
yourselves? out on the beach for a while, and I carried on do that?’ CO.UK.

INTERVIEW 21
ZOLA JESUS
Interview by Daiana Feuer
Photo Illustration by Daiana Feuer and Chris Sanchez

The first time Zola Jesus performed in Los Angeles, it was just Nika Rosa and some backing tracks. She
crawled across the floor between people’s legs and though she was as small and delicate as a cat, she filled
the room with her voice like a big shadow or a ghost. Finding a welcoming audience here, Rosa moved to Los
Angeles and wrote her second album, Conatus, dyed her hair and introduced color into her wardrobe. We met
up at LACMA to discuss these things.
So you came to LACMA because you moved side out and we pressed it to vinyl and now to find a middle ground. You can’t function How do you choose when there’s a million
in nearby, what would you do? people are going to hear it and I’m like, ‘Wait, on the fringes. Even though that’s where I feel potential drums?
Sometimes I would go to the exhibition; no, I didn’t … let me change it!’ more comfortable. I like things that are indiscernible. I like synth
sometimes I would just walk around to all Why would you want to change it? What are some examples of extremes? pads, things that can weave in and out of each
the nooks. It helps to look at someone else’s Because it’s so raw. It feels so vulnerable. I feel Music. I’m only drawn to things that are ex- other, I like layering sounds. I don’t like very
work because it made me feel better about ev- stripped. I feel a little naked. But that’s impor- treme in one way or another. Things that are defined sounds like ‘This is a glockenspiel,
erything I was going through. It removed me. tant. It means I’m getting to a place in what just palatable I can’t understand. It needs to be this is a guitar, this is a harmonium.’ Actually,
Gave me some perspective. I’m doing that it’s a deep cut. I don’t want to clearly black or white. When I do something, I really like the harmonium. It’s a really thick
Did anything infiltrate this project? make a record that’s easy to listen to or feels I overcorrect. There’s no subtlety in anything sound. You can’t really tell where it’s going.
Nothing completely direct, but I was really effortless. I want it to feel like I went through I take in or anything I put out, so this record You don’t like words?
obsessed with winter when I made this record. the process. was about trying to find subtlety, because it’s I do like words. I appreciate people that can
... I would watch a lot of documentaries of Do you listen to hip-hop? important. It’s a quality that I would like to explain things in words, but I have a hard time
Inuits and look at pictures of ice. I read this I do. I listen to everything. learn, to be subtle. Subtle in how I think and with it.
book called Ice by Anna Kavan, which for me You have some cool beats on this record. make things. I always think subtlety is oppres- Do you make up words?
felt like everything that I was going through. Do you like ‘Shivers?’ I hate hi-hats and cym- sive in a way. When you try to do things quiet- On ‘Ixode’ I’m not using any words. They
It was the perfect compliment to the music I bals. They sound too weak. But I tried to take ly, it’s because you’re being oppressed. And I’m could be words in some language but it’s just
was making at the time. There were a lot of things I didn’t like and make myself more com- always afraid of being oppressed. It’s strange, I syllables and consonants. But ‘Ixode’ is the sci-
feelings of isolation. Sometimes I take solace fortable with these things that I once avoided. can’t really explain it. entific word for ‘tick,’ which is something you
in watching movies and reading books—isola- ‘Shivers’ has hi-hats and cymbals and crazy You just walk down the street and you’re get a lot in Wisconsin. I like the way the ‘oh’
tion comes from that. bass like a sound system. That song taught me like, ‘Hey, don’t oppress me!’ sounds. That’s why I use words like ‘throw’ a
Is isolation is important for an artist? a lot about the importance of certain drums Pretty much. It’s nothing to with politics or lot, ‘no’ a lot, ‘road,’ ‘home ...’ ‘Road’ is the
For me it is. I can’t say this without directly and why I avoided them. And why I shouldn’t. feminism. I think it’s important when you ex- worst word you can use. It’s like saying ‘tear-
quoting Schopenhauer, but ‘a man is truly A lot of songs on the album were about ex- ist in the world to know what you’re capable of drops on a windowsill’ or something.
himself so long as he is alone.’ When you’re ploring things that made me uncomfortable and to know what you want to do, you can do Have you had any good California encoun-
alone you’re free from influence or other peo- as a songwriter. ... Everything for me is out of and cannot be stopped. People set boundaries ters since coming to the big city?
ple’s decisions and expectations, and you can context. I can’t be like, ‘I’m going to make this based on society, social norms, what people tell I like the resources here, that’s good. But my
live freely within your own universe. kind of song.’ There is always this thread of them, what they tell themselves. I’m sorry to life hasn’t changed. I’m not a social person. I
Probably if you weren’t entertained by that what is intrinsic to me, to my own personal sound like an episode of Oprah. don’t go out. It’s nice to have a grocery store
universe you wouldn’t find anything worth style. That’s always going to be there. Oh Oprah, I’m going to cry now! But you near me.
relating about it. Do you know what that is? are right, people say, ‘I can’t do this, I’m not Did you have one in Wisconsin?
I’ve always felt like being around other peo- Whatever is on that record. I like extremely allowed.’ We did, but it was a drive so I would wind
ple or having the impulse to be around other specific things. That’s why it took me so long People don’t want to think about that any- up not eating for a while. I didn’t have a car.
people is a weakness. If you’re not comfortable to not wear black. I only feel like I’m a human more. They grow older and tired and give up Now it’s nice—I can get up, get some food,
being alone then you’re not comfortable with being when I wear black. And I’m forcing my- the fight. People think it’s an adolescent strug- I can eat now. I learned when I moved away
yourself or who you are. It’s always been impor- self to not wear black because I feel like that’s gle but the thing about adolescence is that—I from home that your environment, everyone
tant to me that I was most comfortable being too extreme. mean, I hated being a teenager and I still hate is the same. Your environment doesn’t affect
alone. I think that proves to myself that I have So you’ve moved on to gray. being the age I am now—but the thing I value you after a while when you realize what your
a strong sense of myself and what I want. Yes! Slowly making my way through the spec- is the naiveté, the feeling they can do whatever priorities are.
Does this music replicate the sounds of your trum of color. It’s just like weird obsessive-com- they want. If people in their forties felt that But your environment is what gives you the
interior world? pulsive things that being unmedicated OCD way a lot more could get done. things to do something with.
The interesting thing about this is that music you kind of work through on your own. Do you want to be an old or a young person? I know, but I like being able to live in a way
helps me communicate what is going on in Did you start wearing a different color be- Ha! I don’t know. I would like to have time. where you live like a minimalist. Everything
my head. It helps delineate ideas that I have fore or after you made the record? I feel like I’m constantly running out of time. you want you can provide for yourself. I can’t
trouble putting in words. It always takes a fight I think it was a little bit after. But it was right But I would like to be in a place where I can provide for myself without going to the gro-
to get it out. I don’t know how to turn some- towards the end of it that I felt this record have more perspective. cery store living in West Hollywood. But as
thing in my head into something you can hear seemed ‘white’—cold but not in a dark way, How do you feel about the computer as a long as your basic needs are met, I don’t need
and express to other people. Absolutely this re- finding warmth in the cold. That feels very musical instrument? anything beyond that.
cord is so insular and intimate and introspec- white to me. I like it. I used to be ashamed that I used the What do you need?
tive, everything ‘in,’ everything personal. I think you talked about warmth in the cold computer, but I’m embracing it. You can do Food, a place to shower, a place to sleep, and a
I could see that because it made me want to to me before. things that are beyond what we understand little bit of love. And a house.
move around weirdly in my room Yeah, I get into that. I like dualities a lot. For as instruments of sound. You have the entire What about a computer?
in a way that is uninhibited. everything in the world there is two extremes spectrum of sound. I refuse to work with a A computer is great, but I could always just
You saying that made me instinctively terri- and then there is the middle of these. Every- guitar because the guitar has been abused. sing.
fied. ‘Oh my god, you’ve heard the record!’ thing that I do, everything that I am, is about We understand what we can do with them
Yeah, I have. I heard it twice. those two extremes and finding a middle and people have done everything within their ZOLA JESUS’ CONATUS IS OUT NOW
I still can’t come to terms with the fact other ground. I’m drawn to very extreme things, but power. Computers can give you anything and ON SACRED BONES. VISIT ZOLA JE-
people will hear this record. I turn myself in- to be a functioning person in society you have you can sculpt the sound. SUS AT ZOLAJESUS.COM.

22 INTERVIEW
THE FLAMIN GROOVIES
Interview by Dan Collins and Chris Ziegler
Illustration by Steven Fiche

If you pulled the Flamin Groovies out of the history of American rock ‘n’ roll, the whole thing would collapse
in on itself. Like the MC5, the Stooges, Big Star and the Velvet Underground, their not-heard-often-enough
albums activated every teenage head they touched. As Groovies fan club president and Norton Records co-
founder Miriam Linna says, if someone didn’t have a Groovies record in their stash ... you just couldn’t trust
‘em. Punk, power-pop, real-deal rock ‘n’ roll—they did it all and they did it right on albums and singles and
labels that just couldn’t give ‘em the support they deserved. The Groovies—with co-founders Cyril Jordan and
Roy Loney back together after decades of possibly acrimonious but possibly not separation—played their first
California shows in 27 years this month, and guitarist-singer Jordan spoke to us from a house with a box of
their first self-released 10” sitting in the basement.

I had a tape of your greatest hits and you door—‘That’s it! Nobody else is getting in!’ So only band from San Francisco out of all these for the bands. Me and Dennis Wilson are
had a quote explaining your Beatles obses- then the real J. Geils shows up and they can’t hippie bands!’ I give him the joint and he talking and all of a sudden the Byrds come
sion, and you basically say you had the gui- get in! Meanwhile, the Hawkwind guy gave takes a big hit, and then Ted comes out and on stage—Crosby has the green suede cape
tars, you had the songs, you had the boots, acid to some hippie chick and she was flip- it’s the three of us in the street, and a cop car he has on the second album—and they play
you even had their exact pairs of pants— ping out to the point an ambulance was com- drives by … I look over like, ‘Man, I can’t wait ‘Turn Turn Turn!’ It hadn’t come out yet!
that you were ‘so fucking close!’ Was it ing, and the only reason J. Geils got into his to see what’s gonna happen next!’ Herb takes Nobody had heard it! I’m gaping, Dennis
frustrating to get right up to the edge but own show was because when the ambulance a big hit and passes the joint to Ted without is gaping—holy shit! When Shake Some Ac-
never break through? came, the doors opened again! They were real looking at him, and Ted takes the joint and tion came out, everyone thought we were
I was just thinking the other day—we were pissed. Flamin Groovies were like the Little takes a HUGE hit! Like he sucks it down to Beatles fanatics—yeah, but we were also
kids, but we must have been out of our Rascals of rock. Complete pranksters! a quarter of an inch. I’m like, ‘Ah, better roll Byrds fanatics! Kim Fowley fanatics! We
minds! Our competition was Led Zeppelin, Didn’t you get the phrase ‘Teenage Head’ another one!’ And then a week later Bobby loved everybody. Our influences were ev-
the Stones, the Beatles … when you try and from some time you were on acid with Kim gets killed. erybody hip. It just took us a while to get
be a contender—and you’re becoming one— Fowley at a folk fest? The sound between the Roy era of the around to a Byrds sound. We were too busy
there’s still always that anxiety. Like Keith That’s true! I dropped two tabs that were 1500 band and the Chris Wilson era changes so ripping off Dr. Ross and all these rhythm
Richards said: ‘Are we gonna stop eating eggs mg each. He was getting a contact high off much—it’s like a totally different band. & blues guys. Like Ike Turner—man, when
every day or what?’ me! He had me in hysterics! Every time some I agree—the first period was the Stones ver- that movie came out with him and Tina …
Is it true there’s a guy in France buried with little chippie would walk by, he’d immediately sion. That really climaxed with Teenage Head. the Ike Turner I knew was not that guy! I
a copy of your Sneakers 10”? come on to her. ‘We’re available … we’re look- Rodney Bingenheimer told me Mick was lis- snorted coke with Ike. I couldn’t believe it!
Not only is he buried with the 10” on his ing for teenage head!’ I laughed so hard that tening to Teenage Head that summer. Every I’m hanging with Ike Turner … just going
chest, but his belt buckle was custom made when I woke up the next morning, my mouth time he’d go over, he’d hear it! with it! I never seen him yell at nobody! He
out of silver with Gene Vincent’s face and was wide open and stuck that way for an hour. There are songs the Stones made then that did get real coked out, and you can lose
name—embossed in bas relief. Bruno—he We even said it to Linda Ronstadt! Let me tell sound like they’re imitating you! your character when you’re too drugged out
was a young kid, I think 17, and he became you, she was not pleased! I know! We were doing that to each other. … but I still find it extremely hard to be-
legendary in his own time. He passed away a Did you have bands you were friends with That was something I was very proud of lieve that he was that far over the edge. You
very long time ago. I think he OD’d. We did in San Francisco? back then, but nobody knew but us and the know that book about Phil Spector—Wall
our anti-morphine song with ‘Slow Death.’ We were young—Jefferson Airplane, the Stones! … I met the Stones a couple times of Pain? They said Phil invited us up to his
Which was banned by the BBC? Dead, Quicksilver, the Charlatans all had in ’65—I was backstage and got thrown mansion and we all went up there in velvet
These idiots banned it because the word ‘mor- like ten years on us. I’m in high school when out! With Rodney! We’d crash the back- coats or some bullshit, and knocked on the
phine’ was used! Instead of seeing it was an the Groovies formed. As a matter of fact, I stage at the Cow Palace from ’62 to about door and got the bum’s rush—none of this
ANTI-drug song. Snobs—they’re amazing just saw footage of us playing a party for the ’66 or ’67. happened! So I’m thinking now that the
people. They can’t see the forest for the trees. Democratic Convention in ’68. We were the Did anyone recognize you later? ‘Hey, it’s other weird shit in there about Phil … may-
It really messed with [our label] UA. Democratic Party’s rock band in ’68. If they that kid from the Cow Palace! Who got be that didn’t happen either! My memory is
Didn’t they have Hawkwind who got banned had live music, that was us! I smoked pot with kicked out!’ crystal clear, guys! I was bragging once to
for ‘Urban Guerilla’ at the same time? Ted Kennedy— Years later, my friend Don Ciccone—a big my mom how my memory is amazing, and
But Hawkwind had a big hit with ‘Silver Ma- Were you 18? Groovies fan, who’s gonna play bass with she’s like, ‘Yeah, yeah—bullshit.’ ‘Oh yeah?
chine’ so they brought in the gravy. I used to 19. me and Roy—said he met this old gay guy I remember the color of the tile in the oper-
drop acid with their lead singer. Me and him So there weren’t multiple felonies. that used to do sound at the Cow Palace ating room when I was born. Aqua green.’
and the rest of the Groovies, we went down I’m really depressed I didn’t think of encas- and he was showing him photos, and he And she turned white.
on acid to J. Geils’ debut show in London ing it in lucite. The Kennedy roach! Lemme freaked out when he saw me! ‘There’s that What was it like being born?
in ’72. We were snowballin’! We went to get tell you, Rock Hudson was a big fan of the kid that used to sneak into the Cow Pal- I remember a lot of wind. Coming from
tickets but they were sold out. So we go to the Groovies. He used to come see us. He was ace! He was real cute—I kinda had a crush complete quiet and stillness and warmth into
alleyway on the side of the Lyceum—where one of the biggest guys I ever met—I came on him. I told everybody to leave that kid a blast of air and wind—and I opened my
Mozart played!—and there’s all these bums up to his elbow. And Ted Kennedy was as big alone!’ And I was walking around thinking eyes and there’s these aqua green walls! That’s
sitting on couches, and I see the stage door as Rock—a huge guy! All these little people I was hot shit because no one threw me out! what I remember! Me and my mom were re-
… and we’ve all got leather jackets with studs were dancing around him. We finished our I was hanging out with Roy Orbison, the ally close—all of us from that generation were
and motorcycle shades … so I start pound- set and I go outside and light a joint, and Righteous Brothers—Jackie DeShannon like that. Probably the same with the British
ing on the door and the doorman opens up Herb Caen—I guess he coined the term ‘beat- kissed me on the cheek! This one Beach of that generation. Close to their parents. And
like, ‘Here! Wot’s all this?’ ‘Hey man! We’re J. nik’—he’s out there, and he’s like, ‘Where you Boys and Byrds show … everyone was do- they also went to art school.
Geils! We’re late!’ So he lets us in and closes the from?’ ‘We’re from San Francisco! We’re the ing soundcheck, and it was empty except Did you go to art school?

INTERVIEW 25
The school of hard knocks! My art teacher in All the cool stuff? OK—get your crash hel- got the sleaziest kind of people … where you Rambo is popular … this guy takes on every-
high school gave me As and at the end of the mets! I’m a first-generation American. My get a pension for life and a job you can’t be body and beats the living shit out of them! It’s
term, somebody stole all my artwork! Right parents were Dutch colonists in Indonesia and fired from, you’re gonna get the freeloaders! Batman all over again! The guy who helps us
before I was kicked out of high school. The they’d been in Japanese concentration camps It doesn’t say, ‘WE’RE LOOKING FOR get rid of the morons! Cuz guess what, man?
technical reason was because I was a senior during the war. My dad knew the end was SOMEONE WHO KNOWS WHAT THE We don’t get rid of ’em no more! We elect
and I was 19. I flunked tenth grade when my coming because he saw a P-38 fly overhead FUCK THEY’RE DOING!’ We were look- them into office!
mom and dad got divorced. The next year, I and knew the Allies had landed. Two weeks ing for a black guy and now we got him, and How did you get out of being drafted?
met Roy, George and Tim who were already later, they’re released and he goes to find my now I guess we can get a woman … every- Iggy told me he put peanut butter in the crack
out of high school and in state college. They mom in the other camp. He takes the coat of body oughta just wrap cellophane around of his butt, stuck his index finger in, put it in
had cars. They also had pot. a dead communist with a big red patch on it their heads and call themselves suckers! I his mouth and did the ‘pop!’ thing—and that
Is that all you really need to rock ‘n’ roll? and goes to the other camp and somehow gets wanna start the anti-voting league! I want vot- was it! He was outta there! I just dropped acid
I started smoking pot that weekend! They told my mom out. They hide in a garage for four ers held up on charges—they’re the ones who and showed up twelve hours late at the induc-
me about it Friday, I was stoned til Sunday months because the Indonesian revolution is brought these assholes in! People are in the tion center. You were supposed to be at the
night and I woke up Monday morning like, ‘I going on and all the Chinese pawnbrokers are streets, kicked out of their houses … it’s nuts! UC hospital at 5 AM and they were gonna
can’t go to school!’ So I cut school. The phone getting their heads cut off. They were invited My friend read an interview with Ry Cooder drive everyone to the induction center. And
rings at noon and it’s my girlfriend and she to visit America because my dad was a runner in MOJO and he’s more outraged than I am! bring a toothbrush and a suitcase because you
says my best friend Rodney was shot to death for the Marines. So they come to San Fran- ‘These bankers in this country oughta be tak- were going to bootcamp! So instead of being
at Tick Tock’s Drive-In—some black guys cisco. My mom had been told she couldn’t en out and shot.’ I’d go further— there at 5 AM, I dropped acid at midnight.
drove in and started shooting! And I would have babies and all of a sudden she has to go What’s further than ‘taken out and shot’? And I popped my cherry that night!

“I’ve been snorting cocaine since 1968!”

have been standing next to him. You might to the doctor because she’s pregnant! So I’m I’d tell Ry we’d feed them to 100-foot croco- Just in case?
say pot saved my life. I started getting into pot born an American citizen and they get to stay! diles nude, and then, when the crocs take a No—part of the trip! I was over at our manag-
because it made me interested in everything. My mom having lived in Java, she’d cook up big dump, we’re gonna encase that in lucite er’s house and his wife’s 15-year-old sister was
So I got all As and they threw me out of high an Indonesian rice table. I wouldn’t eat it! I and put it in a fucking museum and put a visiting, and we were left in the living room
school. And because they threw me out of wanted cheeseburgers, man! Hot dogs, chili, photo of the guy it used to be … so the new- on acid, you know … BOOM! Might as well
high school, I met Jimi Hendrix. I’m walking pizza, Coca-Cola, milkshakes—get that other coming kids are in the museum and looking light a match and start a fire. No way that’s
down Masonic across the Panhandle, which is shit out! I’m in California, the place where at the pile of shit encased in lucite and this not gonna get going. So I show up the next
part of Golden Gate Park, and the Jimi Hen- metal flake was invented! And electric guitars! photo and thinking, ‘Holy shit! This guy day on Owsley acid—White Lighting! With
drix Experience is setting up! Mitch Mitch- Sunglasses! Levi’s! Hot rods—we used to go turned into a piece of shit! How? He raped my manager, I go to the desk sergeant who
ell comes up—‘Hey, man, you from around see Big Daddy Roth at the Oakland Arena, people? He murdered? He embezzled! OK— is like, ‘Who the fuck are you? You shoulda
here? We came in from England—yeah, yeah, sitting on a stool painting when he was a no- I’ll never do those things again!’ We went to been here at 6 AM!’ ‘Well, give him a break—
we’re lookin’ for drugs!’ So I cop drugs for body. I’m a true American 50s to 60s culture the moon and we can’t fucking fix this? I defy he’s not too bright.’ The guy tells me to follow
’em, and that’s how I started my friendship vulture. I still am. That’s the connection a the people in the government to hire me for the brown line to room 220 but there are all
with Jimi Hendrix. lot of people from my generation have—the three million dollars a second. I’ll figure all these colored lines on the floor and I couldn’t
Were you doing lots of drugs when you did same gods. If that’s what you wanna call ’em. this out in about a minute! The reason why tell what colors anything was, so I followed
Shake Some Action? Does that explain why I was reading Starlog, and I saw Freddy Krue- it’s possible for these chickenshit wimps that what appeared to be a purple line that went
the sound changed so much? ger without makeup and was like, ‘Get out push us around is because the law of assault in out the front door! They take me back in and
We were doing lots of drugs when we did Su- of here! What’s Robert doing on the cover of this country forbids anybody to beat the shit all the other guys who showed up late are the
persnazz, when we did Teenage Head, when Starlog?’ He was a street person—a big Flamin out of anybody! I don’t care if they’re coming retards—the morons. I’m in this room with
we did Shake Some Action—on and on! We’re Groovies fan. I’d let him in to all the gigs. We at you with a hatchet! Let me tell you what all these idiots doing my test and there’s a big
still on drugs! I’ve been snorting cocaine since became friends back then. This happened to a chipmunk looks like—you know how cute NO SMOKING sign in red on the wall and
1968! Michael Clarke from the Byrds turned me over and over. Juliette Binoche, she was they are? Walt Disney made us fall in love with I’m freaking out—I just check boxes and turn
me on to coke at the Whisky. He poured this my girlfriend in London—the worst year of all the varmints. If I painted this chipmunk, the page. I get one right out of a hundred and
powder on top of the toilet seat—‘You want my life—she was like 19 before she became he’d still be real little except he’d have four- they start yelling, ‘This guy’s in high school! I
some of this?’ ‘I don’t do heroin.’ ‘This ain’t famous. I took Rosanna Arquette out when inch talons and a snout with vampire teeth don’t believe this!’ My manager is like, ‘Hey!
heroin—it’s cocaine! You play guitar? You’re she was really young. Years later, I’m watching … and then have horns on his head! This He’s not too bright—be cool!’ I’m looking at
gonna like this!’ I take this big line … go on TV and smokin’ a joint like, ‘Get out of here!’ creature would be an abomination! Which the NO SMOKING sign and it starts drip-
and play and I’ve never been the same since! I’m telling you—everybody made it but me! is exactly what these humans on the stock ping blood and the room fills with blood so
When we were hanging with Phil Spector … You made it! exchange have evolved into—abominations! I run out screaming. ‘Hey, kid—it’s go to jail
I was friends with one of Phil’s engineers and I But I didn’t get any money! I’m working as an One of the great secrets of human life on this or go back in.’ So then I’m back and I’m in a
took ’em back to the hotel one night and tore usher at the Orpheum! I went from $20,000 planet … it’s never talked about how a baby T-shirt and skivvies, and the doctors are fill-
a four-foot mirror off the wall and threw it a year in royalties to $800. This kid at the can be born and look at the world and fig- ing out my forms and I hear them talking:
on the bed and proceeded to make like three- movie theater has a future phone and is like, ure it out wrong, and then it evolves into that ‘He’s wandering around the room, staring at
and-a-half-foot lines of coke. I pulled out a ‘Hey man—this is your band! You got 18,000 wrongness. Now these chipmunks have got- a blank wall, doesn’t respond when spoken to
straw three feet long! hits!’ And I’m like, ‘What? Where’s the fuck- ten the help of a bunch of rich idiots … the …’ At the eye test, I’m just staring into the
From where? ing money, man?’ You learn to live with every- point is we can’t stop them because the law machine—like God’s in there! They put me in
From the inside of my three-quarters-length thing, bud—the whole point is, yeah, things says if you punch anyone in the face, you go this little room in my underwear and I’m like,
coat! The next day at Gold Star, that engineer get hard. There’s too much bullshit today. … to jail! But it also says if you steal money, you ‘Holy shit! I got to do something! I claw my
was pretty toasty. I said, ‘Hey, man, you OK?’ The whole country is a joke now! Let’s get back go to jail! So what is going on? It’s called ‘We palms til they’re bloody and wipe the blood on
‘You guys snorted more coke than John Len- to logic and common sense and not treat each can’t and they can!’ End of story! That’s the my face, and then leave the room and go up
non and Harry Nilsson the month they were other like open season! They get to say in the state of America right now and it ain’t good! If a staircase to the next floor with 400 women
here—and they almost died! We called am- National Enquirer, ‘WHERE’S OBAMA’S I had children, I’d start the fucking revolution! typing in one room. Everybody starts fucking
bulances!’ BIRTH CERTIFICATE?’ It’s outrageous. I had this flash last night … I rolled up this screaming! The doctors tell me, ‘Don’t worry,
Did you ever hang out with Warren Zevon? I don’t care if it’s a woman or man or black heavy joint of purple and halfway through I we’re not gonna send you to Vietnam.’ They
I never did—I’m sure we would have liked person or gay person—I want the person who was like, ‘Holy shit! What if there’s a massive gave me a 4-F and told me, ‘If Mars invades,
each other. He was a kindred spirit. That can do the job and help us and represent us! underground now that nobody knows about? we still wouldn’t need you.’ I told that guy,
culture back then, all of us were into the If you can’t help us, you’re not representing A lot of people in every state getting ready to ‘Well, that’s when I’ll be there!’
same stuff—whether Frankenstein or Elvis us! Ever since I was 10—1958!—I have never shut it down?’ I haven’t felt like this since the
Presley. believed that the vote wasn’t cheated. I don’t Beatles hit—this wonderful feeling! The idea VISIT THE FLAMIN GROOVIES AT
What stuff, exactly? vote! If you wanna design a system where you alone … that’d be great! The reason I think NORTONRECORDS.COM.

INTERVIEW 27
INTER
DEVON WILLIAMS
Interview by Chris Ziegler
Photography by Gari Askew

We at L.A. RECORD have known Devon Williams a long time, which is why we no longer fear him. When he’s talking,
he’s uncompromisingly hilarious and when he’s writing songs, he’s making sure every tiniest detail is working hard
to mess up your heart. His new album Euphoria is waiting patiently for you to come around.

Your first record was Carefree and the new I don’t like going to shows anymore. I like Do you worry that inspiration is finite? would I wanna be like Eddie Van Halen? I
one is Euphoria, but there’s a part of your writing music, playing shows, watching a And one day you’ll just be out of songs? wanna be a working-class musician. I wanna
personality your album titles have yet to movie or listening to records. The kind of I think that’s a fear for anyone—for anyone live in the world. I’m afraid you’re gonna write
address—when will you commit to vinyl music that strikes me is not the kind of bare that enjoys creative anything. Obviously, I’m ‘I wanna be a working-class musician!’ I’m not
the sarcastic shit-talker true Devon Wil- bones garage shit that is going on right now. not concerned with things that have been saying I’m Billy Bragg—I like having a job I
liams fans know and love? Sometimes I’m really blown away by a band done before—I’m concerned with creating pay my bills with and I like playing music. I
You’re gonna get the most serious answer from that enjoys playing quietly or when a guitar something more. … Everything changes— like having a dual thing. People I work with are
me—that’s the only thing I don’t wanna do: can be pretty, but I don’t know if people like you don’t have to be ready for it as long as you surprised I play music. I’m 30! I’m not proud
have it be funny! I hate funny music videos, I to stand around and watch a band like that acknowledge that. The worst is that Metallica to be in a band playing shit bars sometimes—
hate clever lyrics … I don’t listen to music to unless it’s totally enthralling. There’s not a lot movie. ‘We gotta recreate Master of Puppets.’ there’s nothing to be proud of. My pride about
laugh. When I was younger, Adam Sandler on of personality. Strong frontman personalities. It’s so fucking pathetic! They are forever a music is over. I just can’t not do it.
Saturday Night Live was funny except when he I’m guilty too— joke because of that. They cling too tight to You told me before that ‘People should
was like, ‘Now I’m gonna play guitar! Because You should definitely be more like G.G. Allin. what they thought they were—and then this make themselves available in service to the
I’m a guitar player!’ Laughter is just a way for It’s true! People would enjoy that. I appreciate shit with Lou Reed? Nobody wants to hear larger community and even their immedi-
people to deal with reality, right? Those are the music I play, but it’s not a live sound. We that! As a music lover, I get bummed that the ate community.’ Mike Watt and now Thun-
my two ways. When I write music, that’s how just play live because you have to do it to play Replacements—to me—have three great al- dercat have talked about that, too. What is
I deal with my feelings and process them. And the game. It’d be good to see a band like the bums sandwiched between two OK albums. this idea of the musician in service about?
if I meet people I don’t like or I have trouble Replacements. There’s not enough destruc- I wish there was one more great one. But it’s I’ve been playing a long time, and I get emails
making small talk, it’ll just turn to bullshit tive bands, and if there are, they’re like paying not gonna happen. You just have to appreci- sometimes like, ‘Dude, I’m really into “Eleva-
and at least I’ll have fun with it. People may homage to another band. ate what’s there. tor.” What a cool song! I listened to it a million
think I’m really silly, but I think I’m just really Would you be happy if you ended up like You have a tactically interesting perspective times!’ In a way, it’s like—‘I can’t hear you, I’m
honest. They think I’m laughing and making someone from your own record collection? on this—kind of like you shouldn’t prepare in my own head!’ But then … I love music
a fool out of myself, but I’m really trying to Like the Cleaners From Venus or the Go- for something as much as be ready for any- too! How can that not be great to be a part of
tell them something about themselves. Betweens or something? Loved by a very thing. someone’s life? That’s the service that speaks
You said one of the reasons you love Clean- limited-edition of people? It’s funny. There’s like a hipster music ma- to me. But you don’t dwell on it. You just put
ers From Venus is that every song is its own I couldn’t really be happy. I like songs first. chine, and I am very clearly not part of that. it out there. That’s why I wanted to write, to
universe—does that come from this same I create music because I’m inspired by songs, Things like making videos, doing singles, blah really go for it—to make it as best as you can
drive to be honest? and I’m not always in love with the same blah blah … I am really in good faith trying because you hope it will become part of this
Those are the great bands that can do that. song. I’d be sad to experience only one kind to be a part of it, but I think it’s so phony in a canon of great songs someday. I never see my-
Music is a labor of love, and if someone is of love for the rest of my life. That’s why on way. I feel if this album just goes quietly into self like, ‘I wanna be like the Rolling Stones!’
putting love into it, it’s impossible to be too this record and Carefree, there are songs that the night, I’d be OK with that. I’m already I don’t wanna be in a position of power. You
critical. ‘Maybe this doesn’t work, but … ’ are more guitar-driven and songs that me and working on another record. My philosophy— don’t have to have power to lead people. I
But Cleaners—he just created music without Steve [Gregoropoulos] worked on. Some owe it’s not like, ‘I’m done with my great master- don’t need strength, I don’t need power—I’m
stopping or thinking or anything and that’s more to orchestral pop. Those are the two piece! I want the whole world to enjoy it now!’ self-sustaining. I’m doing the world a favor by
what people should strive to do. To create. worlds I love. I could never choose. I’d end up crazy because it’s not up to me. If not going to shows—they don’t want me at
After he finished his body of work, it’s taken What part of yourself do you save for your I cared, that would be a problem—you can’t Spaceland. I’m annoying! I’ll bother the bar-
forever for him to get credit, but it’s a body of record? If your music is a self-portrait, what really care. ‘Resilient’ is a word for what we tenders and I’ll yell at the bands! That’s also
work that will be celebrated for a long time. does that Devon Williams look like? do. We’re just guys—kinda goofy, kinda fum- why I love having Bill in the band. He’s so
That’s real songs! I’ve always written from the same place, bling, but we don’t know when to shut up or outspoken and opinionated and he loves if
You’ve been playing music for a long time, which is how I’m feeling—as general as that stop playing and that’s why I love playing with people wanna fight him because he will fight
and been playing music with other people, is. People are put off by someone wanting to Wayne [Faler, guitar] and Bill [Gray, bass] and them and he will win!
too—what is the first big bad decision you talk about their feelings. I understand! Some Marty [Sataman, keyboards] so much. You finally got your Sundance Kid!
feel every musician has to get past? people don’t wanna hear a song about me and Is that the Big Star method? ‘Record it and We’re gonna have a fucking music cleansing!
The first mistake is why people make music. my girlfriend breaking up, but I do. And that’s they will come and reissue it years later.’ We’re gonna get a gang of us and go to shows
I don’t understand when bands are like, ‘Oh, what I wanna do—or not what I wanna do, If it’s a good 45, people will hear it. It’s like like, ‘No! You need to not play guitar! Your
I started playing because it looks cool!’ Or to but what I’m feeling. I never trained myself. everything is so self-important—everyone is really cool Silver Lake sound is great, but you
get girls or drugs. It’s bullshit! But bands do I can only write about trying to find some an entrepreneur and a business man and that’s should take your Silver Lake sound and go
start for that reason. When I started playing sort of understanding, and it just evolved and the worst. ‘I run my band like a business!’ So work at the gas station, and let some of those
guitar, I … just played guitar. I learned songs there’s no way out of it. My favorite songwrit- bad! Even my closest friends argue with me. people not have those jobs!’ I’m not trying to
that I liked, and one day without noticing I er is Clifford T. Ward. He’ll sing about hav- ‘Well, what if you wanna play music and hurt anyone’s feelings … but …
was writing songs that weren’t very good. You ing a day off from traveling and he’s walking make money?’ Well, I don’t care. I don’t wan- You’re just passionate?
just keep playing. And it becomes your own around the graveyard and he misses his girl- na make money playing music. It’d be nice to I wanna say there are some really good L.A.
thing. That’s the goal for anyone—it becomes friend but he feels stupid because some people do, but when I’m sitting at home on EDD, it’s bands now. Just put ‘Editor’s Note: Devon
a whole unique thing that is amazing. are dead. That’s a song! So deep in someone’s not like I’m gonna spend all the time writing wanted me to stress this.’
You told me that half the people who go head … that’s where I want music to take me. a great song. Great songs have their moments.
to shows in L.A. don’t even like music. I wanna hear someone say something that Sitting around all day making music—that’s DEVON WILLIAMS’ EUPHORIA IS
Why? touches me. some crazy privileged upper-class shit. Why OUT NOW ON SLUMBERLAND.

INTERVIEW 29
BRYAN FERRY
Interview by Oliver Hall
Illustration by Darren Ragle

Is he from the future or the past? Bryan Ferry’s career as a recording artist began nearly 40 years ago, with
the release of Roxy Music’s first album in 1972. Even with the proliferation of countless rock subgenres in the
intervening years, Roxy Music’s combination of nostalgia and science fiction still seems to point a way forward
to pop music that does not yet exist. The year after Roxy’s debut, in addition to two more classic albums of
new Ferry songs with Roxy Music, the singer released his first solo LP, These Foolish Things—a collection
of covers gorgeously but radically arranged. Roxy Music hasn’t made a new album since 1982’s Avalon, but
Ferry’s distinguished solo career now covers four decades. Among the legion of contributors to Ferry’s latest
album, Olympia (his thirteenth), are Roxy Music co-founders Brian Eno, Andy Mackay and Phil Manzanera.
Ferry answered my questions by email from the road.

You were in the hospital earlier this year. In 2006, it was widely reported that you Other people’s songs sometimes hit me in second Roxy Music album cover. On a later
How are you feeling? had entered the studio with original Roxy different ways. Sometimes it’s a song I’ve date I had dinner with the great man, who
I am feeling fine. We have been touring all Music members Phil Manzanera, Andy heard for many years and always fancied do- was surrounded by six glamorous blondes. It
over Europe this summer playing lots of Mackay and Brian Eno, all of whom ap- ing it. If it is meant to happen it tends to was a heady start …
shows in some very interesting places. All is pear on Olympia. Did anything from happen, and sometimes you forget about a As a fan of your music and King Crimson’s,
going really well. those sessions make it onto Olympia? song you really liked and then it suddenly it is hard for me to resist imagining what it
Who is in your touring band? I was well down the line with several of the reappears on the radio or something. Then would have sounded like if you had joined
It’s quite a big band, with some familiar faces tracks from Olympia when at various times you go, ‘Yes I could do this.’ that band in the early 70s. Can you remem-
and some new ones. On this U.S. tour I Andy Mackay, Phil Manzanera and Brian How do you pass the time on tour? ber what songs you tried with the band?
will have Paul Thompson on drums, Oliver Eno came to contribute. Although generally On a tour like this—in central Europe— I remember trying, appropriately enough,
Thompson and Chris Spedding on guitars, these contributions were small, I was very there are so many great things to see in each ‘21st Century Schizoid Man.’
Jorja Chalmers on saxophone, Colin Good pleased to have them involved in any way in city. Galleries, museums, churches, and es- Why do you think the music business is in
on piano and Jerry Meehan on bass. We the project. Most of the work on the album pecially wonderful restaurants. Good food such bad shape?
also have four singers and two dancers. But was done by my core team of Oliver Thomp- on tour can be great for group morale. I You tell me. It is a sad state of events. No
perhaps the star of the show is the big pro- son, Andy Newmark, Tara Ferry, Marcus also try to stay on top of all the projects I record stores for me is the main problem.
jection screen at the back of the stage which Miller and Nile Rodgers. Many others of am involved in, and have to call my studio Whom do you envy?
shows films and collages we have made in course made appearances on the record, everyday for updates. Lately we have been The diner sitting next to me.
my studio in London—pictorial images that some more significant than others. organizing exhibitions of Olympia artwork What was your first encounter with rock
enhance the mood of each song. How, where and when was Olympia re- in Antwerp, Paris, Moscow and Los Ange- ‘n’ roll? Did you like it instantly?
In my last interview for L.A. RECORD, corded? les. The L.A. show will be a few days after I was in the front row for the first rock ‘n’ roll
Mayo Thompson of the Red Krayola Olympia was recorded over a long period of our concert at the Greek Theatre, so our trip tour of Europe, which was Bill Haley and his
told me about an opera he’s been work- time, almost ten years. It was mostly recorded there will be doubly exciting for me. Tours Comets. I was 11 years old, and it was a mo-
ing on—about Victorine Meurent, the in my studio in West London. Some of the are always quite busy, so whenever I do have ment.
model for Manet’s ‘Olympia.’ You’ve tracks were recorded elsewhere—‘Heartache free time I like to read, currently about Lu- You’re an admirer of Marcel Duchamp’s
cast Kate Moss as Olympia on the cover by Numbers’ was invented in Brooklyn, cian Freud. I also have a penchant for Ameri- art. Have you ever seen his ‘Étant donnés’?
of the new album. What does the Manet New York, with the Scissor Sisters. Groove can college football, and try to see it on TV For me, something about it has a strange
painting suggest to you? How is it con- Armada did their contribution in their own on rare occasions. resonance with your work. Perhaps this is
nected to these songs? studio in London. Both Marcus Miller and Where did you learn about glamour? because I spent too many hours staring at
The title Olympia was originally inspired by the Flea did some overdubs in Santa Monica. Classic Hollywood films and musicals were Roxy Music album covers as an adolescent.
Olympia district in West London where my Dave Stewart worked with me on some of a source of inspiration to me. All of Fred Yes, I have. And all of his work is of great
studio is located, and where we made the al- the songs in the early stages in Covent Gar- Astaire, all of Gene Kelly. Cary Grant in interest to me. How much he has influenced
bum. After I had fixed on this title many other den and the south of France. Everything else Hitchcock. Marilyn Monroe, Elizabeth Tay- me I cannot tell.
associations came to mind. Manet’s painting was done in London. lor, Grace Kelly. Numerous jazz musicians— What do you plan to work on next? Who
seemed to tie in perfectly with the mood of the Your arrangements often bring out di- Charlie Parker, Miles Davis, Billie Holiday, knows?
album and was a source of inspiration for the mensions of songs that I would not have etc … Even the Rat Pack amused me.
artwork. We looked for a face to be our modern suspected were there. Before I heard What do you remember about Roxy’s BRYAN FERRY’S ART SHOW, OLYM-
take on ‘Olympia’ and we thought Kate Moss your version on These Foolish Things, I meeting with Salvador Dalí? PIA, OPENS OCT. 20 AT THE MI-
was the ideal choice. Not only is she one of the never would have imagined that ‘A Hard It was suitably bizarre. We went to take tea CHAEL KOHN GALLERY, 8071 BEV-
most beautiful faces of our age, she also is pos- Rain’s A-Gonna Fall’ could be so much with him in his grand suite in the Hotel ERLY BLVD., L.A. KOHNGALLERY.
sessed of a mysterious rock ‘n’ roll sensibility, fun. How do you approach other peo- Meurice in Paris, escorted by the glamor- COM. VISIT BRYAN FERRY AT BRY-
which ties in with the Manet original. ple’s songs? ous Amanda Lear, who had appeared on my ANFERRY.COM.

30 INTERVIEW
THE FLYTRAPS
Interview by Janet Housden
Photography by Lauren Everett
This interview took place in Laura’s backyard in Highland Park or Glassell Park, or maybe some other park. The back-
yard features a large cabana/palapa thing with a hot tub and a collection of disturbing statuary. More on that be-
low. Other subjects covered included the perils of surfing, Satanism, and the band’s one epic California hot tub party.
There was a lot of laughing and yelling and talking all at once. The members are spread out all over SoCal—Laura is
originally from Kansas and now lives in L.A., Beth lives in San Pedro, Marz and Kristin are in San Clemente.
I was tragically unaware of your existence ready out here, and we turned the radio on The hardcore GBGs were kind of scary. K: Well, you’d be the most delicious. You have
until yesterday, so I haven’t really done my and it immediately started playing the Eagles. Some of them, you just knew they had sev- the lean muscle.
homework. Just feel free to talk any shit It was perfect! We didn’t even change the sta- ered ears in their refrigerator at home. L: And she’s from Belgium.
you want—lies, slander, it’s all good. How tion all night. K: Like locks of our hair! I would like to think M: I’d taste like waffles and beer. OK, so me.
long have you been together? What kind of people owned this house? that they’re just into the music, but in the What would be your ultimate gig?
Kristin (bass/vocals): Probably almost a year? M: People with John Wayne statues who liked back of my mind I think they, you know ... K: We want to play with the Mummies.
Marz (rhythm guitar/vocals): I play rhythm to party! M: Last night was a perfect example. M: Mummies, for sure. I just saw them in
guitar and I’m the lead singer. I’ve been in L: How could you live here and not party? K: We played on a Marine base! Camp Pend- S.F.—I’ve been waiting to see them for years
bands since I was 12, but it’s my second semi- Look at this place! We had that one party and leton, last night. and years.
serious band. And my favorite. then the landlord emptied the hot tub the M: I’ve never heard so many cheesy pick-up Russell Quan is the God of Rock ‘n’ Roll.
K: This is probably my most listenable band. I next day and told us we couldn’t use it any- lines in a row. K: He was so fucking sick. He was like reading
play bass, I sing sometimes ... I was in a really more. ... It was kind of a bummer, but we’re That’s more like a normal dude thing. I’m off a grocery store coupon list, like, ‘You can
shitty punk band before. just gonna refill it. thinking of those weird guys who say, ‘I pick up a head of lettuce for 99 cents,’ while
We’ve all been in shitty punk bands. The older Let the dog swim in it. Landlord revenge only like bands with girls in them,’ and the rest of his band were putting on their
you get, the more you fear Google. What were is an art. You have to be subtle and make it they show up and take lots of pictures. mummy costumes.
some of the bands that you’ve been in? look like an accident. Anyway—do you have serious ambitions I saw them once, and near the end of the set
M: Mine was Marz and the Mess. L: She sold us on the hot tub, like, ‘This place for the band? the Farfisa player just opened the door and
K: Mine was Dehumanized. has a hot tub! Don’t forget about the hot tub!’ K: We wanna travel—all over everywhere. threw his Farfisa into the street. I was like,
The trashy, surfy garage rock thing has been Then we use it once ... Apparently there was That’d be fucking sick, if we could afford it. I ‘This is the best band ever!’
around for a long time, but somehow never a cigarette butt in it. Like one cigarette butt. just wanna have a good time. K: They still had tons of energy—the singer
gets old. What is it about it? She told us that it broke the hot tub. M: More than anything else, I just wanna was picking up his keyboard over his head and
Laura (drums): The songs are usually short, it’s At least you got to have one California hot fucking travel. Everywhere. acting like he was going to throw it at me.
fun to listen to ... tub party. I’ve heard rumors that they treat American When I went to google you guys, the first
M: We’re not showing off. It might help that L: That party was pretty epic. bands nicer in Europe than they do here. thing that came up was this pop band of
we do live in California and people do surf. Being an all-girl band, do you ever get, like, K: I don’t know, my friend’s band just toured Thai ladyboys called Venus Flytrap. Who’d
I think a lot of people in surf bands didn’t douchebag promoters going, ‘We’re gonna over there, and this one vegan blogger or some win in a fistfight—you or the ladyboys?
really surf. have all-girl night!’ and they try to lump shit spread all these rumors that they were, K: I fight dirty.
M: The Beach Boys didn’t even surf! One of you in with a bunch of bands you have like, racist. And the singer’s Mexican! They M: I’m 5’10’ and I surf, and Kristin is just a
them drowned! How fucking ironic is that?! nothing in common with? just went to Europe a few weeks ago and they nutcase. Laura’s a nutcase, and Beth is quiet—
It’s even more ironic than that—the one Everyone: Oh yeah. had all this shit happen—like their drivers but it’s the quiet ones you’ve gotta watch out
that drowned was the only one that surfed! K: We got asked to play at a lesbian club at dropped out ... it was fucked up. Just from for, so honestly, like, watch out.
So explain these creepy mannequins. Que Sera once. like one person misinterpreting something. You have a picture of Anton LaVey on your
L: We moved in here almost two months ago, M: Everyone assumes we’re like, feminists. M: I moved here from Belgium six years ago. MySpace page. Are you guys all evil and
and when we came to look at this house it That’s cool, but they just come at us like My grandpa’s husband is some big producer shit? Or do you just like his fashion sense?
was the backyard that really sold me. It was ‘Sooooo ... what do you think about feminist guy in Europe. K: Anton LaVey is fuckin’ rad. He just didn’t
just ... I feel like we walked into somebody rights?’ Just because we’re all girls. K: What the fuck? Hook us up! give a fuck about offending anyone. He just
else’s dream. The landlord asked me if I want- Yeah—I still see bands, mostly lame ones, try- M: I hate to bring up the whole girl thing, did what he wanted to do and that was his
ed her to take all the statues away and I was ing to pull the whole ‘we’re blazing new trails but honestly the fact that we’re all girls, they whole philosophy.
like, ‘Please leave them.’ There’s a giant John for women in rock ‘n’ roll’ routine. They’ve would eat it up over there. Because the talent Beth (lead guitar): Didn’t he plagiarize? I just
Wayne in the corner, but my two favorite stat- been saying that for 40 years! in Europe, it’s such a lower standard. [Laughs] heard that he stole all his material from some-
ues are the hot dog that’s pouring ketchup on K: Yeah, I hate it. It’s been fucking done. I’m just talking about Belgium. Belgium is where else.
itself, and this thing of french fries that’s eat- M: I can’t stand it. just Eurotrash pop, that kind of thing. But He’s into Satan! You’re allowed to do that
ing itself, like, with crazy bug eyes. And I like Then why did you want to be all girls? they really like American bands. They really stuff when you’re into Satan.
to look directly into the woman right here, L: It just sort of happened like that. like American culture. And I can say this cuz I K: His whole philosophy was like do what
the butler woman’s eyes. She has the creepiest K: We just wanna play music. It’s not that I’m moved from there. you want. Don’t hurt anyone else but do what
eyes I’ve ever seen in my life. uncomfortable around guys, but you can’t re- If you guys were all trapped somewhere, you want.
Those are pretty demented—so there’s a ally have the same connection. and it was just the members of your band, He stole that one for sure.
butler and a maid and half of a slaughtered K: We can just go to practice and not give a and you’re trapped on a ship lost at sea or M: ‘Good artists copy, great artists steal.’
pig hanging upside down? fuck about anything. We do have that femi- in a fallout shelter or something, and you K: My mom saw it on MySpace and was
M: If you turn it around you can see its guts. nine bonding or whatever. have a kitchen, and you have condiments, like, ‘You need to delete that right now!’ I
And there’s also a giant palm tree lamp and Back in the day, we used to have these and all the things you usually find in a wanted to appease her, like, ‘OK Mom, we’ll
a Marilyn Monroe. guys called GBGs—Girl Band Geeks— kitchen, but you have no food—who in the take some of the Satanist stuff off our inter-
L: And there’s a little Elvis ... and they were just like the creepiest band would you kill and eat first, and how net page,’ and MySpace would not let me do
K: His guitar is backwards. dudes that would follow female musi- would you prepare them? it! MySpace supports Satanism. You heard it
Dyslexic Elvis! cians around. Everyone except Marz: Marz! from me.
L: Everything you see, it came with the house. K: That shit still happens! M: I don’t have any meat on my bones!
The first time we had a party here, we had a M: It’s flattering, but we definitely know where K: Roast her up on a fucking rotisserie. CONTACT THE FLYTRAPS AT THE-
hot tub party, and there was a boom box al- you’re coming from with this question. M: No one would miss me. FLYTRAPS666@GMAIL.COM.

INTERVIEW 33
MOAB
Interview by Ron Garmon
Photography by Julie Patterson

Ab Ovo, power trio Moab’s debut full-length, is proof the musical zeitgeist will spontaneously generate doom
rock if society first supplies enough doom. Veteran L.A. guitarist Andrew Giacumakis founded Moab with
drummer Erik Herzog out of a determination to meet the zephyr-like nature of L.A. indie with something a trifle
louder and more cathartic than mere twee. This is hair-raising music, with lots of bubbly subtleties submerged
underneath the album’s pitiless metallic force. The whole pigiron mass displays a considerable knack for post-
rock melody along with a cinematic sense of space and how to chop it up for effect. Here, the guitarist reminds
us that, while the underground has many chambers, there is very little chamber music being played there.
How did this project get started? How much attention do you pay to the Right now we’re working with a booking How would you classify the band’s music?
Andrew Giacumakis (vocals/guitar): The overall arc of the record? This is quite the agent and trying to get the whole South by You know, that record gets reviewed a lot as
drummer and I were in a coupla bands to- cohesive slab of moody twisted thought. Southwest thing worked out, so I think we’re ‘ultra-Sabbathian’ and all that stuff, but I don’t
gether for the last ten years or so and decided Like a classic rock album. gonna play that. Before that, I think we’re think we are that way. I think the record is a
we wanted to do something heavy around That’s very intentional. I view albums as a gonna play in L.A. a coupla times. kind of moment in time when that’s how we
2008 or so. I’m a recording engineer, so we listening experience and think it should be What’s the weirdest thing you ever saw at were writing. We’re writing a new record now,
just made a project of minimal recording, as cinematic as I can make it, which I’m a show? and it’s not gonna be Sabbathian. I don’t know
not really trying to be a band. Then we got gonna get into further on other albums. The A guy was so drunk that he started doing how to really classify it. If you go by that re-
Casey Barclay on bass and we were a real Beatles, Zeppelin, Rush and a lot of the prog push-ups right in front of the stage we were cord, you’d have to say ‘Black Sabbathian with
band from there. We began gigging around bands made these carefully crafted listening playing. That was kinda weird. California desert rock influences.’
L.A. in I think 2009, maybe? We played experiences, and we kinda wanted to achieve That’s being moved. Who are your guitar Your voice gets compared to Ozzy Os-
Mountain Bar, Three of Clubs, that whole that. heroes? bourne’s …
scene. Sometimes warehouses, that whole Who did you work for as an engineer? My guitar heroes would have to be Jimmy Yeah. All the time. The riffs are Sabbathian,
underground scene. I do post-production. Mixing and/or edit- Page and … um … who else after that? Jim- that’s intentional, but the fact that I come
What are times like for heavy music here ing. my Page? I love his playing so much, I’ll just out sounding like that isn’t. When I sing high
in buzz-band-obsessed L.A.? That’s obvious. You guys built a studio. go with Jimmy Page. and loud, that’s just what it sounds like.
It’s totally underground, or at least that’s my When and where? How does being an engineer yourself fig- You could wind up sounding like Billy Joel
experience of it. I think it always will be, but In Simi Valley. We built it about ten years ure into making a DIY record? and fucking the whole thing massively.
what I’m finding is there’s a large core of fans ago out of half of a warehouse and a con- A hell of a lot of decisions about what a Right.
that likes both and that’s kind of where I struction buddy helped us. It gives us a lot song sounds like on the recording as op- What’s the typical subject matter of one of
come from. of control—we record the guitars inside the posed to how it sounds in the room. It your songs?
What kind of progression is Ab Ovo from your practice room, but the drums are done out plays a big factor, I think, the ability to Mostly I’m complaining or talking about
previous recorded work in other outfits? in the warehouse to get that nice roomy go back and jigger something that’s not either religion or science. I’m sorta agnos-
In the other bands I was in, I wasn’t really sound. right as opposed to thinking about pay- tic and see a lot of people doing things in
the songwriter, just the guitarist or bassist or What next? ing someone else more money because the name of religion or science and I kinda
drummer. I’ve always been a riff-writer, ever We’re kinda writing the next record and all you wanna fix something that’s not right. question them both. I try to keep the lyrics
since I was a little kid, I just never knew what of us have jobs and two of us have kids and That’s always been sort of an issue work- pretty ambiguous. I know what I mean by
to do with it. As soon as I got into a heavy families and mortgages, so we can’t hit the ing with other engineers in different bands what I say, but I try to keep it mysterious
band, I started documenting it. road like maniacs, so we’re still up in the air when recording. It always seems there’s to figure out. That’s why I don’t print lyrics.
Why did you switch over from indie to on hitting the road and how long. We have some sort of sacrifice that’s made because For me personally, as a fan of rock ‘n roll,
heavy music? a booking agent and the earliest we’ll be hit- of time or money and when you’re doing I always liked tryin’ to figure out what they
I was in indie bands because that was the ting the road is early 2012. We’re writing a it yourself on your own dime, that’s really were saying or not knowing what they were
popular thing going at the time and I didn’t new record, since the one that’s coming out not an issue. You get to get it right. saying and I liked that mysterious element of
know anybody who played heavy music un- now is about a year old. One song, ‘Dimen- Why the name ‘Moab,’ which is a refer- rock when I was a kid and I think that’s miss-
til I met the drummer, Erik. All those arty sioner,’ is about two years old. We finished ence to a now-dead Biblical kingdom? ing today. There’s not a lotta mystery left in
people didn’t appreciate that stuff. At some the record on our own, determined the track That comes from my childhood, actually. I bands, and I want to bring that back.
point, we just needed to get that aggression sequence, mastered it and shopped it as a grew up in Israel—Jerusalem—from when I
out and exorcise the demons—something finished product. We’ve been done with it was 6 to 12 years old. My dad was a Biblical MOAB WITH HUNTRESS AND IDES
which has no place in the preciousness of for a long time but when we got onto Ke- historian and we always had these ancient OF GEMINI ON FRI., NOV. 11, AT
indie rock. mado, people began paying attention to it. maps around our house and I was always THE VIPER ROOM, 8852 W. SUNSET
This is way more like a piece of sound de- I have to keep reminding myself people are smitten with that word. When I picked the BLVD., WEST HOLLYWOOD. 9 PM
sign than your typical metal album, with just hearing it for the first time. We’re writ- name, I had no idea it was a place in Utah! It / $12-$15 / 21+. VIPERROOM.COM.
lots of arty flourishes. ing like crazy, but there’s no telling when the was what is now modern-day Jordan. I grew MOAB’S AB OVO IS OUT NOW ON
Thanks. I’ve dabbled in sound design and it next record will come out. up with maps with that word all over it and KEMADO. VISIT MOAB AT MYSPACE.
has always been an interest of mine. How’s gigging coming along? I just like it. COM/MOABINTHESKY.

INTERVIEW 37
TAV FALCO
Interview by Gabriel Hart
Illustration by champoyhate

Singer/songwriter/historian/preservationist/deconstructionist/filmmaker/photographer/provocateur/
lover/actor/rebel/tango dancer/best hair in the world/expatriate American original Tav Falco is truly all of
these things. In 1978 he ended his infamous performance at the Orpheum in Memphis by chainsawing a guitar
in half—some sparks hitting Alex Chilton, which led to the two of them igniting the Unapproachable Panther
Burns, an “art-damage” poly-rhythmed rockabilly freakshow with a manifesto to “stir the dark waters of the
unconscious” through the reinterpreting of some of the best blemishes of early American music. Thirty-three
years later, we see the release of Conjurations: Seance For Deranged Lovers, which happens to be Tav’s first
album of all original material and, according to him, the band’s “mission statement.” He also just finished a
book, “Mondo Memphis,” a roman noir historical study of the storied town. I listened intently to the man for
45 minutes out of our two-hour long interview before I could ask a question, and I didn’t want him to stop.
He almost didn’t.
When did Conjurations get released? and I talked to Larry later about the Conjura- an entertainer.’ Well, that’s part of it for sure, The thing is, now I can sing, whereas in the
It came out last year, in July, in Europe. It came tions album. I sent him the demo—the first but for me, I started the band out of frustra- beginning I didn’t sing so well, But when
out on Stag-O-Lee Records, part of Glitter- demo I ever made for a record, which was also tion. I came to Memphis from Arkansas to be you work with Alex Chilton long enough,
house Records. It’s gotten around pretty good a mistake, I should never make a demo, I’ll a filmmaker and a photographer, and I did you’re around someone who’s an incredible
in Europe. We worked for quite a while to- never make another one—so that demo was that. But there came a point, a very frustrating singer—one of the best of his generation,
ward getting a release in the U.S.A. We were turned down. Larry said, ‘Oh, it’s too lounge. point, where I felt like I couldn’t go any fur- one of the best guitar players of his time.
turned down by every independent label in the I’ll buy the record when it comes out, it’s just ther in Memphis and I began to feel very anti- So I learned from good people, the best in
United States—in North America. Rejected, my audience isn’t gonna buy it.’ I said, ‘OK.’ establishment there. I was always considered Memphis, and that’s something you live
tossed out, thrown in the trash and ignored. So it took about nine years to get this record trash from Arkansas in that town anyway. with and you grow with, and it stays with
So finally we broke through with Cosmodelic released without compromise. I knew I had How were you perceived in Memphis? you. It’s not something I would ever deny
Records. We went to Revenant Records, Rhi- something when everyone turned it down. I I started from the underground in Memphis. or turn my back on simply because there’s
no Records, we went to everybody, you know, knew then that, artistically, for Panther Burns, And when I go back, on November 12, it’ll no place for me in that cutthroat town, or
for domestic release. Rounder, Matador, all of it was going to be an important record and it still be the Panther Burns from the under- places like L.A. or New York. I mean, yeah,
them. They all thought they had their Panther turns out, it is an album of all original songs, ground. I’m gonna make a little appearance at I could survive in New York and I’m able to
Burns in someone else, but they’ll never get and it is the manifestation of the vision of Goner Records, but those people even turned make money there—there are people who
it. They’ll never get it. It’s one of the things, Panther Burns. It is a career statement. Thirty down the Conjurations record. They laughed understand me in New York, but it’s the job
really, that drove me away from the States. years later—actually, going into the 33rd year at it. You see how particular our vision is. of the artist to make himself understood.
You know, like Robert Mitchum said, ‘In the of Panther Burns. So you have something The garage scene can be very close-minded. We have an audience in Europe, we have an
United States, if I’m an actor and I happen to of a culmination of our thinking, of our vi- They like what they like, but it’s like Char- audience in the United States. I’m not com-
be out of work, I’m a bum. If I’m an actor in sion. Even though the lineup has changed lie Feathers told me once. He said, ‘Tav, if plaining, I’m grateful that there are people
Europe and I’m out of work, I’m an artist.’ … over time, even though we have reinvented you’re not doing something different, you’re there who embrace the Panther Burns and
So, we brought out this record [Panther Pho- ourselves, but always within the identity and not doing anything at all.’ You can’t create art who are looking forward to the music we
bia] on In the Red, and Larry Hardy wanted within the context of the original Panther or a band out of a vacuum. It’s never going to record and to our shows and to us coming
a certain kind of record from Panther Burns, Burns. We haven’t changed the Orphic vision be totally original, uninfluenced by anything. back and performing there. But I have trepi-
and I had come back from Europe to test the of Panther Burns. It is still our job, our mis- But you can constellate your own vision out dation about the States. I feel that Memphis
U.S.A. once more—it was a big mistake, of sion, to stir up the dark waters of the uncon- of what is given you in your environment, is a place that kills artists. I’ve seen them
course, but anyway, I came back for a couple scious, and that’s what we do. We’re the last and to what you are drawn—spiritually, murdered. I’ve seen it in New Orleans. It’s
of years and I was surrounded by a group of steam engine train left on the track that don’t artistically, musically, and otherwise. With a very violent scene. I’ve seen it in L.A. L.A.
people who could only make this kind of re- do nothing but run and blow. That’s the way that, you can create something original. And is a hard scene, you know. It can be. If you
cord, period. And Larry wanted this kind of it was from the beginning and that’s the way I think there is an original gradient in Pan- don’t have money. If you don’t have insula-
record, so he came up to me after a show in it always will be, although we have evolved. As ther Burns, and that’s what we cultivate. And tion. If you don’t have a cozy little pad in
Memphis and put $6000 in my pocket and any art form—like jazz, or even rock ‘n’ roll, if it’s out of style or out of trend, we’ll live Hollywood Hills, uh, it can be kind of edgy.
asked for this record. So I thought, ‘Why we have embraced other art forms, like tango, through that, we’ll survive it. … You know, There are wonderful people in Los Ange-
not?’ I can do this kind of record like falling like samba, rumba, uh … jazz, standards— we tend to polarize an audience, but invari- les—I have quite a number of good friends
off a log. So I did it, and I stand behind it, we’ve played and drawn from a number of ably there are those in that audience who are there. I’d like to spend more time there, but
but it was only one side of Panther Burns, genres. I could have stayed in Memphis. I elated and who are moved to emotion and to I get a little nervous because I don’t know
and Larry didn’t want the whole banana. You could have been a rocker in Memphis all this dance, and there are others who greet us with what’s going to happen next in the sense
know, a lot of people aren’t ready for the whole time, and been that, and maybe I could have howls of contempt. that I’m trying to bring something out from
banana. They think they are, but they’re not. done alright. And maybe I’d have a larger au- I’ve tried to turn other people on to you the interior. I’m not trying to do something
We wanted to do something different, we dience. Maybe people would understand us before, and half are like, ‘This is one of the that’s totally commercial and I feel like I’m
wanted to experiment. They have an idea of better. But for me, it’s not what I want to do. most compelling things I’ve ever heard,’ in a commercial environment, for the most
what Panther Burns is, but they’re not really Alex Chilton used to criticize me. He said, and the other half say, ‘What the hell is part.
willing to consult with the group and look at ‘You know, this is entertainment, Tav. You’re going on?’ But I think the latter is one of Beyond geography, what kind of world do
what is really possible. So I did that record, trying to make it into something else. You’re the biggest compliments. the Panther Burns try to conjure?

38 INTERVIEW
The Panther Burns evoke the Orphic vision— I spent a week answering those questions, and 60s. When I came to do that show for with materialistic well-being. They go and
it’s not a mystical vision—it is the vision of and turned in almost twenty pages. We Arthur magazine at the Palace Theatre, I they pray on Sundays, and they give lip
Orpheus, it’s the vision of music, it’s the vi- started corresponding a lot. His name is saw a lot of bearded and sandaled hipster- service to these Christian ideals, and they
sion of going down into the underground, Erik Morse. … He worked for the San looking-type people. I saw people looking go out during the week, and they’re hypo-
into the underworld, into the unconscious. Francisco Bay Guardian, still writes for like a lot of the hippies I knew in San Fran- crites and they don’t even realize that. All
That is our domain. That is our realm. It’s them, writes for Frieze … Anyway, Erik cisco when I was out there. It’s an ethos to through the bible belt and in California
not the mystical heavens, it’s a different kind got this overture from Creation Books, embrace; it’s an ideology. Timothy Leary, too, our politicians prey off these people
of poetry. It’s the poetry of not the shiny side which had started with Creation Records you know, and that group of writers and and their thinking and their mentality. …
of the moon, but the darker side. in the U.K. So, we got this deal to do a experimentalists in his cabal. They were in- I can’t live over there right now.
Luciferian? book on Memphis. Erik has volume 2, I’ve teresting people. They made a lot of inter- Do you feel like living over here affects
Not really. Because Lucifer called himself got volume 1. Erik has turned out to write esting experiments, there was a revolution. your integrity?
the Prince of Light. We’re not Satanic. It’s a fictive account—a shorter piece. Mine is On the one hand, we sacrificed a lot in that I just feel like I would be destroyed. I think,
a poetic vision. It’s a vision of music, it’s rather lengthy, maybe too long. It’s kind of revolution. We gained a lot and we sacri- artistically, I would be reduced on a certain
a vision of the interior—an expressionistic a historio-fictive account up to the period ficed a lot. We sacrificed a certain social level that I’m able to pursue in Europe. Hey,
vision. … The symbolist poets—Rimbaud, in Memphis in which I was living. So the fabric. We sacrificed a certain sense of style. Europe’s had its dark chapters. It has a culture
Baudelaire—they were under the spell of book starts before the Civil War and it goes We sacrificed social dancing. That went out here of art and music and theater. We have
the Orphic vision. They weren’t mystics— through each epoch and ends in the 90s, the window. The embrace in dancing was that, to an extent, in the United States, but
it was something different. And this is the with Panther Burns and with Tav Falco. gone with psychedelia. here it’s the fabric of everyday existence. It’s
realm in which we work. Tav Falco enters the book rather late— It’s interesting because psychedelia identi- open to everybody. I don’t have to be rich to
Is there a reason you chose American roots the last two chapters out of thirteen deal fied itself with communalism and togeth- lead the kind of life here that I would have to
music initially to express this? with Tav Falco and what happened around erness. have a lot of money in the United States. I
This is what I was surrounded with in him. The book is in first person, but not in The form, and the embrace, and certain would have to work two jobs in the States to
Memphis—was blues music, was early rock the name of Tav Falco. It’s Eugene Baffle, formalistic and ritualistic attributes. But, I survive, and I’d be caught up in materialistic
‘n’ roll music, was Karl Heinz Stockhaus- which is the alter ego of Tav Falco. Eugene suppose those had to be sacrificed to some things. Here, I can live la boheme vie—a bo-
en, was Eric Dolphy, was John Coltrane, Baffle is the one who came out on stage at degree for there to be an all-encompassing hemian life—without degradation.
Muddy Waters, Howlin’ Wolf—these are the Orpheum Theatre and destroyed the revolution like we did have. … Now, people The argument we use here in L.A. is that
all people I saw come to Memphis, ex- guitar, with Mud Boy and the Neutrons. who survived the revolution—they’re go- the anxiety and the oppression—when
cept Stockhausen, of course. I saw Dizzy Eugene Baffle met Tav Falco some months ing back and they’re retrieving that which you feel like your artistry is being pushed
Gillespie and some other jazz people. John after that event. was important to retrieve; that which was in a corner—it makes you work harder
Fahey … An artist draws from what’s How do the two personalities differ? lost and discarded they’re bringing back, and good things come out of that. Do you
around him, and this was the environ- Well, Eugene Baffle was a little more reti- and they’re preserving that and celebrating think that’s a delusion or do you find any
ment. To me, John Fahey was the epitome cent, and a little more introspective. He’s an it once again. merit in that?
of the American guitarist, a visionary. Also observer, he’s someone who deals more with Do you see that as a form of nostalgia? It can produce some very vital responses,
a product of the Orphic vision, in my view. experiential knowledge. When they met— Nostalgia is a diversion—it’s a form of enter- and can generate a lot of thoughtful work.
… You listen to Fahey and it’s totally origi- they looked a lot alike. They had similar tainment. I’m saying when people go back to This is how I started—I’m a product of
nal, totally Orphic, totally transcendent, interests in a lot of areas. Falco was more celebrate certain forms and rituals and social those kinds of forces and pressures, but I
totally poetic. I don’t know anyone like of a hipster and he was more of a—well, practices and dances and certain kinds of art must say that my best work, I think, has
him. That’s why I took this up because that is, he’s still out there, playing and touring or music, there’s nostalgic revival on the one come out since I’ve been in this environ-
was what was around me. … I started play- around in godforsaken places—more of a hand and then there’s going back and rein- ment, in Europe. I’m not on the rock ‘n’
ing rock ‘n’ roll because it was an extreme performer, an instigator of happenings, venting genres that were shut out. To use roll scene here; I don’t hang out with rock
form of Dionysian ritual and celebration. anti-environment actions, publicity stunts, dance as an example. Social dancing is be- ‘n’ roll people. I hang out with dancers and
It was freeing and liberating and erotic, jokes, double entendre. Baffle was more of a ing rediscovered again—not in a revivalist theater people and artists and filmmakers.
sexual, abandoned, political—all of these sincere type individual, not so complicated. or nostalgic way, there’s a gradient of nostal- Not that I don’t like rock ‘n’ roll people,
things. I felt there was something I could Basically a kind of a litmus, kind of observ- gia there, but it’s become part of the fabric but I’m in a city that’s not a rock ‘n’ roll
do within this medium, but mainly it was er, more of a follower. … Baffle had more of day-to-day life. People are going out and city, for one thing. So I have the distance,
a nonintellectual-type release. I was play- of a political consciousness than Tav Falco, dancing Cuban dances—the habanera— culturally, to look at my own culture in the
ing blues, strictly, and filming blues people. and more of a social conscience, whereas again, because they feel it. They want to do United States—I’m able to look into the
And when I met Alex, I did this happening Falco is more of a rock ‘n’ roller. Not that it. It’s more than just sheer nostalgia that’s culture as an outsider, and then I have the
at the Orpheum Theatre with Mud Boy and he didn’t have sensitivity, because he was drawing them back. distance to come into my environment in
the Neutrons—I was a dancer in his band an interpreter. That’s what Falco is. That’s Do you ever see a revolution happening which I live, and be able to get in touch
… It’s all in my book, Mondo Memphis. what Jerry Lee Lewis told me he did once. again in America? with myself without distraction, and to
Is that where you chainsawed the guitar? He said, ‘You know, I interpret songs. That’s I think there is a threshold where you learn more about what I’m thinking and
Yeah, I chainsawed the guitar playing ‘The it. I’m an interpreter.’ Jerry Lee didn’t write can push people too far. What it would who I am and who the people around me
Bourgeois Blues’ by Leadbelly. [Alex] was in songs. But on this last album, Falco ended take would be a kind of class revolution. are and how I really want to cultivate what
the audience that night, among those who up writing some songs, and I think he did a It would take some real starvation, some I’m doing. I didn’t have this kind of percep-
became rather hysterical during this happen- surprising job with it. Eugene Baffle lives in real deprivation in the United States be- tion when I was living in the States. It was
ing, where I did destroy the guitar. I did meet Paris and he runs with Gypsies. He lives a fore there would be any kind of serious re- always these other pressures involved just
him about a month or so later at a soiree at very carefree, although frugal, existence. sponse to political and cultural organizing. to stay alive, just to survive, to scratch out
my house in Memphis, on the wrong side of You described Tav Falco as a ‘hipster.’ Un- … It would have to be like the 1930s or an existence as an artist. And it takes a lot
the tracks. He knew rock ‘n’ roll, and I knew fortunately, that word is used as more of a like the 1960s in the sense that we have a of time to do that.
something of rudimentary blues, so, I don’t slur today. mandatory draft and a huge military con-
know, there was just some sort of kindred In the outlook of Tav Falco, we’re talking flict. … All the great hopes we had for the TAV FALCO AND THE PANTHER
spirit there when we met, and Alex urged me about people who he would idolize—a hip- Obama administration, and I still hope, if BURNS WITH KEN STRINGFELLOW
to start a band, and he said he would play ster is like Chet Baker, or like Allen Gins- he’s re-elected—and of course I will vote AND JAIL WEDDINGS ON THURS.,
guitar in it for a while. berg, who he knew personally. Or someone for him—hopefully he will be more of NOV. 10, AT THE ECHO, 1822 SUNSET
Should we talk about Mondo Memphis? like William S. Burroughs, who dressed in himself in the second term. But we do have BLVD., ECHO PARK. 8:30 PM / $12 /
Yeah, sure. That book turned out to be a a canary yellow suit and hung out in the these huge military engagements today 18+. ATTHEECHO.COM. TAV FALCO
massive undertaking. Had I known it was Orient and Tangiers and smoked opium that are destroying our country, destroying READS FROM HIS BOOK, MONDO
going to be that much involvement, over and had hallucinations. These were elegant our credibility in the world, undermining MEMPHIS, ON THURS., NOV. 10, AT
three years, I’m not sure I would have people on one side, and on the other side our creative and moral fiber in the United STORIES, 1716 W. SUNSET BLVD.,
signed a contract on it. It came through these were people who would travel on States. Really undermining the American ECHO PARK. 7:30 PM / FREE / ALL
a journalist who had interviewed me on the road, like Jack Kerouac. I don’t know ideal. America once had a noble vision and AGES. STORIESLA.COM. VISIT TAV
a long piece on noise music. He wanted how in touch people still are with that in I don’t think it has it anymore. Most people FALCO AND THE PANTHER BURNS
me to answer a number of questions, so the States, with that movement in the 50s in the States seem to me totally concerned AT MYSPACE.COM/PANTHERBURNS.

40 INTERVIEW
THE NOCTURNES
Interview by Matt Dupree
Photography by Kevin Bautista

The Nocturnes write wistful and expansive, ahem, nocturnes

with a silky melancholy that would make Nathaniel
Hawthorne blush. They have a new album out named after
the suicide forest in Japan and if you were extra-lucky, you
got the free flexi they (and we) glued into 500 issues of
this very issue! (Check page 41 to see if you got one—or to
see how to get one!) Guitarist/vocalist Emma Ruth Rundle
(also of Red Sparowes) and bassist Paris Patt took us to
the Santa Monica cemetery to sit on the grave-bench of a
Mrs. Teller and discuss anime.
 “I’m not gonna lie to you,
I watch a lot of anime.”
Why are we in the cemetery? ERR: And not all the songs are that way. The You guys did a Kickstarter drive for the record, Aokigahara. They were much slower
Emma Ruth Rundle (guitar/vocals): Because it’s title of the album is the title track, and that’s band. What did you think of it? and reverby, and then you get in and we would
hugely cliché. Also it’s the only place I could really where the concept lies. That’s what the ERR: It’s great. I had a problem with the idea play together—everything came out faster,
think of that’s not a horrible café or a dive bar. foundation for the whole vibe of the album is. at first. I did one for my solo record. It felt like and was just vastly different. … And it was all
I thought about McCabe’s, where we both The lyrics are written as a letter to that place, asking for money. My mindset was changed done without drums. We never practiced with
work, but they’re having a concert. to the forest. For instance, the song ‘Cradle’ is though after that first experiment. It’s a much a drummer, or played with a drummer, and
Paris Patt (bass/vocals): It would’ve been hectic. kind of a compilation of traditional songs that more practical way for you to interact directly the drums were the last thing to be added to
It would’ve been cool, but we would have been are all about the idea of dying. with your listeners. And people who want your the record.
disturbed. I don’t know, the cemetery seems PP: It’s also kind of the absence, like, ‘Who music or want other things from you as an art- That makes sense, because the drums are
vaguely appropriate. will rock the cradle?’ Someone not being there ist can get those things directly. You don’t have less important in that big sound.
It does! Especially since the album title, to take care of you. to go through a middle person, and it’s a much PP: At one point we were contemplating
Aokigahara—the Japanese suicide forest— ERR: Which is a huge theme for me, and was. more personal connection to your listener base whether we should even put drums on this
is a place of death. The last song too, that was about my grand- and actual human beings. album … like, period. And we played the
PP: We wanted to lure you in. We actually mother. Yeah … she be dead. Other than that And you can come up with things that are demos for some people and they would say,
bought a plot, and we’re going to bury you we didn’t really talk about themes. Except for different from the usual merch. ‘I don’t think you should put drums on this.’
alive. ‘The Road,’ which we decided would sort of ERR: Most of this Kickstarter for us was art- We were very close to not putting any drums,
ERR: You asked for some place appropriate. reference the book—that apocalyptic land- work. Watercolor paintings and things. It’s a but I’m glad we did and I’m glad we worked
I figured it was a good ice-breaker. Either scape. And then it just turned into a weird love creative way for small bands to get funded and with Dave [Collins, drummer]. It was funny,
you’d come up with something cool, or you’d song, which was definitely a Paris and Emma connect with a community. because the way I usually record is drums first,
just say, ‘Fuck it. Let’s go to Starbucks.’ And moment. It was Julian’s [Rifkin, guitarist] song, PP: I think the nice thing about it is, for in- then bass—a very typical way. So it was nice
then we’d be at boring-ass Starbucks and and then we rearranged it. stance, playing a show—your friends might to write the songs, and let the songs breathe
there’d be no personal boundaries or pre- PP: And I guess that’s what I was originally come, fans might come, and the question is and take up all that space and then kinda fit
tense. saying. It was cool and weird and awesome always ‘Where does the money go?’ You have the drums in.
ERR: Yeah, and there’s that thing when you’re and bizarre that we all collaborated so easily— the promoter, you have the club. I’ve played ERR: And it was Marty’s idea. Marty wanted
out a Starbucks and there’s like a dude that’s because a lot of those songs it was like Julian’s so many shows where we bring a lot of people to do that. Wanted that formula. It was an ex-
got a script out and he’s blatantly reading his song and we took it over. Or the other way and we see no money. There’s some bullshit periment. So we ended up with that textural
script or doing something industry-related— around. Not so much from Julian, because he excuse. And the thing I like about Kickstarter stuff. And you can’t really be like, ‘Ehh, listen
it’s a very douchey move. wasn’t forceful in that way, and me and Emma is that it’s obvious where the money’s going up old man—I don’t know how Springsteen
PP: Don’t be afraid of our mysterious bound- have been there with our own bands. So we and what you’re getting. There’s a certain point does it …’
aries. We’ll bare all. were like the fiery director-types, and he was when you’re playing locally in L.A. that your What was the music that made you think,
ERR: Definitely a humor choice. a cooling touch. friends stop coming. Even fans will only come ‘We should do that’? What was the music
PP: We’re not incredibly serious, but at the ERR: And that’s how it is on tour, too. Paris once in a blue moon because they’re paying that changed your direction?
same time we have vague respects for the spiri- and I are at each other’s throats. eight bucks at the Silverlake Lounge to see you ERR: Cocteau Twins.
tual world, and dead people. PP: We’re fuckin’ crazy. And Julian’s just this play and it sounds like shit and they can only PP: Definitely Cocteau Twins. Mark Kozelek,
Except for Mrs. Teller. very nice, dapper, handsome man who doesn’t get a CD that they already have. So it’s nice and all that fingerstyle kind of stuff—Sun Kil
PP: ‘Who are those kids in the cemetery sittin’ get angry. But I’d say conceptually we didn’t that you can offer, like, a painting. Moon and Red House Painters.
on my bench?!’ bring much in … we didn’t have much inten- Emma, you do a lot of art outside of mu- ERR: That’s a big thing for us, and for every-
It’s interesting that you used death as a tion. It was just that we had a span of time that sic, especially the cover art for the albums. one who’s coming out of McCabe’s right now.
thematic element that’s not an American we had to get it done. When you decide to do it, do you just find That’s our home music. … And this is us as
concept of death. It seems like the Japanese ERR: The basic lyrics and songs were there. an old baby picture and work your way out a band—as a group of people with everyone
interpretation of death is more of a natural When we did ‘Aokigahara,’ that was a Paris from there? bringing their own sound and letting them
ceasefire on life. song and then it changed. I wrote the melody ERR: Haha! No, the baby finds its way into complement each other. Focusing on textural
ERR: Yeah, just like the Shinto—I’m not gon- and lyrics and stuff. Everything was just briefly the picture. The creepy baby just ends up in guitar stuff, and much slower.
na lie to you, I watch a lot of anime. That’s touched upon. There was never any discussion there. And that’s not the theme of all of my PP: When you’re younger, you see music and
what I do in my spare time. Very obsessed like, ‘Hey, did you just write this weird thing work—it just somehow ended up being in the have this aggrandized vision of it. You grow
with, like, Japanese fantasy, and feudal-era about killing yourself?’ artwork for both albums. I like that style. It’s up learning about not only famous people but
Japanese ideas of spirituality … as expressed PP: We weren’t ruminating on it. It wasn’t a something I’ve just been on the side doing, the also very talented people. And it’s weird to re-
through cartoons now. Beach Boys thing. Because we had that win- photo collage stuff. alize that, on a whole, it’s not important to be
One of the things I found fascinating was dow of time, we couldn’t dwell on it. A lot What happened between the last record that individual that stands above a huge scene,
that it wasn’t just a place for suicide, but of the guitar work was all one take. ‘Aokiga- and this one? Because they sound nothing like Kurt Cobain or something like that. It’s
sometimes they would take their grandpar- hara’ was one take. I went in there one night alike. actually kind of fun and cool to just be a part
ents out to the forest— drunk. ERR: Nothing alike. Other than a couple of of history and do your own thing, while all
PP: To die. ERR: You were out of your mind. Marty years passing, we didn’t have Daniel [Yasmin] these other people are doing theirs. The older
ERR: So it’s sort of a sacred place. Rifkin [producer, father of guitarist Julian] in the band anymore. Collaborating with Paris I get, the more I realize that it’s actually fine
PP: It’s almost like the haven that elves go to in was like, ‘This is gonna be this band in my and Julian, definitely, that’s what changed to be at home recording demos instead of an-
Lord of the Rings at the end of their lives. studio?’ things. And it wasn’t drum-driven at all. All swering emails and planning shows. It’s cool to
ERR: I’m not going to Lord of the Rings with PP: I hadn’t really met Marty before, so that the songs were written without drums, and the just write songs and make music.
you! was an interesting first impression. Showing other record wasn’t like that at all. The other
PP: I kind of like that the theme of death up drunk, recording the whole song, and I record was all about the … the … THE NOCTURNES’ SELF-RELEASED
through the album isn’t meant to be depress- think doing well, but still. I feel bad about it PP: The duo dynamic. AOKIGAHARA IS AVAILABLE NOW.
ing or weird or scary. It’s just, maybe … calling … So I’d say, conceptually, we brought booze. ERR: Yeah. Which is weird, because the songs VISIT THE NOCTURNES AT FACE-
notice to it. Beer-gaze is what it is. themselves as demos sounded a lot like this BOOK.COM/THENOCTURNES.
INTERVIEW 43
BRUTAL TRUTH
Interview by Adam Beck
Illustration by Marissa Paternoster

Started in 1990 by bassist Danny Lilker of Anthrax, Nuclear Assault and SOD fame, grindcore legends Brutal
Truth are a hurricane of weed smoke, blast beats and skull-crushing riffs. Records like Extreme Conditions
Demand Extreme Responses, Need to Control, and Sounds of the Animal Kingdom established the band as
among the very best in the genre. A sudden break-up saw the band step away at the peak of their powers and
left everyone wondering, but after the better part of decade, Brutal Truth was resurrected for the eyehategod
tribute record following the aftermath of Hurricane Katrina. Recently reformed, the band has found a new
popularity among fans of extreme music and even released a new record, Evolution Through Revolution. We
spoke with Lilker and drummer Rich Hoak about the fundamentals of grindcore: weed, puke and yoga.
We seem to live in an age of nostalgia, with kling, you know? With the new stuff, now driving around high, listening to classic rock valid and if you take a big fucking hit of weed
every band getting back together with the that we have Eric [Burke, guitar] writing in and I would hear a riff from Jimi Hendrix you might understand what we are doing. A
original lineup and playing their seminal the band we’ve entered a whole new era. We or Yes or Rush and I thought to myself, ‘If I good place to start is the new one, End Time,
record—even some that put out new re- did go back and write some stuff like Extreme just grinded that riff up, it would be killer.’ because that’s the one I’m most proud of at
cords that end up sounding like shit. How Conditions with evil death metal riffing, but It didn’t really happen on End Time because the moment. There’s no good Brutal Truth
is it that Brutal Truth can come back after we did it at the speed of Sounds of the Animal for some reason the creativity just kept rolling record to start a grindcore or metal novice
the better part of a decade and put out two Kingdom. In one way it’s brand new and a through to the end, but on the song ‘Get a out on. Either way they are just going to go
really solid and refreshing records? totally different Brutal Truth, and in another Therapist … Spare the World’ on Evolution what the fuck is that? ... It’s built on a certain
Danny Lilker (bass): I guess that really de- way it’s a mixture of all the old stuff smashed Through Revolution the main riff—not the meter, and if you sub-divide that meter you
pends on their motivations. Maybe those together. crust riff at the beginning, but the part af- can hear the quarter notes instead of the 64th
bands are just lazy and rest on their laurels, Are you at the point now with End Time ter that—is actually from the song ‘Round- notes.
and not really put a lot of effort into the shit that you were right before you broke up— about’ by Yes. It’s from this part they had in Every band I know that goes to Japan
that they can play. I’m still playing in Nuclear playing so tight you don’t even look at each the middle. I’m not sure anyone could peg comes back with a story—what’s your best
Assault and we’ve intentionally decided not other? that, but go ahead and try. Japan story?
to do a new record because we think that our We always had a natural chemistry, but when Is weed an essential part of Brutal Truth? The first time Brutal Truth went to Japan in
old thrash stuff is what people want to hear. we started back up again we had Eric so we We do like to smoke weed in Brutal Truth … 1993, while on tour with SOD, we played a
We did a new record back in 2005 and the had to build up a whole new thing with him. it helps us do what we do. It actually makes small show at a club in Tokyo and everyone
outcome wasn’t as good. Going back to Bru- Eric is an amazing guitar player so it didn’t us play faster, which I don’t think people un- went fucking nuts. Our singer, Kevin [Sharp],
tal Truth and the quality of our new records take too long to get that whole cohesive derstand—because we think we are playing puked in a plastic bag onstage … and people
compared to other bands who have reformed thing going again. As long has you have good too slow. We might not write the crazy shit were fighting for the bag of puke.
… we just didn’t want to suck. We don’t think monitors and you can hear what is going on we write if we weren’t high when we wrote
when we write music—we just write music! onstage, that helps a lot. Some people might it.
We fucking get high and turn into robots—I think that’s cheating and say, ‘Hey man, be If someone was brand new to Brutal Truth,
don’t know what to tell you. punk rock—just play it loud.’ But when you where should they start and what should What’s it like writing the second record
How would you say End Time stacks up are playing that chaotically and you want to they expect? since your return? Did you feel less pres-
against some of Brutal Truth’s back cata- do it correctly, you have to hear what’s going What I try to tell people who have not expe- sure with End Time than you did for Evo-
log? Would you want to compare it to the on, and you can’t do it in a vacuum. rienced extreme music is to remember there lution Through Revolution?
earlier material like Extreme Conditions? You famously said in a previous interview is a macro outside the micro. Meaning that if Rich Hoak (drums): I have to say it was a lot
Or Need to Control, which I’ve read isn’t that ‘we rip off bands and affectionately you hear a really fast beat that you might find different. As much as we say we’re totally
your favorite? make it our own.’ Who did you affection- puzzling at first—like 1-2-3-4 really fast!— grinding, we knew with Evolution that we
The problem I had with Need To Control is ately rip off on End Time? if you sub-divide that and still tap your foot have to not suck. We felt that as we were writ-
how it came out production-wise. I like the It didn’t really happen this time—the last slowly, you’ll understand what we’re doing. ing music that there was somebody watching
music on it, I think it just sounds a little too time it happened was when we recorded Evo- We’re not just playing a bunch of noise. What over us. That was the awesome thing about
dull—there’s not much high-end and bright- lution Through Revolution. Toward the end of I’m trying to say is get ready for something End Time, we did our thing and proved that
ness on it. Grindcore should be kind of spar- recording I was running out of riffs and I was that you haven’t heard. What we are doing is we didn’t suck on our reunion. With End

INTERVIEW 45
 “It’s because we are true fucking grinders
that grind from the heart, and we live only
to sleep, smoke and grind. That and most
other bands that suck are posers.”
Time, we didn’t have all the online commen- 22 minutes on a split album. I’m really into The eyehategod tribute record after Hurri- End Time! I was the one who tracked down the
tators looking over our shoulders—it was that wash of sound thing and that’s why I call cane Katrina is what brought you guys back company that made those and told Relapse that
a little bit more free. And when I say free, Peacemaker transformational harsh noise. from the dead. If a hurricane wiped out the they must include it!
I mean mentally and spiritually. We are all The songs are 25 to 35 minutes long so you Brutal Truth base camp, what bands would Were you part of the testing process to con-
senior citizens so we write albums—when can sit down at the end of the day and listen you want on your tribute record? firm how realistic it smells?
we sit down to write songs, we write them to it with your headphones, and then certain I’d have to go with bands that would sell a lot There was no testing process that went on.
for a record. When we recorded End Time frequencies align your brain waves and put of CDs in Walmart. AC/DC, Journey, Blue The company that made those will make a
we completely busted our nut and recorded you into a state of relaxation. Peace is the vic- Oyster Cult, Charlie Daniels Band, KISS, scratch ‘n’ sniff for anything! They make
everything we had, improvised some songs, tory, you know. Ozzy Osbourne—with or without Black ones that smell like oranges, bananas, apples,
and even wrote some tunes the night before Aren’t you a big yoga guy? Sabbath, Lady Gaga, Elton John, and maybe poop, mold, dead people, zombies—you
we went in the smear, and that all goes down I sort of dropped out of the fitness-yoga a few others. If it’s going to be a Brutal Truth name it. The company also did advise us to
at once—it’s a snapshot so there was noth- lifestyle, but yoga is a practice that you live tribute, let’s have some people on there that make a scratch ‘n’ sniff card as opposed to just
ing left. There are bonus tracks on a differ- and I learned a lot from the years I was into are going to sell some CDs and make some a weed-scented product. Otherwise we would
ent release, but there is nothing hidden in the it. As far as my drumming, it helped me to serious scratch! have problems with the mail orders!
vaults. We put it out and left it hanging there, sit up straight and build my core strength Were you the one behind the Minutemen Does weed help you play faster? Is it essen-
and we wouldn’t take it back any day! My fa- to keep me up. Through yoga I learned to cover on the last record? tial to the band when playing live?
vorite tracks with Brutal Truth are always the breathe through my drumming, which also Yeah—I’m a huge Minutemen fan. I saw It’s part of the whole thing, but Brutal Truth
shortest ones. ‘Branded’ was my favorite track helps me when I do vocals for T.F.D. I used them play with Hüsker Dü in south Phila- can play whether we smoke or not. Playing
on Evolution Through Revolution and ‘Trash’ is to do an extreme style of yoga called Bikram delphia back in 1984 and I’ve been a huge the type of music that we do people might
my favorite song on End Time. It starts with a Style Hot Yoga, which feels like running 50 fan ever since. think that we have to do pounds and pounds
four-count bass intro and then the band goes miles in 5 minutes. Unfortunately, I just Wow, I’m VERY jealous—what’s your fa- of cocaine, but it’s actually quite the opposite.
‘bbbbbbbllllllllaaaaaaaBBBBB!’ I also dig the don’t have the time to do it anymore but vorite memory from that show? To be able to play drums as fast as I do, I have
incredibly slow songs so I can just sit there I know how to do the stretches and hold Being in the mosh pit and being piled on by to breathe deep and relax. Kicking back is the
and beat on the drums and not have to do a my body so it’s something I still apply all people. Minutemen weren’t a usual band— only way my body can do its thing.
whole lot. the time. To me yoga and drumming aren’t people all agreed that they were killer, but Danny mentioned an incident on tour in
I heard that you masterminded the song that different—both are an exercise of mind they didn’t sound like your usual hardcore Japan involving Kevin and a bag of puke.
‘Control Room,’ which is 15 minutes over body. In both things, I can smoke up, band. Have you seen anything even worse?
long. kick back, relax and let my muscle memory We live in an era in which every band is I’ve seen Kevin vomit a lot so I don’t think I
I’ve always been into making loud crazy do its thing. getting back together, playing shows and want to talk about that—I might throw up
noise, and over the last ten years or so I’ve had Is Bikram Style the one where they lock you in some cases even recording new albums. myself. Don’t get me wrong—all that stuff is
this transformational, spiritual and harsh solo in a room and turn the heat up to 110? Why is it that most of these albums seem funny, but for the most part touring is a good
project called Peacemaker. I’ve always tried to Yeah! It’s like the McDonald’s of fascist cor- to suck, but Brutal Truth continues to re- experience. People are usually just hanging
tie in Peacemaker into my other bands—To- porate yoga. lease new music that is both relevant and out, partying, grinding, and I’d much rather
tal Fucking Destruction and Brutal Truth— ‘.58 Caliber’ is an almost spoken word refreshing to the genre? hear those stories than the stories of people
whenever I can. Brutal Truth has always been piece about a Civil War bullet, not a typical I think it’s because we are true fucking grind- dying while on tour.
a rugged four-way thing, and it’s hard to grind song. Where did that come from? ers that grind from the heart, and we live only I can’t help but bring the Minutemen up
describe how the division of labor is actually That was an improvisational song that I to sleep, smoke and grind. That and most again here—you always hate to hear about
made, but one of the things I love to do in wrote with the drum riffs and wanted to other bands that suck are posers. That’s one those kinds of things happening to bands
addition to playing drums is to make harsh put a bunch of noise on it. When I was of the things that was hanging over us when on the road.
crazy noise. So during recording I brought recording all of the other drum tracks, we recorded Evolution Through Revolution— Those kinds of things change history! Imag-
in a bunch of tracks that I had been work- Doug and I didn’t know what were going there is nothing I hate more than a bunch ine if D Boon or Cliff Burton hadn’t died!
ing on—I told the guys, ‘I’ve got this great to do with it, so we had Eric and Danny of fat old bald dudes up on stage playing a Imagine what kind of a difference those guys
idea for a song—what can we do with it?’ So lay down the guitar parts. Finally we had song from 30 years ago. Like watching Iron would have made in their bands if they were
Doug [the engineer] and I were able to trans- Kevin lay down some vocals. I told Doug Butterfly at some casino back in 2008. Bru- still around.
fer about twelve or fifteen of these 16-minute to lock him in a room and not let him out tal Truth has never been a planned-out band. I’ve always said someone should make a
tracks onto the computer so we could make a until he did vocals on every track that I We don’t make a schedule. We get together to movie where stoners figure out a way to
rough mix. I played drums over the top of that recorded. Doug is one of those crazy ge- smoke weed, drink beer and play music, and travel back in time to save Cliff from dy-
in sort of an ebb and flow with the electron- nius types and is really into collecting let- see what happens. ing. It could be called This Wouldn’t Hap-
ics of the mix. Some of the other guys added ters and manuscripts from the 1800s. He Were you involved with the artwork/theme pen If Cliff Were Here.
things like feedback, screaming and farting is also into collecting Roman and Greek for End Time? Yeah—Cliff would have beaten the fuck
into the microphone, too. We then sent the coins that are 2,000 years old and really Orion Landen did the album artwork for End out of Lars sooner or later. He’d punch
whole thing over to Jason Fuller, who did crazy stuff. In fact, what Kevin is reading Time. He pulled the ideas from Kevin’s lyrics him out over and over until he went back
the final mix. I’m keeping my fingers crossed on that track is a letter from Doug’s col- and themes. I’ve done a couple of T-shirts but to Sweden.
that I can make a ‘Control Room’ remix to lection written by an army scientist in the Sounds was the only cover I did. I do, however,
throw some extra stuff in there. I’d also like Civil War—it discusses the merits of the want to officially take credit for the weed scratch BRUTAL TRUTH’S END TIME IS OUT
to do an extended version that’s about 20 or .58 caliber bullet and its uses. ‘n’ sniff card that comes in the deluxe edition of NOW ON RELAPSE.

46 INTERVIEW
JONWAYNE
Interview by Lainna Fader
Photography by Andy J. Scott

JonWayne initially came up as a rapper but now he makes blunted beats on Earth when he should be making
them somewhere on Neptune or at least in a castle underwater. In a little over a year, the 21-year old La
Habra-based producer put out Wayniac, Doodles, Remixes Are Things, Bowser, Thanks Bro, I Don’t Care and
now, he releases The Death of Andrew on Alpha Pup. He speaks here about his high school days as a football-
playing-poetry writing theater geek, recording beats in his bathroom with an 8-track set up on a trashcan, and
the first time he played Low End Theory.
You’ve said you’re a theater nerd. What’s the never really got a date with the girl but I kind Does the world gives you what you need, I’ll tell you this: I do fully fleshed-out songs.
first production you were part of? of fell out of lust with her and fell in love with when you need it? Say it’s six minutes long. I say, ‘OK, how do
When I was 17 we did this thing called the words and it was kind of a weird turn because If you don’t bullshit. I think there are a lot of I take it down to five?’ Then four minutes.
Young Artists Workshop. It was pretty much I didn’t expect it at all. It started out being people who end up in positions like that and Then three. I also strip things down. ‘How’s
like taking fifteen kids and putting them into some kind of con but I actually started get- they want to take advantage of it but they don’t it sound if I take this piece away? What about
a warehouse for two weeks and we had to cre- ting into it. What was the first beat you ever really know what they’re doing when the time that?’ It’s cool—it’s an ego-building thing to
ate and direct a play, produce this entire thing made and the first rap you ever wrote like? comes. They don’t know what they want. Peo- have all these things that sort of work togeth-
in a Broadway-style theater in front of people. I remember I was actually in Hawaii, and I ple don’t know what they want til they have it. er. Most of my music is post-production. I’ll
It was ridiculous. I’d never actually done any- wrote a really long one—like a five-page-long And I try not to ask for too much. I just try to have everything done and I’ll tinker with it.
thing like it before. It was summer, and I had one. I had ‘Pet Monster Shotglass’ by Lotus, ask for what I need to keep moving. I almost never have finished songs that have
just quit football. My parents wanted me to and that was the first thing I wrote to. The In a little over a year, you put out Wayni- all the elements I wrote for it. There’s always
do something, so they said to either get a job, first time ever I think was in Canada. I had ac; Doodles; Remixes Are Things; Bowser; alternate progressions and stems. I like to
or do something theater-style. my iPod with me, which was kind of my Thanks, Bro; I Don’t Care and now The keep things simple, but at the same time say-
You went from football to theater to rap- saving grace because it was a twenty-hour Death of Andrew. How do you stay pro- ing something interesting. I just don’t think
ping and making beats? drive. We finally get there, and I go on my ductive? people get it sometimes. And it’s not their
Yeah, those changes were pretty drastic. I defi- dad’s laptop to charge my iPod and I hit the I’d rather feel productive than feel like a piece fault. They have a different ear for some-
nitely had people that had a problem with it, wrong button and all of it deletes. It was an of crap. It’s easy to do that when you don’t thing, and I can respect that too. There are
but essentially, you just gotta do what you emergency situation to go to the mall and get have a job. If you’re hungry about being suc- a lot of beats I don’t like cuz there’s just too
gotta do. You really can’t give a shit at the end. music. I bought Beat Konducta 1-2 because I cessful and doing these things, you just keep much going on. I just can’t listen to it. I can’t
Do what you gotta do. recognized Madlib’s name from MadVillain. I working. That’s why I make so much music— find the core. I think the peak of that was
How did playing football prepare you for didn’t know what to expect. That was the first I’m so impatient. I just wanna get there al- like 2009 and 2010. All these beats with all
making your music? instrumental album I got it and it just blew ready, so I work. I just don’t stop. I eat, I sleep, this shit going down. I’m all for atmospher-
It’s totally different. It has nothing to do with my mind. I also had a book—Saul William’s and I work. I’ve been learning to slow down ics, and I’m all for added effects, but it kind
sports. When I was a freshman, I started writ- Dead Emcee Scrolls, and I realized, ‘Oh, this is recently though. of turns into this big effects sandwich and I
ing poetry—because I liked a girl who liked rap.’ I basically spent my free time up there Why did you decide to try to slow down? don’t like that. Imagine going into the song
poetry. I used to write a lot. I started getting in seclusion with this book reciting some shit Well, my work started to suffer a bit. I just and looking around and not being able to
into theater and poetry at the same time, and over these beats. So that was the inspiration to had one mode. I’d start with something and find anything, there’s all this shit—the eye
I was falling out of love with sports because I put this stuff into action. keep going until I was ready to do some- of the storm. You got couches flying around
was getting the energy and expression I need- What’d your parents think about all this? thing else completely. I was just kind of and shit. I can’t really settle into it.
ed from those in a way that was much more When I dropped out of college, it probably beating it to death. This way, I can work, go You’ve said that ‘the human soul doesn’t like
effective for me. So by the end of my sopho- worried them a lot. But by the time I had back and forth, and so I’m not really forc- being talked at.’ How’d you learn that?
more year, I decided I didn’t want to do sports dropped out it was kind of like, ‘Who are ing myself to work. I have this thing about I learned that in high school. That’s something
anymore. All the coaches knew me since I was we kidding?’ It wasn’t on some, ‘You’re quit- being a perfectionist. I feel like people have I’ve always thought. That has to do with the
a seventh or eighth grader. So quitting that ting college? But I thought you were going cornered me—or people don’t care to learn whole conscious movement—conscious hip-
was pretty difficult. When I quit that, I got to be a professor!’ kind of shit. It was like, more—calling me just an 8-bit artist. Even hop. I always found that to be mad boring. I
more into theater, and then I did that Young ‘Jon, you should probably quit.’ I had a job though over the past few months I’ve been never liked it. It was kinda like, ‘Hey, you’re
Artists Workshop, which got me into doing for a while, working for my dad for about straight-up saying there really isn’t anything saying something, but what’re you saying?’
spoken word. Through that workshop, I met nine months, doing sandblasting every 8-bit on the album. Conscious hip-hop is diplomatic. That can
this dude Avi and some of his people from day. That was ridiculous. I worked at E.B. All the Bowser reviews call it an 8-bit al- apply to anyone and therefore is weak. When
West Covina. He was in charge of music pro- Games when I dropped out. I was actually bum, when it really isn’t. I was in high school, a lot of that was coming
duction, and he’d bring his workstation every working at E.B. Games the first time I ever I just think people don’t know their shit. My out: Common, Mos Def, they’re all talented
day and make beats and these dudes would played Low End Theory. Kutmah was the stuff sounds a lot like 70s or 80s synth explo- people, but a lot of their content never really
rap. I was experiencing that nonstop for two first guy to put me on. Cuz the first time I rations. I’m really influenced by the Moog reached to me cuz it just reminded me that
weeks in a concentrated area and I’d always went to a Low End Theory was for a Dibiase albums that came out in the 60s, and Yellow they don’t know what they’re talking about.
thought about doing it before, but they en- show, and I was working with him in a rap Magic Orchestra. They killed it. I’m super into ‘Those corporations, dude!’ and ‘Legalize co-
couraged me, because they liked what I was group—we were making music together in them. A lot of early synth forays, with the jazz caine!’ There’s more to it than that. If you’re
doing with the poetry. That’s what got me 2008, and he had a show there. I went, and and funk stuff. So this next thing—The Death gonna say something, pick something and say
into rapping. I had a bunch of CDs and I passed them all of Andrew is only twenty minutes long, but I it. Tell people what you think. Not why they
What was the poem you wrote for that girl out. I gave one to Kutmah before knowing like to think of it as more of an album—it has should think that way, but give them some-
like? who he was. Dibiase was like, ‘You need to a lot of the same elements as Bowser, the same thing to think about.
It wasn’t a single poem. I was doing it in secret give him something.’ So I did, and he was melodic sensibilities.
because I didn’t really understand. The poems like, ‘Well, let me give you something too,’ You’ve said people criticize you for mak- JONWAYNE’S THE DEATH OF AN-
that they make you read in eighth grade— and he gave me the ‘Sacred Geometry’ mix. ing simple beats, but said it’s all about DREW IS AVAILABLE NOW FROM
none of it’s applicable to your life. So I didn’t He told me to listen to it only when I was restraint—‘something Dilla had.’ How did ALPHA PUP. VISIT JONWAYNE AT
really get it until I started writing it myself. I on acid. you learn restraint? TWITTER.COM/JWAYNIAC.

INTERVIEW 51
DJ SHADOW
Interview by Lainna Fader
Illustration by Walt! Gorecki

Fifteen years ago, DJ Shadow released Endtroducing…, securing his legacy as a pioneer of instrumental hip-
hop and inspiring a generation of beatmakers. With his latest, The Less You Know, The Better, released last
month on Verve, the legendary turntablist returns to his roots after experimenting on his confrontational and
polarizing 2006 album, The Outsider. He speaks here about recalibrating people’s expectations and performing
in the Shadowsphere.
You’ve said you have the collector gene in If it is a return to form, it’s in that I’m back slip back into old habits or slip back into a feel contemporary, or like what it’s supposed
your blood—who else in your family is a to the sample discipline primarily, and almost mode that feels nostalgic or familiar.’ How to. Sometimes when you have ‘DJ’ in your
collector and what do they collect? exclusively. On the last record, I dabbled into do you keep yourself from making the same name, people assume that you make club
One common thread I’ve noticed among col- other ways of making beats. And that’s not to kind of music every time given the success music—or dance music—and I’ve never ever
lectors is that many come from lower middle- say I won’t return to that as well—I may return of Endtroducing...? done that. I can barely even make proper hip-
class backgrounds, where they were often de- to that at some point—but on this record, I My recipe is continuing to listen to other hop. I think sometimes that confuses people.
nied ‘frivolous’ purchases, for obvious reasons. really wanted to zoom in on taking samples kinds of music. I grew up on hip-hop— The term ‘DJ’ is pretty loaded, and in 2011,
I suppose that was the case with me. I grew and trying to change my mindset as opposed primarily 80s hip-hop, because that’s when it’s probably as relevant as—well, I’m trying
up collecting baseball cards first, because they to ‘more more more’ and ‘faster faster faster’— I was growing up—and I continue listening to think of a really cliché metal name, but you
were cheap and plentiful. From there I moved all the ways you can fool yourself into think- to 80s hip-hop, the stuff that I didn’t hear at know what I mean. Nowadays if you make
into comic books, and then sold them all to ing that you’re doing something interesting as the time, that I’m discovering now because electronic music, your name is supposed to be
buy—new—rap records around ’85-’86. a producer. More cuts. More samples. Throw it’s still so rare. But since then, I’ve taken in a two syllables and sound sort of like a short-
How do you think growing up when and the whole kitchen sink in there. On this one, I number of musical hybrids, whether it’s dance ened text with an ampersand or an A with a
where you did influenced you? kinda wanted to let the samples breathe a little music or rock music or whatever. And also, circle around it and all that stuff. I totally real-
A positive component of the gravitational bit. Thematically, I wasn’t trying to provoke as I’ve allowed myself to explore other styles of ize that—I totally realize that there isn’t much
pull of the tech sector in the 70s and 80s much as I was on The Outsider. The Outsider old music. That’s one of the reasons I’m not so about me that says 2011, other than the fact
was the influx of highly educated dreamers. was a record I felt I had to do, and I felt I had prolific—I don’t want to put out a record that that I’m still here and I’m still contributing
In some ways, they helped prolong the uto- to do it to clear the slate, and allow myself to says the same thing as the last one, that car- and I’m still passionate about what I do.
pian ideal that California has always repre- start over and start fresh. ries the same message or emotion or theme. I A lot of DJs now incorporate video into
sented. Growing up in a small university What mindset were you in when you went like to give myself a lot of time to study what their sets these days, but you took the per-
town—Davis—there were ideas and experi- into and came out of making the record? other people are doing and learn new things, formance aspect of a show much further
ments happening constantly. I met Francois Going in, I pretty vividly remember—I was and whether it’s contemporary music or older with your Shadowsphere. Did you feel
Mitterrand when I was in sixth grade. He poking at collecting a bunch of samples on music, that’s what I spent most of my time pressured to add something more to your
came to our ‘experimental’ neighborhood and off while I was doing other work for the doing when I’m not making my own music. concerts to make it more of a show?
to evaluate our solar program. The press first half of ’09, and then when I finally got You’ve described yourself as a ‘long-term When you play the European festival circuit,
trampled our flowerbed. I’ve also gained a into the workspace that I set up, which was artist’—what does that mean? often the rock bands get the main stage, espe-
lot of respect for Davis since reading the away from home and away from everything, I sometimes use the term ‘artist’ or ‘musician’ cially in the late 90s. And I was given the op-
book Our Band Could Be Your Life. There within about a day and half of sitting down because it’s the easiest term available to de- portunity to show what I do on a large stage,
are several examples of bands who gained by myself, with just my records and my gear, scribe what I do to other people. But I don’t with a large audience, and I just felt it was my
a following there before anywhere else. I I was pretty amazed at how quickly I was able consider myself a grand artist in the preten- duty to make an entertaining show. I didn’t
guess the sons and daughters of dreamers to get back to that level of concentration that tious sense. I don’t consider myself to be a grow up wanting to be a celebrity DJ. I don’t
had a lot going on upstairs. I hadn’t really had the luxury of giving myself gnat on an elephant compared to most of the take my shirt off or stage dive. I came up in an
You talk a lot about your hip-hop back- in quite some time. I felt really thankful for people I respect and admire who make music. era when being a DJ was sort of a solitary pur-
ground, but the samples you use show that that. I suppose that the overarching feeling As far as how long I do it for, I do love listen- suit—something you didn’t do to get famous.
you’ve got an incredible range of musical during that first session was gratitude at what ing to other people’s music and attempting to But I felt it my obligation to put together a
knowledge—who first taught you that you The Outsider had allowed and had achieved in make my own. Whether or not it’s relevant show that would be just as entertaining as any
should embrace all music? terms of recalibrating people’s expectations. to other people determines to what extent I band that was going to grace that stage that
The very first rap record I ever bought was And I realize that’s a pretty generous way of share with people what I do. I can continue day. I started doing that in 2002 and con-
a Sugar Hill Records compilation that con- putting it. I know a lot of people had a lot of to tinker around in my lab after I return from tinued all the way up to now. The concept is
tained ‘The Adventures of Grandmaster Flash problems with that record, but for me, that re- my day job, and whether or not that music the same—basically to not yet let being a DJ
on the Wheels of Steel.’ Right there, on that cord was a gift because it allowed me to work sees the light of day really depends on other stand in the way of playing next to any per-
one cut, is the basis for everything I do. Buy on this one. I allowed myself more time with people’s enthusiasm. former out there. I feel pretty confident that
it and listen for yourself. No one told Flash he this album to sequence since the first album. Posdnuos from De La Soul said the key to I can follow most acts, or precede most acts,
couldn’t mix disco with Queen and children’s In the very end, I think I found a sequence their longevity is a determination to be part and be respected, or at least tolerated.
records. This is a lineage that goes back to the that really worked for me, and I was really of the game—what’s the key to yours?
mid-late 70s. concerned with it prior to that moment. Probably a desire to contribute. I’ve always DJ SHADOW’S THE LESS YOU KNOW,
How is the new record ‘a return to form’? You’ve said, ‘The more music that you make tried to put out music that I feel is unique in THE BETTER IS AVAILABLE NOW
How does it fit into the DJ Shadow discog- and the longer you’re doing it for, the more the landscape and for that reason, often what I FROM VERVE. VISIT DJ SHADOW AT
raphy? you realize how seductive it is to sort of put out seems out of step to people, or doesn’t DJSHADOW.COM.

52 INTERVIEW
THUNDERCAT
Interview by Chris Ziegler
Photography by Theo Jemison
Styling by Erika Krumple

Mike Watt somehow knew that Thundercat was coming. When he said people thought the Minutemen were
Martians from planet Jazz, well … that is pretty much exactly what we get with Thundercat’s The Golden Age
of Apocalypse, made by a kid who played bass for Stanley Clarke and Suicidal Tendencies both. Thundercat
speaks now about the sublime and the ridiculous, but not in that order.
You recently posted a photo of a really cur, like, ‘How did that happen?’ I don’t know, happening in front of us—wars and rumors of into different places. I try not to be blocked
colossal dick someone drew on a backstage but it happened! wars, people rising against each other, all that by anything! One thing that can be a block is
wall at a show you played. As someone who Did you develop your mind-boggling mas- stuff that’s been talked about before. It’s not money—it seems so funny, but it’s true.
has spent much of their adult life as a tour- tery of your instrument simply because you saying … we’ve been in the last days a long Yes, I laughed painfully.
ing musician, what is it that makes people had to fit music into the tiny amount of time. Just because they did a movie called 2012 Your ability to feel comfortable in your own
draw dicks on backstage walls? non-debaucherous time available to you? and everyone’s paying attention to 2012—this skin can sometimes be connected to the fact
I think it’s a code of silence—when you don’t No, no—growing up I spent a lot of time just has been going on for some time. that you don’t know where your next check is
see one, something tells you instinctively to being very exposed to different things. Supposedly every generation thinks it’s go- coming from so you can’t think properly—I’m
draw one on the wall. The secret society of pe- Exposing yourself to different things? ing to see the world end. Maybe I’m falling not saying that’s me, but there’s so many differ-
nis drawers—that’s exactly what it is. Yeah, exposing myself to different people—all for that too. But it is a weird time. ent places insecurity can come from that can
How many dicks have you drawn? kinds of stuff! As a child, I was very much into Absolutely. We been experiencing the end age hinder you from doing what you’re supposed
A few hundred. Different sizes, different my visual my art. They kinda went hand in for a long time, and it has nothing to do with to do. The key word in a lot of it is just having
shaped penises, people’s faces shaped like pe- hand. They had different emotional pulls on this generation. We never know the generation faith. Other than that, it does not make a lot
nises—all kinds of stuff. me. Playing bass—around the age of 10 is it is who’s gonna see it. But somebody’s gonna of sense. There’s always the opportunity to not
Do you get any kind of special hotel dis- when I got really serious, from my dad playing see it, even if it’s our grandkids’ grandkids. make sense of something—you can find a rea-
counts once you’ve done like 500? me Jaco Pastorius’ ‘Portrait of Tracy.’ It blew We’re seeing pieces of it. People can feel it in son why not to do something, but sometimes
Oh—The Dick-Drawer’s Membership Club? my socks off. I couldn’t believe it was possible the air, you’re starting to see things come to the it’s better for you to put yourself in the line of
Yeah, you get a membership card, a box of to be that beautiful on an instrument, so I front. Creatively, artistically—that’s why it gets fire and figure out where you fit in. That’s how
condoms and a vintage Playboy. took to my instrument even more. It devel- described by so many people in music. That’s I treated everybody’s music I’ve ever worked
On Pitchfork, you reminded Flying Lotus oped naturally, but also there was part of me how you feel! It’s not to be taken advantage on. I wanna be used and utilized by a person
that although PBS’ Bob Ross is a com- that wanted to get better—I’m still like that. or publicized like, ‘OH NO! THE END OF to convey what they wanna convey.
pletely delightful, positive guy on camera, How did it affect you as a musician to have THE WORLD! OH NOOOOOO! THE Mike Watt told me the same thing—the
he may well be hiding a terrifying dark side a parent who’d already done it? MAYANS PREDICTED IT!’ It’s not one of bassist is there to serve the song.
off camera. Since you are also a delightful, Things were not very far off because I had those things. You can feel it in your spirit. And I know Mike Watt! Absolutely. Stanley Clarke
positive guy … what terrifying dark side are an example to understand—‘This is how the that’s all you got a lot of the time—your spirit. said that to me: ‘Your job—you’re a servant.’
you concealing from the world? business works, this is how these kind of peo- Calling the album The Golden Age of Apoca- He was trying to explain the difference be-
I try not to have one at all. But everybody’s had ple work, this is where you wanna be, this is lypse, it’s like a very … it’s a precursor. It means, tween being a servant and being the artist. I
their point where they had all they can stand where you don’t wanna be …’ I had all that at ‘Watch what’s going on around you.’ was so used to being a person who put myself
and they can’t have any more. There’s always my fingertips. That’s part of what gave me an What is your role as a creative person in in other scenarios. He was trying to get in my
that. Other than that, I just try and … you advantage in functioning properly in different these times? head like, ‘Look, you’re always gonna have a
know, be cool. I’ll say it like this—as a kid, I scenarios and situations. It wasn’t new to me. A lot of the time, I just wanna be used by God. mentality in your head that allows you to be
wasn’t evil, but … I would hide things a lot. I’d When I started traveling, I just felt like it was That’s just what I really want out of what I do. a servant. But that’s part of bigger picture of
have dual things going on. My parents would part of what I was supposed to do. Whatever that entails. I try my hardest to lis- being an artist. You got to know when to pull
think I was at the studio, but I was really hang- What sort of hard-way things do you think ten to God and what he’s trying to say to me, it out and when not to because it can be easily
ing out with my girlfriend. ‘Yeah, I’m at the you got to skip? or if he’s trying to say something to me—if taken advantage of.’ I was like, ‘Huh.’ I never
studio—but I’m really Downtown, drunk, I was reared in a very Christian home, so it there’s nothing to be said. It’s imperative that necessarily looked at it like that but the truth is
hanging out at the Standard!’ was more perspective. It wasn’t ‘DON’T DO you pay attention and try and see where God yeah, everything I’ve done musically … you’re
Did you ever get busted when your parents THINGS.’ My parents were very open to me wants you. It could be as small as … like when finding where you go.
were like, ‘So, son—you’ve sure been at the being who I wanted to be. They didn’t try to God told you to go left and you went right. You’ve played with so many kinds of vision-
studio a lot! Can we check out those dem- stop me. They just wanted to make sure I had And you know it was God talking to you! A ary people—is there anything that you can
os?’ these moral values before I left their house. lot of people try and downplay, like, ‘Wasn’t connect between them? Is there something
The sad part is I actually was working. I’d be They drilled it very deep into me, but at the that just you talking to yourself?’ But the truth they’ve done that could help other people
doing this, and all this debauchery would be same time I got an opportunity to be in the is—you can take it or leave it, but that doesn’t make breakthroughs in their own work?
going on, but it’d go hand in hand. I’d come world—to be myself. They encouraged me to mean it’s not true. He’s there. It’s just that time You just gotta be where you’re supposed to be.
home and play my parents something new, dress how I wanted to. My mom used to have you should play closer attention, and try and It sounds corny, but that’s all we got. One of
and they’d have no clue that I was wil’in out. purple hair! For the last ten years! Well, maybe figure out where you’re supposed to be. my favorite sayings is, ‘It’s not supposed to be
That I was butt naked on the street with a last four or five years. She has a mohawk now! A lot of times when we talk to people, we fair.’ You wish it was and you want it to be, but
sword the other day! Didn’t your mom name the record? You’re talk about how complete examination and it’s just not supposed to be fair. Anybody that’s
What? the second person in two issues to have a knowledge of self can be a pathway to pow- a hard worker is gonna see the result of what
In the past. I used to be kinda crazy when I record named after the Apocalypse. Why is erful art. But this is the opposite. It’s about they put their hands to on whatever level it is,
was younger. Take fireworks and shoot ’em the Apocalypse on people’s minds? total humility, about losing the ego to be- but you can’t define a person’s success in that
into oncoming traffic. Run around naked. Spiritually speaking, you can feel it in the air. come a vessel. they’re rich or everybody can see them doing
Naked on the street with a sword? I couldn’t Everything is just so weird. It’s almost like … Yes—absolutely. The more you can be selfless, what they’re doing. You gotta look at a little
even pull off two-thirds of that. something bigger than you moving faster than the closer you can get to Him—where God more than that and see where their head is and
It’s not something I planned out. I have tons you. And then the different things biblically wants you. You stop holding on to things that what their point was and what they were try-
and tons of random moments in life that oc- that are talked about going on that we’re seeing block you from trying to get further and get ing to get to and what they consider success.

54 INTERVIEW
 “I was butt-naked on the street with a
sword the other day!”
It’s the funniest thing on this planet when you are. And the aesthetic is something I’ve held John Coltrane supposedly once said some- I see the music as part of a bigger picture with
see like a Michael Jackson. Let’s go with a dude on to, and I’m proud to be able to be my own thing like, ‘The more I know, the more I me of course. I’m not just a musician—I’m an
that tall. Michael Jackson was a star since he person in front of everybody. know I don’t know.’ One of those times artist. I’m ready to start on my second album.
was a kid. The truth is, it wouldn’t matter. You Mike Watt says the Minutemen really con- when people asked him why he never I just wanna make sure people always know
can try to follow the same formula, which the fused people—that people thought they stopped practicing. where to find me. Naturally I wanna be huge
record companies used to do, and try and put were Martians from planet Jazz. Do you I would never compare myself to Coltrane, and all the crazy Hollywood dreams—
a group together to find the one Michael Jack- think you’ve finally delivered the Martian but that’s super-freakin’-awesome. That’s the A bass-shaped pool?
son and focus on him and try and make him jazz record planet Earth has been craving? truth. You could know everything and still Thundercat-shaped pool! Red in the hot-tub
into a star. Yes, you can definitely monetarily I don’t know if I put out the ultimate Mar- know nothing. for the eye—hell yeah! Check this out. The
try to recreate that. But the truth is you can’t tian jazz album, but I’d hope it definitely made So is this what you want from music? As rest of the pool is actually hot—like where the
mistake the funk, and Michael Jackson was some waves and changed the way people write many of those moments as possible? cat is. And the eye is actually cold as hell, but
the funk. He didn’t need to be a formula that and see and do music. A lot of the times people Heck yeah, man! I always wanna connect like it’s red so it looks like it’s hot! You got me all
was created. This dude had four brothers that see music and see stuff that takes you a little bit that—have my heart in what I’m playing. As excited—I sound like an idiot!
were killin’, and their dad beat ’em into shape. out, and then they’re like, ‘Ah, this stuff is too I get older … I think the word is ‘jaded.’ I al- You once threw your bass into a crowd
It was in his nature to be a star. difficult—this is not something people wanna ways ask myself how to keep that zealousness of 60,000 people—that’s got to be like
You can’t really plan it—you just have to hear.’ But there’s gotta be something there! It about being a young artist. You can lose that. throwing your child into a crowd of
make your work something you’re proud of. happened before. Jazz mixed with hip-hop and We just get old. I always say to myself, ‘I never 60,000 people. What happened? Did you
Because you could win the lottery the next punk is nothing new! It’s not something I’m wanna get old.’ When it comes to the music, ever get it back?
day or get hit by a bus. gonna take credit for. It’s definitely my take— I always wanna be in search of these moments No, I gave it away, man. This was one of Rage
As funny as it is, that’s the truth. And here’s my understanding. I’d hope I make an album where it’s … beautiful. Against the Machine’s final concerts. It was
another thing. When it comes to how girls that worthy of the title—‘This is the Martian You were joking in another interview about Suicidal, Mars Volta and Rage Against the
perceive guys that are musicians or stars—the album I’ve been waiting for for so long.’ hosing down crowds with DMT to help Machine, and we were on right before Rage
girl gets with you— The album is so fluid—the songs feel like them break through—does that mean Against the Machine. You think Europe has
This could be a whole other interview! they could flow in any direction. DMT is just a shortcut to get to the same hardcore fans? South America … I don’t even
But the same scenario, where the girl gets with I definitely have to give it up to Flying Lotus place your music is going? wanna call it hardcore. It’s demonically pos-
you cuz you’re rich and famous and then she for his ability to hear things. I’m the kind of I just want people to break out of their stuff. sessed! Blackened hardcore metal fans! They’re
leaves you. Is that really a successful situation? guy who’s scatterbrained naturally. I remember I remember one time I saw my older brother insane! The emotion was so flying while we
Or is it actually successful when you have I’d be playing this stuff, but I never heard any taking a drum solo—he’s the most amaz- were playing—they were so excited because
a person who is genuinely loving and it has sort of flow—I was just creating music. Lotus ing drummer hands down in the world right apparently Suicidal hadn’t been there in twen-
nothing to do with the money and the situa- rearranged everything and put it in this order, now—and he starts taking a solo, and I see this ty years. You could feel the energy—it was so
tion surrounding you? What do you consider and I was like, ‘Whoa!’ It all made sense. We’re guy jump out of his chair and start dancing. inspiring. It wasn’t that I didn’t love my bass,
success? ‘You know, man, I found that one girl very in sync with stuff like that. But not dancing—he was almost like a Dead- but what happened was … right at the end
I’m supposed to be with, and I could lose all Where’s the overlap? What matters most to head. He was twirling—he was gone! Some of the set, we were going off and I took my
my limbs, or I could have golden limbs dipped you both about music? people were making fun of it, like, ‘Look at bass off and threw it in the audience! And
in platinum with lasers shooting out of the fin- Other than the basics which everybody would this crazy guy!’ But they didn’t see what was the promoter told me no one had done that
gers, and she wouldn’t care.’ know … you have to have a certain amount of going on—this guy was completely connect- ever—they don’t really have instruments like
Those limbs just kept getting better. understanding to be able to go further, and not ing to God through this music right now! He’s that over there because it was kind of a higher-
Gold limbs? Platinum? Lasers? Garlands and just be playing somebody else’s song or playing gone somewhere! And also just knowing it’s end instrument, and they don’t get those down
wreaths hanging from them—all kinds of cool a bass line like, ‘Is this good enough?’ We hit possible to be that connected. … Yeah, I wan- there. I was so happy about that moment, I
stuff, man! points where we were just flowing. I remem- na see people come out of their selves a little said, ‘I hope I blessed somebody.’ It felt like
Is there a 6-year-old Stephen somewhere ber when we were recording ‘MmmHmm,’ bit. Especially in L.A.—I definitely wanna see that to me—let’s go somewhere else, let’s take
deep inside you who is so proud you still we were in the middle of doing stuff and that people go to a higher level. this further! The funny thing was it was like
sport Thundercat outfits? started coming out and he just started record- So have you ever done DMT? throwing a dead cow into shark-infested wa-
I’m definitely like, ‘Hell yeah, I’m free enough ing. Even with ‘Dance of the Pseudo Nymph,’ No—just watched a video on it one time. ters. When Rage Against the Machine went
in my own skin to dress the way I wanna!’ I when we did that, I literally remember danc- You’re into gore movies—what’s your senti- up on stage, people were like lighting stuff on
love the association cuz the truth is it’s all love ing around his living room, playing bass and mental gore favorite? fire. They couldn’t go on for an hour. It was
and it’s a beautiful thing, but people always tell dancing with the Indian headdress on. … And Faces of Death! The first time when I got to like, ‘Oh, look—the Apocalypse is coming!
me I look like Will.I.Am or like—‘Look, it’s the funniest thing about ‘Dance of the Pseudo watch Faces of Death— Let me put on this bow tie and play the ‘Bon
Kanye!’ I’m gonna take the compliment, but Nymph’—if you ever sit me and Lotus down, Were you under 18 so it was illegal? Voyage’ song like on the Titanic!’ When Rage
that’s just people’s way of trying to associate we will argue to this day where the ‘one’ is in Oh, hell yeah. It was on the internet. I was started playing … they started the intro and
what they see because they only see greatness that song. That’s how in sync we were! Neither with my cousin and we used to go get on the couldn’t come on for twenty minutes. People
like them. So if you see me like Will.I.Am, I of us could tell we were on a different ‘one.’ internet just to download crazy clips like that. were ripping chairs out of the stadium! But it
don’t look at it as a dis or a downplay—I feel We were still in sync—but in two different It was so trippy. We’d watch some clip of a felt like it was all in love. People weren’t trying
like I have the potential to be that great, too! places! When it came out, he was like, ‘No, guy’s head being bit off by an alligator, then go to hurt each other. They were just so excited. It
I’m happy to do stuff like that. People are like, this is where I was.’ ‘Well, this is where I was!’ eat Yoshinoya and write music. was intense! I felt happy to be part of that mo-
‘You’re just trying to be different.’ But for me, We went through seven minutes of a song— You talked before about how you get frus- ment. I threw my bass out because that’s how
it’s about connecting to what I’ve always been. we were just creating! In all honesty, that’s the trated with anime directors who deliver I felt. ‘Take it—it belongs to you.’
I could show you a picture of me when I was fun part of the music to me—the unknown. one masterpiece and then disappear—
5 and I dressed the same way. I’d have a voice- There’s always a chance to know what you’re you seem obviously concerned with lon- THUNDERCAT’S THE GOLDEN AGE
changing helmet and some boots and a cape doing—‘Oh, OK, we’re gonna retake this part gevity. What is it you need to give people OF APOCALYPSE IS OUT NOW ON
and glasses and a toy guitar with Lion-O hang- and you’re gonna slow down and …’ There’s in the future so they aren’t like, ‘Man, BRAINFEEDER. VISIT THUNDERCAT
ing out of my pocket. Not to say I don’t grow, always that. Let’s just go wherever we’re going. Thundercat—there was so much more he AT THUNDERCATTHEAMAZING.
but certain things are the fabric of who you It’s the freedom in the music. could have done!’ TUMBLR.COM.

56 INTERVIEW
RAS G
Interview by Chris Ziegler
Photography by Theo Jemison

Ras_G isn’t from this world—he’s just passing through, making music that connects to the cosmic righteousness
of Lee “Scratch” Perry, Sun Ra and Dilla. His newest album—the double 10” Spacebase is the Place, named after
the part of the world where you’ll most often find him—contains the crushing bass-is-actually-the-place songs any
Ras_G fan has been seeking on vinyl for years, and July’s Down 2 Earth is a beat tape built on the rhythm of a city
bus, with gentle starts and stops that break up the (dirty / beautiful / same thing anyway) scenery. L.A. RECORD
welcomes this true citizen of the universe as he settles in for another day at his Spacebase.
Did you see a UFO last night? What kind of connections can you make they wanna hear. As someone who’s going out Yeah—recreate it. Using records and samples
Mmmhmm. I was walking down the street without being in a car? on the planet, I’m just recreating what I feel and so forth. It really stems from Bambaataa.
headed to Low End Theory. A big big big Conversation—cats see you on the bus with when I go out on the planet. When I step out- Afrika Bambaataa. We pay a lot of homage to
blue light went over everything that I saw. records or books or certain things, and certain side these doors, it’s just like … whoa. I’ll give that cat. Basically like Secondhand Sureshots—
I’ll tell you exactly—I was walking by the energies just attract. Beyond all this earthly you a perfect analogy. You ever seen the movie it’s being able to pull up any record. Any re-
park, and some cat passed me and said, matter and so forth. It builds conversation. I Altered States? Crazy 80s movie. This crazy-ass cord—any sound on this planet!—and hear-
‘What up’ and I said, ‘What up,’ and then see all kinds of people on the bus—I just saw doctor Dr. Jessup is shooting up crazy drugs ing that frequency within that record, you can
instantly … a big blue flash! Huge! Like … Self Jupiter from Freestyle Fellowship on the and being in this crazy-ass tank and shit, and recreate that record for certain people. For
woooosh! I turned and looked back and the bus! The one I frequent the most is the 40 bus. this fool is doing these drugs. He has this flash- that certain frequency because you can hear it
cat just kept walking. I didn’t see nobody, Goes through L.A. all the way to the South back where he goes into the bathroom … he within that. The record or the song could be
no cars, no helicopters, nothing—like it Bay and all the way uptown, to Union Sta- comes out and opens the door and it’s like … total trash, you know? But you hearing cer-
never happened. tion. All the way down Broadway, and makes oh shit. All he sees is fire and all kinda shit going tain parts—what they call ‘breaks’ in things?
Is that just another night in L.A. for you? the right on to Martin Luther King Boulevard on. That’s how it is for me when I step outside There’s breaks in every music. All sounds, all
I’m in the world, man—everything is hap- and a left on Crenshaw—Crenshaw to Ingle- Spacebase! Like … wow. I’m in the world. frequencies. That’s the connection—that re-
pening in the world. I’m just watching. wood, South Bay, Torrance. When you look at the world, it’s in flames? creation of that music is a re-connection with
What is the Spacebase? Besides the cradle What’s the best record to listen to when Not particularly in flames—but wow. Oh the people, with all music and all things they
of all things Ras_G? you ride the entire 40 route? shit! It’s extreme. It’s not bad. It’s a lot of never knew existed.
It’s the base of everything that I do. It’s where Usually the best record to listen to is not a good things, a lot of bad things—it’s every- What is that frequency?
I live at—it’s the root of my creations. We record—it’s the people! I listen to all my mu- thing. That’s why I embrace it. There’s a lot Different cultures are brought up on differ-
moved it twice. If I had to move it all in one sic at Spacebase. Spacebase is nothing but of worlds within this world. More worlds ent melodies. Certain things catch over to
thing now, it’d be like … one U-Haul full. music. I’m always listening to records and I’m than you could even hardly grasp. We small certain people. As long as you’re utilizing
Do you ever emerge from the Spacebase always making music. Constantly music. So on this planet. We’re like fleas to people light all these different frequencies—which can
and forget what year it is? What planet when I go out into the world, I wanna hear years away. Like Sun Ra say—‘We’re in an- be limited. You gotta be unlimited deal-
you are on? Come out blinded by the the music of the world. I listen to the people. other world.’ ing with all these different frequencies and
sunlight? I listen to the sounds. I listen to what’s what, What do you mean by other worlds? different worlds, but you still gotta main-
All the time. It’s bright and I put on my you know? There’s so much going on. Peo- It’s different minds. Every mind is a planet. tain your own self within going to all these
shades. I look at people and I just … I’m usu- ple’s iPods, people’s phones—I listen to the Another way of thinking, another way of be- other planets and other worlds and dealing
ally quiet in the world, unless it’s somebody I people, man! That’s what I listen to. I listen to ing. Certain things are parallel, but everyone with all these frequencies. But like I say—if
know. I’m pretty much just a camera record- my iPod certain times, but I don’t even turn has their own world and way of being on this you touch on it and recreate it and make it
ing the world. I don’t know if you check my that shit on very much because I listen to the planet. all one thing, that’s the proper equation ...
tweets, but I always put ‘in the world’ because streets and to the people. When you and Sacred interviewed each for me!
I’m in the world. I don’t drive—I don’t know What do the people want? What do you other, he explained how Dilla would re- What do you want to do to people with
how to drive—so I’m with the people. I’m hear them say? work songs that were already all around us those waves of bass?
walking, I’m on the bus, the train … I hear They need creativity. That’s what they need and change them to be right in front of peo- I’m trying to move you. It’s the heartbeat.
all kinda things and I see all kinda things. to see. I’m just embodying taking all that and ple—using music to alter the way we look The bass is the movement—that’s your life.
Wild stuff. recreating everything I feel. I don’t know what at the world around us. It’s the life sound. I’m bringing life to music.

INTERVIEW 59
Am I right when I recognize songs from We’d hang out on this block. One of these of now—as opposed to buying every new putting out books! He droppin new books,
Spacebase from the set you did at dublab cats grew up in these apartments and his dad tool, you can just master one tool and create new poetry—it’s endlessness! That’s why he’s
on 4/20 this year when Flying Lotus’ left all these records on the side of their apart- whole new worlds with that tool. my favorite. Of everything. As far as music
Cosmogramma came out? ment. I don’t know how—it’d been rained What will you do when you master some- and art and all these different things. He’s
Yeah—a lot of them tunes have been done on and all kinds of stuff, and some of them thing like that? done it all. He’s an old man but playing with
a long time. I been wanting to get it out for were gone … but man, I got like five crates I don’t wanna be like master of none of young dudes and killing it!
maybe two years, but dealing with earthly of amazing stuff. A lot of CTI shit, Impulse! these things. They’re just canvases. I just How did you find out who Sun Ra was in
matters and earthly people … I actually had shit … it had a little tarp over it, but it was put thought and feeling into them. How the first place?
to save my project. I didn’t want it to get amazing how these records got through! And I hear things in my mind. That’s all that I kinda didn’t know who he was, but reading
bootlegged, so I never linked anybody to it or made it through all this shit. He was like, ‘I I do. certain books and seeing certain things … it’s
gave ’em the tracks, even though I play them got some records for sale,’ and he didn’t have On the song ‘Silly Earthlings,’ you have that like a call. Like I see ankhs, I see wings—this
all out live. no money so I went over there and it blew sample: ‘Everything I do is always brand looks familiar. It don’t look foreign to me. I
Didn’t you get bootlegged once already? my brain at that age. I didn’t have a sampler new—I walk a real road, I’m a real person got The Wind Speaks and that shit blew my
Yeah—I was gonna do an EP, and the artist or something, but I knew dope records. ‘I’ll inside. I don’t put on no airs. I say what I brain. I’m still buying $200 Saturn records
who was supposed to do the cover … I gave take all these for $40!’ He was going crazy think.’ Is that the Ras_G philosophy? right now. It’s like getting ancient scrolls!
him like a rough copy one-track mix, and he like, ‘I got $40!’ And I was going crazy like, Ah man—that’s Charles Manson. As crazy as Direct from the man himself. He’s touching
bootlegged it! I still have them, but they ain’t ‘I got Gary Bartz! “Celestial Blues!” I’m trip- he is, he has his points. He’s a nut—but it these records, the band—their hands were on
came out. I always say—digital music is cool, pin’! Shout out to Calvin—I still see him. makes a lot of sense, certain things he talks ’em. That’s personal, man.
but you don’t have the record till you have Chuck D has talked about how Public En- about. I’m not a Manson dude. But every- So certain things in the Spacebase were
the record. You know—you think you have emy would sample not always for music, body got something to say. touched by Sun Ra himself.
it, but you don’t have nothing. It hasn’t made but for history, too—like making sure the On Spacebase, you have songs for Flying When I got Disco 3000, I bought it in Japan.
a physical state yet, but the project also hasn’t voice and energy of Rufus Thomas was Lotus and Dilla. You also have a song for Homie went in back of the store and came
been aborted. I like digital music, but it gets connected to theirs. your friend General Black—you even have out with Disco 3000—the OG! I was like,
to a point where it’s just another thing in my All that goes into that. That’s what I’m say- early songs for Dwight Trible. What makes ‘AUUUUuuuuuugh!’ What’s killer is that’s
iTunes with a million other things. A record ing. When you’re looking at these records you want to give a song to someone? my favorite one. He’s playing with a drum
is marking time as a physical piece. It’s a cer- and checking their histories, certain things Most of these people I pick when I do these machine on that one. That’s my favorite one
tificate of your creational work. I can lose just draw you to it. If that’s what you about kinda things, they kinda make a mark. Not in and I had to have it so I dropped $300. Willy
the ZIP disk, I can lose the beat—anything and that’s your energy, that’s what you gonna terms of the world—well, in the world, but [Gaslamp Killer] couldn’t believe it. And that
can happen! But as long as I have it marked pick up. I’m the same way. I see … I’m look- sometimes personal. Like my friend General was it! Playing with a drum machine? That’s
in this certificate of music, I’m pretty much
done—I made it.

“Every mind is a planet.

You started out with just a drum ma-
chine but flipped records and sold in-
cense to get an MPC sampler. Why did
you know you needed more than just a
drum machine?
The whole Bambaataa thing. Records and
loops and listening to all these different Another way of thinking,
another way of being.”
sounds. I just wanna hear ’em on loop! When
you hear ’em on loop, it’s kinda hypnotic. You
start hearing more than you think you actu-
ally heard previously. It kinda draws deeper.
It’s kind of a spiritual thing, some might say.
Not a supernatural thing but a spiritual thing.
You lose touch with your physical being. ing at my randoms now. MUSIC FROM Black. I didn’t know General Black that long before anybody was doing that shit. Arkestra
You return to your higher self—your higher THE WESTERN CONGO. A Folkways in my life. But when he came through, he playing with a drum machine. That’s what I
sense of being—through these things. That Joint. I see it … I can’t hear it, but still—I made a mark. As an artist—where I make mu- try to recreate. That’s my biggest one—I rec-
frequency can be found in different records, bought it, and it’s one of the craziest records. sic, he’d make a piece. Like—man, he just sat reate Disco 3000 with all my shit. That’s why
different worlds. The first time I really got an It’s from like ’60. there and did that right there? A mindblow- I like that dude so much—he kinda reminds
understanding of it … I was with my mom Like when they’d drive around in the sound ing thing. Or Steve from ‘Sketchbook’ days, me of myself. I’m not trying to be Sun Ra!
in the car and this DJ on this old soul station truck taping people? when we were all just making beats. I wasn’t I’m not trying to be nobody. We kinda got a
was playing a lot of soul—Slave, Parliament, Yeah, you know—stealing music. That’s thinking about making live shit. I didn’t think lot in common, that’s what it is. We got the
Funkadelic—but he was playing joints that pretty much what they were doing. Not anybody was really listening to shit that was same source of humor, thought and being. I
everybody was sampling. N.W.A., Ice Cube, giving these people any money. Talk about going on. But he kinda broke out and showed don’t know many people like that. It’s my el-
E.P.M.D., X-Clan—all these things. So I’m sampling—you’re recreating for them cats. that motherfuckers was really listening to the der, I always say.
like, ‘Yo … what’s that?’ It made me think I’m just in Spacebase. This is like me mak- shit that was going on. … You salute these Are you the source of that sample of
about that. Then I went to this club in L.A. ing a mark. This is my pyramid. My hallowed people. I think it’s an African thing. We salute Gaslamp Killer saying, ‘Los Angeles is in
called Brown Rice and BBQ, thrown by the place. These are my marks, my pieces. My our ancestors. You congratulate your brother. the motherfucking building?!’
Soul Children. DJ Sacred was part of that piece of life. This is what I bring to it. You don’t hate your brother. You big up your Yes I am! I will take that quote! I did sample
crew—that collective. They’d throw these When Ghetto Sci Fi came out, you said sister. There ain’t none of that hate shit. I’m all that, and you know, I always tell Willy—he
parties in the hood at these random spots people couldn’t believe you made the mu- about that. It’s all connected—it’s all a one- has a real effective voice. Whatever he says,
and they’d just play like … breaks. So-called sic you did with the tools you had. ness. You don’t know your roots, you don’t people listen. Instantly! They do exactly what
breaks. And I’d never been to a place like You can do all kinda things with nothing. know where you’re going! he says, so I always thought that was an effec-
that or heard shit like that, and I’d seen them That’s the whole thing. I come from a hip- Where are you going? tive drop—I use it quite often.
playing all these records so it made me wanna hop background—that music comes from I don’t know. That’s like asking a tree, ‘How Where’s it come from?
go look at my people’s records. ‘What’s in nothingness. It’s an idea. Ideas come from long you gonna grow?’ He can’t even tell you. I know where it’s from, but guess what—I
these records?’ I’d just start listening to these nothing. The birth of a thought—thoughts He can only be. He’s a life force. He’s a being. ain’t tellin’ you all! That’s what I said—you
records at my grandma’s house and I heard are nothing till they become something you Giving off fruits, giving off oxygen. He’s just gotta find your own world!
some shit. ‘I know that, I know that …’ It can see and share. Thoughts don’t matter till being. He’s busting through concrete—like a
just clicked. people see something they can believe in. nothing-can-stop-it kind of thing. RAS_G’S SPACEBASE IS THE PLACE
When you were flipping records, what was That’s why I say hip-hop comes from noth- Sun Ra said that even though we get cer- IS AVAILABLE NOW FROM POO-
the best find you ever had on the street? ing. Kids who don’t play instruments and tificates for being born and dying, we BAH. RAS_G’S DOWN 2 EARTH IS
My biggest find when I was young … I had only had records made music and a culture don’t get anything to prove that we’re just AVAILABLE NOW FROM RAMP. VIS-
a friend on my street, 81st and Vermont. My that changed the world. Even today. You turn being. IT RAS_G AT AFRIKANSPACEPRO-
friend through elementary and high school. nothingness into something. With the tools Ra said a lot, man. He’s still flying. He’s still GRAM.COM.
60 INTERVIEW
JACUZZI BOYS
Interview by Jason Gelt
Illustration by Walt! Gorecki

2011 is shaping up to be a sunshiny year for Miami’s Jacuzzi Boys. Hardly Art released the band’s eagerly anticipated
sophomore platter, Glazin’, at the end of August to positive press and mainstream acclaim. And although their
identity remains fiercely tied to the raw tropical vibe of their home state, guitarist/vocalist Gabriel Alcala, drummer
Diego Monasterios, and bassist Danny Gonzalez are poised to spread their hooky melding of good-time pop, garage
and punk to the world at large. Strapped in for the 500-mile drive from Miami to Tallahassee on the opening day of
the band’s grueling 35-city U.S. tour, Gonzalez discusses Miami’s challenging music scene, the frustrations of being
labeled as a garage act, and the recording process for their new album.
What’s the story behind the cover art for like other big cities, there’s basically one place that was the initial interest and bonding ele- How long was the recording process?
Glazin’? to play in town that feels comfortable for a ment. It was what we were able to play. None It was just shy of two weeks. No Seasons was
I studied photography in college, and I’m a band to play, that feels like a real bar that’s of us are master players by any means, so it seven days exactly. We wanted a little more
big fan of this guy Christian Patterson. He been around for a while. There’s other clubby lent itself quite easily to that. time, so we got twelve. It would be nice to
worked with William Eggleston, who’s one of places that will have a stage and offer bands to You guys have diverse musical tastes, in- have some more time. If we had an extra
my favorite photographers. I was always a fan play but it’s not the right environment. cluding a lot of classic 70s rock. Is it irritat- three days or whatever, I’m sure we would
of Patterson’s work, but never really thought What’s the one venue? ing when you get pigeonholed as a garage have taken advantage of it. But what we’re
about using it for anything. One day I was Churchill’s Pub in Little Haiti. They’ve single- rock act? doing isn’t that crazy and difficult. We’re a
showing Gabriel a book of his, and Gabriel re- handedly kept the South Florida music scene I don’t know. It seems weird complaining live band essentially. We play the songs live
ally liked that picture “Railroad Boots,” which alive. A ton of places have come and gone about it. If you need to classify our sound, I in the studio. We do overdubs and stuff,
has always been one of my favorites from that and other places have tried to dress it all up guess that’s what it’s gonna be. But I also don’t but it’s not rocket science. You could drive
collection. When we were discussing album and make it look nice. You buy a drink and think it’s strictly garage rock. People have dif- yourself crazy if you had three months in
art, we liked the way Big Star’s Radio City it’s a price like a club on South Beach. But ferent definitions of what garage rock could the studio with unlimited options. You’d
cover looked, the way it was really simple and Churchill’s feels like a real bar. It’s a total dive be. For instance on the new record, I think have like seventeen mixes of one song. You
clean. And again, we wanted to do the oppo- that’s been around for years, no rules, anything maybe our approach to it had that in mind, don’t know which one’s bad. At that point
site of the No Seasons cover, which was a super goes, and any kind of band can play. It’s kind but it doesn’t sound like the Sonics or Gonn it’s like, ‘I don’t know.’ It’s cool to have some
naïve, silly drawing. So we wanted to base the of like our CBGB. I don’t know if you’ve ever or something like that. But it’s fine. If people time restrictions. When you start nitpick-
design off Radio City, and that picture was been to Miami, but it’s unlike any other place want to call it that, that’s cool. I find it funny ing you lose the spirit of the song.
perfect for a variety of reasons. Eggleston shot in the country. It has its own vibe going on. when people call it lo-fi, though, because this Has your newfound high profile gotten you
the cover for Radio City, Patterson worked for There are spots that definitely don’t feel like record sounds pretty damn good to me. It any kind of negative reaction from the ga-
Eggleston. America at all. It’s one of the few cities that sounds the opposite of lo-fi. We’ve never tried rage rock community?
Does Miami have a thriving music scene? you can buy drinks seven days a week at any to make a lo-fi record. Sometimes it was just There hasn’t been any full-blown negative
It’s a weird place as far as the music scene goes. time of day. Bars close at five in the morning the means that we had. But especially on the reaction, but there has been like things you’d
Miami’s not really a rock ‘n’ roll town, and not and you can probably find an after-hours bar new record, when I read a review and they’re expect, like, ‘Oh, it’s not as raw, it’s too clean.’
a ton of bands have come out of it and not after that. We’re in this weird isolated swamp- like, ‘Oh, super lo-fi,’ and I go, ‘Oh my god. But it’s fine. If we’d been trying to strictly ca-
a ton of bands tour through it. Geographi- land that’s somewhat of a lawless town. Our Really?’ Even our first album, No Seasons—it ter to the garage rock community, then we’d
cally, the distance bands have to travel to get environment has a lot to do with our identity, doesn’t sound like a Steely Dan record, but it’s be disappointed. But we’ve never really ap-
here limits the shows we get to see. There’s not just songwriting. We’re very much a band not lo-fi. I think people confuse a fuzz sound proached it like that. I hope the next record
something cool about that, and there’s a cer- from Miami. I just recently realized, when as meaning lo-fi, but that’s a fine distinction. doesn’t sound like Glazin’ at all. I just wouldn’t
tain isolation that makes Miami feel unique. a band comes out of Detroit, they’re a band What’s the band’s creative process? want to make the same record over and over.
It’s kind of a pain in the ass to make it all the from Detroit, not Michigan. If a band comes It happens in a variety of different ways. If people were expecting No Seasons 2, 3, 4, 5
way to Miami and make it all the way out out of Chicago, they’re a band from Chicago, Sometimes Gabriel will come in with some and 6, they’re bound to be disappointed. But
without many options. I think it messes up not Illinois. When a band comes out of L.A., guitar part. Sometimes I might have a gui- we’re all happy with it, so I guess that’s all you
bands from Miami as well, because when you they’re an L.A. band, not a California band. tar part. Maybe he’ll have close to a full song can ask for.
tour, Atlanta is the first major city you’ll get But for some reason, we’re a Florida band. I ready, sometimes I’ll have a bass part and we’ll What’s the story behind the song ‘Los An-
to and it’s ten hours away. Whereas if you’re think in general, people have such a weird play off that. Sometimes we have nothing and geles’ on Glazin’?
in that whole Northeast area, within a couple idea of Florida, so it’s just kind of like, it’s all we’ll all just start playing together. It’s never When we toured in 2008 with the Shrines it
of hours you can get to Philly, you can get to Florida. It’s just alligators and sunshine and really like someone brings complete, finished was our first time in L.A. for all three of us.
New Jersey, New York, Baltimore, all those retired people. Miami couldn’t be any differ- songs to the band like, ‘Everyone, learn your We loved it. So when we first started talking
places. And that’s just not the case here. ent than any other place in Florida. It really part.’ It’s not really like that. about wanting to make the new record, we
How do Jacuzzi Boys fit in? has nothing to do with Florida except that As a band with such strong ties to its home, had the idea of going out to California to re-
Now we have a pretty significant following, we’re in the state. It’s kind of the way New what was it like to record Glazin’ at Key- cord, because we all loved California so much.
and the shows have been a lot of fun when Orleans is unique to Louisiana. Miami is very club Recording Co. in Michigan? But that didn’t end up happening. The Key-
we’ve played in town, but for a while it was much its own little world inside of Florida. I We’ve always liked the idea of leaving town club happened instead, so having California
like we were a novelty or something. People love Florida, obviously, but I represent Miami to record a record. No Seasons was recorded on our minds and the good time we had in
didn’t know what to make of it. It’s not like in before I represent Florida. in Atlanta. We all stay together and just fo- L.A., it was like, ‘OK, we didn’t record there,
other cities where there’s a strong local com- What influences brought you together? cus on that. We don’t have daily disturbances. but we’ll write a song about L.A.’ Maybe one
munity that always goes out to shows. A lot of The obvious influences, like garage and punk The songs are all written in Florida, but it day. Maybe the next day will be a California
times a local band will have shows and there’ll stuff. The Ramones, the New York Dolls and adds a new perspective, however subtle it may record.
be no one there. The club scene is way more the Sonics. But I think as time has passed, be. At Keyclub you live in the studio while
prominent. People always seem like they although we definitely still dig that kind of you’re there. They have rooms upstairs. It’s JACUZZI BOYS’ GLAZIN’ IS OUT NOW
want a dance party over a rock ‘n roll band. stuff, it’s expanded. It’s not like we stay at like, ‘We’re all here, so let’s make this record ON HARDLY ART. VISIT THE JACUZZI
But that’s just the way it’s always been. Un- home and listen to garage records all day, but together.’ BOYS AT JACUZZIBOYS.COM.

62 INTERVIEW
 ALBUMS
EDITED BY DAN COLLINS

66 THE INTERPRETER:
KONE
Matt Dupree
68 ALBUM REVIEWS
THE INTERPRETER:
80 FRANK ALPINE
Howe Strange

FILM
EDITED BY LAINNA FADER

JANIE GEISER
82 Lainna Fader
GEORGE KUCHAR
86 Daiana Feuer

88 COMICS
EDITED BY TOM CHILD

BOOKS
EDITED BY NIKKI BAZAR

90 CENTRALESSNESS/CENTER-
NESSLESS/CENTERLESS-
NESS
BY BEN HEYWOOD
91 BOOK AND ZINE REVIEWS

ART
EDITED BY DREW DENNY

92 LACE
Drew Denny
FRANK ALPINE by WARD ROBINSON
THE INTERPRETER
KONE
Curated by Matt Dupree
Photography by Gari Askew

We asked longtime L.A. producer and promoter Kone to interpret some of the re-
cords that have been on his mind since the release of his long-awaited (by us and
hopefully by you!) album The Tractatus on local mainstay Alpha Pup. He delivers
here some of the records that turned a kid named Matthew into the man named
Kone. Look for his new mix on larecord.com soon!
“With the risk of proving how old I am, I graduated high school in 1996. It was a good year for hip-hop. There was Ghostface’s Ironman, De La Soul’s Stakes is High, Tribe
had Beats, Rhymes & Life, and even though I’d heard some earlier OutKast, I remember almost falling out the car the first time I heard ‘Elevators.’ It was like my version of Dazed
& Confused. There was the same amount of beer, weed and driving around aimlessly, but—since this was L.A.—there were beaches and rap music too.
I always had one turntable through high school, but for some reason I was late in realizing how much good music was only being pressed to wax … in small numbers …
and without any label support. But then I went to Fat Beats—when it was upstairs at X-Large—and spent all my money. Then I got a second turntable at a Goodwill, and it
was on. Back then, kids weren’t as hip to the underground music game the way they are now. I mean, there was like one or two DJs at each high school. Nowadays they’re all
producers and rappers.
So this is a tribute to records that really showed me the DIY aspect of making music. These are all independent hip-hop 12”s from 1996. This is NOT a TOP ten list—just
ten that were important to me. These records are all the stuff that I discovered at that time—that opened up the other side of the music, and made it seem like a completely
reasonable life path.”
LATEEF “THE QUICKENING”/”THE DR. OCTAGON “3000”/”BEAR WITNESS”
(MO WAX, 1996)
WRECKONING”/”LATYRX” 12” (SOLESIDES, 1996)
“The Octagon project pretty much blew everything out of the water
“I think this was an important record for the West Coast at the time, es-
at that time. We bumped that album hard. It was the perfect amount
pecially around the Bay. The tracks ‘The Quickening’ and ‘The Wreck-
of amazing production and ridiculous raps. But looking back at that
oning’ were awesome, but no one had heard anything like ‘Latyrx’
album from a modern beat perspective, Dan the Automator was just so
before. Two MCs rhyming simultaneously in split stereo wasn’t a gim-
ahead of his time. Plus the Q-Bert cuts?! I’ve included the Bear Witness
mick—it was an experience. You could easily tune in to either’s verse, or
remix on this mix—even if this came out this year, I’d be jockin’ it.”
create your own out of the middle. Then each goes on to obliterate the
verses, running off about eight million rhyme patterns no one had ever
heard before. Plus, the early production from DJ Shadow was stripped
down, raw and progressive at the time.” EAST FLATBUSH PROJECT “TRIED BY 12” 12”
(10/30 UPROAR, 1996)
“‘Tried by 12’ was like the grimiest backpack track ever. A sparse beat
D.I.T.C. “DAY ONE” 12” (D.I.T.C., 1997)
with a loop from Odetta Live in Japan, and those Al Green drums that
“‘Day One’ is a classic. Diamond D flipped a beat so nice, they had to you’d heard before, but sounded more raw than ever. Every line in the
put it twice—on the B-side, they just put the same song again. This raps is quotable and everyone was dropping the instrumental. ‘Beef …
track has classic verses from the whole camp, but Lord Finesse, Dia- starts with the shove and ends with the shovel.’”
mond and Big L’s were always my favorites: ‘Son, I’m sick, and you can
put that on my mama. Exclamation point, quotation, comma.’”
MF DOOM “GREENBACKS”/”GO WITH THE
THE ARSONISTS “THE SESSION”/”HALLOWEEN” FLOW” 12” (FONDLE ‘EM, 1997)
“The important thing about this record is that it was his first as the newly
12” (FONDLE ‘EM, 1996)
named MF DOOM, following his hiatus after losing his brother and
“This was some real lunchroom-table-type hip-hop. The Session just
partner SubRoc, who together formed KMD with DOOM—then Zev
made you feel good. You could let the instrumental play all day and
Love X. After several years away he returned with a new persona—mul-
never ever get tired of it. Just simple formula. Dope beat, dope lyrics.”
tiple, actually—and the rest is history. ‘As y’all see, who give a fuck who
knows what is it. These styles will be flipped to the absolute exquisite.’”

INDELIBLE MCS “FIRE IN WHICH YOU

BURN”/”COLLUDE INTRUDE” 12” (RAWKUS, 1997) THE NONCE “BUS STOPS”/”WHO FALLS
“Company Flow, the Juggaknots and J-Treds formed the Indelible APART” 12”(WILD WEST, 1996)
MCs. Co Flow represented to me the East Coast equivalent of the
“The Nonce is still sort of a mystery. Project Blowed affiliates famous for
beat experimentation that was happening on the West Coast. I was
‘I used to sellllll mixtapes … but now I’m an emceeeee.’ One of those
bumping the hell out of Dr. Octagon during that phase, and the
groups that makes an impact with very few songs. This 12” is classic and
stuff that El-P and company were doing was right on par—and just
the track ‘Who Falls Apart?’ was almost unintentionally foreshadowing
enough out there.”
a short run. Everything they did was pretty, though.”

NATURAL RESOURCE “NEGRO LEAGUE

BASEBALL”/”THEY LIED” 12” (EKAPA RPM, 1996) SIAH & YESHUA DAPO ED THE VISUALZ EP
“‘Negro League Baseball’ was an important independent record. It al- (FONDLE ‘EM, 1996)
most came along with a story about how hard these guys were fighting “Another mystery. Never to be heard from again. Too bad—this record
to get their music out to the people. It was comedic and incendiary. The really stands up after all these years. Quality production and imagina-
record didn’t even say the name of the group on the label—just NR. It tive, clever rhymes. Sort of like Digable Planet’s second cousin that no
was perfect.” one ever knew made music. I still like this record. That’s hip-hop.”

INTERPRETER 67
 THE BEACH BOYS
The Smile Sessions Box Set - Capitol / EMI
Smile on tour, culminating it was the fact that it was more Perhaps my favorite parts of
with his own version of Smile than a collection of songs—it the whole collection are the
in CD and DVD format. was supposed to be a woven goofy bits between musical
But what about the other tapestry, where one song be- tracks—like when Brian and
Beach Boys? The Brian of now came the next. friends pretend that he’s stuck
was no match for the Brian of But a lack in connections is in a microphone or piano, or
old, nor was his backing band more than made up for by all the when you hear Brian chiding
able to surpass the original new revelations! Oh my God! In his session players into slap-
Wilson brothers’ harmonies. some places, it’s subtle, like in ping actual chains at just the
The original Beach Boys’ vo- the extra minute of “ba de ba” right velocity. Actually, the
cals, the harmonies that were meat slapping in “Vega-Tables,” goofiest part of all is the box
supposed to guide us through or the ridiculously satiating bits set packaging! As though the
Smile, the kind you can ONLY of “Cool, Cool Water” that show music and all those sessions
get from a group of siblings up in the background of “Love wasn’t enough, this gigantic
(think of the Bee Gees, or the to Say Dada.” Other songs, like … thing comes with a book,
Chapin Sisters, or the Jack- “Child Is Father of the Man,” a bunch of photos (er, I mean
sons) were still sitting in the contain brand new vocal and in- “lithographs”), and the piece
JOE McGARRY vaults at Capitol. We fans strumental arrangements that de resistance, a re-rendered
In 1966, in the wake of have been, this collection could splice together our own almost nobody has ever heard Smile “shop” cover that lights
the critical acclaim from the gives us our best guess, while Smiles from the demos avail- before. If you just put this on in up and is in 3-D! I guess these
masterpiece Pet Sounds, and at the same time shattering able, but Brian had denied us the background while washing are the features that will make
coasting on the fame and for- any myths about what was as- access to the rest, going so dishes, you might just break a the box sex $140 instead of
tune he’d earned for single- sumed never could be. far as to say that the original plate at the beauty of the sud- $80? As long as I get my vinyl
handedly competing with the You, fair reader, probably “Mrs. O’Leary’s Cow” was den piano break in the middle singles, my vinyl albums, AND
entire nation of England for know those myths and never terrible and would NEVER be of “Holiday,” which makes the my CDs, I’ll accept the rest
two whole years, Brian Wilson believed them, though it’s unearthed, and might even be instrumentals from the Pet like a cigarette after sex.
boasted to the press that the hard to avoid romancing the destroyed. Sounds-era sound like imma- Too often, history has treat-
next Beach Boys album would Smile saga. To rehash a tale ture stumbles by comparison. ed Smile like the fire that Brian
be better still—as evolved from that’s been told to death (and Thank GOD that’s not true, The other four discs of the Wilson’s bad behavior kicked
Pet Sounds as Pet Sounds had which is covered far better and thank GOD for this final box set prove how complex over, causing the Beach Boys’
been from its predecessor, in the box set’s liner notes), mix, which sends the bootleg- Brian’s arrangements had careers to burn out. So perhaps
the goofy Beach Boys Party! Smile missed its historical gers running to the hills with grown, even compared to simi- it’s in some ways fitting that
album. Finally on November moment, big time. Planned to crisp and clear recordings that lar session tracks from the Pet this Smile is the first attempt
1, 2011, we’ll be getting the be released after the Beatles’ provide plenty of surprises. The Sounds box. There, though the in a long time to patch things
official, Capitol Records, Mike- Revolver and to make good on running order is largely the songs were heartfelt and wist- up between the existing Beach
and-Al-sanctioned confirmation the promise of the “Good Vi- same as what Wilson gave us ful, many of the arrangements Boys—instead of suing each
that he was absolutely right. brations” single, Smile instead in 2004, but many of the de- were still largely verse-chorus, other, as they’ve done so often
While Pet Sounds gets the became unwound and frazzled, tails are different than what the kind like “God Only Knows” in the past, Mike Love, Brian
accolades, consistently com- hemorrhaging songs and lyric was presented then, including that could be recreated in a live Wilson, and Al Jardine came
ing up number one in lists writers and well-wishers as its the song titles, which go by setting with minimal changes— together on this and actually
of the greatest albums of all completion date got pushed the names fashioned by Wil- just get a concertina player on agreed to release this box set.
time (Rolling Stone placed it further and further into 1967. son and Van Dyke Parks at the stage with a banjoist and have Maybe they knew it was too
as number 2, just below Sgt. (Lyricist Van Dyke Parks fa- time. And perhaps due to limi- one of the girlfriends shake a important to wait. Despite all
Pepper), it’s now crystal clear mously amscrayed after one tations in what the young BB’s tambourine. the cynical business decisions
that Pet Sounds was supposed too many terse arguments with had laid down on those Capitol We’re far, far further through Mike Love has used to keep
to be just the wedge end of Mike Love, a major skeptic of sessions (there’s no cheating the looking glass with Smile! the Beach Boys machine afloat
a growing block of master- Smile who likely hastened its or re-dos, like Carl Wilson used So much is crammed into each through the years, it’s his gen-
ful songwriting and recording destruction.) When Sgt. Pep- on the 70s “Surf’s Up”), you’ll song, yet they feel so light! And tle voice that makes so many
genius—yes, the title “genius” per’s Lonely Hearts Club Band also hear some Parks lyrics on some of these sessions, you of these songs great: and yes,
is correct, despite what the came out, an album made by that are different here than on see that Brian had been even the final song on here is his
elder Brian himself claims. Beach Boys fans that was the 2004 version. We’re miss- further out there than on the “Good Vibrations” with Mike
Furthermore, it’s obvious from nonetheless far more abrasive ing some words, such as the more “finished” tracks, espe- Love vocals and lyrics, and not
this box set (you can also get than what the Wilson brothers megaphone bit on “Holidays,” cially on the sessions recorded the original Tony Asher ones as
the gist of things in a two-CD were working on, it basically or the “Maybe not one/maybe while the other Beach Boys sung by Brian in 2004.
or two-album set, though we beat them to the punch. you too” lyrics that tied “Won- were still deep into their English A collection of so many
know our readers will go for And Brian effectively threw derful” to “Song for Children” tour in 1966. Some versions of things—themes of Americana,
the version with all the trim- in the towel, scrapping all his on the 2004 Smile. “Vega-Tables” have laughter minor key standards, English
mings) that the Smile sessions hard work and instead gather- Actually, that’s probably my all the way through them, like and Hawaiian languages, the
were NOT written, arranged ing the Beach Boys together at biggest complaint about the a madhouse. And one version four elements—this final Smile
and recorded by a drug-ad- his house to hastily bang out “final” Smile, mild as it is: of “Heroes and Villains” (track is also a collection that brings
dled, paranoid recluse whose cheapo versions of the songs the slightly clumsier connec- 22 on the first disc, if you want the past and present together
bad LSD trips had clouded his meant for Smile (the only true tion between songs. I’m sure to check it out) is so psyche- and makes some sense out of
judgment—that would come Smile session survivor being this, too, was a limitation in delic, you’ll drool—certainly them, somehow. Here’s to not
later for Brian. Here, the only “Heroes and Villains”). Finally, resources­—it’s far too late to this could have made “Tomor- making us wait another ten
thing crazy is how intricate and in 2004, a newly refurbished get the Wrecking Crew back row Never Knows” look like years—and here’s to the thou-
beautiful the music is. Though Brian Wilson with a new wife, together. But one of the many, “Yesterday Already Did.” sand times I’ll be listening to
we’ll never know the answer new band and new meds got many ways that Smile would Of course, it wouldn’t be this album and smiling.
to the mystery of what might his ass up on stage and took have been ahead of its time Smile without some humor. —Dan Collins

68 ALBUM REVIEWS
 your flatbed and moving to Cali- clear as bell, child-like, with a
fornia after losing all your crops: skosh of Dolly Parton at the top
it’s a tongue-in-cheek number end—and your defenses drop just
that might not sit so well with a bit. It’s pretty damn pleasant to
real Dustbowl survivors! The re- hear, and just when you think,
maining tracks take the listener “OK, I think I get,” she slurs a
on a tour of various musical styles word or two and gives it all a lit-
from the first half of the 20th tle sexy edge. Very clever. It’s not
century: ragtime, barbershop Southern, but it’s casual and warm
quartet, Peggy Lee-style lounge, like the “Hi, honey,” you get from
and whiskey-soaked rhythm and a truck stop waitress in Arkansas.
BROCK POTUCEK blues. There’s even a Flamenco That works on you for a while.
THE DUSTBOWL guitar instrumental ironically (or
accurately) titled “Western Pas-
Then you start to listen to what
she’s singing about, and you’re
that comes from wedging albums
into a shitty particle-board book- REVIVAL sage.” Throughout the album,
frontman Zach Lupetin’s sto-
pretty much done for. Gwendolyn
is smart, but knows how to dole it
shelf. And that’s the whole aesthetic: Holy Ghost Station
the sound of a record you’ve had rytelling lyrics will consistently out in sweet little clumps of lyrical
self-released amuse you. To be regaled by tales fun. The music on Bright Light is
forever. Their love for the California
rock sound is obvious (as well as their The Dustbowl Revival is a ten- from the Dustbowl, pick up Holy sparse and well-played Americana.
appreciation for another “Buffalo” plus-piece ensemble based out Ghost Station. Producer Ethan Allen’s past col-
band), but they’re not leashed to it. of Venice Beach. Country but —Vanessa Gonzalez laborations include Patty Griffin,
I like to think this is the music Poco cabaret, or perhaps even a little and there’s clearly some similarity
would’ve done if they hadn’t had vaudevillian, they call themselves here. The most “radio-friendly”
MARISSA PATERNOSTER tracks tend to be friendly adult
such an inferiority complex. And al- “hillbilly jazz,” a juxtaposition
BUFFALO though the guitars love to dive into they pull off well by virtue of
tasteful musical arrangements
contemporary in feel, but through-
out Bright Light more traditional
KILLERS delicacy, they’re never too far from
the big chorus rhythms or grodgey that include everything from country makes a few strong ap-
3 strums. My favorite on the album is harmonica, banjo and washboard pearances, such as on “Monster
to tuba, trumpet, trombone and in My Heart” and “American
Alive “Spend My Last Breath,” a relaxing
Gothic,” fun knee-slappers that
jaunt through layer upon layer of clarinet. They even throw in a
Whenever the superiority of vinyl ringing guitars and bongo patter. Its “kazoo for good luck.” The end show Gwendolyn’s range and old-
comes up in conversation, it’s always slow meander belies a mesmerizing result is equal parts Old Man school chops. Gwendolyn’s repu-
about the “warmth.” Bullshit. The quality; suddenly the album is over Markley, The Devil Makes Three tation has come to be one of push-
BROCK POTUCEK ing boundaries and celebrating a
best part is hearing it after a few years and you don’t know where the last and Madonna’s I’m Breathless al-
kind of “freak-folk” persona, but I
of heavy rotation. The sags, the dis-
tortion, the pops: all the little flaws
eight minutes went. And while the
nostalgia and somnolence are not
bum, aka the Dick Tracy sound-
track: just throw in a little Sidney GWENDOLYN (very pleasantly) found that to be
make it your record. It’s impossible ends in themselves, they give the al- Bechet to cover the sassy horns Bright Light quite muted on Bright Light. This
to recreate this in the studio before bum a sort of supernatural sense of that seem to speak with sharp in- Whispersquish beautiful recording is comfortable
the fact, but Buffalo Killers do a pret- time-travel. As though they had al- terjection or drunken nonsense. being simple. There’s a kind of
ty damn good job trying. The first Holy Ghost Station opens with an California singer-songwriter confidence in saying, “This is it.
ways been there, but we’d just never
track on 3 sinks into a slow groove, uptempo banjo pickin’ bluegrass Gwendolyn knows exactly what What you see is what you get.”
noticed before.
that sort of light syncopation fuzz toe-tapper about packing up she’s doing. You hear that voice— —Grant Langston
—Matt Dupree

easy to listen to, it moves enough chords—vocal and guitar

to keep from being sleepy and has
enough experimentation to briefly
AMANDA JO both!—and creaking whispers.
Her soul-capturing tone makes
remind you of Radiohead or Wilco. WILLIAMS you forget your age—make you
Of course, a part of me really wants Homeheart EP even forget to notice when she
to listen to Verbena’s Into the Pink self-released pulls you into her cosmic web of
instead: now that’s the type of rock brilliant, eclectic simplicity and
‘n’ roll that makes teenagers drink Amanda Jo Williams takes what charming, surreal wonder. True
alcohol and take their clothes off! some might call “freak folk” to to its title, Homeheart warms the
But if you listen closely, all the same whole new level with her new heart with light and airy lyrics
themes are there. Bondy’s pop sen- 5-track digital album [Hey, the you won’t soon get out of your
sibilities have definitely translated guitarist is named 5-Track too! head, and much-loved Amanda
over from Verbena, as has his lyri- It’s a setup! –ed.], in chich she Jo Williams live favorite “The
cal style, even if it’s being sung a bit spews and chirps about being Bear Eats Me” keeps the loveable,
When you’re a solo artist who was slower. So maybe it’s not so much a a cottontail bunny, bears eat- eerie energy of the album flow-
formerly in a band, or any artist for change in style as it is a progression, ing her, and flying happily away ing all the way to “Heraseema
that matter, comparisons to your an inevitability. It has definitely alongside a Trader Joe’s bal- Sara.” Williams “sings” sparingly
former work are inevitable. A.A. been worth the journey. loon. Homeheart is open and and uses her baby voice lavishly,
Bondy’s easy-breezy solo music has —Joe Sebo approachable, with a childlike creating uncharted sounds and
always been radically different from humility that makes you nostal- rhythms unknown to even the
that of his hard rockin’ days in Ver- gic for your own long-lost days most attentive ears, while strum-
bena, and his latest effort takes the of camping in the countryside, ming away freely on what must
differences even further. Believers is huddled up around a raging fire be the most magnificent old
Bondy’s third, matching the total listening to unearthly tales and beat-up guitar in the world. Her
MARISSA PATERNOSTER
number of Verbena releases, and it eating smores. Only Amanda agreeably unhinged voice and
is achingly beautiful. Boiling down Jo’s tales are lit up with more enchanting style help burn a
A.A. BONDY the folksy roots-rock of his previ- than just a flashlight in the new fork in the road that freak
Believers ous solo releases, with Believers face. These songs beam with the folk trailblazers like Devendra
Fat Possum Bondy has created an introspective raw, otherworldly insight of a Banhart paved.
and sometimes sparse record, equal country music mystic who spits —Tuesday Phillips
parts Americana and shoegaze. It’s campfire stories through squeaky
LISA STROUSS
ALBUM REVIEWS 69
 the album comes from the gui- ukulele and/or a muted trumpet,
tars. Whether that be the plain- squeezebox and brushed drums,
tive plinks of “The Road” or the occasionally borrowing some me-
crashing waves of “Craving,” lodic flourishes from gypsy folk. The
each song takes its thematic cue website name-checks Billie Holiday,
from the guitars. Aokigahara, the closest antecedent to lead singer
which takes its name from a Shirli McAllen’s vocal style. But
Japanese forest where people go while the instrumentation on Places
to die, ultimately sounds a lot to Go may hearken to an earlier age,
like a big forest of ghosts. It’s ex- the production and songwriting is
pansive and haunting, dark but unmistakably contemporary. The
JOE McGARRY
peaceful. If you had to die inside closest modern musical comparison
ART BLAKEY’S bandleader’s cacophonous, hyper- most-primordial element to
an album, you couldn’t do much might be Inara George’s recent col-

JAZZ precise playing for their own maxi- Aokigahara, reminiscent of

better than this.
—Matt Dupree
laboration with Van Dyke Parks, the
music of the Living Sisters and es-
MESSENGERS mum R&B/minimum LSD pur-
poses. In passages, this is as rousing
Dead Can Dance minus their
indulgent splashes in world
pecially the breezier moments of She
& Him. Though the majority of the
Ugetsu a live set as the fabled 1953 Massey music. This may come as a sur- melodies stay pretty light, lyrically
Concord Hall summit of Bird, Diz, Mingus, prise to those familiar with The the album is mainly preoccupied
Bud and Roach, or any of Sun Ra’s Nocturnes’ previous album, A with longing, regret and the bitter-
Recorded live at Birdland, New
most memorable detonations. Year Of Spring, which centered sweet wistfulness of lost loves, and
York City in June 1963, this was the
­—Ron Garmon mainly around singer-guitarist it is at these most melancholy mo-
great hard-bop drummer’s final re-
Emma Ruth Rundle’s enigmatic ments that Leftover Cuties achieve
cording with the Messengers at the
and powerful vocals. This time their greatest emotional impact. The
fabled venue. It’s a Wayne Shorter
around, only a few songs feature band’s dichotomy is best expressed
album in all but name: the tenor
Emma’s vocals, with most of the in the final two songs. Penultimate
saxophonist contributes three com-
vocals flitting back and forth be- tune, “Sunnyside,” could sell a thou-
positions, plus enough biting pas-
tween band members. The cho- ELSA HENDERSON sand iPods with its jaunty bounce,
sages and sustained melodic runs to
rus vocals darting in and out, the tack piano and lyrics like, “No use
blow pinfeathers off even the Bird.
Trombonist Curtis Fuller struts on
Gregorian levels of reverb—it all LEFTOVER feeling down/get rid of that frown,”
makes for a highly psyched-out
“Time Off” and Cedar Walton at
the keys wrote the magnificent elev-
and hypnotic sound. But before CUTIES only to be followed by closer, “I
Miss You,” a song dripping so tan-
you go playing it at your yoga Places to Go gibly with the struggle of loss that it
en-minute title cut. Jazzbo writers
marvel over how long it took their SILAS HITE
studio, let’s talk about guitars. self-released practically forces a reinterpretation
What becomes apparent on the
music’s mainstream to figure out
Blakey’s drumming, but it’s worth
THE NOCTURNES second or third listen is how On Leftover Cuties’ Places to Go, the of “Sunnyside” as ironic. Places to
Go manages to be both a good last-
Aokigahara much of the work of the album band plays jazz-pop that could be
noting that later rock musicians— described facilely under the umbrel- days-of-summer album and a good
self-released is done by the guitars. With very breakup album, no easy feat.
Keith Moon, Ed Cassidy from Spir- la descriptor of “old timey,” the kind
little percussion, and a swirling —Tom Child
it, Can’s Jaki Liebezeit—didn’t hesi- of music that frequently features a
There’s a deeply atavistic, al- soup of vocals, the definition of
tate to take aspects of the long-lived

goloid to something akin to Black

Sabbath. Throughout the album,
on songs like “Rip Up the Streets,”
“Chemtrails,” and “Get Our Kicks,”
the Spits celebrate drugs and degen-
eracy in a way that is as catchy and
fun as their buddies in the Black
Lips do. One treat from this album
is you get to hear great two obscure
covers, by the Crap Detectors and
CHAMPOYHATE
Spasmodic Caress, which shows
MINUTEMEN / STEVEN FICHE these guys must have great record

SACCHARINE THE SPITS collections.

Minutemen’s “9:30 May 2” and “Disillusioned Fool,” which is a Kill the Kool —Daniel Clodfelter
TRUST Trust’s “Hearts and Barbarians”
first clawed their way into Cali-
punk-az-fuk stormer that woulda
been welcome on Paganicons—
In the Red
Split 7” fornia on that LP, and they’re two hostile, fast and rare, which is Despite the fact that you will have
Water Under The Bridge of the strong ones here. “9:30” why we buy these kinda records! a hard time finding this record in
is Joy-Punchline era Minutemen: Plus their “A Christmas Cry” is any store for a reasonable price, un-
Isn’t this what we needed just about 30 seconds, riffs snapping wrecked free-improv noise-hell less In the Red reissues it somewhere
now? Almost-lost-and-almost- around like downed power lines, that puts a big greasy smear across down the line, this compilation is
forgotten comp tracks from the righteousness aplenty. (“What the holiday culture. Ever look a great sampler of one of the best
Minutemen and Saccharine Trust, does America mean to you?” at a Christmas tree and hate it? punk bands to inhabit the West
rescued off records with awesome “America means everything to Brewer is so damn disgusted on Coast in the past twenty years. Like
Pettibon art and collected on to a me!”) “Hearts” is Jack aflutter with this one. Cower before the power the Stitches, the Briefs, and Le Shok,
split 7” which always should have sarcasm (“I would have laughed of the glower. Other tracks: two the Spits have created their own in-
been, also featuring awesome Pet- in my sleep if someone would Minute-strumentals, including terpretation of punk and opened the
tibon art. Not gonna lie to you, as have asked me, ‘What chance a faithful Tyrannosaurus Rex doors for hundreds of copiers and DAVE VAN PATTEN
the guy at the record store loves to
say to me—if you have a copy of
have we?’”) and Joe just bleeding “Prelude.” Cool enough but you scenes of “Spits-like” bands. After THE
Cracks in the Sidewalk, you could
guitar everywhere, and although
it’s not quite “I Am Right” it must
should have gone to get this three
sentences back.
hearing this compilation, it’s obvious
why. The Spits combine the buzzsaw TERRORISTS
sort of go on living without this, be from right around Paganicons —Chris Ziegler guitar attack of the Ramones with Shoot It Up
if you could truly call it living. time. But best surprise is Trust’s vocals that vary from robotic mon- self-released
70 ALBUM REVIEWS
On their first full-length album, Big boots to fill for Wounded
Shoot It Up, L.A.’s Terrorists chan- Lion on this second LP but don’t
nel all the best elements of early era worry—although one Wounded
punk rock, reminiscent of the Stoog- superfan told me he was surprised
es, Richard Hell, X and the Cramps. how much this sounds like a real
Bereft of meandering experimenta- band, I’ll assure you they will al-
tion or tangential flourishes, nothing ways be a very unreal band. Big
here distracts from the songs. They news is the Intelligence’s Lars
mix anger and disappointment with Finberg on drums, and how’s
humor and a snotty, acerbic “fuck that work? They have a Strate-
you” attitude, and then bury it all in gic Air Command B-52 bomber
garage fuzz and the metallic crunch taking off in their video for the
of guitar strings. On “Palm Trees, very Dicks-ish No Trend-y song
Sun and Parking Lots,” singer Ernest “Raincheck Vibrations,” another
O. Guevara warbles like Lux Interior of the is-the-TV-watching-me-
about the simultaneous sense of free- back? Lion songs, and that is
dom and abandonment afforded by what new drummer Lars Finberg
a city indifferent to its inhabitants delivers: reliable projection of
over the guitar’s three chord attack power. (He also really brings out
and fast, frenzied drumming. Dur- the Wipers vibe on “Going Into
ing the bubblegum-esque “30 Min- the Unknown.”) Anyway: If you Van Dyke Parks Arrangements Volume 1 (Bananastan)
ute Love,” a song about a visit to a shop Lion why I shop Lion, you Pitchfork speared it admirably in referring to Van Dyke Parks as “the quintessential liner-
whorehouse, backing vocals croon come for the values. That means notes hero.” The presence of this legendary composer can be felt on records by the Beach
“oooh oooh ooh” and Guevara you will be delighted at the “Saca- Boys, the Byrds, and about half the acts that defined that marketably palpable thing known
cheerfully declares “(for the next 30 jawea” to “Oh Jim” stretch, where as the “Southern California sound.” This comp examines Parks’ early studio odyssey at
minutes) I’m your guy.” “Freedom the riffs explode out of the muck Warners and Reprise, displaying coups at arrangement like a wall of jukebox heroism. The
Fighters” rails against the mercenary and the lyrics catch fire. Lion says eventual emergence of Smile as a Whitman-esque masterpiece of sunny surrealism threw
contractors hired to fight our wars in it all with less syllables than the some of Brian Wilson’s radiance his way and such Vitamin D whimsy informs the mono mix
the Middle East with lyrics so dis- Ramones had chords, like “I Am of “Donovan’s Colours,” as well as his own “Come to the Sunshine” and “The Eagle and
torted, you’ll only make out the track Sad,” which is the best we-are-a- Me.” His arrangements included here for Sal Valentino, Arlo Guthrie and Bonnie Raitt provide
title and “burn in hell.” It’s the loud- band song since CCR’s “Travel- a nuanced frame for each individual talent, with Raitt’s ballsiness, Valentino’s quick-change
est and most high-energy track on lin’ Band.” It’s not even “less is act and Guthrie’s essential goofiness each elegantly framed. The Mojo Men’s “Sit Down I
the EP, with a hard-driving rhythm more”—it’s more like “all is noth- Think I Love You” is a well-remembered psychedelic nugget and Parks makes Ry Cooder’s
punctuated by quick breaks and a ing,” and the simpler-cruder these take on the Depression-era, “One Meat Ball” into a Busby Berkeley extravaganza. The finale
short bass solo adding to the inten- guys get, the more they grab you. is Parks’ brief synth daub, “Ice Capades (Moog music ‘67),” a charming little pendant for
sity of the main riff. If you buy this “Relaxation Is My Specialty” is early electronic music buffs.
album, the Terrorists win, but you’ll a bent masterpiece repurposing
have some great rock ‘n’ roll. punko dogma from Black Flag,
—Nick Collins Johnny Rotten and what I assume
Jane & Jeff Hudson Flesh (Captured Tracks/Dark Entries)
The Hudsons were angular, geeky scene kids who played in a few punk bands like the Rent-
is Sonny and Cher: “They say our
als on the louder fringes of Boston’s late 70s punk movement. They weathered the strum
hair’s too long, but they’re wrong!
und drang of the scene’s collapse by producing one of the first DIY electronic albums of the
Our hair is just the right length
post-punk era. There had been freelance eccentrics like Bruce Haack playing at electronic
for getting things done!” “Black
music for years before, but the Hudsons were obviously going for a recognizable—if bent—
Ops” just pounds right through
brand of dance pop instead of chamber music for mutants. Here is No Wave’s dark end of the
you (“Black ops! White ops!
street; a spaciously minimalist slab of 1983 night, recognizable to any who’d moved in its
I’m working for the ops!”) and
fabled blackness from “3 x 3,” the opener of an album monstrously expanded from the origi-
“Oh Jim” is a saddo a la last LP’s
nal ten tracks by addition of the 1981 “No Clubs” single and World Trade 12”. Fashioned at
“Crunchy Stars”—it’s like “Where
home out of 4-inch tape, washes of Moog, early drum machines, various guitar sounds, and
Were You” trying to be “Pale Blue
no sense of commercial boundaries, this music had the suave pugnacity and cheerful res-
Eyes” except also by aliens trying
ignation that were very much the going things back in the early Reagan 80s and still quite
one last time to warn Earth people
attractive in this more timid era. The pair had all the matter and as much original manner
LISA STROUSS of looming future catastrophe. A
as Pet Shop Boys or Oingo Boingo before the dance floor was decisively ceded to DJs in the
record for people who love records
WOUNDED LION but wonder about everything
90s. As usual, the Hudsons’ visionary aesthetic was all far too advanced for most of those
who heard it, though they wound up opening for Siouxsie and the Banshees, Duran Duran
IVXLCDM else.
and James Chance & the Contortions. For rockists, one of the great boons of discoveries
In The Red —Chris Ziegler
like these is the accompanying deflationary kick in the ass they give dancepoids who think
DJs invented this shit.

ALBUM REVIEW Nirvana Nevermind (Universal Music Group)

This one-CD “standard remaster” of the grunge godz’ breakthrough testament contains no

SUBMISSIONS
surprises, which is in itself no surprise. The outtakes and other goodies are saved for the
two and four disc versions, but this is one album where the punter feels like drawing the line
at any glut of new material. If ever there was an album that didn’t need the impedimenta
L.A. RECORD invites all local musicians to send music
of extra tracks and another few thousand semi-scholarly words, it’s this one. It’s not that
for review­—anything from unreleased MP3s and demos
all rock sounded boring and stupid in 1991, but Nevermind was the first album that wasn’t
to finished full albums. (We love vinyl!) Send digital to
to catch the mass-public fancy since at least Synchronicity, and the unstylish, ill-shaven
danc@larecord.com and physical to:
Seattle boys had the decisive advantage of having no welcome to wear out, as the Police
had. This album today sounds like it was made by people who’d heard thousands of them
P.O. Box 21729
and decided to follow the plan of none. “Smells Like Teen Spirit” didn’t wind up being the
Long Beach, CA 90801 “Hey Jude” of its generation and neither did “Lithium,” but “Come As You Are” is as durable
If you are in a band and would like to advertise your re- a generational anthem as “If 6 Was 9”—a suitably mordant invite to another doomed youth
lease in L.A. RECORD, email advertise@larecord.com cadre to do exactly what it was going to anyway.

ALBUM REVIEWS 71
 Cameron Stallones, the Los
Angeles-based beatmaker/sound
wizard behind Sun Araw, isn’t
afraid to get heavy. 2010’s On
Patrol was a dizzyingly complex,
room-filling psych-dub won-
derland; with Ancient Romans,
Stallones’ fifth full-length under
the Sun Araw moniker, the tex-
tures to the music have evolved
(simplified, even) but that body-
walt! gorecki numbing heaviness remains as STEVEN FICHE

THE DUM DUM changed, but I imagine subsequent

Dum Dum Girls albums will con-
bum’s pointy-toed shoes toe the
garage rock line, like on the track
Stallones searches for new lenses
through which to project his
TY SEGALL
Goodbye Bread
GIRLS tinue to show an evolved, more co-
hesive sound, step-by-step, as they’ve
“The End of the Line,” which starts
with Walker laying down some par-
quasi-religious musical musings.
Decidedly freeform in nature—
Drag City
Only In Dreams already begun to do. ticularly stellar guitar work over a most of Ancient Romans’ tracks Forget for a moment, say, Love, or
Subpop —Mara Beckman rhythmic intro, and the aptly named clock in around ten minutes— Jonathan Richman, or the Cramps,
party tune “Let’s Get Wrecked.” On there’s still a tangible sense of the Pandoras, the Mummies, the
The Dum Dum Girls’ Only in other tracks, however, the quar- structure and deliberate arrange- White Stripes ... garage rock’s best
Dreams, their second full-length al- tet creates a sound distinctly their ment in Stallones’ work. The evolution might be happening
bum, manages to marry a throwback own—and it’s all about Laurenne freaky, blissed-out Joe Meek mu- NOW. Our current garage era is like
to 1960s girl-group harmonies with playing those amazing tones on the zak of “Crown Shell” (one of the bop was to jazz, first with the Black
a sound that imagines the Ramones Farfisa organ. The opening of “Make album’s more captivating tracks) Lips and Strange Boys, but now even
at the beach. A collection of small Up Your Mind” is reminiscent of a builds upon layers of leads and better, with Tim Presley playing the
departures from their 2010 release, horror movie soundtrack stuck on loops before exploding into a Coltrane role and Ty Segall settling
I Will Be, allows the Dum Dum fast-forward, but escapes the trap of calculated cacophony of sludgy in as, I dunno, Thelonious Monk?
Girls to play with a more complete cheesiness to instead reveal one of psych-funk. As with previous Segall’s still a work in progress, but
sound, one that relies less on distor- the album’s most memorable songs. Sun Araw releases, vocals on on his first for Drag City, the kid
tion and focuses more on a range of Again, on “Demons,” it is Laurenne’s Ancient Romans rarely take pre- has finally found his self-confidence!
SILAS HITE
other feisty talents. Of those talents, organ that brings unexpected depth. cedence over Stallones’ arsenal Some of that is in the lyrics, like in
the most apparent is in lead singer
Kristin Gundred, more commonly
THE LOVE The Love Me Nots have successfully of grounded rhythms, flittering the cohabitation blues of “Comfort-
put together an outstanding album
known as Dee Dee. Her smoky vo- ME NOTS that explores the exciting diversity
guitars and droning synth lines.
Instead, the chant-like vocals
able Home (A True Story),” based
on getting a pricey couch because
cals show surprising depth and rich- The Demon and within the garage rock genre, even if function as another instrument, the girlfriend wants it. But really, he’s
ness, able to label a guy as worthless the Devotee they don’t play there anymore. perhaps something more human just getting better: more blistering
with a snarky bite in “Just a Creep,” —Tim McLaughlin amidst the album’s otherworld- guitar, a wider range on the vocals,
the song I’ve been playing ad nau-
Atomic A Go Go
ly collection of alien tones and and recording techniques that feel
seam, or lament the tragic and re- It’s fantastic to think that some- melodies. Occasionally, Ancient like solutions rather than questions.
cent loss of her mother in the ballad where out by Phoenix, the sounds Romans dips into heady territo- Don’t worry, it’s still more Like Flies
“Coming Down,” where about half- of a haunting organ laid over heavy ry, with certain songs like sonic on Sherbert than Big Star. Ty jumps
way through the song she lets out a guitar riffs are spilling out of a garage quicksand; you find yourself into roles as diverse as “Dazed and
note that permits a comparison to across the torrid heat of the Arizona sinking so deep into the album, Confused”-style Zep on “Where
none other than Grace Slick. While desert into the vast night. In reality, an hour passes and you find Your Head Goes,” falsetto wistful-
Dee Dee’s voice offers an edge, this likely isn’t true, as the people be- yourself struggling to remem- ness on the title track, “Goodbye
many of the songs retain an attitude hind this neo-60s, Dead Kennedys- ber where all that time went. It’s Bread,” and even a garage/Bolan-y
reminiscent of pages from an adoles- inspired music, the Love Me Nots, not a completely horrible thing “Hey Jude” on “I Can’t Feel It.” And
cent girl’s journal, although perhaps now play to much larger audiences for music of this nature to suf- it’s still goofy at times (the last words
those of a teenager edging closer to than a few cacti and rock-dwelling fer from, yet the album’s more of the album are “reading rainbow”)
her twenties. The step toward more reptiles. Band members Nicole Lau- introspective qualities would but that just adds to the joy in hear-
lyrical maturity only seems awkward WALT! GORECKI
renne, Michael Johnny Walker, So- certainly make for difficult L.A. ing something that sounds so effort-
when compared to the simplicity
in the song structures. I can’t recall
phie O and Jay Lien this year offer SUN ARAW driving music. Save this one for less but which I suspect may become
up their fourth release, The Demon Ancient Romans an evening on the couch. timeless—or at least a great link in a
many instances when the drum- and the Devotee. At its core, the al- —Kat Bee
beats varied or the song structures
Drag City wonderful chain.
—Dan Collins

Satellites but too aw-shucks to since “Splish Splash”), I can’t get

be garage. Singer and guitar- enough of “It’s Not Enough,” a
ist Devin Clark’s voice (which Costello-ey almost-ballad about
stayed too far in the background women who “pull away like
during his stint in the far more you never needed anything/but
Dolls-like Soda Pop Kids), had Choo Choo, you know you got
the kind of hoarse, adrenaline- all of your steam from me.” And
fueled Mark Arm delivery that perhaps my favorite is “Listen
announces itself as a party from Up, Mac,” secret advice to a girl
the get-go, and that—combined whose chemical consumption
with his raw guitar riffs—might is making her too skeletal to be
CHAMPOYHATE obscure the fact that some of sexy: “Uh uh, String Bean, just
WELCOME If Ty Segall and Tim Presley’s Station: comparatively clean
these lyrics are damned clever.
Besides the aforementioned bath
keep your nose clean.” Diction
isn’t exactly Clark’s goal with
HOME WALKER White Fence are our era’s New
York Dolls and Velvets, then Port-
but subversively hip Americana
about girls, parties and, um …
opus “Suds!” (which is exactly
what it sounds like—perhaps
the vocals—luckily the awe-
Duds! some vinyl package comes with
land’s Welcome Home Walker taking baths (see how clean this the best rock song about bathing lyrics and hand-detailed chunks
Taken By Surprise could easily be our Brownsville is?)—too raw to be the Georgia

72 ALBUM REVIEWS
of other albums pasted on! Who
knows, your copy might have
Michael Jackson and the Ninja
Turtles.
—Dan Collins

STEVEN FICHE JOSH CRAMPTON

SOME DAYS JOHNNY

Some Days 7” EP
Orange Records O’DONNELL &
Wrecked rock ‘n’ roll a la Sonny
SACRAMENTO It wasn’t that long ago that I was using this column to
whine about the closing of L.A.’s “irreplaceable” under-
WALT! GORECKI
Vincent or Alex Chilton when Korean Debutante/
ground venues. Echo Curio was forcibly closed last fall,
Masquerade EP
BLEACHED he was into flies and sherbert
from Tony Matarazzo, associ- White Noise
and it was but one of the established enclaves that was
shuttered around then. It’s amazing, though, to see how
Carter 7” ate and member of Grand El- quickly things have rebounded. Sancho Gallery (less than
Johnny O’Donnell is batshit in-
Art Fag egance, FM Bats, Jail Weddings
sane. In a world where a couple a block away from the old Echo Curio) is enabling visu-
a while back, and more. This al artists while hosting conceptual series like August’s
Her appearance in Cold Cave programmed drum machines or
has that total New York City L.A.’s Got Talent and the Agony and Ecstasy series in July.
was fun, but it’s bad-ass to have a few choice distorted chords
darkside vibe, where fucked- Catnap, a spot under the Spring Street bridge Downtown,
Jennifer Clavin back with her are all you need to get you writ-
up-but-lovin’-it dudes would has a cozy, friendly vibe that recalls Ports o’ Call Bedroom
sister Jessie in a band that plays ten up in magazines like this,
swap in and out of each other’s or the Women House. And Sean Carnage’s Monday nights
punk rock. While it’s hard not O’Donnell has instead put to-
bands and end up half-laughing are as strong as ever, as Pehrspace fortunately dodged a
to miss Mika Miko, there’s gether a collection of stops and
in the studio, cutting stuff like bullet and avoided the fate that befell so many of its peers
just no percentage in dwell- starts and chord changes and
“Summertime Blues” (Chil- last year. The state of affairs in autumn of 2011 is good.
ing on lost legends, so shut instrumental jumps, paired
ton’s hiccup-y version, then) Home Room, a totally new spot created out of a de-
up and listen: what Bleached them with story-rich lyrics,
and “Happy When You Weep” funct karaoke bar at 3121 Beverly Boulevard, is the new-
brings you, especially on this and basically reinvented the
(Some Days’ bleaked-out origi- est blossom on the bush. Co-founder (and L.A. RECORD
7”, is amazing old-old-old wheel—or perhaps the Anti-
nal, here.) I’m reminded of that contributor) Walt! Gorecki felt “prodded” to start a new
school punk, something akin kythera Mechanism—by mak-
part in the Lester Bangs essay space after the closure of L’Keg, for which he served as
to what you probably played ing music completely anathema
where Richard Hell says a real art curator. According to his partner in the venture,
in a band at some point. The to the current age, and having
emotion dies every time you Shaddy Zeineddine, the demise of L’keg was instruc-
proper noun “Ramones” has a whole lot more in common
laugh, and they finish the in- tional: “If I’m going to invest so much into a space and
been bandied about, which is with dead tangents initially
terview with a lot of desperate possibly become an important element of the community,
easy journalism. Yet consider- conceived by T-Bone Burnett,
ha-ha-ha-ha. (Also spiritually then I don’t want to be closed down because we lack the
ing that I’m a man who spends Steve Harley’s Cockney Rebel,
applicable: Flipper’s “Ha Ha permits to have such a space.” Unlike their predecessors,
all day flavoring up bands Sparks, and Johnny’s mentor
Ha.”) “Happy” is pretty fuckin’ Home Room’s founders went through all of the necessary
like wine on whether they’re and early demo coordinator,
brutal; that’s actually kind of a paperwork to have the spot sanctioned with an official
more like the Meat Puppets or Van Dyke Parks: I’m talking
Some Days specialty here, just cafe entertainment license. To announce its intended per-
Peaches, I’m hard pressed to pedal steel, Flamenco breaks,
spillin’ out tales of hell and woe manence, Walt and Shaddy commissioned a giant mural
assign a specific bouquet here: tasteful sax, synthy strings, and
over some simple Thunders- from champoyhate and also hung a glowing sign featuring
Bleached have the “oohs” of lilting male vocals. It’s a LOT
style rock ‘n’ riffs played casual an apatosaurus in a Letterman sweater that will serve as
the Ramones, sure, but a little to take in, especially on this
and cheerful. Unexpected and Home Room’s official mascot.
more melody, something that double EP packaged onto one
great (and faithful!) dub cover On opening night, September 23, the line around the
sounds British via early Redd LP, but if you invest the time,
of Vivien Goldman’s “Launder- block was enough to prove that the new venture is
Kross, but less snarky, with it’s worth it. After a couple
ette” and then way-bummed- already becoming successful. As if to make everything of-
more heart and soul and with spins, you’ll fall into the world
out Jeffrey Lee/Nick Cave kin- ficial, Karen Centerfold even burst into the back room to
a different kind of 60s appre- O’Donnell has created, a richer
da feel on closer, “Some Days’ demand an extra band be added to the bill.
ciation than Joey and Johnny one here than in his live set or
Nightmares,” which of course Home Room isn’t just Karen’s new playground. If all
had. It’s classic, yet original, even his old band, Holy Ghost
are “coming true.” Live, they goes well, it will also be a space for community members
and this is my favorite of their Revival (well, maybe). “Korean
got some fun few-chord smash- to come and work on projects. After more than a year of
new singles because it really Debutante” has a lonely Asian
ers like “Wig Slap,” but this EP road construction, the stretch of Beverly Boulevard where
sounds like they’ve found the bustle that takes the alienation
starts at “whoa” and slithers Home Room sits is full of “For Lease” signs. Before Walt
pocket. The A-side, “Think of “One Night in Bangkok” and
into “Good Lord, I am fucked.” and Shaddy moved into the space, neighborhood kids
of You,” is a simple ode to the makes it human. But “Masquer-
(“Headspinner Blues”) Power- would break in to have juice fights. Now, Home Room is
love you don’t want to confess ade” is the more charming, more
ful vibe matched perfectly by hosting less dangerous activities like the pre-Halloween
yet, brash and with bouncy Californian side, with tales of
the musicians, who sound like spooky drawing, pumpkin carving, and crafts night. On
bass, and it ends in beautiful peyote-munching hikers and
they all had a cigarette dangling October 16, the venue also held its first Sketched Out
surf guitar. The B-side, “You clairvoyants and hunting dan-
from the mouth during each Sunday, hosted by Ghost Ghost Teeth. For these monthly
Take Time,” gets more Girls gers and a Ziggy-esque “Gothic
and every song, but not some- events, Home Room will invite the public to join local art-
in the Garage and slow, but Singer.” Fuck man, they even
thing for sweet little kids or the ists as they create hand-drawn artwork.
the chorus, “You take time to cover a Danny Kaye song! This
people these songs are about, Every DIY space is a unique little snowflake and an an-
go nowhere,” is like your life’s is class and sass, though I won-
who for all I know are already gel dies in heaven every time that one of them closes,
story! This is good music for der what an augur would pre-
dead. but it’s not the end of the world when that happens. If
enjoying the present. dict from the intestines in this
—Chris Ziegler anything, Home Room is an example of how curators can
—Dan Collins body of work?
—Dan Collins learn from the past and create spaces that are better po-
sitioned for longevity.

ALBUM REVIEWS 73
 like it could have been a song from is an excellent description of how I
Caribou’s Andorra or early AIR, feel when I spin “Revelations,” the
with tidal washes of unidentifiable opening song on Devon Williams’
sound underneath Jon Schwarz’s aptly titled new album. Shining,
bass, Matthias Wagner’s drums and lush instrumentation has always
Dylan McKenzie’s vocals, the song been the most formidable tool in
hazily washes over you until about Williams’ toolbox, and Euphoria
four minutes in, when McKenzie brings to the forefront his passion
sings “How long, how long till I am for the ornate. The songwriter voic-
born,” and the music erupts into a es frustrations on “Your Sympathy,”
Yo La Tengo-esque wave of distorted touches on nostalgia in “All My
SILAS HITE fuzzy warmth. Listening to “Mir- Living Goes to You,” and articu-
whose music stands alone as its
own genre. On his new CD, Real DERDE VERDE ror” is like swimming in soft flannel.
Moon/Mirror proves that Derde
lates regret on “Slight Pain.” Yet the
shimmering, intricately composed
Late, rhythms are daringly main- Moon/Mirror Verde may be the closest thing Los music behind those sentiments im-
tained long past traditional com- self-released Angeles has to its own Radiohead bue each song with a light charm.
fort zones, often abruptly chang- right now. The album is a tremen- Even “Tired of Mulling,” which
ing tone and direction on a dime. Derde Verde’s second release, Moon/
dous achievement and a standout in sounds for a while like it might
This music challenges the listener Mirror, shows significant creative
this year’s crop of indie rock. drift to melancholy, gives way to
and dares them to be worthy of growth since 2009’s introductory
—Tom Child expansive and romantic strings in
the rewards at the end of the voy- Sleepy EP. Building on Sleepy’s solid
its final minute. In front of these
age, like trusting a sailor to escort indie-pop, the self-produced Moon/
backdrops, Williams’ watery guitar
DAVE VAN PATTEN you through icebergs as he smokes Mirror (with mixing by Laurence
arpeggios and increasingly confi-
Schwarz and mastering by Tom
CORRIDOR his pipe and follows the stars.
Quinn’s vocals are ultra-cool, and Brissette) tosses a number of new
dent tenor give voice to complex
and developing melodies that clas-
Real Late fade into the mix. I don’t pick up sonic tricks into the bag. Derde
sify as “growers,” simply because
Manimal many of the lyrics, but with music Verde now blends its experimental
they’re too interesting to be appre-
this good supporting them, they elements into reliably respectable
ciated completely upon first listen.
When I received the new CD by must be about something awe- subgenres (shoegaze, Can’s particu-
The cumulative effect of all of this
multi-instrumentalist Michael some. Standout tracks include the lar brand of krautrock) while still
is a delightfully pleasant album. If
Quinn, AKA Corridor, I knew cello-driven epic, “Rebuilding My retaining enough of a pop foun-
it’s missing anything, it’s a clear and
that I’d have to listen to it at least Internal World” and the exotic, dation to be instantly engrossing,
simple hit. Carefree had “Elevator,”
ten times before giving my true intricate, guitar-heavy “Roam buoyed by excellent arrangements
but nothing on Euphoria is quite as
opinion. His music tends to im- Room.” Really, epic could apply and impressive vocal harmonies. STEVEN FICHE
accessible or direct. Thus, this new
prove with each listen. Corridor’s
music is dense, in a good way, full
to all of these songs. Each track is
a soundtrack unto itself, and each
The album sounds expansive and
lush and confident, and rewards a DEVON record probably won’t lift Williams
to the forefront of today’s blog-
of virtuosic instrumentation that
is played deliberately dark. This
clocks in between four and a half run or two through the headphones.
Nearly every element sounds care-
WILLIAMS driven indie machine, which is a
to eight minutes long. This is a Euphoria shame because he’s more deserving
is not lightweight pop. He’s the CD that I will be listening to for fully crafted to sound precisely as
Slumberland than many of the people who are
only cellist in rock ‘n’ roll whose years, and by the time December the band intended. Standout track
there. For those of us who are al-
performances are worthy of play- rolls along, this could be my fa- “Mirror,” over the course of its When confronted with walls of gid-
ready fans, however, this is a nice
ing air cello to—truly an artist vorite release of 2011. nine-and-a-half minutes, encapsu- dily jingling bells and charmingly
addition to his canon.
—Scott Schultz lates the band’s great strengths and bright orchestral flourishes, I can’t
—Geoff Geis
influences. Beginning very much help but melt. Euphoria, therefore,

but they’ve recently put out some great of his new LP at the Smell with Pangea (whose de-
records that I’ve hunted down and thor- but LP also just came out but on The Smell’s OlFac-
oughly boogied down to and I shouldn’t be tory Records and Burger) and toured to Gonerfest
the only one! OC band the Cosmonauts re- and beyond with Ty. I once interviewed Mikal after
cently had their Burger Records cassette Moonhearts played Spaceland with Nobunny and
reissued on vinyl through Permanent be- Cumstain and asked him what his top three desert
fore touring the country. island records were, to which he replied: anything
Furthermore, Trouble In Mind recently from the Nerves, the Ramones self-titled, and after
put out the new Night Beats and Mikal some thought, Static Age from the Misfits. If those
Cronin LPs. For the Night Beats, two of namedrops are any indication of stuff you like, do
the dudes are originally from Texas, but it yourself a favor and check out these new records
wasn’t until they relocated to Seattle, WA from these killers.
and picked up local Tarek Wegner on bass Lastly, I wanted to mention these really cool
that they filled out their primal, freakout workshops that the Echo is putting on over the
rawk as a trio. The vocals are sharp and next few months. Calling itself Back To School,
cutting, the dirty guitars clean house, the these daytime discussions are hosted by talent
bass thumps low end, and the beats are buyer for the Echo Liz Garo and an executive di-
While it’s a bummer to talk about the end of an- bombastic. These road warriors toured the country rector of publishing at BMI. While the first few
other awesome summer, that doesn’t mean there with the Black Lips, then with Wooden Shjips, then panels may already have occurred by the time this
aren’t things to look forward to this season! Some- went to Europe with the Black Angels, all within the issue comes out, November 19th features a talk
thing I’ve wanted to talk about is one of my favor- summer months! Their debut LP is a total barrage on effectively utilizing blogs, digital distribution,
ite new shops in town: Permanent Records in Eagle on the senses, a haze over the psyche, and feels media and promotion. These events are free with
Rock. This place not only has a slew of nicely priced like a Big Muff pedal turned up to 11. RSVP, $5 otherwise, with free Two Boots pizza for
Nugget comps, 7”s, and great shows with great Another record that’s soooooo good is the Mikal early birds. These panels are invaluable for the
bands, but it also doubles as a record label! The way Cronin LP. For those unfamiliar with the dude, he musician eager to take a step forward; I highly
I understand it, there is a sister shop in Chicago grew up in Laguna Beach playing with the Moon- recommend attending. That’s it for the column
with the same name; however, the two shops put hearts before releasing some limited-press solo EPs, this time around … summer blues turn into winter
out records together under the two names—Trouble collaborations with Ty Segall, and some other good grays and us passing the time with love and mu-
In Mind and Permanent Records. Sure this isn’t new, oddities. Mikal recently co-celebrated the release sic throughout our days.

74 ALBUM REVIEWS
 Their proto-digital sound sheens, any particular sound, they uniquely
crafted from giant stacks of synths, stand out as Zola songs: the death
oscillators, rhythm machines and disco song “Seekir” has backward
guitars, spawned both ambient and masking vocals buried in the mix
trance: it’s safe to say that without that sound like Druid zombies, yet
Cluster, chill rooms around the world the layered backing vocals of “Lick
would suck. But in 2010, Hans- the Palm of the Burning Hand-
Joachim Roedelius announced an shake” sounds like a choir of angels
end to his on-again, off-again part- singing in a glacial cave. The electro
nership with fellow Cluster founder, rhythms of “Avalanche” and “Ves-
SILAS HITE Dieter Moebius, and at the young sel” could be the coolest one-two
APPARAT age of 76, Roedelius embarked on
two partnerships with “veterans”
punch on mainstream alternative
radio for the next year or in any of
The Devil’s Walk
The Tractatus begins, and my first know anyone. Don’t get me wrong. half his age. Qluster, co-helmed by the last four decades. Factor in Zola’s
Mute thoughts are, “Why is my sixth I’m a fan of Herren’s heavily sampled analog electronic sound explorer intuitive reverb and distortions and
Introspective electronica records grade science teacher talking dur- glitch-hop style, and love it when Onnen Bock, is the more electronic industrial beats at just the right mo-
have become a rare commodity. ing this guy’s album?” followed executed in his usual expert manner. sounding of the two. Fragen, the ment, and you have the perfect head
These days, most music listeners by “Wait. Real drums and a drum But the new album is expansive and first of a proposed Qluster trilogy of trip. Sure, Conatus is cold and isolat-
seem to prefer their beats served machine?” Kone, an L.A.-based pro- disjointed, a dizzying haze of clips, albums, mocks the idea of ambient ing, but when I’m feeling that way, I
fried, flanged and stadium-sized, ducer who recently signed on with clacks and vocal cutups lacking any music being serene—on most songs, can’t think of a better artist to empa-
opting to embrace the more abra- Alpha Pup, describes his music as real structure or cohesion. There are the low-growling Korg dirges punc- thize with my mood. I don’t know
sive and dance-centric forms of “psychedelic gangster funk.” Sample some standouts: “The Only Valen- tuated with far-off dripping plinks many vocalists who could pull off
electronic music while neglecting heavy, with each song an ever-layer- tine’s Day Failure” boasts a dynamic and string banks will chill you like the powerful performances that she
its ethereal iterations. Apparat’s The ing progression based around snip- range of sound samples and a hyp- the first time you played Doom and gives here and not overwhelm the
Devil’s Walk is a decidedly medita- pets of running male commentary notic beat that makes you want to thought you heard zombies behind song. It’s a testament to her ability as
tive affair that exists in a vacuum about scientific philosophy (possibly immediately push the repeat button. you. It’s hard to top intentionally a song arranger and performer, and
apart from today’s fist-pumping, by or about Ludwig Wittgenstein), “The Only Hand to Hold” featuring overblown honks that sound like a her immense artistic confidence.
neon-aviator-glasses-clad elec- The Tractatus is like a shopping cart Shara Worden and “The Only Gui- crackly robotic duck, but in his sec- Holy Zola! This Jew is for Jesus!
tronic music culture. This is music of sounds, and each track throws a tar to Die Alone” with Adron hold ond project with 90s krautrocker —Scott Schultz
better suited for headphones than new aisle’s worth of magic into the firm as cohesive units, and Faidher- Stefan Schneider, Roedelius has an
subwoofers. This is music that is basket. Like Kone’s love for layering be’s vocal lead on “The Only Lillies analog ace up his sleeve, pulling
more likely to make you want to within each song, the album itself and Lilacs Pt. 2” is one of the most out a real piano and letting Sch-
cry than make you want to dance. grows as it progresses: we leave the beautiful I’ve heard all year. But un- neider gently poke around it with
Sonically, The Devil’s Walk hear- ethereal opening tracks for a heavier fortunately, the bulk of the tracks synths and guitars. While a few
kens back to the IDM records taste of the gangster around track are simply bland. “The Only Trial of these songs’ guitar noodles be-
from the early 00s. Syncopated, five, “Chunky Dust,” and by the of 9000 Suns” buries the hauntingly lie Roedelius’ perverse love of soft
staccato hi-hat clicks, muted male time we reach songs like “The Rage” beautiful vocals of Broadcast lead jazz, when they stick to electronics,
vocals and lush, warm synths ac- and “Destiny Manifest,” we’re hear- singer Trish Keenan, recorded before they shine—the repetitive, hypnotic
centuated by the occasional string ing funkier world music sounds. Get her sudden and tragic death last Jan- bloops and bleeps of “Zug” could
sample constitute the bulk of the your skip finger ready for “Filth to uary, under a frustratingly unintelli- be this album section’s theme mu-
album’s musical palette. “Candil Fury,” which is like an airplane land- gible drone. This technique works a sic! This gentle German makes me
De La Calle,” with its synth swells ing behind your eyes and exploding, little better with Nico Turner’s track, wonder why modern electronic art- BROCK POTUCEK
and bouncy drum programming, and not in the good airplane-explod- “The Only Way to Find,” which ists can’t free themselves from beats
demonstrates Apparat’s knack for ing way. But the final track on the al-
bum, “Life Has No End,” is a perfect
leaves Turner’s haze of vocals as the and come back to composing and
experimenting.
MOBY
crafting songs that are simultane- star, not obscuring them with disor- Destroyed
ously cinematic and personal. The way to touch down, taking us out in dered clumps of instruments. Still, if —Dan Collins Mute
almost Reich-esque “A Bang in the a sweet moment of joy, the kind you you’re hoping for more beat-driven,
Void” uses a xylophone arpeggio to get from celebrating something that danceable, hip-hop-heavy samplings On his latest release, Moby revisits
hypnotic effect. “Ash/Black Veil” feels complex yet effortless. By the from Prefuse 73, this isn’t it. the techno-blues, and despite my
finds its rhythmic foundation in a final note I was feeling pretty happy —Linda Rapka preference for his more upbeat mu-
looped strummed acoustic guitar about the world around me. sic, I find Destroyed easy to listen to.
figure and sounds like the missing ­—Nikol Hasler Much of it falls in line with the mel-
single from Thom Yorke’s solo al- ancholic “Honey” from Play. It’s the
bum. The Devil’s Walk is a refresh- same, yet different. This keyboard-
ingly low-key offering of quiet yet heavy album is laced with strings
rousing electronica. and soul and almost hinges a tiny
—Amorn Bholsangngam bit on dream pop. “Be the One” re-
peats lyrics about love and actually
JOE McGARRY gets into a rhythmic groove, howev-
er it merely tapers off and the danc-
ZOLA JESUS ing is left up to the mind. The next
BROCK POTUCEK Conatus track goes back into the chill-zone.
QLUSTER Sacred Bones I am so relaxed … But does it do
enough to keep a fan coming back?
LISA STROUSS Fragen If Zola’s voice were any more promi-
Just as I start to feel a little judgmen-
Bureau B nent in these songs’ mixes, she’d
PREFUSE 73 RODELIUS
be wiping wax from your ears and
escaping through your third eye.
tal, I read that Moby actually wrote
the entire album while traveling and
The Only She Chapters not sleeping. Eureka! That explains
Warp SCHNEIDER Often mixed a capella over light
fuzz, like on the chilling ballad “Ava-
why this release feels more like the
JOE McGARRY The latest effort from Guillermo Stunden lanche,” Zola makes space sound
“Sunrise” soundtrack to the day af-
Bureau B ter dancing all night. I can’t help but
KONE Scott Herren under his Prefuse 73
brand, experimental conceptual al- Cluster was easily the second most
louder than reverb. She still mashes
electro, goth and industrial better
wonder what the remixes will sound
TheTractatus bum The Only She Chapters, is like influential musical group to come than any other current artist. And
like, as well as the photo book re-
Alpha Pup going to a party where you don’t out of Germany in the post-rock era. no matter what genre influences
leased to go with the record.
—Rita Kassak

ALBUM REVIEWS 75
 songs still sound similar to the ear- the moody, chiming “Downtown
lier albums, and that isn’t a bad high-rise loft” before impulsively
thing. This record is more electrified doing a .38 Jackson Pollock on the
and complexly arranged than For wall with his brains. Some fat kid

TUNE SALAD BANNER

Emma, but it retains the same hazy with a head full of the usual static
vibe: it’s the same Vernon, albeit not stalks the ominous “High school
in a cabin. Bon Iver isn’t indie rock library, gymnasium and cafeteria,”
that scans as folk. The music here shooting teachers and classmates to
is more like dark/bright pop with bright red chunks. Finally, an old
an experimental edge that carefully woman slits her wrists in the tub
WALT! GORECKI combines arrangement and dynam- and gently dies in “Studio apart-
ics, and takes you to a place that feels ment bathroom,” the album leak-
ARRICA ROSE so real, yet is imaginary at the same ing away with her blood. Track
AND THE ...’S It’s hard to find any actual informa-
tion about Benbenek, even though
ericano salsa craze was still going
like it had a diesel tailpipe when I
time. That’s probably why song titles
about places such as the real “Cal-
three, with its faux-Holst melo-
drama and crashing percussion, re-
Let Alone Sea
he has a blog. I mean, I know that left the Old Dominion and natives gary,” and mythical “Hinnom, TX” pays attention best and the David
Poprock he likes marshmallows and Seinfeld, there rarely discard anything that and “Michicant” are good examples Axlerod-lite finale leaves enough
It’s rare to come across a record- but who is this guy? Black and White can be refurbished, or even left in of Bon Iver. These tunes are more borrowed icky sheen of ick to gag
ing that has synced the three pil- Television, which comes accompa- front of the house to picturesquely about taking the listener to a feeling the judicious. In all, this series of
lars of memorable modern popular nied by a strange array of personal rot, like an Eames table or a ’57 or a state of mind that takes them grisly mediations is perhaps better
music—song, style and persona. arts & crafts projects and pages from pickup. These guys are unorthodox, outside of themselves. Acclaimed rendered through prose. Killing
Arrica Rose and the ...’s’ new re- old books, isn’t the standard kind of even downright funky from the musicians such as bass saxophonist made-up people with words is an
cord, Let Alone Sea, is as close as CD. First of all, it has 32 tracks. Don’t startling title track that opens the Colin Stetson and pedal-steel gui- art form at least as old as Catullus,
I’ve heard in ages. It’s winning as most CDs have, like, ten on a CD? album. “Dina’s Mambo” is dramatic tarist Greg Leisz fill out the album while doing it with music alone is
a piece of song-craft. Melodies that All of the vocals have a really muf- and brassy like the psychedelic-era and compliment Vernon’s brooding to invite audience response in the
soar and poetry that conveys real fled sound, and he’s accompanied by Temptations, and “La Muralla” vocals, giving this record a more ma- form of stale vegetables and broken
emotion. Songs you can sing and drums, acoustic guitar, tambourine charmingly, emphatically meanders ture, natural vibe—the incredible chunks of pavement.
share, knowing the hooks will do in every single song, and keyboards. in the manner of some of War’s mid- grassroots success of For Emma has —Ron Garmon
their work. But this isn’t a mere The lyrics, which are hard to under- 70s sides. “Carnaval” careens into a allowed for the singer to go places far
singer-songwriter exercise: it’s the stand in some tracks because they’re punk-polka cakewalk before sliding removed from his bare-bones first
recordings that are the magic here. really distorted, are a random mix- off into bop jazz runs and frantic record. Vernon’s growing confidence
Rose and her producer, Dan Gar- ture that is both real and surreal: on percussion. “Verguenza” and “Maja- in his songwriting, composition and
cia, have built airy soundscapes “Paintings and Drawings,” he sings dero” are more traditional party mu- creativity help make this record a
with an eclectic blend of instru- “Took a pencil from a drawer/ had it sic, putting one in mind of mid-cen- pleasure to listen to.
mentation that falls on the ear as been a whole lot more than anything tury field recordings of street parties —Daniel Kohn
an evolution in folk music. “When bigger or impressive/ took a page in Haiti, the kind that spell “instant
The Clouds Hang This Low” is a from a book/ it was blank because I party” to anyone with unstopped
fine example. Violins and cello looked and I scribbled words inside ears and uncreaked joints. The sun-
drift in and out of the fog. Arrica’s the margins.” Whaaaaaaat? But the ny “Caravana Del Vejigante” and
voice is a whisper. Harmonies ring keyboard and the music pull you the slowhand romantic “Lola’s Di-
in the background. It’s like being in along: the song feels like it’s a part lemma” are near-perfect mood piec- WALT! GORECKI
an impressionist painting. Stirring of your day. I can’t really pinpoint es in themselves. The bonus track,
stuff. Arrica brings power to the a genre that Benbenek would fit. “Dina’s Mambo,” is a prime slab of THE DONKEYS
work as well with snippets of Patti iTunes says it’s pop, but it’s not like moody dance pop the likes of VHS Born With Stripes
Smith, Fiest, Catpower and Karen any pop I’ve ever heard. The closest or Beta seem unable to manufacture Dead Oceans
Carpenter. It is indie rock by strict I can think of to describe what it anymore and the whole album her-
sounds like is Ween, but even that’s alds yet another syncretic mutation I’m pretty sure that the Donkeys
definition, but she’s sanded off the
only a little bit. It’s also a little bit like in accordance with the laws of James love me, because they all sang so in
edges and set the whole show in MARISSA PATERNOSTER
Frank Zappa, because it’s really out Brownian motion. “I Like The Way You Walk.” That’s
a 1970s Topanga Canyon dream.
The music has a perspective, and there, and you have to be a sort of —Ron Garmon BRIAN M. right, all four of them love me with
while she nods to different styles out there person to get into it.
—Trast Knapmiller
CLARK all of their hearts, and they sang
it with the same intense sincerity
(Americana, pop and indie rock) Songs from the empty that they put into each second of
she’s always coming from her own places where people this surfer/indie 70s country-rock
place. Let Alone Sea isn’t flawless killed themselves album. These guys are pure SoCal
certainly, but the misses are minor.
—Grant Langston Discriminate Audio to the point that if you listen to
This limited-edition LP (pressed their music with your eyes closed
on four one-sided discs and damn you can see tripped out palm trees
the petroleum), comes in a suitably and skateboards. If you’ve listened
bleak, this-room-for-rent sleeve, to their earlier albums, which
each bearing its own handwritten were a great deal heavier in coun-
WALT! GORECKI
number. The four tracks therein try sound, you’re in for a surprise
BON IVER are all tone poems; instrumentals
designed to evoke moods leading
at how much more rock ‘n’ roll
they’re getting. Born With Stripes
MARISSA PATERNOSTER
Bon Iver starts a bit weak, legs asleep, but by
Jagjaguwar up to and accompanying the set-
BIO RITMO Indie-crooner Justin Vernon, better
piece butchery. Anyone expecting
Mussorgsky will see frail, trem-
the third track, “Bloodhound,” you
can tell that the pins and needles are
La Verdad known to the masses as Bon Iver, bling hope brutally drowned and being worked out, and by the time
CHAMPOYHATE
Electric Cowbell is back after a four year absence. defenestrated early into track one. track four, “Born With Stripes,”
Though such news may confound His latest self-titled album picks opens with whammied-up guitar
BENBENEK the outside world, the fact of an “al- up where For Emma, Forever Ago
“Suburban bedroom” is a frail cal-
liope built around a young girl reverb, it’s time to flail your whole
Black and White ternative salsa” band in Richmond left off. Though he’s gone a long gulping a bottle of pills for no body and sing along. While “Val-
Television isn’t completely unexpected to a way from being the self-wallowing colorable reason. A drunken busi- erie” is a huge downer for the first
Houseplant Studios Virginia expat. The first Norteam- troubadour he once was, Vernon’s nessman staggers fitfully around to four minutes of its repetitive nearly

76 ALBUM REVIEWS
seven-minute life, those last three home to Staccato Du Mal and Xeno
minutes are psychedelic loveliness. & Oaklander. Recorded in Rich’s
The real gem of this album is “New Los Angeles apartment on Casio
Blue Stockings,” which reminds me and Yamaha keyboards and a Boss
immediately of the Zombies “She’s DR-110, this self-titled CD—with
Not There,” but then becomes it- a cover art homage to the Residents’
self so easily that I can’t help but The Third Reich ‘n Roll—joins the
play it over and over. I may not impassive, persistent synthiness of
love the Donkeys back with all my minimal bands like Absolute Body
heart quite yet, but this new direc- Control and Snowy Red with the
tion they’re taking has given me a artier, more complex weirdness of
serious case of the likes. DAVE VAN PATTEN Cabaret Voltaire. It’s a distinctly
—Nikol Hasler
EXITMUSIC moody record, not for sunny morn-
ing drives or Sunday barbecues, un-
From Silence less appropriately bleak—robotic
Secretly Canadian and passionate; a fibrous strain of
agitation contained by rhythmic or-
From Silence is a lush-sounding col- der then gauzed in dark, economi-
lection by NYC via L.A. via NYC cal lyrics. My favorites are “My Feel- The sad thing about writing this column is that I
duo Exitmusic that strikes the per- ings,” “Night Sky,” and the killer have to sit back four times a year and remind myself
fect balance between beauty and opener, “No Exit,” which pull off that the jazz scene in Los Angeles is severely lacking
sadness. The music is primarily the the feat of being funereal and sort of in high-profile jazz bookings. Some venues try hard-
husband-wife duo of Devon on gui- peppily melodic at the same time—a er than others but few can actually offer a season’s
tar and Aleksa on synthesizer and la Vice Versa before they jumped worth of jazz programming and even fewer offer any-
LISA STROUSS vocals. The synth sounds spacey and ship and became ABC. Who knows thing more than a rotating selection of artists that
mellow, while the guitar is often jar- if the next record won’t find Rich in
ELEANOR ring, yet the two sounds synch or- a shiny gold lamé suit with fellow
float by as frequently as leap years. As the LA Times’
Chris Barton eloquently goaded the LA Philharmon-
ganically, and neither sound drowns
FRIEDBERGER out the other. Aleksa’s vocals are short
bandmate Quinn Brayton rockin’ it
out behind him on sax?
ic last summer, regarding their staid jazz bookings,
“There‘s terrific potential here to showcase the music
Last Summer and measured, with a touch of elec- —Denise Tek as every bit the same vibrant, still-evolving organism
Merge tric manipulation and they effort-
as any other genre, to say nothing for the potential of
lessly blend into the songs. If I had
On an album celebrating sum- drawing new fans.” Obviously, vibrant music is being
to categorize it, I would describe it
mers past, Eleanor Friedberger created and performed in Los Angeles every day. The
as melancholy ambient electronica.
makes us feel nostalgic for the end hard part is finding it.
There are multiple references to the
of this present summer. Released The ever-tasteful Kenny Burrell will be celebrating his
ocean on these four tracks, includ-
in July, Friedberger’s first album 80th birthday at UCLA’s Royce Hall on November 12.
ing the opening track titled “The
apart from her brother and Fi- Helping to celebrate will be Dee Dee Bridgewater, Lalo
Sea,” and the music has a lot in com-
ery Furnaces cohort, Matt Fried- Schifrin and B.B. King. It’s hard to resist two of the
mon with the ocean. The depth and
berger, is as good as anything her most economic guitar legends of the last 60 years shar-
space behind the music is similar to
main band has done. Their 2005 ing a stage.
staring at islands and lighthouses to-
B-sides collection was on constant Disney Hall, usually a venue for high-quality jazz leg-
ward the horizon, and the give and
play in my car that year—though ends, will be offering up the Preservation Hall Jazz
take of the sounds is very similar LISA STROUSS
Band on November 22. For those who dig the old-timey
I admit I haven’t been paying
much attention to the Furnaces in
to the flows of the tide rolling into
shore and just as suddenly retreating
THE ICARUS shit, these guys do it well and are celebrating their
recent years—and hearing Fried- back into the big blue, taking every- LINE 50th year of actively preserving the roots of New Or-
leans jazz.
berger’s voice again brings back a thing in its path with it to Atlantis. WIldfire
personal nostalgia in its own right. Amid the one-off cabaret acts at Catalina’s in Holly-
The EP only has four songs, and not Cobraside
Last Summer has a relaxed sound wood, the most promising band of heavy-hitters booked
a dud among them: accessible and
and laidback tempo that would Where has the swagger gone in looks to be pianist Kenny Werner’s all star band from
radio friendly, without sounding
make this a perfect slacker sum- rock music? Once upon a time December 9 through 11. With saxophonist David San-
familiar or predictable. If only there
mer album if only I had heard it rock music had a wild, visceral chez, trumpeter Randy Brecker and drummer Antonio
were a few more songs!
several months earlier. The first spirit that made mothers want to Sanchez, the band is poised to blow the roof off that
—Scott Schultz
track, “My Mistakes,” weaves a lock up their daughters. Bands like club in a way that few other bands could and certainly
bassy synth with choppy guitars the Stooges and the Cult made rock no moonlighting television actor with delusions of art-
and an electric chime and ends ‘n’ roll dangerous. It is this very at- istry ever will.
with a minute-long haunting sax- titude that can be found in the So where does one go for the remaining days of the
ophone solo. The next song, “Inn Icarus Line’s new album, Wildlife. year? One venue consistently booking the most adven-
of the Seventh Ray,” continues the Joe Cardamone and his bandmates turous bands in our fair city is the Blue Whale in Little
feel of summer slackerdom. In it, have hearkened back to the days of Tokyo. The location, obviously chosen for its rent rather
she sings of being promised a trip yore and brought forth an album than its accessibility, features some of the most pro-
to Inn of the Seventh Ray, a ritzy that delivers the goods. From the gressive bands willing to schlep their instruments up
Topanga Canyon restaurant, and first gnarled guitar chords of “We the stairs, whether they are members of the Los Ange-
“wiggling at Wombleton on York Sick,” you know these boys mean les Jazz Collective or chain-smoking intellectuals from
Boulevard,” the Highland Park re- business. The twin guitar attack of the farthest corners of Brooklyn. You also might spot
cord store that has every record I Jason DeCorse and James Striff on more jazz-oriented Brainfeeders on stage, like Austin
wish I had in my collection. On “Sin Man Sick Blues” embodies the Peralta who performed there earlier this spring. (The
STEVEN FICHE
“Scenes from Bensonhurst,” she very essence that rock music is sup- food is happily very good, too!) You can never go wrong
sings, “I lay in bed and dreamt I FRANK ALPINE posed to be about. Cardamone’s dropping into their darkly lit, metallic treehouse for
an inexpensive night of boundary-pushing music that
never said that,” a disturbing yet Frank Alpine vocal range further helps to diver-
familiar refrain. The rest of the sify the feeling of the album with- would make any jazzbo proud.
Wierd
album kind of breezes by, and out taking it too far from its core.
like summer, it is over before you Rich T. Moreno, formerly of New The bombastic arena rock vocals of (Got a gig I need to know about? Email me: cultof-
know it. Collapse, debuts his first solo re- “Soul Slave” to the cool crooning soc@gmail.com)
—Daniel Clodfelter cord on NYC’s Wierd Records, also of “Bad Bloods” exhibit Carda-

ALBUM REVIEWS 77
mone’s mastery of his craft. The al- Like so many of you, I first discov- album artwork? How come the song eight guys in floppy hats and over-
bum’s scorching guitars, masterful ered Mr. Free and the Satellite Freak- titles aren’t making me gag? What alls jumping around, and you get
vocals and subtle but thoughtful out when Mr. Free got naked and the fuck is a Boatzart? And do But- things like “New York to LA” or
musical nuisances do not operate attacked me—all with the noblest tersaws really exist? After listening to “How Can I,” which have a funky
alone, but rather combine to make artistic intentions, of course. That We Come From the Swamp a couple soul chorus going up and down the
one hell of a rock record. While a was at an FYF Fest way back and times, I still don’t have the answers. scale in unison—classic Fishbone,
certain amount of swagger might they were doing some really proggy/ But what I do know is this: Swamp but really, it’s classic P-Funk, the
be missing from rock music these poppy stuff that probably was sup- is a catchy fucking album with some freakier B-sides that Dr. Dre could
days, that does not mean that it is posed to sound like Sparks cutting of the most straightforward pop never sample. Add some righteous
gone completely. The Icarus Line demos for GSL but which came songs I’ve ever heard from a band solo singing, a few acoustic bluesy
CHRISTINE HALE (NO OFFICIAL ART
has shown that it is most definitely YET SO ENJOY A WILD 45 DRAWING!) out pretty Black Flag. (Crazy guitar, that claims to be making next-level numbers, and only one token ska-
alive and well, so mothers lock up crazy bass, crazy drums and … crazy weirdo pop. There are some killer esque soul tune, and this album will
your daughters. LUIS AND THE guy with not a lot of clothes on, and hooks here, with clever, biting lyr- probably get you laid—I really wish
—Paul Rodarte
WILDFIRES soon no clothes on!) You can’t re-
ally communicate “naked” through
ics layered on to deep grooves, and
although the themes are pretty dark,
I’d had this at age 16.
—Dan Collins
“Who Likes Xmas headphones, though, so what we get this could be the soundtrack to your
Anyway?” b/w “I Know here is this prickly pulsating pile of next dance party. I returned to new
Your Kind” 7” everything ever. Track by track, you wave jam “Buttersaw” about ten
Norton can hear parts of Sparks, Funkadelic, times—Geis is a master of turning
Hendrix, Shuggie Otis … oh wait, scathing political commentary into
It’s always tough to get through turns out that’s actually just the irresistibly catchy pop songs, and on
the holidays when all you got is first track! I think? This is a proto- “Buttersaw,” he forces you to sing
Fear and the Sonics to lend your punk band caught 40 years out of along with him as he unpacks the
high-energy record collection any time and more determined for it— causes of the demise of our culture.
seasonal relevance, so thanks to cultural isolation destroyed by their Although I miss Big Whup a lot,
Luis and the Wildfires for this 45 musical maximalism! You’ll happily maybe their breaking up was for the
SILAS HITE of immense practical use. A-side recognize the effects of every real- best; Pizza! seems to have benefited
actually sounds much closer to
IN FADES “The Witch” than “Don’t Believe
deal freak since they invented the significantly from having the full at- DAVE VAN PATTEN

Know Thy Elephant In Christmas”: a super-primitive

gatefold LP, cohered into high-speed
high-energy high-tension rawk and/
tention of Geoff and Rand.
—Lainna Fader (THEE ULTIMATE)
self-released riff that’d be much more appropri-
ate for Halloween plus caveman-
or slow-mo brain-fry morlock pop.
Eleven (I think?) songs here and it
BABY J
Los Angeles’ In Fades employ stomp drums and unhinged (even sounds like 30—sometimes all at Looking For A Sign 7” EP
tremoloed guitar riffs; shuffling, for him) screaming from Luis once, but they got the technique, Water Under the Bridge
shifting rhythms; and psyched out himself. (By the end, he’s up to the perspective and the personality
vocals to create a sound that im- Gary Floyd-ian levels of gargling to make it work. People who don’t Baby J, from the underrated Stoned
mediately sits well, comfortable hostility.) Great lyrics, too—it’s like this will gripe on the produc- at Heart—her electric band with
in its familiar elements yet dis- like a break-up song with an en- tion (it’s got some fur on it, but if the Underground Railroad to Can-
tinctive for the way its elements tire socioreligious concept! Bonus you’re reading L.A. RECORD, you’ll dyland/Toys That Kill/porchcore
are uniquely combined. “Ship- Xmas Greeting from Luis at the celebrate that) and shrink from the dudes who found a killer sound
wrecked” starts with shoegazey end lets you know it’s all too/for density. This is like intro-verse-inter- somewhere between the Band and
textures before moving into surf- real. (Amazed this clip doesn’t end lude-element-punchline-solo-nope- “Bastards of Young”—goes acoustic
rock guitars that launch the song with police pounding on the hotel ACTUAL-solo-coda-chorus-astute- solo on this EP. Turns out the louder
BROCK POTUCEK
forward while droning synths and door.)B-side “I Know Your Kind” reference-exhale-bang-finale! music, she gets, the better it sounds. “World
deep intoning vocals keep things
anchored underneath. Songs like
is a quick and nasty rocker (“No
More Days” meets “That’s Love,”
and then on side two we get really THE SOUL OF Is Winning” reminds me of Miguel
Mendez, another South Bay song-
that one and “Burning Mona to do a Wildfires meets Wildfires
unpredictable. But if I told those
people this was recorded in 1975, JOHN BLACK writer who was rightfully wrapped
Lisa,” with skipping pianos, sharp reference) with a supernaturally they’d call it visionary. And I think Good Thang up with dios and who could do
riffs and electro-gospel synths spi- catchy chorus and one of those it is. Yes, I say this to a lot of naked Yellow Dog powerful crazy things with his own
raling around a stoic indie pop ready-to-roll guitar solos that just guys, but Mr. Free—I think I love acoustic guitar. Frantic righteous
song, sound born of jams yet whit- kinda falls out of the sky. Two I was a stuck-up prick when I was guitar, lots of momentum, great
you.
tle into definite songs that surprise songs you’ll find a reason to play a kid, an idiot—and if you need sentiment (“What it really deserves
—Chris Ziegler
throughout. In Fades covers a lot no matter what month it is. proof, just check out the eight Fish- is to burn …”) and great refrain
of territory throughout Know Thy —Chris Ziegler bone cassettes I had in constant ro- (“Now look what has become of
Elephant’s thirteen tracks, from tation in my car stereo at age 16. In the world!”) and big dramatic drum
the Simon-and-Garfunkle-meets- the years since, I’ve been so ashamed hits that make me think of Minute-
My-Bloody-Valentine of “Infinite that I was ever seduced by such a men promising that they’d curse
Black Holes” to the skewed me- hokey combination of funk, punk, more if they heard mortar shells.
lodic indie bar rock of “Sirius” metal and third-wave ska, all var- “Ghetto Street” is “World”’s little
to the noir-guitar sea shanty of nished together with a slick sheen of friend—comes out slashing with
“Nethers,” which breaks out into early digital studio trickery. And yet, harmonica and doesn’t let up, and
a psychedelic soundbath partway listening to Good Thang by the Soul you can fill in the drums and the
through before re-emerging tri- of John Black, AKA John Bigham, amps in your own head, and they’d
umphantly—my favorite in par- the guitarist and keyboardist from sound good, too. Of the softer ones,
ticular. It’s clear from the nearly classic-era Fishbone, I can almost go with “Dope Smoker Clothes”—
WALT! GORECKI forgive them for leading me astray.
nine minutes of space-folk with you can hear the marine layer settle
banjo in “Broken Glass Sky” that STEVEN FICHE
PIZZA! It wasn’t just their spazziness that I in as J sings about looking for roads
In Fades has its share of ambition,
and that ambition and passion are
MR. FREE We Come from the Swamp
liked, it was that compared to other
funk/rock bands, they had 1000%
where the cops don’t drive slow. The
best parts on here have that come-
welcome in the face of increas- AND THE self-released more soul. And on Good Thang, along-fer-the-ride! joy that the
ingly niche and too-tidy bands.
Were their sound further honed,
SATELLITE After dumping Pizza!’s new album
into my iTunes, I immediately had
that same soul is front and center,
the gimmicks banished. There’s still
Fugs had when they were honkin’
harmonicas and singing about
who knows what these guys are FREAKOUT a lot of questions. Why does Katy
Perry’s stupid perfect face plastered
some residual Fishbone damage, dope and the world as they knew
capable of? Guru Gaga but Good Thang is helping me get it, too.
—Billy Gil Bloat Records on One of the Boys show up as the the context of that as well: subtract —Chris Ziegler
78 ALBUM REVIEWS
 many of the greats who preceded
him. With introspective lyrics and
graphic fantasies of rape and mur-
der, while not being afraid to go over
the line with no regret, the undeni-
able fact is the man has talent. Like it
or not, Tyler is here to stay.
—Daniel Kohn

he chose that song I don’t know, but

I’m sure glad he did. It’s so dope!
When debating with hardcore hip-
hop heads on who are the best pro-
ducers in the game, you will most
definitely hear the names Pete Rock There’s a world of difference between a lead singer
and J Dilla. So of course, Quantic and a front man. A lead singer doesn’t require a whole
takes the Pete Rock & C.L. Smooth lot of personality—he’s a unit in the band, part of the es-
cult classic “They Reminisce Over sential chemistry that includes bass, drums and guitar. A
You (T.R.O.Y)” and gives it a make- SILAS HITE front man, on the other hand is—to quote the Stooges—

Ras_G & The

LISA STROUSS over that will convert the most die “a street walkin’ cheetah with a heart full of napalm,” a

Quantic Y Su hard hip-hop lovers. If you can dig

up a copy of this EP, grab it quick. Al k e b u l a n
personality that dominates the stage or a record with a
smoky, sweaty mixture of sex appeal, rage, humor and
Conjunto — Ray Ricky Rivera
Space
fiery ego. The music world is teeming with lead singers,
and to be sure, a many of them are damn talented. But
Los Miticos Program front men—singers with the stage presence of the likes
Del Ritmo Spacebase Is the Place
of GG Allin, Iggy Pop, Stiv Bators, Jay Reatard, or Darby
Crash—are a rare breed.
Hip Hop En Cumbia EP Poo-Bah Which brings us to Orville Bateman Neeley III, the sneer-
Tru Thoughts ing, simmering Texan with a moniker so unbeatable that
Ras_G’s Spacebase Is the Place winds
his new band, OBN III’s, takes its name from his initials.
Who would have thought a white through the backwoods of your
The credits on the band’s debut full-length, The One and
dude from the U.K. would be pio- mind. Neurons snap like branches
Only, which was released in September by Tic Tac Totally
neering traditional cumbia music of a brittle tree, your brain eventu-
Records, list him as “Front Man,” so there you have it.
in 2011? No one did! Will Holland ally succumbing to the forest: the
From top to bottom (the entire record is credited to Nee-
aka QUANTIC has been produc- ancient funk of decomposing leaves,
ley), it’s his force of personality and stark world vision
ing and performing (mostly under VAL HERRADOR the brilliant columns of light pass-
that dominate the album.
the radar of the mainstream) for the ing through the canopy, the sounds
past decade. Somewhere along the TYLER THE of life gurgling up from the earth.
Cultural intelligentsia types will take issue with the
blunt, almost minimalist approach of songs like “If the
journey of DJ vinyl junkie-turned-
performer, Quantic was bit hard CREATOR Then suddenly, there’s “HollyHood/
Where Dem Trees” obliterating
Shit Fits” (a frustrated response to a clothes-horse girl-
friend), and “First World Problems,” (a razor sharp take-
by the tropical music bug. So hard Goblin everything around you, trees torn
down of dumb all-American “soft boys”). But what the
he packed his bags and relocated to XL apart, the woods set ablaze by the
songs lack in lyrical development, they more than make
Colombia—the origin of the cum- Unless you’ve lived in a shoebox for combustible hum of some craft hov-
up for in a hard-rocking, raw, emotional feeling. The One
bia craze dance rhythm and home to the past year and a half, you know ering above. Ras_G is our Roland
and Only is as heavy as a tombstone and as tough as
legendary accordion greats Andres Odd Future is one of the most Kirk and Sun Ra, the beat scene’s
a Texas cactus. There are a few desert flowers growing
Landero and Anibal Velasquez. Fast hyped hip-hop troupes to come out seer not just from another plane but
around its base, though, which is what makes the record
forward about ten years, ten releases, of Los Angeles in recent memory. another planet. And Spacebase Is the
really shine. You’ll find hints of blues, a dash of Sam the
and collaborations with the likes Led by Tyler the Creator, the group Place is the record every El-Aylien
Sham and the Pharaohs’ Texas shuffle, and atmospheric
of Alice Russell, DJ Greyboy, and has received the praise of artists rang- has been waiting for, songs that have
Rik L. Rik-inspired vocals over a Black Sabbath beat in the
Mr. Scruff, we arrive at Hip Hop En ing from Jay-Z to Pharrell Williams. been blowing out sound systems for
jaw-dropping “New Dark Age.” We can only hope that Or-
Cumbia. Quantic had the genius Tyler the Creator’s sophomore al- years but had yet to be encased in
ville Bateman Neeley III and company will somehow find
idea to take classic hip-hop songs bum, Goblin, is only going to build vinyl. “One 4 Steve EL” is an ode
a way to spread their rock ‘n’ roll gospel over here in the
and rework them as cumbias! And the buzz to a Wiz Khalifa-esque to Flying Lotus’ Los Angeles. It’s the
South Land sometime soon.
to make this project more awesome level—and though the haters may city as seen from space, the skyline
Someone who for sure is going to pay us a visit this De-
he released it as a limited-edition be aplenty, they can’t deny the man’s besieged by neon and sirens squeal-
cember is Ottawa, Canada’s sprightly Peach Kelli Pop. Her
(1,000 pressings), green marble vi- ability to rap. The standout track is ing down the freeway before the
music and stage presence are a million miles away from
nyl EP. The A-side has music and “Yonkers,” where the rapper stakes bomb drops. “Ancestrial Echoes”
OBN III’s, but the beautiful thing about real rock ‘n’ roll
the B-side doubles as a Serato con- his claim as the most vile artist since travels back to Ras_G’s ghetto sci-
is that there’s plenty of room for every conceivable style.
trol record for all you digital-based early Slim Shady. This isn’t a bad fi, music from a parallel universe
Peach Kelli (Allie Hanlon, drummer for incredibly melodic
DJs. The EP kicks off with the classic thing; but other tracks like “Gob- of low-tech futurism. “Ascension
pop-punkers White Wires, who rocked Blue Star in Sep-
KRS-One song “Step Into a World,” lin,” “Nightmare” and “Golden” From Nigga 2 Negus” captures the
tember with Portland’s Mean Jeans) is no front woman,
with Quantic rocking the melody portray a more introspective side to feelings that overcame Ras_G while
but she more than makes up for it by being a huggable, at-
on accordion. He actually plays ac- the artist, showcasing his lyrical tal- watching Malcolm Little become
tractive lead singer with a uniquely cotton-candy-flavored
cordion, guitar and bass on all the ents far and above anything else on Malcolm X. “Disco 4000” convuls-
brand of bubblegum punk. Like other lo-fi ladies of today,
tracks. Track two is most definitely the album. Tyler’s production is en- es with bass as Gaslamp Killer’s an-
Peach Kelli’s instrumental abilities are as basic as it gets,
the highlight on this record. Here, tirely homemade, which is definitely nouncement that “Los Angeles is in
but unlike her sisters in arms (whose band names usually
Quantic gets his gangsta on as he a plus, and features assorted Odd this fucking building-ing-ing-ing”
end with “Girls”) her songs are actually catchy and fun
covers Dr Dre’s West Coast anthem Future members. With sounds rang- echoes across time. Spacebase is an
to listen to (and “beat off to,” if Vice is to be believed).
“Nuthin But a ‘G’ Thang.” There’s ing from punky keyboards to synths essential document of Ras_G’s oth-
Slide down Peach Kelli’s gooey peppermint rainbow when
a short 35-second interlude of Out- back to R&B, Goblin sonically has erworldly vision, a record that will
she plays VLHS Warehouse in Pomona on December 6,
Kast’s “Miss Jackson” followed by it all. Tyler the Creator doesn’t give a shame any so-called human who
supported by Orange County’s capable Pangea and Un-
Missy Elliott’s dance floor banger fuck what you think about him and ever cared about Baths. Air horn!
derground Railroad to Candyland.
“Get Ur Freak On.” How and why that’s what he has in common with —Miles Clements

ALBUM REVIEWS 79
THE INTERPRETER Rich T. Moreno, aka Frank Alpine, has

FRANK ALPINE
been bending the hearts and minds of Los
Angeles since the late 90s, with bands
like the Boy Scouts of Annihilation and
New Collapse. His new solo record, Frank
Curated by Howe Strange Alpine, comes out in late October on Wi-
Photography by Ward Robinson erd Records.
FOLDING PINEAPPLE FOLDING PINEAPPLE BO HANSSON MUSIC INSPIRED BY LORD OF
CASSETTE (?, EARLY 90S) THE RINGS (CHARISMA, 1972)
“This is just incredible music in my opinion. I heard this cassette through “Incredible soundtrack music by this Swedish composer, no vocals. I
a friend of mine in the early 90s. I asked him who it was and he told me probably wouldn’t have given this record a second look had I not heard it
it was a member of Solid Eye, an early 90s experimental art-rock band playing at Freakbeat Records. Despite the title, this is not what I would
from L.A. My friend had an extra copy of this cassette and gave me one. imagine to be ‘fairytale’ music at all. Wonderful and subtly stark organ
What a score! This music is like nothing I’ve ever heard. Makes me feel melodies, eerie-distant guitar accompaniments, lite percussion with vari-
like I’m watching some weird and twisted cabaret, maybe images from ous other instruments. Lots of dynamics throughout this record; ebbs,
Forbidden Zone come to mind. All synth compositions—no vocals. flows and odd time-signatures. Almost comparable to the soundtrack of
Quirky, animated and repetitive, almost similar to the Residents in feel, Fantastic Planet, but with much more diversity. A stand out feature of
but definitely its own thing. Has a warm 4-track sound to it. I’ve held this LP is that it was entirely recorded on a portable 8-track! The cashier
on to this cassette like a small bar of gold since I got it. Mr. Pineapple, if at Freakbeat sold me this record for 50 cents—half off the dollar bin
you’re out there, please contact me. Would love to meet you. Thanks.” price! I can never get tired of listening to it. One of my true favorites.”

TUXEDOMOON PINHEADS ON THE MOVE NASH THE SLASH DREAMS AND NIGHTMARES
(CRAMBOY, 1987) (CUTTHROAT, 1979)
“I knew nothing about T.M. when I discovered this double LP in 1990. “I mean, c’mon … really? Just the cover and title alone grab you—or
I had a friend that wanted to trade me for some punk records. I flipped at least for me they did. One of my all-time favorite records. I found
through his collection and he played me some stuff. When he put this it at an extinct record store in Reseda back in the mid-90s. I saw the
Tuxedomoon record on, I was hypnotized by it instantly. What ‘kind’ cover, picked it up and soaked it in. Who was this Nash the Slash? I
of music is this? I didn’t care, I just wanted it. Dark, rich and interweav- needed to know! Beautiful, dark and other-worldly synth composi-
ing synth melodies, repetitive basslines, eerie violin with delay, drum tions accompanied by violin, mandolin and delay in all the right spots.
machines, tapes, and so on. This record has a great ‘lo-fi’ feel to it; real This music really transports you to another place. A masterpiece LP in
early 80s dark-artwave. Lyrics are usually bleak, stark and dripping with my opinion. This was a huge influence on my own music when I first
sarcasm. There’s no way to describe T.M. This record documents some bought it … still is.”
of their earliest material (1977-1983), including singles, compilation
tracks and obscurities. Will definitely take you to another world—it VONO DINNER FUR 2 (SKY, 1982)
did for me and still does. One of my all-time favorite bands and LPs. “Oh man! Just the record cover alone is a classic! The back cover is even
Life-changing.” better! This is THEE ‘minimal’ of minimal synth and NOT dancy at
all. Synth and drum machine parts are very mechanical and dissonant
MINIMAL MAN THE SHROUD OF throughout. I love this record because there’s hardly a song that ‘grooves.’
(SUBTERRANEAN, 1981) The entire record stays on this weird and linear plane. Upon first listen,
“Wow. I bought my copy of this epic-debut record at the old Epicenter you walk away from it scratching your head like, ‘Huh?’ … trying to
in S.F. for $2.99. What can I say? Minimal Man (aka Patrick Miller) decide if you like it or what to make of it, but I love it. The best part is the
is ‘KING’ in my opinion. This record is stark, bleak and flat-out scary singer. His voice projects over the music like a mad-deranged scientist.
in moments; deranged-atonal synth melodies and fuzzed-out, repeti- This duo is from Germany. The members are ‘Vo’ and ‘No.’ No other
tive basslines with Patrick’s psychotic chants and rants. This record is record like this one … seriously.”
chock full of pops, squeaks and jolts of miscellaneous electronics and
drum machines that sound like they’re playing themselves! Just a true DEUTSCH AMERIKANISCHE FREUNDSCHAFT
masterpiece. I had the opportunity to hang out with Patrick at his house DIE KLIENEN UND DIE BÖSEN (MUTE, 1980)
in L.A. in the early 2000s before he passed away. Despite some of the “This record is fucked-up ... and in all the right ways! The second LP,
‘dark’ material he produced, he was such an incredible and happy-go- from what later became just two members of the original lineup, Gabi
lucky person—always smiling and giving compliments. In my opinion, & Robert Görl. This is serious, disjointed art damage with fucked-up
he left behind a legacy with his art and music. I love all his LPs. Al- vocals, synth, clashing guitar riffs and pummeling disco drum beats that
though they vary from record to record, the instrumentation is usually barely hold it all together. Songs vary from quiet and disturbing to mili-
the same, with Patrick’s sorta ‘stream-of-consciousness’ rants and unique tant, bombastic and deranged. This record will leave its mark when you
spirit throughout. I love Minimal Man, period. I am a fan for life.” listen to it. Their later records are stripped down to heavy repetitive bass
synth, dark German vocals and militant-disco drum beats. So good!”
THE PASSAGE FOR ALL AND NONE (NIGHT & DAY, 1981)
“How can I describe this music? I found this LP at some ‘off’ record THOMAS LEER & ROBERT RENTAL
store in Albuquerque, New Mexico. I picked it up out of curiosity THE BRIDGE (INDUSTRIAL, 1979)
and bought it for five bucks. When I got back to L.A., I listened to
“I fell in love with this record when I first heard it—I played it over and
it and was indifferent. HOWEVER, this is one of those records that
over again. The first track, ‘Attack Decay,’ really pulls you in. Dark, re-
slowly grows on you because you can’t quite figure it out. This is ‘pop’
petitive and driving synth with stabs of flanged-out guitar, quiet-mini-
music that becomes noticeably more obscure the more you listen to
mal drum machine and vocals that are stark and distant … so good! The
it. Instrumentation is guitar, bass, synth, drums, etc. Strange song
remaining songs on side one vary from cold and bleak to slightly dancy.
and chorus arrangements, with odd use of piano (mostly the lower
Side two is completely ambient with no vocals at all. Has an apocalyptic
bass notes), and weird time-signatures and changes. Vocals are hard
soundtrack quality with a blend of synth and sounds ‘generated by re-
to describe—sorta ‘peppy,’ but with a lot of sarcasm. This trio is from
frigerators & other domestic appliances.’ This is a cold-synth classic, in
France. I’m not sure if anyone would like this record as much as I do.
my opinion. Released on Industrial Records and entirely recorded with
This is their second LP. Their first one, Pindrop, is equally as good, as
a reel-to-reel 8-track that was borrowed from Throbbing Gristle.”
well as their singles.”
INTERPRETER 81
JANIE GEISER
Interview by Lainna Fader
Photography by Ward Robinson

Somewhere in between dreams and memory, Janie Geiser crafts intricate and enchanting—and often haunting—
films with her own handmade puppets and once-loved but now forgotten objects. Geiser’s new series of
experimental “Nervous” films—“Ghost Algebra” (2009), “Kindless Villain” (2010), “The Floor of the World”
(2010) and “Ricky” (2011)—screened in October at REDCAT, and she speaks here about the first puppets she
ever made, feeling electricity in her traveling nerves, and the logic of dreams.
You first studied art in college—specifi- to show me how she makes puppets. I had a certain kind of obsessiveness I have—every schach test. You see an inkblot and project
cally painting and metalwork. How did done some puppetry with some kids I was single bit of it was covered with stitching—so into it really emotional things and memo-
you decide to work with film? teaching for a summer job, and I got really it had a kind of satisfying quality of obsession ries. I think it’s the same thing with objects,
You had to declare a major when you got excited about it. It just became an element about it. and that’s why I’m really into using found
to college, so I decided to be a French ma- of my visual artwork. I was looking for ways What puppet have you made of that you’re objects in my films. The first couple films
jor. I took some advanced classes my first to make visual artwork move in time— most proud of? I made were more kind of full films, like
semester. I knew it wasn’t really the right eventually putting motors in things—and Well, there’s a couple. I did a show called the puppet film, and then I made a couple
thing for me, but it was a place to start. And the first step towards film was actually pup- ‘Night Behind the Windows’ and it was of painted, cut-out films, which I like but
then I finally took an art class, because you pet theater. It was kind of a parallel track— kind of inspired by—you know the writer started to think they’d all start looking alike
could do that at that point, in such a big when I started getting interested in that, Robert Walser?—I was reading a foreword if I kept working that way. From the be-
school. They didn’t require a portfolio for I was also getting interested in film, and to a book of his short stories and they ginning, I was putting objects into them
me to get into this class so I took a class mainly, at the time, animation, because it talked about how he died. Do you know as well, and I got really excited about what
called ‘Art in the Dark’ taught by this ab- seemed kind of the same as puppetry. I sat how he died? Well, he was in and out of they can do, and now I’m always on the
stract expressionist painter. I think he just in on a class at a college but it seemed like different sanitariums and stuff like that. lookout for new characters.
wanted everyone to feel the excitement and a lot of work, so I put it on the backburner He was in one of those at the time. And Jan Svankmajer said that having puppets
the gesture of painting, so the class started for a few years. I got a Super8 camera and he always loved to talk—he has a book when he was a kid was an amazing gift be-
out with him just flashing up slides, and we moved to New York, and just started tak- called The Walk—and for some reason, one cause he could use puppets to play out all
had to get the gesture of them. Or a model, ing continuing ed classes at SVA and Mil- night, he went out on a walk in the snow, life’s injustices—correcting them, taking
and we’d have to get the movement of it. So lenium Film Workshop, and learning how and they found his body lying face down in revenge. What do you get out of it?
it wasn’t at all about getting things right— to do stuff. I started out shooting live, and the snow, and there was no clear cause of I don’t know that I’m taking revenge, but
it was all about process—and then we got shooting things to add to my puppet shows, death. So I thought that was the beginning I am for myself, trying to get closer to the
to the part where we were learning about like a little film section of the show, but not of something, and devised a story around meanings of things, and hopefully other
drawing and shading and things, but if we as a separate thing. Then I shot a more elab- that, but I made it a woman who just falls people are able to find something in that.
had started with that, it would’ve been too orate puppet thing that was all live, and I in the forest and dies. A man comes upon These ‘Nervous Films,’ they’re about the
intimidating for me, because I didn’t really decided I can’t really do what I want to do, her, and he’s trying to figure out what to nervous energy and the world we live in
know how to draw. It was so exciting, like I have to figure out another approach. do, but no one recognizes her, and the guy now, how crazy everything is right now.
nothing else, so I was like, ‘OK, I will be What was the first puppet you made like? is trying to find out who she is. And you Maybe it’s battling despair. If I’m really
an art major.’ I took different classes, but The first puppet—beyond experiments—was never know. And that’s what happens— paying attention—which I do, unfortu-
as an undergrad, I didn’t have to specialize actually from college. I was taking a fabric de- nothing. But she’s a Bunraku-style puppet, nately—to the politics and how things are
too much, and I kind of gravitated towards sign class, and it was getting back to how fab- and actually the guy too. They’re probably going everywhere, I would be in despair. I
the teachers that I liked the most. So there ric was made, like the weaving and things like my favorite pair of puppets. have to have something to do to fight that.
was this really great, dynamic guy who was that—and I’m not prone to that direction. Do you think inanimate objects have emo- What about the world today are you most
teaching jewelry and metalwork, and I liked For our final project it was kind of left open, tional lives? nervous about?
the students in the class, and the desk they and since we had been doing a lot of hand Oh, absolutely! Not that they have them A kind of ignorance—not stupidity, but will-
gave us in the studio, and I found that I stitching, I decided to make a hand-stitched themselves, but we project them onto them. ful ignorance, and a kind of meanness that’s
liked making things and using tools. I grad- puppet. I made it by cutting out an arm, cov- A lot of puppeteers get into ‘It’s alive!’ and out there, and a greed that’s out there. It’s
uated in that—because I ended up having ering it completely in wool embroidery, and I think we’re bringing it to life through the exemplified in all the budget debates. People
the most classes in that. But when I got then the face, and the eyes, and it ended up person performing it and the collabora- would sacrifice everyone who needs help,
out, I could not afford to do metalwork, so kind of looking like a skinny Charles Laugh- tion with the audience. And it’s because we and they don’t need help because they’re not
I started drawing and painting. In college, ton, which wasn’t my intention at all. I was just bring many powerful associations to trying, but because everything in the system
I had also come upon this woman doing a just kind of doing it free form. It was kind of a objects, and so using that inherent power, is failing them. …. You hear people saying
puppet show on campus, and I asked her magical character for me. I liked it. It showed that’s already there—it’s kind of like a Ror- things like, ‘50 percent of Americans don’t

FILM 83
 “We all grow up under different terrors.”
pay taxes.’ Well, what that really means is became real. It might’ve been caused by some- confessional because I don’t think my story is I think it really influenced a lot of my work,
they actually don’t make enough money to thing getting pinched, because it did happen that important. I’m more interested in using even though none of these dreams are record-
pay taxes! It’s characterized as if they’re good right after I had a massage, and I was having things that are motivating to me and looking ings of dreams. There’s just a sense of structure
for nothing, lazy people—50 percent of the a massage because I was so tense. It could’ve at them in a bigger picture way, but through a that dreams have that I really embrace.
people in America—and there are new ways been a vitamin deficiency. It could’ve been a very small world. Loss comes up a lot in your work—even in
that the corporate people are being described combination of things, and they never figured You don’t use much dialogue in your work, dream worlds, things rarely seem to come
as the productive class, the job creators, and it out. I went to all kinds of doctors, had an but you do use some found sounds—where together, and when they do, there’s a sense
all these terms that ignore the greed that’s MRI, been to a neurologist, and what seemed do they come from? of artificiality. What would be you most sad
going on. And I feel despair for the planet. I to help the most was a combination of acu- I found a lot of them in the Atwater Out of to lose?
have a 13-year-old son, and I can’t show him puncture and herbs. But my body was not a the Closet. For some reason, someone keeps I already lost my dad, so that was a big one.
that despair. We talk about these things, and familiar vessel anymore. dumping all these 78s there. I got one of Objects … family photographs. Other objects
I wonder, what is his world going to be like if Was that a really uncomfortable feeling? those record players that can play those old are all ephemeral. Things that attach to specific
we keep heading in that direction? It was horrible. But it’s invisible. I might be records and record them to the computer, so memories of my family are most important.
You’ve said elementary school shelter drills sitting here talking to you and feeling all these the soundtracks to these have been very fun to What’s something you experienced as a kid
in the late 50s and early 60s caused you a nerves. I never knew where all my nerves are, make. For ‘Kindless Villain,’ you can hear part that will always stick with you?
lot of anxiety too—how does that factor and I certainly don’t know where they all of John Barrymore doing Hamlet. When I was about four or five, I got some
into your work? are now, but I could actually feel it traveling You’ve said ‘Red Book’ started with you kind of bad fever. It was like 104. So my par-
I don’t think about it consciously, but I think through my body and I didn’t know when it reading a book about a man who lost his ents took me to the hospital, because they had
we all grow up under different dangers. I was would stop. It would come and go—it wasn’t memory after being shot in the head. How actually lost their first child to some kind of
talking to someone who grew up in the 80s, constant—but it was very scary. Maybe the did you get from that point to a film about virus. She got a fever and was dead in two
and she told me she grew up with everyone massage was some catalyst for some underly- a woman who loses her memory? days. So they were really sensitive to fever. I
around her dying of AIDS, since she was in ing condition that needed some attention— I tried to get the rights to the book to do a was there for a couple of days, and my dad
New York City, where sex became dangerous the doctors never figured it out. They were puppet show, and they wouldn’t give me the picked me up. He wrapped me in a blanket
for other reasons than just your emotional telling me it could be MS, it could be a brain rights. But I couldn’t let the idea go. It kept and lifted me and carried me and I hadn’t
well-being. We all grow up under different tumor, it could be all these things. Then I had ruminating. I decided to use it as a jumping been carried in a long time because there were
terrors. She was saying the Cold War was at terrible anxiety that added to the problem. So point and placed it in a woman, which I think always littler kids to carry. And I remember it
the height when she was a kid. It was for me, it was kind of like, I lost my sense of calm, gave me more freedom. was an amazing feeling.
in different ways. I think we all grow up un- because my body was not calm. Are you worried about losing your memo- Nancy Andrews told me that she thinks life
der horrors—kids today hear all this talk of Do you feel like you have it back now? ry? and death are always arbitrary: ‘We think
terror alerts. It used to be fun to fly or travel. Yeah. Maybe after a year—or even nine Oh, definitely. we control such things, or someone con-
It’s scary enough to be up in a plane in the air. months—I started moving towards normal, I have a terrible memory, and it worries me trols such things, but it might all me dumb
But now you have to worry about all kinds of and now I’m 99 percent normal. I occasion- a bit. luck or no luck.’ What do you think?
other things. ally have little twinges, but nothing like travel- I have an odd memory. Maybe there’s some I think that’s pretty true. You can stop smok-
I loved your film ‘Ghost Algebra.’ Why did ing nerves. The odd thing was I found several hypothalamus problem. If I watch a feature ing maybe, but you might just get hit by a car
you want to go on a search for the original other friends who had similar things going on, film, I remember it, but what I remember is too. There’s murder, there’s war, and those are
meaning of the word ‘algebra’? just not to the same extent, so I guess it’s not what I feel watching it, not the moment-to- not random, but maybe it’s random who sur-
It really isn’t what started it, and I don’t even as uncommon. A pinched nerve could cause moment plot, unless I really work at it. It may vives and who doesn’t once you’re in it. I re-
remember how I came up with that title. I it, not just severe medical issues. just be how I do things. It may just be experi- member my dad my dad telling me about this
think there is a term ‘ghost algebra,’ but it isn’t Would you have preferred to know what encing things, rather than remembering them. scar he had. It was at the end of World War
that—I just googled it after I came up with the specific problem was, or was not know- I spent a lot of time in my 20s trying to write II, and a bullet just grazed him. That’s pretty
it—and it’s kind of cool because it’s all about ing more comfortable? Which would cause down all my dreams. Now I don’t remember random. That’s luck. Some kid gets shot in a
finding meaning. I didn’t really go on a quest most anxiety for you? them as much because I stopped doing that, drive-by—that’s terrible luck. Often they have
though. I think the not knowing. I never had physical but I’d like to go back to it. I like having that nothing to do with it. They just were there at
The press release says ‘Ghost Algebra’ sug- anxiety in my life, and as it went longer, and source. If you do it, you may uncover things the wrong time. Drunk drivers. There’s some
gests one of the original meanings of the nobody could tell me what to do to make it that aren’t actually scary, and maybe it would control with personal behaviors you have, but
word ‘algebra’ is the science of restoring better, that’s when anxiety kicked in. So I made help you figure out why you’re having those it’s usually the other person’s personal behav-
what is missing, the reunion of broken ‘Ghost Algebra’ at the height of not know- dreams. I also love dream language. It’s so free ior that unduly effects you. We’re all going
parts. What was missing from your life ing. It’s not about me in that sense—though in there. I do feel like with a lot of my work to die—it’s nothing profound to say that—
when you made this film? there are a lot of body parts in there—I was that phase in my life where I focused on that a but we push it. I found this book at the Last
I was actually having a strange health prob- transmitting another kind of nervousness that lot taught me a language of almost montage, Bookstore downtown, and I haven’t read it
lem, where is sort of where the whole ‘Ner- we have about war. The woman is looking at where you can put two things next to each yet, but it’s The Denial of Death. I do think we
vous’ films have come from. I haven’t really this old World War I compound by the ocean other that don’t make sense in a plot kind of just live because we don’t want to think about
ever talked about this, but it’s been a couple where they’re hiding and she’s looking into way but they resonate by being next to each the other option.
years now. I just suddenly started feeling all it and seeing the history of sadness and war other. You can make a turn that makes sense
the electricity in my nerves. It was … un- and killing and bodies. I’m not so interested to you emotionally but isn’t logical in a plot VISIT JANIE GEISER AT JANIEGEISER.
nerving. All those nervous words suddenly in being completely autobiographical and way, or it only makes sense in dream logic. So COM.

84 FILM
GEORGE KUCHAR
Interview by Daiana Feuer
Illustration by Dave Van Patten
This never-before-published interview took place during the hot summer of 2008, when Cinefamily hosted a
George Kuchar film screening. Kuchar made twisted and bizarre movies—casting his mother and his students
as perverts and miscreants from his imagination—and video diaries starring strange weather and people from
real life. His legacy is awesome. A freaky man with a movie camera, his homemade effects were as dirty as
his plot twists, peeling off a protective shell of reality to reveal the delicious slime underneath. Kuchar died
September 6, 2011 of prostate cancer.
I put together a couple of letters and I some Indians walk. There are Indians. But No, it’s there as long as the camera ain’t too when ya drop dead. I had a dog and I have cats
thought you could answer them. ‘Dear then regular people are in their cars. There big. If you get a very big camera, they’re in- now. Animals are fun too. Of course, people
George, I can’t take a shower without isn’t even that much traffic. So if you go into timidated. And then it’s only me, there’s no are interesting also, but who knows how long
thinking of your movies. How should we a town nobody knows you, then nobody calls crew. Therefore you hit the button and see they’re going to last? Dinosaurs didn’t last that
think about sex?’ you on the telephone, it’s even more fun. what happens. I’m behind the camera, chat, long. Actually they lasted a long time. Longer
Usually it was Psycho—people didn’t want to Total isolation. ask a question, bring up a subject, and go than us. I wonder what the next step will be?
take a shower because of Psycho. As long as Yeah, but then you got the television. See, I from there. Jellyfish, I think.
they don’t go in the shower with a drape on don’t have cable television. If I did, I’d feel I You’ve been in front of the camera a lot as Ha! Let’s hope not the cockroach.
them, they’ll be OK. I believed in adding a have to watch it all the time because I’m pay- well. Is the intention to capture yourself or They’re a lot smarter than shrimp, which
little mystery to nudity at a time. I used to go ing money. This way you go to a motel, you to not have to give yourself instructions? are the cockroach of the sea.
to burlesque places now and then. The more got the cable TV that gets you hooked up to In the old days, I used to do it because you D’you see that Wall-E movie? You gotta see
they took off, the less respect the audience had your dosage. couldn’t rely on other people—they would that because the mechanical garbage dump-
for them. But if they teased a little, it piqued While you’re waiting for the weather to have the good parts and the bad parts and ster star has a cockroach friend, the only survi-
the interest. strike up, you’re watching TV? you’d have to cut away. The only way to cut vor of a nuclear war. I thought that was kinda
So how should we think about sex? And you go out and enjoy the good weather away was to cut to a certain object that was interesting.
Just take a shower every once in a while. Peo- too, work on a tan. under discussion or related to what we were This movie theater is going to show Xanadu
ple will appreciate you better, more. It’s a little What did you make this week? discussing or else me answering or turning to and Labyrinth back to back.
more positive than the Psycho thing of getting I made a diary of my trip to L.A. My broth- another question. Also, I always wanted to be I haven’t seen either. Xanadu has rollerskates.
a butcher knife in the shower. er and I got a show at the Arm & Hammer an actor and this was my chance on a screen. Labyrinth has David Bowie. I like puppets. Is
Do you like that kind of stuff? museum and then we got on the red carpet If nobody would ask me, ‘Do you wanna be Miss Piggy in it? I missed the Mariah Carey
Oh yeah, I’m influenced by everything I see. I somehow of Hellboy 2 with Ron Perlman and in a picture?’ I’d put myself in a picture. picture. … I’m from the Bronx so I thought I
used to go to movies a lot. I still do now and everybody. I had my camera and I was the only Now you’re a necessary character in your should support that movie. ‘Bronx girl makes
then. It’s sort of a cheap vacation. Especially one with a camera photographing the photog- own construction. If you wanted to take it big!’ starring Mariah Carey.
now with a senior rate. So therefore you get raphers, who were all lined up taking pictures yourself out, you probably couldn’t. Do you go back to New York often?
two hours and hopefully—with weather like of the celebrities. They were bewildered. Yeah, I’m the guide, the narrator. I play the It’s like going back to the elephant burial
this—it’s air-conditioned, and you sit there What did you do next? host. Everybody knows there’s a camera in the ground. ... Where you’re born or something.
and it’s anonymous. It’s more fun to go to a An ex-student got married and had babies room. You might as well host it. Then you get You always go back and get your bearings.
movie where nobody knows you. and invited me over for a BBQ, so I thought, people more comfortable. Probably in California you can lose your bear-
Are you all taking separate vacations or are ‘Here’s a good time, I’ll start a new picture.’ Another letter: ‘What’s the difference be- ings. It’s a very transient place.
you on the same vacation? So they had a whole pig that was chopped up. tween the world we live in and the world Maybe that’s the draw for creative people.
The only true vacation I had, I went to Okla- You could see the face and everything. I don’t of movies? Do you like people?’ If you want to change things. My brother lives
homa, which is cheap. You get a motel room know if it had an apple in the mouth but it Movies, you go, usually it’s a bit of escape. with me now.
for $175 a week. I make these weather diaries. had cherries all around it. So I photographed Although movies these days are looking Do you believe in twin-connectedness? When
I stayed three weeks and I made a weather di- that. ... I have to go to Portland and I’ll shoot more and more realistic. They’ve taken the your brother stubs his toe, you feel it?
ary. I even had a laptop editing thing where my friend’s place in the country. And I’ll make artifice out of it. Sometimes if you want real Luckily, no, but that does happen now and
I could edit in the room. You don’t have to a diary of people and places. life you just go out in the lobby or out the then. ... They come sporadically and you don’t
keep watching cable television all the time, I Do you look at it as art or a documentary? door, you know what I mean? Movies are know when they’ll occur.
can edit. I’ll let other people call it art. I try to make it louder now because they have that Dolby What if you had to experience each other’s
How many weather diaries have you made? because I love constructing things and making sound so you have to go with ear plugs. dirty thoughts?
I’ve been making them since the 80s, every them as beautiful as possible. If other people But if you live in the city then it’s the same You have to keep your distance. Even if when
year, there’s a lot of them. … Sometimes the consider it art, I’m very flattered. … They’re thing. Especially in hot weather, then peo- you take a pet out and it doesn’t want to be
weather wasn’t cooperating or I didn’t get diaries but some of them are fake. There’s ple have their windows open and you can near you, it wants to explore, it will always be
enough footage or I decided to put in another scenes where I insert myself but then there’s hear their music coming out. Thank god pulling on the chain and feeling humiliated it
thing, so some of them became hybrids. But actual events, but then they’re structured as if they’re bringing 3-D back. They look more has to be with his master out of the house.
lately they’ve been going back to where they’re you’re looking at a real movie —far shot, close like cutouts or dolls on the screen. But it’s That’s what having a twin is like?
stuck in one place. up, there’s music coming in at a certain mo- blending. The movies always seem more Yeah, there has to be a separation. It’s like stay-
Why Oklahoma? ment. It’s within the movie format rather than colorful. I like color. It removes you from ing with your parents all the time. They don’t
They got interesting springtime weather there. the cinema veritae, which sorta gets me nau- what’s going on. It makes it seem like a con- want to have to be with you all the time, you
In the change of seasons you get a lot of elec- seous if I see it on the big screen. Too much struction. I like seeing that filtered through don’t want to be with them. It’s not healthy.
trical storms, hail storms, twisters, stuff like camera movement. I like framing things. people’s artistic ideals, how they’re trying to Otherwise you start murdering one another.
that. And then there’s a very low population It’s more capturing a picture of something. interpret things. Family squabbles can turn ugly …
density. Since I’ve lived in New York and then Yeah, capturing the essence of something and Do you like people?
San Francisco, you go out in the street and then filtering it through everything. Some of them, they’re not bad. Animals, actu- Read the complete GEORGE
everybody’s there. There, you go out, there’s Is that something that you have to pull out ally, I wouldn’t mind ending up where my ani- KUCHAR interview on lare-
nobody walking. Maybe every once in a while of people or they have it already? mals went. My pets, you know what I mean, cord.com soon.

86 INTERVIEW
C
O
M
I
C
S
ELANA PRITCHARD
CHRISTINE HALE

LISA MOUSE
RYAN QUINCY

88 COMICS
 RON REGE

DAVE VAN PATTEN

RD
LISA MOUSE
RYAN QUINCY

MIKE JASORKA CHAMPOYHATE

MICS COMICS 89
Centralessness/Centernessless/Centerlessness
Prologue: The Reminder
By Ben Heywood
Illustration by Dan Kern
Besides fronting the band Summer Darling as The young man stood and took a long look at the land, the difficulty of it. Knotted cherry trees lay to the east
shrouding the two-lane highway; before that a concrete irrigation duct splitting two sides of caked dry earth, paths
well as playing in a number of other bands, to fishing holes and forts made from splintered lumber and leftover produce crates. To the west behind the house
Ben Heywood is also working on a solo record of whose porch he occupied lay an infinity of weeds, golden in the heat and worthless. He peeled the sweat from
and a novel. Summer Darling’s song “My his neck balling up in his fingertips a gnat or a fly and removed the soft cigarette pack from the breast pocket of
Reminder” is based on this short story. his flannel shirt. He lit the Marlboro with a steel-plated lighter, although he mused it might have just lit itself in
the mid-morning scorch. His throat opened arid against the invading smoke. After some minutes his moustache
felt wet against his forefinger as he held the cigarette to his lips. In his other hand he absently flicked the stiff
edge of a photograph with his thumb. There appeared a moment when he nearly tapped the crown of ash
on the picture but seemed to think better of it. Instead he allowed the cigarette cinders to collect in the
dairy dust of the gray boarded porch or sprinkle like dandrift on the black Tolex of his guitar case.
The tractor plow hibernated in the fields to the north, rust entangling its limbs like kudzu or
ant trails. He’d spent the night sitting in the shell cab with a bottle of Early Times and a tall boy,
the picture right where he’d taped it some odd years prior, to the left of the steering mechanism
next to his father’s makeshift cup holder. A curious thing is a forgotten memory rediscovered. His
head pitched to the right as he waited for eyes blurred by alcohol and sky-gazing to focus. There
was no reason it would have moved; still, it caught him off guard. The Polaroid picture. One edge
curling apart from the clear tape. As he remained in the cab drinking he didn’t try to ignore it. He
would occasionally look down at it in a sentry-like fashion, as if the photo were a dormant spider
or a slumbering ghost.
Later stumbling drunk through the house he felt like he was looking for something without a
name. In the kitchen there were yellow Post-It notes littering the room like polka dots, with direct yet
vague imperatives like “Paint” or “Scrub” written on them in neat block lettering. He bent at the waist to
pick one off the sink plumbing and came back up too quickly. With the surge of blood sugaring his head
he crashed unmanned marionette-like to the linoleum, still checkered egg yolk and sea foam. The room
spun slowly until he closed his eyes and righted his body against cabinets nailed shut to keep out the prying
hands of drifters. He looked about the room and had the feeling of gazing upon a lost lover, instantly familiar
but wholly changed. The distant vacancy of it brought tears to his eyes, which he repelled with a snort and a
stretch of his jaw.
He took the picture from his front pocket and spent a drunk’s minute scratching the remaining vestiges of
tape from its white frame. He closed his eyes again; he didn’t need them to know what the picture captured.
Dizzying brightness. The teeth of a wide childsmile, sky so pale blue it’s nearly nothing, a thousand shards
of sun skipping on the water. His mother held their hands, his brother James to the right, he to the left. Her
left arm appeared pulled, nearly hyper-extended by his grasp. There was something just out of his reach on
the rutted dock. His caramel apple had slipped off its tongue depressor and fallen victim to a yellow wasp.
To her other side his brother, slightly smaller, fit underneath her right arm, using it as a canopy from the
heat, smelling her linen and the lotion of her tan bare legs. Of the three James is the only one looking
forward, his expression one of quizzical understanding. It’s a simple look, a philosopher’s envy. His father
snapped the picture with a flash and a whir.
The tears welled up again and for no other reason than the complete absence of anything else the
young man began to sing the hymn his mother wrote. His voice strangled by phlegm sounded nothing
like the canarysong of his mother’s. It sounded hollow and lonely. Suddenly self-conscious, he trailed off
before the refrain. In the near silence he could hear the humming of engines on the highway beyond
the orchard, the last few stragglers headed home to violent beds from the bars in town. It was a familiar
sound. He slept.
He put out the cigarette and placed the picture back in his jeans pocket. He had tried last night to
make sense of it, to name the emotion the picture evoked, but he was foully soused and unable to stop
the slow rotation of the world around him. But now, head full of ache and clarity, he defined the feeling
as the memory of the bee sting he suffered during the moments the photograph developed and later
the strawberry welt and the small chip of distrust impressed upon him. His mother remained a figure
stenciled into the backdrop of his memory dead before he was eight while his brother he imagined per-
petually sheltered, maybe holed up somewhere a few miles away in the town they grew up in.
33 1/3: MARQUEE MOON 1978 HOOLEYGAN
BRYAN WATERMAN DANIEL JONES TERRY HOOLEY
(CONTINUUM) (THREE O’CLOCK PRESS) & RICHARD SULLIVAN
The Continuum 33 1/3 series has always straddled the Daniel Jones, Toronto’s punk-lit icon, is enjoying a posthu- (THE BLACK STAFF PRESS)
line between a magazine article and a college disserta- mous resurgence. Coach House Press recently reissued his 1985 The mid-70s were hard times in Belfast, Ireland. The
tion. At over 200 pages, Bryan Waterman’s assessment of poetry collection, The Brave Never Write Poetry, and now To- civil war had escalated and bombs and riots were gut-
Television’s Marquee Moon pushes the limits of his theo- ronto-based Three O’Clock Press has reissued his novel 1978. ting the city. Curfews were enforced and many busi-
ries beyond chapbook and into the realm of full-blown Published in 1998, four years after Jones committed suicide, nesses and clubs were closing down. Most touring bands
biography. Unfortunately, Waterman spends the first 1978 is a short, tensely written book about a group of teen- were too scared to stop by. The rise of punk in London
three quarters of the book establishing the environment agers squeezed into a dingy apartment, doing drugs and drib- was reaching Belfast via pirate radio, indie zines and one
in which Tom Verlaine and Richard Hell rose to promi- bling out their wannabe punk band, Cerebral Paisley. Stuck in record-store-turned-record-label, Terri Hooley’s Good
nence amongst the crusty Bowery lay-abouts, and dedi- Vibrations. Hooleygan is the life story of Hooley’s up-
cates only his closing chapters to the actual recording of bringing—from growing up in a semi-political family
the album, which had long shed the contributions of the to his adolescence in the 60s (protesting, starting un-
original Voidoid—Mr. Hell—and an aborted session with derground zines and clubs, taking drugs, having sex par-
Brian Eno. Television was the first punk band to play at ties, fighting with John Lennon, etc.)—that leads to his
New York’s fabled CBGB, but after only two records (not interest in punk and in starting a record store/label that
that many other bands got beyond that) fizzled out. In- fostered the careers of bands such as the Undertones,
explicably, Waterman fails to interview many of the band RUDI, the Outcasts and Protex, as well as Hooley’s own
members (all of which are living and stumbling across the brief musical jaunt. Hooley speaks candidly about both
East Village streets) in favor of magazine interviews dat- his personal life and the record industry in a way that’s
ing back to Lester Bangs’ Robitussin-stained typewriter. a lifestyle that fails at both halves of the word, Boy, Kid, Jacky not over contemplative or funny but seemingly honest.
Despite the best intentions of this book, it spends far too and Soo revel in their own damage and, even if they weren’t At times, Hooleygan reads like a collection of famous sto-
much time dwelling on the bohemian Downtown scene characters, they wouldn’t be much more than characters. They ries told at the pub, and at other times Hooley seems to
instead of confronting the potent songs and intricate gui- listen to X-Ray Spex and the Dead Boys, and the depth of their be reaching into his store of memories to satisfy fans of
tar work that make Marquee Moon so great. The contri- conversation plunges not much further than calling each other the record label. The book is interspersed with writings
butions of bassist Fred Smith and drummer Billy Ficca “fucking lazy cunts” and telling each other to “suck your moth- from band members and Hooley’s associates, as well as
are almost completely disregarded, despite the fact that er’s asshole.” No narrator proselytizing—he’s as gone as the rest pictures, flyers, 7” covers, etc. Hooley ultimately comes
they laid the foundation for Verlaine and Richard Lloyd’s of them. You won’t find much in the crusty-punk profundity of off as a genuine music fan who did whatever he could for
elaborate interplay. Although laudable for its intentions, the conversation, but definitely some honest matter in the sad what he believed in—sometimes to a fault, but in a way
a better book about Television awaits those who are truly emptiness underneath. If your loveliest version of Hell is being that endears his character. For fans of the Good Vibra-
interested in the origins of the punk movement beyond eternally trapped in a smoke-drenched, roach-infested apart- tions label or punk rock in general, Hooleygan is very
the bowl-cutted Ramones and platinum Blondie. ment with a bottle of pills and only a semi-conscious, vomit- informative and somewhat inspiring.
—Sean O’Connell stained Stiv Bators for conversation, this book’s for YOU! —Wayne Faler
—Howe Strange

THE L.A. RIVER is full to the bleeds with photos snapped between 1988
EMILY EDER, SASHA PORTIS and 1994 while Daniel was a bike messenger in San
Francisco and provides insight to the street art and bi-
& FIONN CONNOR cycle scenes in the city at the time. The majority of the
With all-capital lettering and a tree-branch silhouette, this half- photos are of simple spraypainted social-commentary
legal zine looked right at home wedged between Echo Park pseu- doodles and territory tags found on walls throughout
do-poets in Stories’ “locals” section. But on the first spread of the the city, but some are larger, more intricate art pieces
spontaneously created L.A. River homage is a pair of dirty socks whose public placement required more time and skill.
and three ripped out horoscopes as they would appear through Other photos—such as one of a TV showing the Rod-
the lens of a canon color copier. The astrological forcasts predict creativity, experimentalism ney King beating and another accusing Clinton of being a
and the start of changes, as if to explain the inspiration for the pages ahead. Made on June 10, dirty politician—speak to the political climate of the time. Overall, a great account
2011 (according to a brief paragraph on the back), the zine features doodles, journal scans, of 90s San Fran through the eyes of a bicycle-assisted flåneur that would never have
handwritten essays and grainy film photographs all culled from an excursion on June 9, when been seen if it were not for Hamburger Eyes’ prolific zine series.
three friends spent all day by the Los Angeles River. A full-color center spread features a police- —Sarah Bennett
style lineup of the usual River suspects: pieces of grass, part of a banana peel, a twig and a
crumpled page of the Los Angeles Downtown News. Written anecdotes provide context for the YONIC SOUTH: ISSUES 2-4
scrapbook, from a brief history of the river’s place in L.A.’s development to a retelling of how
the exploring the river once got the writer grounded in high school. Like a more tangible, L.A.
VARIOUS
Kind of bummed that I missed out on the first issue of this Long Beach-based feminist
version of Portland zinsters Nate Orton and James Yeary’s My Day series, here’s to wishing that zine, but I must not have been looking hard enough because as one of the few consistently
this group of friends turns more of their stoner days exploring unknown parts of town into monthly zines I’ve found, they’ve done a great job with exposure, placing new issues all
handmade reads. over the city. This little half-pager is never thick (three sheets of paper, tops) but it’s always
—Sarah Bennett there—hanging out with the flyers at the coffee shop, on top of the weeklies at the music
store—with a new photo of an inspiring woman somehow worked into the cover each
847, DO YOU HAVE YOUR RADIO OFF? month. The zine is also a true community effort with an open submission policy and week-
BILL DANIEL ly meetings at a local park that aim to create a multi-voice, all-female space for expression.
So far there have been interviews with local roller derby girls, rants about contraceptives,
Bill Daniel is a vagrant documentarian who turns his video and still camera lenses on notebook doodles and inspirational poetry. Sometimes, if original contributions are lack-
the often dirty, sad and unpleasant things he sees in his everyday life. In the last 30 ing, the editors will pull photographs, poems and song lyrics that relate to the issue’s theme
years, he has lived everywhere from Austin to Portland to Shreveport and exhibited (which has so far included motherhood and identity). With an approachable writing style
both his pictures and films in artistic outlets large (New York’s MOMA) and small and a solid academic background, Yonic South’s come-all-ye-females attitude symbolizes a
(The Smell). An unpublished stash of Daniel’s photos, however, has finally found an refreshing resurgence of the zine as a forum to spark discussion of non-mainstream topics.
outlet in zine form, with the help of the biannual photography magazine Hamburger And because it is still in its infancy, I have a feeling that the best content is yet to come.
Eyes and their series of monthly zines. This black-and-white photocopied half-page —Sarah Bennett

BOOKS 91
LACE
Interview by Drew Denny
Photography by Carrie Shreck
Do
Los Angeles Contemporary Exhibitions provides a safe space for radical thought, action and performance. form
Innovative even at in its inception, LACE was created in 1978 by a motley collective of artists who gene
agreed on little outside of the democratic process by which they formed LACE and the importance of tion
Ther
keeping their minds and doors open to their community as well as their contemporaries. A month into with
Los Angeles Goes Live—an exhibition and performance series that represents LACE’s contribution to mos
Pacific Standard Time—current Executive Director Carol Stakenas speaks to Arts Editor Drew Denny. and
relat
How has LACE changed the way art is made riding a mechanical bull controlled by the au- the 1980s. As part of this commitment, the Los Angeles Goes Live brings together dispa- need
and exhibited in Los Angeles? dience with a 3-channel projection backdrop. organization worked with Highland Art Stu- rate elements from within the Southern Cali- fund
Carol Stakenas (executive director): This is a big Brian Getnick, Claire Cronin and Corey Fogel dents to organize Public Spirit, the first city- fornia art scene in the 1970s and early 80s to curs
question. In the 70s when LACE was emerg- occupied the back hallway and serenaded each wide performance art festival in LA in 1980. celebrate the ways that performance art grew issue
ing out of the artists’ community, the oppor- group. Then the audience went out the back Basically, if you were a performance artist at organically, and in varied directions. The ex- right
tunity for contemporary artists to show their door for Alejandra Beatriz Herrera Silva’s per- that time, you were part of Public Spirit. Liz hibition offers multiple strategies for engaging work
work was extremely limited. Artists took mat- formance in the parking lot. Dino’s series gave Glynn’s project Spirit Resurrection will rein- with performance art—through ephemera, geles
ters into their own hands and created LACE the artists, the audiences and our staff an op- vent the festival in January 2012. through garments and props, through recre- lence
and other spaces to present and share their portunity to explore the potential of our space. So how does Los Angeles Goes Live further ations. We invite visitors to consider the possi- key a
work. Performance art and video were two Also, I was impressed that Dino chose to en- the evolution of performance art? bilities and limits of each method through their art p
forms that LACE and its artists really commit- gage artists and their practices in a way that Our strategy for involving practicing artists at own experience. in L
ted to in a way that shaped the Los Angeles resisted the pressure to attract/accommodate all stages of the research, development and pre- How does the act of opening the art making Ang
art world. bigger audiences. Instead, he focused on the sentation of Los Angeles Goes Live is based on process to the public sphere affect a city? mov
Describe a previous project that could only intensity of intimate experience, something the belief that evolution comes through work- It challenges everyone, including the artist, com
have been realized at LACE. that is often sacrificed. I’m pleased that LACE ing with artists and trusting their instincts. to consider where and how art is made and nary
The work that Dino Dinco has been doing as can support these types of explorations. Only as the artists participating in this project who is allowed to have a stake in the process. ties w
part of his curatorial residency at LACE comes How did LACE participate in the emer- continue to work far beyond January 2012 The experience can create ‘open eyes’ for par- men
to mind. He created a series entitled: 3 x 6 x gence of performance art? will we see the impact of what we are doing ticipants to experience the city in a new way. Wha
3, each event featured a circuit of three perfor- The artists that founded LACE embraced per- together at this moment. For some, it also triggers curiosity to under- The
mance artists executing continuous live work formance art and made space for it. Marc Pally How would you say Los Angeles Goes stand the nuance of the artist’s intentions to ing.
for a rotating audience of six spectators. 3 x 6 and Joy Silverman, both visionary Executive Live furthers the evolution of the docu- work in this way. That’s a wonderful bonus, we w
x 3 # 3, the most recent and final installment, Directors at LACE, made supporting perfor- mentation of and exhibition of perfor- but certainly not required to make the work Kap
featured Samuel White in LACE’s rear gallery mance artists a priority in the 70s and through mance art? impactful.

92 ART ART
 Do you believe such programs­—or per- You can’t just channel the past. Instead, you In the past year, I’ve written about perfor- said, one specific and extremely fun experience
ce. formative and participatory artworks in have to recognize your role as an active agent mance art exhibitions, retrospectives, and involved a one-of-a-kind ‘sock dress’ designed
ho general­—risk the fetishization of interac- in the creation of a new experience that craves festivals in LA, New York, the Netherlands, by Lun*na Menoh. The dress is a form fitting
of tion or community? connection with the past. The reinventions Denmark, Germany, and Lithuania. How knit cotton sheath with stuffed tube socks at-
There are risks and vulnerabilities that come and recreations that excite me the most are do you like to explain the current resur- tached like fringe, including a long train of
nto with these creative practices. First and fore- ones that take the time to dig—into the per- gence of performance and participation socks. She originally designed the piece as
to most, it is important for the artist, curator formance, the artist, the participants, the time based artworks around the world? part of a performance she did at LACE to re-
ny. and organization to be aware of the reciprocal gone by—and end up grappling with the fact My analysis on this is pretty much stating the invent Yoko Ono’s Cut Piece. I was inspired
relationships in play. The ‘social contract’ that that all the complexity and meaning generated obvious. The influencing factors that have and excited by her performance—she invited
ispa- needs to be honored with a given community by the earlier moment is gone and irretriev- supported the current resurgence include the audience members to dress and undress her in
Cali- fundamentally changes when the project oc- able. After that loss is acknowledged, a void of pressure of the economic recession and the different outfits, wigs and props while she sang
0s to curs outside of an institution. This particular possibility remains. This process is humbling, commensurate rise of war and social inequity. “Walking on Thin Ice” eight times in a row.
grew issue is something we are actively dealing with frustrating and exhilarating. I see this cycle oc- Like the artists in the 70s creating studio based No one touched the dress during that event,
e ex- right now for Three Weeks in January, a new curring again and again with each Los Angeles work is not enough to support the ideas and but I was obsessed and asked permission to try
ging work by Suzanne Lacy with scores of Los An- Goes Live commission. actions that people want to do to respond to it on and she let me keep it. It was the perfect
mera, geles-based collaborators concerned with vio- What sites, outside of LACE, are included these issues. Also, there is an amazing group of outfit for LACE’s 30th anniversary notorious
ecre- lence against women. Her project will recreate in Los Angeles Goes Live? emerging curators and scholars who are deeply Valentines Day Party. Wearing it was a blast!
ossi- key aspects of Three Weeks in May (1977)—an Suzanne Lacy’s Three Weeks in January per- exploring the 70s and championing the emer- What about LA has surprised you the most
their art project exposing the true incidence of rape formance will be staged citywide—on high gence of these forms. Finally, the timely prolif- since you began working at LACE in 2005?
in Los Angeles—and will focus on where Los school and college campuses, downtown in eration of mobile digital networks and social Love of the desert. I grew up in Tallahassee
king Angeles is now, thirty years into the anti-rape alliance with the Department of Cultural media platforms are creating new avenues of Florida and, until coming to LA, was east-
y? movement, and where we hope to be in the Affairs and the LAPD and in other places sharing and participation. ern seaboard-centric. The appeal of the desert
rtist, coming decades. The work requires extraordi- yet to be determined. Glynn’s Spirit Resur- What drives you to engage new publics by landscape and its punishing dryness surprised
and nary sensitivity to the people and communi- rection will also be hosted at various partner creating and delivering programs to com- me—was not expecting that!
cess. ties we are engaging, to have authentic engage- sites along with LACE. Each artist can pro- munities, businesses and bureaucracies?
par- ment and to build trust and respect. pose her/his own location. The Public Spirit I work with artists whose ideas and projects LOS ANGELES GOES LIVE EXHIBI-
way. What is your stance on ‘re-performance’? festival in 1980 included performances that cannot exist otherwise. TION AND PERFORMANCE SERIES
der- The reinvention process can be life-chang- occurred on the bus, along Hollywood Bou- What’s the most fun you’ve had at LACE? THROUGH SUN., JAN. 29 AT LACE,
ns to ing. I learned this from Steve Roden when levard at 3am, at Venice Beach and in pri- Everyday I get to work with artists that are 6522 HOLLYWOOD BLVD., LOS ANGE-
nus, we worked together on a recreation of Allan vate homes. Can’t wait to see what happens making work that pushes my imagination. It’s LES. EVENT SCHEDULE AVAILABLE
work Kaprow’s Eighteen Happenings in Six Parts. this time! a type of fun that will last a lifetime. With that AT WWW.WELCOMETOLACE.ORG.

ART ART 93
CRIMEKILLZ “NEVER DIES” (HNR13) LIMITED-EDITION CASSETTE TAPE
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