twenty-four hours

Krissy of We Make Zines and PonyBoy Press

noreply@blogger.com (josh medsker) — Fri, 10 Feb 2012 15:44:00 +0000

Krissy is the brainchild behind We Make Zines, the Facebook of the zine world, and is the head honcho of Pony Boy Press, a name she uses to publish her projects.

Interview by Josh Medsker

When did you start making zines? What was your main drive for starting them?

I started making zines in 1994. I was submitting poems and stories to journals and a poetry editor told me about zines. I'd seen band fanzines before, but had never seen a personal zine and I loved the idea immediately. I made my first zine without ever seeing a personal zine. Looking back on the first issues of my zines then, they are just like so many other personal zines from the 90s'. How did that happen when I had never even seen any? I had read some reviews in Factsheet 5.

What prompted you to start WE MAKE ZINES? Really, between WMZ and Zinewiki, you guys have single-handedly brought zines back around in the aughts.

Well, I don't know about that, sites and publications like Zine World, Microcosm and others have been contributing for a long time.

I thought to do a social networking site for zines right after the 2008 Portland Zine Symposium. I wanted to be able to go to a place where I could tell a zine writer how much I liked their zine, a place where other people who read zines would see it, a place where everyone knew what zines were and understood the love of them.

At the time everyone was on myspace or facebook where you had all these other people connected to you who don't really care about zines and maybe you didn't even want them to know about this private zine you had made. I don't make websites from the ground up. I can't really code like that. So, I thought, there must be a template site out there. There are templates for everything now. I searched for free (it was free then) social networking template and found Ning. It seemed pretty good, so I set it up in an hour just to see what it looked like, so I could get an idea and get some people's reactions.

I asked some zine friends to look at it and people seemed to like it. Alex Wrekk was an early supporter and helped get the word out about it. And it's just been growing every since.

What are some of your favorite zines? What was the first zine you saw/bought, and why did it grab you?

Wow, favorite zines. That's a tough one. So many I have so many shoe boxes squirreled away all over my house filled with zines I've read.

I really like Show and Tell by Rachel Lee Carmen. It's a nice mix or personal, how-to and information sharing, plus the artwork is great. I'm always excited about any new Clutch and Invisible Summer zines (also comic style).

As for perzines, there are so many that are great. I really enjoy zines that are well designed. It can make a difference for me between liking it and loving it. If I just want to hold it and observe the beauty as well as read it, that's good. Rory Grimes makes some nicely designed zines. So does All this is Mine, The La-La Theory and I love the art zines by Little Red Hen Studio in Australia. There are just so many. I know I am leaving out some really good ones. Some of my favorites aren't available much online, but I get them every year at the Zine Symposium, like the Independent Kitten and anything by Becky Morton of Bikeasaurus.

I also really like the positivity movement and zines from The Radical Uprising. I myself have written plenty of dark zines, but lately I want to read less dark sad zines and more things that will lighten my mood and keep me positive. There is a group on WMZ for Upbeat Perzines.

Also, there are some really hilarious zines out there, like The Field Guide to Hippies, the Margot Kidder Fanzines and anything by the guys who did the Golden Girls Book, Miami, You've Got Style.

I heard that Ning was going to start charging for their service? What will happen to WMZ?

Yes, they have been charging for a couple of years now. The first year I got donations from people and that was great. This year I am running ads (not google ads) to raise the money. If that doesn't raise enough I guess I will ask for donations again. So far, so good. So, if you want to support WMZ and can't do an ad, please buy some zines from the shops that are supporting WMZ (you can see them on the right hand side of the website).

What place do zines have in the post-print world? (that's right, I am coining that! Don't steal it!) :D

I am not afraid of the ebook or ezine. I think there is room for both. I also think that well crafted zines and books will become more valuable as more people use ereaders. I think making zines for ereaders isn't a bad idea, either. Why not? Yes, it takes away the tactile part of it, but people who want that will buy the paper zine. I got a basic kindle a while ago and some books I buy for the kindle, but some - the ones I know I will want to hold because of the design and quality of it, those books get bought as a hard copy.

What projects are you currently working on?

This winter I wanted to finally write a zine about winter and wouldn't you know it it's the first winter in Portland in a long time that is pretty non-existent. So, I haven't been as inspired, but I am going to work on it still. Other than that nothing too focused, I get ideas all the time and add them to my list.

I also run a blog and shop for antique ephemera. I collect old postcards, photos and ephemera and I blog about my collection and sell some to at http://thecedarchestblog.blogspot.com/. So, that keeps me busy as well.

www.ponyboypress.com

Blag Dahlia of The Dwarves

noreply@blogger.com (josh medsker) — Tue, 31 Jan 2012 00:10:00 +0000

Dwarves c. 2011

Hailing from the depths of hell (or from San Francisco via Chicago, depending on who you talk to), The Dwarves have been pumping out tasty punkrocknroll since the mid-80s. Singer Blag Dahlia, Guitarist Hewhocannotbenamed, and Singer/Bassist Nick Oliveri (Kyuss, QOTSA) have been the core lineup for the last decade plus. Their newest is Dwarves Are Born Again, and brother, does it deliver the goods.

Interview by Josh Medsker

What brought you guys to the hardcore stylings of Blood, Guts and Pussy? Horror Stories is a total garage-rock slopfest, and then you turn around and deliver an 11 minute album with songs like "Fuck You Up and Get High"? :D You ever thought about doing a rad covers album of old 60s garage rock tunes, a la The Ramones' Acid Eaters?

The Dwarves always blended 60’s garage rock with uptempo punk rock. On Horror Stories we did a lot of 60s covers, obscure stuff like "I’m A Living Sickness" or "In and Out". By the time it got to Blood, Guts the Misfits/Motorhead type hardcore style dominates, but the garage riffs are still there. And one way or the other its all cribbed from some record somewhere that we heard and spat back in a mutated form.

Live! 2004.

Besides the acoustic side-project, what have you and Nick done outside of The Dwarves? How long have you guys been collaborating?

Nick and I have played together for almost 20 years. We’ve slept on each other’s floors and traded cats. He plays on a lot of seminal Dwarves stuff like Young and Good Looking, Come Clean, Dwarves Must Die and the newest one, Dwarves Are Born Again. He also sings a lot on Dwarves records and has one of the most insanely wild rock ‘n’ roll voices ever. I produced the Mondo Generator record A Drug Problem that Never Existed and did a remix on a song of Nick’s called "Head Right". Nick continues to confound his critics and live like a modern Neanderthal.

You are an esteemed author! Congrats! I haven't had the chance to read your stuff, but it sounds pulpy and great. Some of the reviews have name dropped Jim Thompson... You strike me as a major pulp fan. Any new writings coming down the pike?

My last book Nina is about a young girl who likes to fuck and be mischievous. My first book was illustrated by the late great Mad Marc Rude. I’m always writing something, and lately I have been doing a lot of interviews for my podcast RadioLikeYouWant.com I like to talk to weird folks about the wacky things they do.

Dwarves Are Born Again is the shits. I think it may be my favorite record of the moment! You been listening to a lot of metal lately? Heh. I see that you are on Bandcamp.com, and are releasing on Greedy Recs. By the way, those lyrics in "15 Min" are really fucking funny, and the ticking noises just make it, man.

Born Again features performances from all the Dwarves so it has a really timeless quality to it. Plus it took forever to make which makes it kind of ‘timeless’, too. Everyone who doesn’t have a copy needs to go out and get it because there is a dandy free dvd in there as well. It’s like being given ebola for your birthday!

What's next on your agenda? Starting a riot at Occupy San Francisco / LA?

The Dwarves are the 1% of punk bands that don’t suck and can actually play. Worship the ground we walk on at- www.thedwarves.com

For free songs, videos and dirty pics!

The Truth Ain't Nothing But The Truth: Speaking With Henry Rollins

noreply@blogger.com (josh medsker) — Sat, 28 Jan 2012 03:57:00 +0000

Interview by Josh Medsker

His yearbook quote: "skate mean, live clean".

"The book took a long time because of the writing that I did for it. I can do that kind of writing but it’s hard and it’s painful, which means it’s the right thing to do."

- on Occupants.

First of all, let me say it’s a total honor to speak with you. I’ve been a huge fan since I was in high school. Your performance as Vanilla Ice in the “Pop Goes the Weasel” video was sublime. Let’s see if I can segue that… Are there any musical plans in your future?

I have no band or band plans. I don’t think in those terms any more. It is a very different way of going through your year. You are thinking practice time, personnel, etc. At this point, I would rather work on my own, travel on my own, backtage alone, etc. It’s more than wanting to do music, there are a lot of other things involved. I don’t think lyrically anymore. Things could change but I don’t think so.

I am intrigued with your photography book, Occupants. What was the genesis of that project? You said it was one of the most time-intensive things you’ve ever done?

I have taken a lot of photos all over the world for quite some time. I figured at some point, it would be interesting to put some of the better ones into a book so people who are interested in what I do could check them out. The book took a long time because of the writing that I did for it. I can do that kind of writing but it’s hard and it’s painful, which means it’s the right thing to do. It was a long process. Also, I had to teach myself Photoshop and [it] wasn’t easy for me.

In regards to the Occupy movement, you told Punknews.org that “This is not directionless action. If it were, the media would have moved on”. So, what do you think is next for Occupy? How can people bring about real, permanent change in DC? By the way, I like the fact that you named your photography book Occupants. Coincidence?

I think the O movement has to turn all this great action into legislation. Otherwise, it’s just a continued showdown with the police over hanging out in some park and so far, the pepper spray has been winning and the First Amendment has been losing. So, the thing needs to go uptown, as it were. Congress people need to know that they can lose their seat over not moving on this stuff. How the movement gets to that point is the next hurdle. Otherwise, it’s possible that someone is going to get really hurt at one of these sites. As to the title of the book. I came up with that in the late summer of 2010. I that is all people are—occupants. They need to get over themselves and leave the place looking good for the next generation. As to the Occupy movement, I have no exact start date of it, nor would I ever title a book over something like that.

"Soldiers don’t start wars. Constitutionally, Congress does."

What’s the significance of the cover?

It’s a good shot, nothing more.

The new book.

I have always admired that even though you have an anti-war stance, you have done extensive work for the USO. You have said that you wanted the troops to have contact with the outside world… What’s your full philosophy on doing those shows?

Once you are actually in these places, it is a very apolitical environment. It doesn’t matter who you voted for at that point. You are there. I think the soldiers liked having someone from planet Earth come and visit now and then. Soldiers don’t start wars. Constitutionally, Congress does. My argument as to the legality and legitimacy of the invasion of Iraq isn’t with the military.

What topics are really on your mind these days? What are you riffing on for this tour?

I am talking about a lot of travel I have done over the last two years, since the last big tour. Sudan, Uganda, Mongolia, Cuba, Haiti, North Korea, Bhutan, India, Vietnam, Tibet, Nepal, China.

I just found out that you did a full spoken word album in 1985? Short Walk on a Long Pier? You called it awful… what was wrong with it?

Poor sound quality, mediocre content.

Fanatic! Vol. 4 is in the oven!

I devoured your Fanatic! books. Love it. Is Vol. 4 in the works? Also, what’s the format of your KCRW show?

There is a Vol. 4 in the works. Thank you for checking them out. The KCRW show is a two hour shift from 8 – 10 pm Saturday nights. Out of the two hours, we get in about ninety minutes of music. There’s a lot of public service announcements.

I was listening to some new Van Halen (with Diamond Dave) on the radio today, and I know you are a rabid fan. You got backstage passes for their summer tour? :)

I have nothing. I would like to hear the record. They have been working on it for a long time.

www.21361.com

Another Side of Dr. Demento

noreply@blogger.com (josh medsker) — Tue, 24 Jan 2012 18:15:00 +0000

The Good Doctor (photo by Mark Takeuchi/Rhino Recs.)

Goooood day, dementites and dementoids!!!! At the tender age of 12, my mind was blown apart by Dr. Demento and his radio show. He opened up my mind to Weird Al and all of those great old tracks from the 40s/50s, like "Der Fuhrer's Face", and "Does Your Chewing Gum Lose It's Flavor On The Bedpost Overnight?"... He shaped my adult sense of humor, and spurred on my love of music. It's with pure (ir)reverence and sheer glee that I welcome Dr. D to Twenty-Four Hours.

Interview by Josh Medsker

Tell me a little about your work on the Little Sandy Review? How did you get hooked up with those guys?

I grew up in Minneapolis in the 1950s. After becoming aware of new blues records by Muddy Waters, Little Walter, Howlin' Wolf, Jimmy Reed, etc. I discovered that one store in downtown Minneapolis regularly stocked them (they said they had them brought up special from Chicago)...the Mel-O-Dee Music Shop. One day I was in there and the owner introduced me to another person about my age (16), saying "You two are the only white guys who buy dese records". That turned out to be Tony Glover, who was not only very much into blues but also wanted to be a writer. He idolized Kerouac. I became friends with Tony. After I went off to college he wrote me about two other writers in Minneapolis who were starting a magazine about traditional music (we'd call it a zine today). Those turned out to be Paul Nelson and Jon Pankake, founders-editors of the L.S.R. When I came home for the summer in 1960 I got to know them and became a L.S.R. staff writer. In 1964, after I'd contributed to a couple dozen issues, Paul and Jon decided to sell me the magazine, after Paul had moved to NYC where he would spend the rest of his days. I published two issues (Vol. 2, issues 1 and 2) before selling it to another person who published one more issue and that was it.

I reviewed numerous blues records and some others, and edited the two Vol. 2 issues.

You have written a lot about R and B, Blues, and what we now refer to as "Roots Music"... How did you wind up as the master of parody music? Was Nervous Norvus a turning point for you? ;)

Kinda. My commercial radio career began in 1970 when I became a regular guest on KPPC, Pasadena (L.A.) That happened because I had a reputation as a writer who knew a lot about roots music, early R&B and rockabilly (and because one of the jocks there was a friend of a friend). In 1971 I got a regular shift there on Sunday night. The idea was that I would do a free-form show based on the records in my collection. I played R&B and rockabilly, but would mix in a couple of "novelty" records from the 1950s every show, because that's what happened on top 40 radio in the 1950s. "Transfusion" was one of the first. Early on, when I started taking phone requests, I noticed that a whole lot of the requests were for other "novelty" records. The more of those I played, the more popular the show became. And so I became the funny music guy, though that was not what I (or the station) originally had in mind. I took that and ran with it, and have ever since.

Early Dementia: The Little Sandy Review
l to r: Spider John Koerner, Tony Glover, Dave Ray.
(photo by Paul Nelson)

I was introduced to Utah Phillips ("Moose Turd Pie") and Haywire Mac McClintock ("Hallelujah I'm A Bum") through your show, which later led to a love of folk music and political music... Do people tell you that a lot? Is political subversion a pleasant side effect of your work, or a "prime directive" (sorry, it's the trekkie in me. I couldn't think of a better phrase, really.)

No, political "subversion" is not a prime motive, though I will happily admit to liberal leanings. However, I'm always glad to hear that something I played led someone to a love of some sort of music that they hadn't been that much aware of before. Most often, people thank me for introducing them to Frank Zappa's music, and of course Weird Al's. But you are not the first to thank me for introducing them to folk/political song. You're most welcome.

I read that you have old Edison cylinders? What music do you have on cylinder? Any comedy records? What is the oldest comedy record you've found?

I have a few. Not my specialty. A good friend of mine has hundreds of those. I tend to get a little more excited by records from after 1925, when electrical recording began. I have a few comedy items from 1901-1902 on original discs, and some others on tape or on CD reissues.

When you first started record collecting, what were some of your faves? Also, just curious, how many records do you have in your collection?

My dad brought home a new Spike Jones record ("Cocktails for Two") in 1945, when I was four. That was an instant favorite. He brought home several others after that. I started having my own records in my room when I was eight. One of the first was "The Funniest Song in the World" by Groucho Marx. I now have somewhere in the neighborhood of a quarter million records.

You have seen a lot of formats come and go... but this download revolution, as they are calling it now, sort of leveled the playing field for the little guy, in a way. What's your feeling about the future of music?

I don't think it's going in any one direction...the days are gone when most everyone hears the same music, the way it was when I was young...but barring catastrophe, I look forward to a future in which most everyone can access the music he or she likes best, new or old.

When Frank Zappa died, you dedicated your entire show to his life and music? What was it about him in particular that got you going?

I met him before his first LP came out, and was very interested to find that two of his favorite forms of music were early 1950s doo-wop, and the then avant-garde "classical" music of Edgard Varese. (I might have been the first person he ever met who was almost as enthusiastic about both of those). He worked both elements, and many others, into his music in a highly adventurous manner, and he wrote very funny lyrics. I was a huge fan and still am.

You've been a roadie, a writer, a DJ, a living legend... what has been your favorite part?

The radio show is still lots of fun. It's what's closest to my heart. That involves writing, which I enjoy (much more since I had a computer to write on). Nowadays, I'm not on quite as big a stage as I was in 1982 or thereabouts, but it's still a blast. Being a roadie involved lots of drudgery and stress, but gave me a lot of fun stories to tell later on.

I read that you did your thesis on Wozzeck? That's an amazing work. Did you hear Tom Waits' version (Blood Money)? Once you found fame, did you ever try to get it published?

Wozzeck was half of my thesis. The other half was Debussy's Pelleas & Melisande. A very different sounding opera, but involving some of the same structural devices which were relatively new to opera; some of them could be traced to Wagner (whose operas didn't sound like either Wozzeck or Pelleas).
That was a bachelor's thesis (Reed College, which I attended, is one of the few colleges to require a thesis for the B.A.). It was meant to demonstrate that I could do research and write it up; there was no thought of publication. It would be rather baffling to anyone who knows me just as Dr. Demento.

I would not say that Blood Money is a version of Wozzeck. To me it's a series of meditations on the themes of the original play (Woyzeck), and does not relate very specifically to the plot. As I recall (I haven't heard it in awhile) there's little specific resemblance to anything in Berg's opera (which is another very free adaptation of the play that takes a very different approach).

Going along with that last one, I was listening to an NPR show a few weeks ago, perhaps you heard it, on Humor in Classical Music... Would you ever dedicate a show to humorous classical music?

I've dealt with that as a topic a few times, for half an hour at the time. It might be worth going into that for one of the hour-long segments I do now on special topics. Haven't done that yet, though. I like to mix up my styles and genres a little more than that.

Your dad was a pianist? Did you ever pick it up?

Chillaxin' in The Seventies
(photo: Warner Bros. Recs.)

I took piano lessons starting at age 6. There was an unfortunate three-year interruption after my dad died (when I was 8) and I never quite got back up to speed. I was not terribly diligent about practicing. I was much more excited about collecting records.

So when you were A and R for Specialty, who were some people you signed?

A band called Kingdom, which made an LP in 1970 that I produced. The other new artists we recorded during that time were not signed by me. None of the new artists we recorded had any success to speak of. My main job there was compiling albums of the label's earlier artists such as Little Richard, Sam Cooke, and various gospel artists. Some of those LP's did OK.

I was saddened to hear that your show is off regular radio syndication... but very excited to hear that you moved online! How has internet radio been treating you?

Very well, thank you.

If I may get serious for a second... I know that you were in the Wild Man Fischer documentary... What is it about outsider artists that appeals to you?

I like outsider artists who are unconventional, bizarre, charismatic and/or entertaining. Wild Man was certainly all of those, at his best anyway. Some of my listeners enjoy music that's just plain bad, and revel in its badness. I do too at times, but a little of that goes a long way.

Thanks again!

Thanks for the highly stimulating questions.

www.drdemento.com

Beyond The Sun (review)

noreply@blogger.com (josh medsker) — Wed, 11 Jan 2012 15:42:00 +0000

Beyond The Sun- Chris Isaak (Vanguard)

This album makes me giddy. This is Chris Isaak’s homage to the rockabilly he loves. Isaak and his band made this record at Sun studios in Memphis, and they effectively captured the pop and reverb of the originals. There are heaping doses of Elvis, with side tastes of Jerry Lee, Cash, and Carl, as well as more obscure Sun artists like Warren Smith (which Isaak kills on the track “So Long I’m Gone”). I had always thought that Mr. Isaak and co. channeled Ooby Orby with “Wicked Game”, and all of that, but he straight up nails the Elvis vibe on a great majority of these tracks. He never veers into parody, though. It’s more like you are listening to an Elvis outtake. This record flat gits it. You need this. It’s an oasis in the current sea of Biebers and Ke$has. My pix: I Forgot To Remember To Forget (Elvis via Charlie Feathers), She’s Not You (Elvis), So Long I’m Gone (Warren Smith). (Medsker)

Chatting about Jewball with Neal Pollack

noreply@blogger.com (josh medsker) — Mon, 09 Jan 2012 19:02:00 +0000

Neal in Serious Writer mode.
Note the beard.

I had the opportunity to meet Neal while putting togther a benefit show for the Austin Zine Library, in 2003. He obliged my request to read at the show, and needless to say, he was a hit. My Austin writer friend Dave Erlewine interviewed Neal back in 2003, in this mag, following the release of Neal's then-new novel, Never Mind The Pollacks, about a snotty rock critic named Neal Pollack. Since Pollacks, he has written two non-fiction books, Alternadad, about his misadventures as a new dad, and Stretch, about his new-found love for yoga. He also edited the anthology, Chicago Noir. His most current work is the novel Jewball. It was pure delight to talk with Neal again.

Interview by Josh Medsker

"I published the book myself because I heard that self-publishing was the wave of the future. I like the future, so I thought I'd give it a try".--on self-publishing Jewball

Tell me about Jewball! I liked what you were saying in your Jewcy interivew about there not being the idea of Jew as jock, when you were growing up. Also, why did you decide to go the DIY route and publish it yourself? It sounds like you've been pretty successful with the book so far!

Jewball is a comic noir action novel, set in the 1930s, in the world of Jewish basketball. No, that's not an oxymoron. Jews dominated basketball from the 1920s through the 40s, and I've found that a compelling arena for years. It runs totally counter to my perception of Jewish culture growing up, though I did attend, as a boy, a basketball camp run by Joel Kramer, a Jewish backup center for the Phoenix Suns.

You attended basketball camp? :D Were you good? What position did you play? Do you have any photos of yourself in your little uniform?

I was nine years old. And I failed the layup drill. That is all.

I published the book myself because I heard that self-publishing was the wave of the future. I like the future, so I thought I'd give it a try. It's been very educational, almost easy. We made a terrific book and I got some publicity. Marketing and sales have been a big problem. I'm still trying to figure out how to get people to read the book, but that's a problem whether or not you publish it yourself.

I understand that you are a yoga instructor now. That seems... pretty antithetical to your jaded, sarcastic worldview... :) How the hell did you end up doing that? Did the book go over well?

One can still be jaded and sarcastic and still practice yoga. Yoga doesn't mean you become a drooling idiot without opinions. It just means you're kinder and more thoughtful overall, which I still am. For me, it's about becoming more aware of the world around me, and of my body, and my thoughts, and my mortality. I still find most people and things annoying, but yoga has deepened my understanding of WHY that might be. It's helped calm my body and mind immeasurably, and when I teach, I want to be able to reach other people who might be able to understand it in the same way I do.

The book has done well enough. Not a bestseller, but it's reached its audience gradually.

When did you move back to Austin? Do you still keep in touch with Ben Brown? Any rock n' roll shows on the horizon?

I moved back to Austin in August, and yes, I still keep in touch with Ben, who is one of my closest friends, much to his chagrin. I don't have any rock shows on the horizon, though there are rumors that a local record label might release a 10th anniversary edition of my album in 2013. A full band reunion is unlikely, but Dakota Smith, who's still around, seems vaguely interested.

What your favorite book you've written? What's next?

My books are like my babies. I love them all equally, in their own ways. At this point, I guess my oldest is 11, about to enter puberty, and Jewball is still a relative newborn. As for the next book, I've been doing a lot of car journalism, so I think a book about cars might be fun. And if I can get Jewball more eyeballs, maybe I'll write a sequel or three.

www.nealpollack.com

Chris Dodge: Family Man, Artist, Ham Slapper

noreply@blogger.com (josh medsker) — Sat, 31 Dec 2011 01:22:00 +0000

Chris Dodge was the mastermind behind Spazz, the awesome HC (nay, PowerViolence) band, and the jaw-dropping Slap-a-Ham Records. Slap-a-Ham Recs. put out crucial releases by scads of great bands, such as: Melvins, Plutocracy, Man Is The Bastard, and many many more. He folded the label (and the band), and has been exploring his other love, painting.

Interview by Josh Medsker

When did you take up painting? Btw, I have always been a fan of the Ozma cover! How did you get involved with the Melvins?

I’ve always leaned towards drawing, although mainly on the cartoony side of things. And I had been interested in painting for a long time, but I was always intimidated because I didn’t understand how to use the mediums available. Oils can get pretty expensive, even the low-end supplies, and if I had picked them up, I wouldn’t have even known how to use them. Honestly, my big launch into painting came about 6 years ago, not coincidentally after I left my first wife. That event freed me up (literally and figuratively), and I became more artistically inspired in general. I took an oil painting class at the local community college and I was up and running. In the following years, I’ve taken a variety of oil, acrylic, and pastel classes.

I connected with the Melvins when they moved to San Francisco from Seattle. Just by chance, I started talking to Buzz and Dale, and I’d known Lori from her previous band Clown Alley. They didn’t really know a lot of people in town, so we ended up hanging out a lot, and got to be really close. When they were working on Ozma, they told me what they wanted for the cover & I offered to give it a shot. I adapted the drawing from existing artwork in a very old edition of one of the Oz books. That cover was put together very amateurishly... drawing, photocopying, cutting & pasting, pen and colored pencils. If you look closely you can even see shadows from some of the elements I didn't paste down that well.

Who were some of your artistic inspirations?

My tastes always change. Years ago I was heavily into the style of ancient Christian artwork… old kinda pre-gothic, flat, two-dimensional stuff. I really got into the Dada movement.. like with half person, half machine stuff... I actually drew the cover for the Electro Static Orchestra CD with that in mind. I’ve gotten heavily into classic stuff from Lautrec, Van Gogh, and French Impressionism like Degas. I’m a huge fan of the portraits of Lucian Freud… they’re extremely realistic, yet subtly twisted. The list is endless.

Your art seems so much different from your music... much more restrained, it seems. What is your painting philosophy?

"Walleye"

It’s funny, I’ve tried to do some “out there” stuff, but at the moment that style just doesn’t come naturally. For a while I thought I’d take a stab at creating “brutal” album covers for bands, but that’s not me. I gravitate towards plates of food and animal portraits. Painting is therapeutic for me, very zen. Any form of art (music, painting, or otherwise) won’t come out well if it’s forced, or contrived. My natural tendency with painting is to represent the subject relatively realistically, although I take liberties with composition and detail, but I think that should be the case with any decent painting. I chose subjects that inspire me, or things that simply amuse me. So, if any band wants a stack of pancakes or an ostrich on their cover, instead of zombies, then they should hit me up.

Have you ever considered doing an art book in the same vein as BLLLEEEAAARGGUH! ? A series of quick paintings?

No, but that’s an awesome idea. If I do it, I’ll give you credit for the concept.

What happened with Slap A Ham? Why did you stop the label? And also with Spazz? Was it just not fun anymore? Did the internet do you in?

With Slap A Ham, there were several reasons. The initial reason was financial. I was losing way too much money and went deep into debt. The label was always supposed to be fun, and being deep in debt isn’t fun. After 9/11, everyone stopped buying everything, even in underground circles strangely enough. People were starting to copy CDs pretty heavily because it was so easy by that point, but it wasn’t nearly like it is now, where you can find any new release and download files for free just by searching underground music blogs. But despite the financial impact, I also felt like “it was time”. Slap A Ham had run its course. When I started the label in 1989, the whole point was to put out music I liked, especially by bands who I felt weren’t being recognized. All of those early Slap A Ham bands ended up getting more popular, and more labels jumped on the wagon and started releasing that type of music. By the time I folded the label around 2001, there was a glut of fastcore/power violence/grind labels, and frankly a lot of the initial interest in that first wave of bands was all but dead (which has since seen a resurgence).

As for Spazz, we broke up because I was moving to LA. Max & Dan were still in the SF Bay Area. Living 400 miles apart was not going to work. And again, much like the label, it really felt like “it was time”. We had accomplished a lot in 8 years... we released a ridiculous number of records, and had toured the US and Japan. I think if we had kept it going, we would have just kept putting out the same record over and over, and that didn’t sound like much fun. We’re probably better off having quit at our “peak”, rather than dragging it on and on until everyone just got sick of us.

Do you know the other Chris Dodge, the street librarian from the Utne Reader? ;D

We contacted each other a few times in the 90s. Frequently, people would mistake us for each other. He was a really cool guy and we both got a kick out of people mixing us up (at least I think he did). The first time I heard of him was when a friend said, “Hey, I saw you’re speaking at the zine convention in Chicago” and I had no idea what he was talking about. I think at some point I sent him a Spazz shirt, and he posted some photos of himself wearing it, just to help add to the confusion.

Speaking of guys with the same name, an even funnier story is back in the mid-90s when the annual Slap A Ham Fiesta Grande shows were in full swing. My phone number was always unlisted, and apparently a lot of people looked me up in the phone book and tried calling me. There was one Fiesta Grande where someone from out of town came up to me and said they called 411 in San Francisco asking for the number for Chris Dodge. They called the number and amp; asked the guy who answered some questions about Fiesta Grande. The guy got really mad and started yelling something along the lines of “I don’t know who all you people are who keep calling, but I don’t know anything you’re talking about, and you need to leave me alone!” Ha!

What project are you currently working on? You have any shows coming up?

Bleeaaurrggghh! and Son of
Bleeaaurrggghh! reviews in NNN #4, Apr. 1995

I have a lot cooking. I'm recording some new tracks this week with Low Threat Profile. I’ve been playing with Lack Of Interest for a while, and I have some recording to do with them, but I’ll be stepping down soon. I'm also stepping away from my duties in Despise You. They're setting up more touring and I just can't do it. Matt from Infest, Bob from LOI, and I (basically Low Threat Profile) are also working on a D-Beat recording project called Termination Machine. I make noise here and there, lots of various collaborations, but mainly with Bacteria Cult. No live shows planned, and I’d like to keep it that way. I’m getting to be a sappy, middle-aged family guy, and I don’t like being away from home so much, so my activities with touring bands, or even playing out locally will be much less frequent. Otherwise I’m painting as much as I can, and trying to get my artwork out there as much as possible.

Have you considered getting into multi-media work (art and music together)?

Not really. It would be a great idea though. Not sure I have the patience to put it together, and that sort of thing rarely appeals to more than a handful of people, but that is what “art” is all about most of the time, eh?

Thanks again for the interview!

Thanks for your time and interest. Much appreciated.

chrisdodge@chrisdodge.org

The Raveonettes

noreply@blogger.com (josh medsker) — Sat, 31 Dec 2011 01:21:00 +0000

The Raveonettes are a Danish rock n roll duo, Sharin Foo and Sune Rose Wagner (plus a revolving door of guests). They've been cranking out tasty fuzzed-out tunes with a surf rock/goth/rocknroll flavor since 2001. They recently released a new album Raven in the Grave, on Vice records (yep, the same people who do that swell magazine). I recently spoke with Sune via email about their recent goings-on. Put your hands together for the Raveonettes.

Interview by Josh Medsker

NNN: So on Pretty in Black, how was it working with Ronnie Spector, Mo Tucker, and Martin Rev? Heh, all those people sort of sum up your sound pretty well, huh?

SW: They certainly do. Well, what can I say, Mo took time out on her 60th birthday to work with us, Ronnie claimed she felt like she was 16 again and Martin was trying to break his keyboard with his fists. Pretty awesome.

LustLustLust seemed to be a synth-heavy affair. Do you guys see more of that in your future? This new record seems pretty dense, lots of guitars.

Actually there's no synths on Lust Lust Lust.

Oops! My bad. Not to be daft, but you guys are pretty unique these days, with your 50s rock influence. Why does that era of music grab you? Are there any bands out there right now that make you say, “I wish I’d have done that”?

I don't care about eras, I care about good songs. I love The Everly Brothers as much as I dig Springsteen. I wish I had done Arabia Mountain by The Black Lips.

I gotta say, I heard your version of “I Wanna Be Adored”, and I think I liked it better than the original, if that’s possible. I caught a sort, Lush, MBV vibe there… You guys are frequently labeled Shoegazers… What is it about the wash-of-guitars sound that grabs you?

Thank you. I don't consider our style shoegaze, it's much more surfy and fun. I like big spaces makes me wanna run.

What are your plans for new music? What treats can we expect on the next record?

Don't know yet, I just write music all the time and then we'll see what appeals to us. EP early next year and then full length later on in the year.

www.theraveonettes.com

Dave Van Ronk in Alaska

noreply@blogger.com (josh medsker) — Sat, 31 Dec 2011 01:20:00 +0000

Van Ronk in '98

I wrote this article a few days after going to see legendary folk/blues artist Dave Van Ronk with my friend Brendan. Brendan was the one who turned me on to, for lack of a better term, roots music. I had heard that Van Ronk's music was influential to early Dylan (as was his couch). I had no idea what I was in for, though. This show was special. Risking sounding corny, his performance has haunted me for years. At the time, I submitted this to our weekly newspaper, The Anchorage Press, where I was writing virtually a story a week... but they couldn't use it. It has traveled with me all of these years, and finally... here it is.

Dave Van Ronk

at Vagabond Blues

Palmer, Alaska 6/13/00

The café was brimming with a wide variety of people; from old hippies to young hippies, young kids and grizzly lookin’ Alaskan men, all of whom turned out to see veteran folk-blues artist Dave Van Ronk in the wilds of Palmer. Van Ronk participated in this year’s Midnight Sun Songwriter’s Camp, along with up-and-coming folkies Ellis Paul and Carrie Newcomer, in addition to playing shows in both Palmer and Anchorage. Van Ronk came out looking like a fisherman (or a member of the audience) with his flannel shirt, thick black-framed glasses, wide brimmed hat and baggy pants. He sat down on the stool, and began to play, starting off the evening with a rendition of Jelly Roll Morton’s classic jazz tune, “Alabama Bound”, in which he yowled and whispered his way through. After a few more numbers, Van Ronk told some anecdotes about his early career in New York’s Greenwich Village, in the late ‘50’s and early ‘60’s, and told stories about his friendships with old, rediscovered bluesmen such as Blind Gary Davis and Brownie McGhee, interspersing songs by each artist. Van Ronk had a commanding presence, and his stories were as entertaining as his songs. His gravely laugh, and engaging stories reminded me of an eccentric old uncle, sitting down to play in front of the family. He played a good mix of songs from throughout his career, including the title song from his 1976 “comeback” album, “Sunday Street”. His guitar picking was fantastic, with a soft-yet-abrasive dynamic, which applies to his singing style as well. Throughout the evening, Van Ronk displayed a mastery of many forms, such as folk, blues and even jazz. Van Ronk evoked the sounds of the Greenwich Village folk heyday, with Tom Paxton’s old tune “Did You See John Hurt?” and then ripped it up with scat singing on “Ace In The Hole”, and still made the whole set flow seamlessly. Unlike many of his early contemporaries, Van Ronk’s style is timeless, and his old recordings still sound fresh, even in this accelerated age. Van Ronk closed the show with the traditional blues tune, “St. James Infirmary”, which absolutely rocked. He swayed to the rhythm in his chair, and yelled out the lyrics, all the while pounding on the strings. It was hypnotic. He came back for an encore with “Four Strong Winds”, and did a final encore with a laid-back version of Billie Holliday’s “God Bless The Child”. Van Ronk made a beeline for the door directly after the show, and was found moments later smoking outside, and signing autographs. It was a great performance by a deservedly legendary artist.

Scott H. Biram

noreply@blogger.com (josh medsker) — Sat, 31 Dec 2011 01:20:00 +0000

"If they can sing without sounding like a big pussy, I like em."

Scott H. Biram is an Austin-based punkmetalcountry bad-ass, who has been rocking out, one-man-band style for more than a decade now. In the hallowed tradition of Joe Hill Louis, and Hasil Adkins, he plays all of the instruments himself, at the same time. Please enjoy.

Interview by Josh Medsker

What challenges do you face, being a one-man band? Do you ever get major calf cramps? Heh.

Well, over the years, especially when I was first starting out, it was really hard for me to get across to promoters and booking people that I wasn't just your average solo artist. They always assumed that I was just another lame ass singer songwriter guy who sat on a stool and strummed his guitar along with some cliche lyics about sitting down by the river picking flowers. Even after I signed with Bloodshot Records and obtained a high profile booking agent, the problem still existed. This made it hard to book me in any places other than coffee shops and dive bars that would often find a way to rip me off. It was hard to make them understand that I've got more balls and grit than most 3,4,5 piece rock bands.These days it's gotten quite a bit easier. I've been touring endlessly for the last 12 years, and really pushed through to another level. Now I mostly play in 200-500 capacity rock clubs and festivals all over the world. The other thing about being the only guy in the band is I have to write all the songs, move all the equipment, make all the plans, take the blame...But like I always say being on the road as a successful one man band is like having your own birthday party every night!..and yeah leg cramps.. all the time. My achilles tendons are starting to freeze up from driving the van and holding my feet in weird positions on stage for months at a time.

I saw that you once toured with Bob Log III. Was it a friendly rivalry on tour? It must be tough, with you guys being pretty much the only game in town, with this one-man-band thing.

Bob and I have been friends for a long time. I was just in France playing a festival with him a few weeks ago. We have a great time around each other. It's a humorous relationship for sure with plenty of mutual respect. As much as people like to compare us, we are really nothing alike musically. We might have a little of the same tastes as far as dirty vocals go, and we might both play from a blues based background but we are really nothing alike. People who think we sound alike need to study music a little closer. WE ARE
MOST DEFINITELY NOT THE ONLY ONE MAN BANDS IN TOWN.

There are hundreds if not thousands of OMBs out there! We just happen to be the ones that tour the most and get heard more often.I take this shit seriously and work my ass off trying to get the word out and make something of myself. I don't plan on dying off and fading into the shadows with no legacy. I know Seasick Steve is huge over in UK. My friend Legendary Tiger Man in Portugal is huge in Europe, and Rev. Beat Man that runs Voodoo Rhythm records over in Switzerland is a force to be reckoned with. OMBs have been around for years...I am, however, pretty damn proud to be one of the pioneers of my generation doing this One Man Band thing. Long live the One Man Band!!

Have you ever considered taking on a full band?

I've been in plenty of full bands since I was 13 years old. When The Black Diamond Heavies and I were touring alot a couple of years ago, we always jammed at the end of the show. People loved it, and I really enjoyed it too. So much that we recorded some songs together on my last record. My friend Matt Puryear, the drummer of Chili Cold Blood, and I have been jamming out in my studio for the last 10 months or so. He and a few friends of mine and I are planning to work up a metal band called Dawn in the next few months.

I've been asked by people if I started to do really well on a big label and they needed me to put together a band, would I? I said of course. My biggest problem is I'm picky when it comes to working with other musicians. And for now...shit's working out just fine as a One Man Band and the money ain't bad either when you don't have to split it. That's not to say I'm not already splitting it with booking agents, managers, labels, publishers and press agents...We'll see what happens with that full band thing eventually.

I like what you said about current bands not wanting to give it all on the vocals. Do you have any major vocal heroes?

Off the top of my head....Waylon Jennings, Merle Haggard, Leadbelly, Elvis, Danzig, Emmylou Harris, Bill Monroe, Paul Di Anno, Billy Gibbons...you name it..if they can sing without sounding like a big pussy...I like 'em.

You have said you grew up on the blues. How does the blues figure into your music? Thematically, musically, sonically…

My music is the blues.....with a couple country songs and metal songs thrown in. Really even those are the blues to me. The blues to me is the most heartfelt music there is. Especially when you get down to those old chain gang recordings. Those guys had nothing to lose anymore. They were at the deepest bottom there is. Real human emotion drips off of those recordings. And Lightnin' Hopkins...the coolest man who ever lived.

What bands are you digging at the moment? What gets the Biram stamp of approval?

Nothing. I've been sick of contemporary music for years now. I'm also sick of all the old records I used to listen to. Not because I don't like them, but because I've heard them so many times. When I'm in the van driving on tour.. I usually am listening to talk radio or 80s shit. You can hate on Steely Dan and Huey Lewis all you want but I love that shit. I know that'll probably make some people cringe but fuck them. I couldn't play what I play if I just skipped over the 80s. If you listen close enough you can hear some of that shit in there. As far as contemporary, the ones I listen to are usually friends of mine or just plain heavy duty metal. What gets my stamp of approval.. well first I don't think my say is really that important, but mostly bands and musicians who don't put up a fake image, bands who don't dress up in costumes, bands who don't suck.

What do we have to look forward to on your next record? You touring? You swinging through NYC?

I'll be in NYC this month!! I'm playing on CBS radio while I'm there which is pretty cool. Doing two shows in the area..The Mercury in Manhattan and The Rock Shop in Brooklyn. Also down in Asbury Park with my friends down at Asbury Lanes. I'll be touring nearly non stop (just as I have been doing for the last 12 years) to promote the new record. It's called Bad Ingredients and it will be released on October 11. We've been putting together some great things to make this one special including limited edition 7" singles with b-sides that won't be on the album, also I've already shot one video for my song "I Want My Mojo Back." and I'll be shooting one for "Born In Jail" next week. I'm pretty damn proud of what I've produced this time. I worked on it pretty hard. Even though it will be similar to my other records, showcasing all the different styles that I play, the songwriting and production have reached another level. Just like my late friend Steev The Sleeve Smith, I'm always looking up at the next mountain I gotta climb....when I get to the peak, I'll probably need to take a big piss too, so look out!! Ha Ha!!

http://www.scottbiram.com/

Phil Elverum

noreply@blogger.com (josh medsker) — Sat, 31 Dec 2011 01:19:00 +0000

Sadly, Phil did not pass
his audition for ZZ Top.

Since the mid-90s, Phil Elverum has been performing under the name The Microphones, and since 2003, Mt. Eerie. His work employs a variety of media. He is currently taking Mt. Eerie songs on the road, and has an art show hanging at a gallery in Anacortes, Wa., where he lives. I, like many others, found his work via The Microphones’ 2001 record, The Glow Pt. 2. He recently put out a multi-media journal/memoir/record called Dawn. Props to Phil for doing his own thing for so long.

Interview by Josh Medsker

So, what was the impetus for discarding The Microphones’ tag and starting Mt. Eerie? Is there a philosophical, artistic difference between the two?

That happened so long ago. The songs had gradually stopped being about recording and microphones and stuff and were more about locally oriented dark nature ideas. There's a mountain here called Mt. Erie. I wanted a more relevant umbrella. There is no firm distinction. It was a gradual morph from one thing into the next, as I continue to morph.

About your book, Dawn… Tell me about how it came about. You use mixed media in it… stories, photos, songs, etc… Was that the only way you could get the story told? How do you decide when to use which medium?

Painting: "Untitled (red ghost)"

It is actually primarily just my journal from a winter I spent in Norway. The songs are the songs I wrote while I was there. The pictures are pictures of the place. The drawings are also from my notebooks. It's just a document of a specific time and place and I wanted to include as much material as possible. It's a pretty weird object. Super personal. Like, maybe too personal.

What is it about Norway that fascinated you? (And by the way, have you ever been to Alaska?) How do your Scandinavian roots manifest themselves in your current work?

I've been to Alaska a few times. I want to go so much more. I had never been to Norway when I went there with the idea that I was moving there forever. I had this idea built up about the place that was pretty romantic. I was not disappointed really. It's an amazing place. I am fascinated by a landscape like that where the features are so dramatic and charismatic that the old cultures there were compelled to create elaborate mythologies (so many troll stories, pagan gods, waterfall spirits, talking mountains, etc.). It is similar to the over the top beauty here in Anacortes, but maybe even more intense. I didn't grow up with a bunch of Norwegian stuff around or anything. I don't know if there is any legitimate claim I can make on cultural roots beyond my last name. I think my ancestors were flatland farmers there anyway, not fjord warriors.

From 2009. The self-proclaimed
"best record" he's done w. Mt. Eerie.
Black metal fans love it.

You have “parts”, rather than albums, yes? (Mt. Eerie Pts. 6 and 7).

No, I have albums. But some ideas span multiple albums, hence the parts.

You have been doing this for a long time now. Are there any projects you just can’t seem to finish?

I kind of think it's all just one continuous project. "Mount Eerie" is this ambiguous big thing that will maybe never be done. All these songs. This unarticulated invisible mountain looming, slowly being sketched out via all these songs and pictures.

I see you are coming to Brooklyn in Sept. Do you have a plan of what you’ll do, or will you figure it out when you get here?

I have a plan. I'm playing with a small band. We are playing many new songs and some old ones. It is washy and round sounding.

Yes, exactly. No edges

I was also curious, what are you currently working on?

I'm in the middle of recording a new record. I haven't worked on it much for the summer though. I've been busy with a little touring and putting on a music festival and preparing the firewood supply for the winter and other projects.

What is the music festival you are putting together? :D

http://www.anacortesunknown.com/
It was called What The Heck? festival. But this summer was the 10th and final one. We're starting a new thing called the Anacortes Unknown Music Series. People can find out about it here:

Phil Online

www.pwelverumandsun.com/

Round sounding?

Legitimate Edgar (NNN Rewind!)

noreply@blogger.com (josh medsker) — Sat, 31 Dec 2011 01:18:00 +0000

Legitmate Edgar were a gloomy, Bauhaus-style goth/punk band. I always liked seeing "LE". Later, Nate moved to Portland, and James went awol, pretty much left the music scene. This was the very first interview, from the first issue of NNN. My cohort Tommy A-Tone and I got into a yelling match about the laugh track on this interview (hahaha!)

Enjoy a tasty slice of AK goth.

(From Noise Noise Noise #1, Dec. 1994)

Interview by Josh Medsker

I asked the guys in Legitimate Edgar to meet me at Denny's to do this interview. They were an hour late. The drummer Jake didn't come. Neither did guitarist Mike, but Nate and James showed up. Bassist James Wilkinson used to be in Humanoid Collapse with George Tomko member, J. Dexter.

So, why were you guys late?

Nate: I woke up a half-hour ago. James and I were at a party last night. I feel stiff, but not hung over.

When did Legitimate Edgar start?

Nate: We started at about this time last year, over Christmas break. We played our first show in March of'94. We wanted our first show to be exciting, so we took psychedelic drugs. But we can do an exciting show without drugs. I haven't taken any for 3 months. Your band... weren't you going by another Damned name?

We were called The School Bullies, for about a month. (The Doomed, and the School Bullies were other names used by British punk legends, The Damned).

Nate: I like The Damned's electronic stuff. I just bought the MCA singles on CD.

What do you guys sound like? I've never seen you play live.

James: We sound lethargic.

Nate: I don't think we do. Lethargic sounds like a negative word.

James: It sounds like that often enough for me to recognize it.

Nate: If it were up to me, we would have synthesizers.

James: I could get Justin to play...

Nate: The George Tomko guy? I like 80s rock, with synthesizers, like The Cure.

Are you guys having fun yet?

James: I don't like to tell people about what I like, because I like fucked up shit.

Nate: Someone said we sound like Agent Orange, because we do a surf/punk song in our shows.

James: And Bauhaus.

Nate: Somone once said I sound like Jim Morrison.

James: I liked the part in The Doors, where they drank the blood.

Ok, explain your hairdos.

James: I shaved my head. I wanted to be a monk. I hated the world. I wanted to give up the material world, and become a monk. Then I let it grow back. This is what turned out.

Nate: One of my friends, Shane, is leaving, so he cut my hair like this, at 5 in the morning.

What does the name Legitimate Edgar mean?

Nate: Have you ever read King Lear, by Shakespeare?

No.

Nate: Edmond was the illegitimate, evil son, and Edgar was the legitimate, good son.

So, you liked the concept of the fight between good and evil?

Nate: Yeah, but that's not what the band is about. We're not preaching.

What type of music do you like listening to?

Nate: Only Nick Cave. There's so much music, to fit any mood. I like what he says to me (laugh).

James: English new wave, The Cure, Psychedelic Furs, Samhain, Tori Amos. Another excellent band is Marilyn Manson. I know them, from Florida. We went to clubs, did drugs.

What do you guys do when you're not being Legitimate Edgar?

James: I can't tell you (laugh).

Nate: We indulge in the pleasures of the flesh! (laugh). I have a job. I'm the only one out of all of us that has a job. We work in the pizza industry. I deliver pizza. James used to make pizza. Jake makes pizza. You're not my friend unless you work for the pizza industry! (much laughter).

What are your plans for the future?

Nate: A rock opera, at the Out North Theater Co. on January 5.

James: I did a couple of shows with FSUNJIBLEABLEJE.

Nate: Didn't you used to hang out with those guys, for like a week?

No, just a day. (laugh).

James: We want Legitimate Edgar to last.

Nate: We'll pull a Damned. We'll be punk rock long enough to get synthesizers. I don't feel at home in the 90s. The 90s are too pretentious. In the 90s, people are trying to be cool. In the 80s, they just were.

James: The Psychedelic Furs looked like shit! The singer looked good, but the rest of the band looked like total cheeseballs! I want to tell you... Mike and I took photos. We have models. I have 3 models: Justin, Shelly, Melissa, and me. We go to dismal, visually barren places, forsaken landscapes, like the graveyard, and take show. The models have the apperance of death iteslf. Lifeless in person. Most people stay away from them, but I thiknk they are beautiful.

Which Anchorage bands do you hate? Who do you like?

Nate: I hate Tuesday Weld, and Swingset.They are all my friends, but I hate their music.

James: I like Tuesday Weld. Bands don't last that long here, so it's hard to tell. I like Bytet, FSUNJIBLEABLEJE, Cucumber Lang... they do Dead Kennedys songs.

I've never heard of them.

James: They don't get out much. Beefadelphia is an excellent hardcore band, but I don't like punk as much as I used to. Unless it has a wicked message to it. One of my favorite bands is Fear of God.

Any cheesy interview wrap-up things you want to say?

James: I want to be like Madonna. I want to marry Melissa and Justin, and go live in the city. (laugh).

Nate: I want to marry my friend from Sweden, and go live in the woods, and live off the land.

Naked?

Nate: Yeah, live in a treehouse and never see anyone...

James: We should start a death-rock commune! (laugh).

(From here on out, the interview deteriorates into even more disjointed conversation...)

For more info on "LE", and Anchorage punk bands, visit 90s Anchorage Alternaculture on Facebook.

The Mainliners (NNN Rewind!)

noreply@blogger.com (josh medsker) — Sat, 31 Dec 2011 01:17:00 +0000

I first saw these guys in late 1994, at the now-defunct Java Joint. They were a spazzy buncha teenagers, but they rocked out, weird-style. Sax, screaming, retarded dancing, they had it all. Nick J(ones) is now an up-and-coming playwright, finding success in NYC. Nick P(etumenos) lives in Alaska, and has found success with Alaska-based band, Pamyua. One of their satellite members, Aram Parker, recently passed away. So this goes out to him.

(From Noise Noise Noise #9, January 1996)

Zak: Guitars, Clever outfits

Nick J: Mouth, Tongue, Butter

Nick P: Guitars, Worms

Clark: Drums

Gabe: Guitars, Vocals, Sleaze

Chris: Sax

When did the Mainliners form? Who were the original members?

Nick J: Uh, in March. The end of last winter.

Nick P: We’re all the original members, except for Chris. Aram is our special guest.

How would you describe your sound?

Nick P: Whoooo…. I can’t think of an adjective.

Nick J: What would you describe it as? (Ed. Spazzy)

I guess a better question would be, where do you draw your ideas from?

Nick J: Prayers. We have a creative tap to the Maker. They mostly come to us by jamming.

Zak: We individually think of riffs, then smash them together.

Nick J: I can’t really sing, so I rely on the content of the lyrics, rather than how I sing the lyrics.

So, what, if anything, are you trying to say with your music?

Zak: Personal amusement.

Nick J: Just to try different things. I think a lot of it actually is, we have short attention spans. Doing one type of music just bores me.

Nick P: Taking aim really limits the places you can go.

What are your lyrics about?

Gabe: Our lyrics are about sickness. People on the end of their rope. Depravity.

Nick J: It’s hard to say. A lot of things are just spontaneous, like, you don’t know where they come from.

How did you come up with the name “The Mainliners”?

Nick J: Gabe picked it, maybe you should ask him.

Gabe: I picked it from a big list of names. Names we thought were depraved. We thought it had that “Fuck You” pizzazz.

Have you guys gotten a lot of shit about the name?

Nick J: Yeah. People say to us, “The Mainliners? Do you shoot drugs or something?” I just say, “So what if I do shoot drugs?”

Gabe: They kinda make fun of it, saying “I think I’m going to start a band called The Smack Shooters”.

Aram: Yeah, but those people are retarded.

What do you think of the local scene?

Gabe: Pretty half-assed, I think.

Nick P: It’s kinda a big joke.

Nick J: I’ve gotten to like Liquid Bandade a lot. That Friday show (2/19/96) was a lot of fun.

Gabe: I got into them last night too.

Why are you calling it quits?

Nick P: Certain people have a lack of enthusiasm at this time. We want time to practice other music, and not just music for this band.

For more info on The Mainliners and Anchorage punk, visit 90s Anchorage Alternaculture on Facebook.

Cucumber Lang (NNN Rewind!)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 16:52:00 +0000

Fred

Cucumber Lang was dynamic, funny, and loud. I always looked forward to a Cuc Lang show. Any given week at Gigs, you would be guaranteed to see: Fred in a dress, singing their lewd originals, such as, "I Fucked the Lord In The Back of my Ford" and their gonzo cover of Twisted Sister's "We're Not Gonna Take It".

(From Noise Noise Noise #5, May 1995)

Interview by Josh Medsker

When did Cucumber Lang start? Why did you get together?

Marina: May 13, 1994.

When was your first show?

Emily

Marina: April 1st, 1994. Why did we get together? I know why. Because we had a drumset Fred had bought and he asked me to drum in a band. (pause) You are not a very good interviewer.

How exactly would you describe your sound?

What do we sound like? We sound like shit!

Fred: We sound like you and me together.

Marina: We sound like a bunch of people who found their instruments and just picked them up.

What was the original lineup?

Marina: Me, Fred, and Egon. We got rid of him. Yesterday. It was a technical difficulty. He was too technical.

Fred: He cried. It was sad.

(Tavis, their roadie, says something. I flip him off.)

ALL: Don't say fuck to Tavis! Fuck you! Fuck you, you faggot! Why are your pants so tight?

So how did you get hooked up with Emily?

Fred: Emily? I moved in with her.

Emily: I saw him at the Java Joint, looking like a complete gaylord, in a tutu.

Marina: Remember that big Lollapalooza tour? On Thursday, we are playing with Rhythm Collision. You know, you are not a very good interviewer. Why don't you ask different questions, like... why is the sky blue?

Why is the sky blue?

Marina: Fuck off!

(To Marina) Why do you like Skate Death? (A local band, c. 1985)

Marina: They were the first live show I was. It was at The Metro. I was 6. What can I say?

Emily: Mine was TS Scream and Sonic Tractorhead at the Spenard Rec Center.

What trendy bandwagon are you guys on?

Marina: We want to be Green Day.

Emily: So many groupies!

Are you vegetarians, or what?

Marina: I'll eat anything.

Emily: I'm a janitor. I eat shit out of the garbage! Yesterday, I got a part of a cheesecake. And Beef Stroganoff! It was covered in coffee grounds. But there were two bites.

Anything you want people to know?

Fred: I'm straight up gay.

Emily: He's flamin!

For more info on Cucumber Lang, and Alaska punk, visit 90s Anchorage Alternaculture on Facebook.

Phillipino Haircut (NNN Rewind!)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 16:51:00 +0000

Live! at Gigs, 1995

Phillipino Haircut were pretty awesome. Noisy, raw, and full of youthful vigor (barfing on stage, cross-dressing, and so on...), they were a sure bet for a fun night out. They disintegrated when band members went off to do their own thing, join other bands, which is the running story for many bands of the time.

Chris Beavers- Guitars
Lanie Fletcher- Singing
Tavis- Drums
Justin Dexter- Guitars/Noise

(from Noise Noise Noise #3, March 1995)

Interview by Josh Medsker

"Dull scissors and blood, now everyone is happy"

What does the name Phillipino Haircut mean?

Lanie: It means castration. Sam Calhoun (ex singer) and Jake Carpenter (ex Swingset, Legitimate Edgar) were going out. Sam's mother asked her if they were having sex. She said no. Her mother said that if they ever did, she would give him a phillipino haircut.

When did you guys start? Who were the original members?

Tavis: (to Lanie) Wasn't it just you and Sam?

Lanie: When we first played, it was March '94. It was me (singing and bass), Sam (singing), Tavis (drums), Chris (guitar), a guy named Moose (keyboards), and Wyatt (dancer).

What happened? Why did they quit?

Tavis: Moose got booted out after the first show. His real name is Nate, but we call him Moose, because he's so stupid.

Lanie: Sam's not into practicing. She's into her boyfriend.

Justin: Cunt!

Tavis: Cunt!

So... what do you sound like. I've never seen you.

Justin: Classic rock! Led Zep doing rockabilly covers! We cover Hopscotch.

Justin, didn't you tell me that TC was going to be you guys' original bass player?

Lanie: No, he was going to play drums, but it never happened. We went through a lot of stages.

What do you mean?

Lanie: Our first show, we all wore dresses. We had this thing that we were the only all girl band in AK. We called ourselves Hopcrotch and all wore ties.

Tavis: After we kicked out Moose, we got James Wilkinson, star bassist for Legitimate Edgar. But we got rid of him, because he likes fucked-up shit.

Lanie: Justin's a lot funnier. He fits the personality of the band better. James was too morbid.

Tavis: And boring. We never conciously kicked him out. We stopped calling him.

Justin: Then Tavis had to leave for the summer of '94. So we got Richie Benivides (Green Eggs y Spam). He wanted to start a band with us. He played with us our fourth show. We changed our name to Richie and The Four Crazy Kites. But his necrophilia problem made us kick him out. Our last show at the Apokalypse, Jake played with us. It was a fucked up show. Every one quit that night. After that, we went to Homer. to wind down. A release.

Lanie: We went looking for the ganja.

Justin: I was looking for little hippie boys. After Homer, Trey began playing guitar with us, then Chris Mentos joined on drums. Then we played the Tug Bar in Wasilla. Then the infamous Mea Culpa show. This is the truth about the Mea Culpa show.

Lanie: It was the first time we had smacked out.

No. Really.

Justin: Mea Culpa was run like shit. The owner wasn't even there for the shows.

Lanie: Bourgeois.

Justin: It was just another example of turning "alternative" into silly bank.

Lanie: We didn't even get paid for it.

Justin: I fucking hate "scenes".

Why was it infamous?

Justin: Because we puked on the floor.

Who puked?

Justin: Everyone. Trey cleaned his up. Hey. Bmac thinks I'm Virgil!

The t-shirt.

Why did you guys puke?

Justin: We hated Mea Culpa.

Lanie: Everyone hated us. So we gave them what they wanted, a reason to hate us.

Justin: A song of ours, from the Richie and the Four Crazy Kites period, is on the new Mir Wird Schlecht compilation. The next issue of Mir Wird Schlecht and the tape will be out sometime this month. It features a sample issue of TryMe, a publication put out by Lanie.

What's in it?

Lanie: A collection of poems, pictures, and amusing anecdotes.

Justin: That brings us to the present.

Lil Chris: Yeah! Good old Justin, bringing us into the present!

What are your plans for the future?

Justin: Vogue!

For more info on Phil. Haircut and other Anchorage punk bands, visit 90s Anchorage Alternaculture on Facebook.

The Clap (NNN Rewind!)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 16:50:00 +0000

The Clap were the first local band I had heard (aside from the Drunk Poets, in highschool). Sloppy punk. I was sold. They didn't last too long. They split into the Toby camp and the McSpic camp. More on them in a bit.

Ron- Guitars, Singing
James- Bass
Chris- Drums

Interview by Josh Medsker

(from Noise Noise Noise #4, March 1995)

When did you guys start?

Ron: We started after Moodglo broke up, May '94. Me and Chris used to be in Moodglo with Justin, but we wanted to do more structured music, and Justin wanted to do more noise. A conflict of ideas. We were looking for a bass player. James had moved away to Texas, and came back, so we asked him if he'd like to play bass.

James: I started off playing a guitar, because we didn't have a bass. But when we got one, it all started coming together.

First show?

Ron: I was working at a car wash, July '94, and this guy who said he was throwing a party on hillside... Freedom '49 and Torque Daddy played also.

James: We sucked bad. Worse than now!

Ron: When we got there, it was pitch dark. The guy didn't know we were coming. Freedom '49 was playing in the garage. I really needed to get home. Some people liked us. They were all drunks. We never did get paid. They spent the money on beer.

James: That's the moral of this story. Don't play parties.

What is "The Clap" sound?

James: Some people say we're punk.

Ron: Upbeat, punky stuff.

James: Power pop! It's a moderate combo of punk/metal.

Ron: Chris and I write the faster ones.

James: I write the slower ones. Too many drugs.

So have any of you been vets of Anch. shows?

Ron: Chris and I, when we were with Justin, we played at PSI, and the Kincaid Bunker Show.

Do you guys dress up to play?

Ron: I do, but they don't. I stole some sequin outfits from West. I tried to get them to wear them.

Any horror stories?

James: At our first show, one of the guys from Torque Daddy was outside, ranting and raving about how we sucked, and how someone should slap our parents. And how we were little kids. We saw him later and he turned out to be a nice guy. Maybe he was just wasted.

What are your musical influences?

James: A lot of crap. Mainly crap. Nobody in particular.

Ron: Punk. It's all I listen to. It's what made me want to start playing guitar. Flipper too. Stuff that comes from the heart. I like blues too. Old players you never hear of.

James: Old crap. We'd like to be able to say Bad Religion, but we're not that good. They are tight.

Why do you play music?

Ron: It's fun. We're not doing it for popularity or attention. I wish there were more underage clubs, because it gives a better chance for more bands. Everyone in town seems to be in their thirties and listen to The Fox.

What local bands do you like? Not like?

Ron: Green Eggs y Spam. Apt. 6, when they were around.

James: Torque Daddy were nice, when they were sober. Freedom '49 were pretty good.

Ron: TC said something about me, at the bunker show [two years ago]. He said shouldn't be breaking my guitar, because my mom wouldn't buy me a new one. But I like Hopscotch.

James: I really haven't heard many local bands. I'm not familiar.

What are your plans musically, and otherwise?

Ron: Get more people interested.

James: To get our feet in the door.

You guys are on the new, one of a kind, Mir Wird Schlecht tape, sold almost exclusively at Thee Extreme, right?

Ron: No. We missed the dealine, but we'll tentatively be playing at the festival.

James: It won't be from our lack of wanting to play.

Ron: Those songs I gave you, to play on KRUA... "7-11" (sex on a pinball machine), "Politics", "Social Sluts" (I wrote it about girls. Alternative wanna-bes.) "Wouldn't it be neat, who are we going to hate this week". Our songs are whatever we think about at the time. The lyrics we might work on them for a month, or they might just come to us. "Drill" (a surf instrumental), "Right Wing" is about politics.

James: Even though we don't know anything. We're saying, there are politicians out there. And they suck.

For more info on The Clap, and Anchorage punk bands, visit 90s Anchorage Alternaculture on Facebook.

James "Moz" Brand of Oi! Punk Fanzine (NNN Rewind!)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 16:49:00 +0000

A recent pic of James/Moz.

James "Moz" Brand put out a bunch of issues of OiPunk in Anchorage, and was also in the pop-punk band, Pokey. He (and his writing) were always good-natured, and he had a good sense of humor. Chris from Pokey, and Rex were present during this interview too, which took place at Rex's shop, Thee Extreme.

Moz moved back to Houston after a year or two, and continued writing and playing music. He was a long-time Buddhist, as well. He recently passed away, young, at 34. What a fucking shame.

(from Noise Noise Noise #4, March 1995)

Interview by Josh Medsker

Ok, when did you start OiPunk fanzine, and why?

Moz: It started in Dec. '94, but the first issue came out in Jan. '95. Instead of sitting on my ass, and complaining about music, I decided to do something about it. So now people can complain about me.

Do you think that "punk is dead"? Do you wish it was?

Moz: Yes and no. In a sense. I don't think that anyone under 19 is a punk. They are too young. They weren't old enough to be there. It's like a 15-year old girl being a hippie. They could be a neo-hippie, or a neo-punk... The old scene is gone. The beliefs still hold true with a few people.

I don't believe in "punk" like it's a religion or a movement or something. I do believe in self-impowerment. But that's the only good vestige of original punk. Besides the music. Ok, enough about me, this is your interview. What do you think of the straight edge, uh, movement?

Moz: I think it was a great song, but for me, it never went past that.

What type of music are you... into?

Moz: Right now, I'm listening to The Fuck Boyz, The Queers, 30 Foot Fall. But my all-time favorite band/singer is Morrissey.

So, why did you decide to get a partner for your fanzine?

Moz: I've always wanted my zine to be more than just my zine. I want to be a fanzine that people can relate to. I don't think just one person can make that happen. I met this guy Chris. He was really good in bed, so I decided to use him.

Next question. Do you wear boxers or briefs? All the girls want to know!

Moz: Whatever smells best on my floor.

Any last words for all the kiddies in Green Day land?

Chris: Take off the backpacks! What in the hell is in those things?

Moz: If you ever need hot sex, my address is in the zine. So all the little girls, send me a photo. (10-90 years old only!)

Rex: I like my sister's friends. I keep 'em fresh in the fridge. I like to imagine myself with a uterus and a good set of ovaries.

For more info on zinesters from Anchorage, visit 90s Anchorage Alternaculture on Facebook.

James Online

Discography

Kaos AK (NNN Rewind!)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 16:48:00 +0000

Kaos AK! Heath (l) and Jason (r)

Kaos AK was always a good time. No frills punk. Messy, dirty, awesome. Keith immediately won me over when I saw his Damned t-shirt. This interview was conducted at Keith's house, during a party.

Keith- the drummer
Heath- the bass player
Jason- the guitarist

and introducing...
Ben- the mascot
(with Kristine and Jennifer)

(from Noise Noise Noise #4, April 1995)

Interview by Josh Medsker

How many of you are there?

Keith: Six.

When did you start?

Keith: Jason and I started 2 years ago. We had no bassist, but then we got Heath. He practiced for about a week. Then we played our first show.

Jason: We played at the Java Joke. We are banned from there, becauase...

Ben: Because we are drunks!

Jason: They wouldn't let us play naked.

Keith: Jimmy is a fuckhead.

Heath: The Java Joint let us play there twice, but they won't let us hang out there.

Keith, as a wee lad.

Did you guys really throw knives at the audience?

Keith: Our (ex) singer, Leo, threw knives into the audience, because he was loaded. Then his dick came out.

What do you sound like?

Ben: We sound like we want to offend you!

Keith: Garage rock n' roll. Old Replacements.

Jason: AC/DC with rad lyrics.

Why did you start playing?

Keith: I'm an angry kid.

Why are you angry?

Jason: Because the scene revolves around the Java Joint.

Keith: Because I'm tired of being shit on by teachers and grownups. Violence is a solution.

Do you mean physical violence?

Keith: Not senseless violence, but reaction to oppression.

Ben: We don't beat up other people, we beat up our friends. We want to disgust you! We are drunks!

Heath: I play because I want to get down and dirty. I'll play for no money.

What influences do you have?

Keith: Sex Pistols, Rudimentary Peni, because it was aggressive, and intelligent.

Jason: My musical influence is myself. Kaos AK.

Heath: Music.

Ben: I'm the mascot. I want to be the mascot, because I want to shit on you. I want to piss on you. I want to disgust you! We want to have shock value.

Jason: We want him there to disgust the audience, so they walk out on us. They don't deserve to hear us play.

Heath: Interviews are fucked up, because you can never say what you really mean.

The unused album cover. That's Ben's butthole.

Keith: I think it's more about a message than shock value, and this interview is becoming too meaningless. People need to think for themselves. Unfortunately, the only way to make them think is by pissing them off.

What local bands do you like?

Jason: Beefadelphia are cool, because they let us use their equipment. Green Eggs y Spam....

Heath: The Raping Scabs. They were Thanx a Million, with a different drummer.

Kristine: These guys are the new wave of punk rock. These guys are bad ass! I am a groupie. I am just drunk.

Keith: I'm loaded as well. Anyway, I like Thanx a Million, and Phillipino Haircut. That Elaine Suzanne Fletcher is the shits. She's cool.

What do you think of Green Day, The Offspring, new Bad Religion?

Heath: I don't think that because a band is making a lot of money that they have sold out. But I still don't realy like em.

Jason: I don't think Green Day is that bad, but other people do, because they didn't turn down "the money".

Keith: I think Green Day kicks ass! I've listened to them for close to 4 years. I saw them in Phoenix. They had a lot of energy. It was a 6 dollar show, they played for 90 minutes, and they were punk as fuck!

Do you have any questions you'd like to ask?

Heath: When is there gonna be a fucking place where we can play? Without getting kicked out.

Why don't you do shows in this garage?

Heath: We used to, but there's no heat. We'd have to clean it up.

Keith: My mommy would get mad! No, for real- she's buying my sister and brother and I this house, and we'll see where it goes from there.

Do you have any plans for the future? When is your next show?

Keith: No one will let us play, but I want record demos, and give them away, just because I want to be heard.

Jason: We'll do a show in the 4th and E park. We'll get loaded and make noise.

Keith: We'll put out fliers and shit. If the cops come, we'll kick their ass til they cuff us. But "silence is no reaction".

Any last comments?

Keith: Fuck you!

Heath: Eat a bag of dicks.

Jason: I'm gay.

For more info on Kaos AK, and other Anchorage punk bands, visit 90s Anchorage Alternaculture on Facebook.

Also, there are some MP3s of GFY, the next incarnation of the band, at Animal God.

Liquid Bandade (NNN Rewind!)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 16:47:00 +0000

The cover of their record, Hoist on Your Own Petard.

Liquid Bandade was probably my favorite local band. They had that thing that you can't put your finger on. Passion, humor, speed, and they just flat-out rocked. Trey and Rex had been long-time guys in the music scene, having been in FSUNJIBLEABLEJE together since the early 90s, and having run several warehouse performance spaces, when they brought in "the new guy", Craig. They are missed. Rex hates this interview. Hahaha! Sorry, Rex.

Rex- Bass/Vocals
Trey-Guitar/Vocals
Craig-Drums/Vocals

(From Noise Noise Noise #5, May 1995)

Interview by Josh Medsker

When did Liquid Bandade begin?

Trey: We began... ever since hospitals have been funded by the government. We figured, there's got to be corruption. We felt the need to address the issue. That's when the grain of Liquid Bandade was conceived. To cut it short, it's our version of hospital muzak.

Trey!

When was your first show?

Trey: Back in the early 90s.

Craig: Before the war.

How would you describe yourselves?

Craig: Bubble punk! Sanitized hospital music. Because hospitals are so clean, yet they're full of disease, and viruses, and death.

Trey: We are the Material Safety Data Sheet for the music industry. We are the OSHA suggestions. (Standards for job safety).

This doesn't make any sense!

Anchorage night out. I think it's Denny's. Maybe Village Inn.

Trey: Yes it does! You just have to understand FRIP. Even though this is all in a humorous context, we have serious content. And connotation. We address the issues we consider important. In a metaphorical way.

Who were the original members?

Trey: Justin (Phillipino Haircut), and Richie (Green Eggs y Spam) were in momentarily. Now it's just us.

Craig: The first show was a disaster. Richie was all drunk. It was fun.

(To all) What do you respect, musically and otherwise?

Trey: It takes a while for me to respect someone, because people don't...don't do things for a reason. They just have it pushed upon them by society. I see them as machines. There's like, no set of rules I can put into place, to say someone is a machine, it's just my own way of common sense.

Craig: I don't respect people that talk shit about other people or bands, then change their minds when other people think it's great (the band or whatever that's being talked shit about). Or people that try to coin themselves as being something. Like saying, they are "punk rock". It's like they are trying to define what they are, but it's pretty obvious what they are. They are fucks!

Rex!

Rex: We are going to have our music played in Seattle. And we are trying to keep our newest recordings at KRUA. I respect Sheila Wyne (local artist). She does big metal sculptures, mixed materials, it's great!

What local bands do you like?

Rex: Actually, I like The Clap. They aren't pretentious. If they keep it going, they have got a lot of good shows ahead of them. As far as any band I'd want to play with, I'd want to play with them. Cucumber Lang (and not just because Emily is in it). These are just the guitar-based bands. Pretty much anything associated with Closed Captioned, it goes unsaid.

Craig: Phillpino Haircut, Green Eggs y Spam, FSUNJIBLEABLEJE, The Clap, Freedom '49, Beefadelphia. Because they are very high energy bands, do their own thing, and certainly don't give a shit what people think. And they are the best shows in town I've seen. I won't talk shit about bands I don't like. I let all of the other people do it. (the people in town, not the band--nnn)

I know what bands RX and Trey have been in. What bands have you been in? Local or non-local.

Craig: When I lived in Soldotna, to cure the boredom, I had a band. Basically for something to do. The name was The Kevorkian Technicians.

Oh yeah! I heard about that!

Craig: The name was the thing I liked the best.

Trey: Weren't you going to play at Industry 13? (a long since closed Anch. warehouse/club).

Craig: It's a good thing I didn't. You'd have lost all respect for me. Also, for a short time (and to come again this winter) I was in Hungry Hungry Hippos, with Richie and Justin. Then I found the Bandade combination. From the first practice, I knew it was just right. The energy, the attitude... It was a great combination. Everything just feel into place. And I've learned a lot, and am learning a lot. Also, the friendship I have found. Sometime soon, I'll be in a new band, Shoko Asahara 666. That's the Japanese cult leader that gassed all those people. It should be a very good creation.

Who's in it?

Craig: Many different members of other bands.

www.liquidbandade.com

Videos of LB on GoogleVideos

For more info on Liquid Bandade and other Anchorage punk bands, visit 90s Anchorage Alternaculture on Facebook.

Rymodee of Bike Punk Chronicles (NNN Rewind!)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 04:23:00 +0000

Rymodee edited a great zine called The Bike Punk Chronicles, which was pretty much about what it sounds like. Bikes, punk rock, but also dumpster diving... and much more. Good luck trying to find a copy, though.

He went on to form the amazing, amazing, amazing band, This Bike is a Pipe Bomb, which sadly, as of early this year is no longer. But he is still making music, with T.B.I.A.P.B.'s Terry, down in the "lower 48". Good reading. Good guy.

(from Noise Noise Noise #5, May 1995)

Interview by Josh Medsker

Ok, what is your name?

I’m the editor of the Bike Punk Chronicles. In the magazine, I don’t allow anyone to use their real names. I don’t think it’s important. It seems like a lot of people “put their name” on their writings, just to show others that THEY wrote it.

So, where did Bike Punk Chronicles numbers 1 and 2 come out? (I didn’t see them here), and when?

1 and 2 came out in Pensacola, Florida. It started about a year ago.

So, is Bike Punk chronicling a Bike Punk Movement, or is it about you….the Bike Punk?

No, it’s not about me. Unfortunately, I had to write most of the articles for this new one. It’s mostly about bikes, but I wanted it to be in a “punk” context. Along the lines of DIY, not having to worry about full suspension.

So, what made you come up to Alaska? How long have you been here?

Since Oct. 20^th. I have a girlfriend I had to come see. I was called up here… a calling from God. Also, I think it’s purty in the summer. I came up last summer.

What do you think of Anchorage? The “scene”, I mean.

I think actually the scene is really nice. If you have a small scene, it’s friendlier, tighter. There are no cliques, no groups within groups, which I’ve always found completely disgusting.

So, have you noticed the lack of sidewalks in town? And the lack of bike lanes?

There are a few bike lanes. There are lots of good trails, except ten feet to the right of most trails, there is very rugged terrain, and some are along the edges of cliffs. Like the coastal trail, and going up to Mountain View.

Do you have any burning questions you want people to know?

(long pause) Uh, no. Ha! I’m a boring person.

When does your next issue come out? We are big fans.

I put out some ads. I don’t think it went really well. I have a compilation tape coming out with the next issue. It should be done by late June, mid-July. But it’s still only going to be a dollar. I just found a typewriter, so it (the new issue) promises to be cram packed full of stuff. I found a tape scam. It’s a Christian ministry, from Texas. They send me 15 free tapes, every two weeks, and I just copy over them. If you want to put a song on the bike comp, or contribute articles to Bike Punk, it has to be about bikes. Or any form of self propulsion.

Ok, here’s the big question. Why bikes?

I really have a deep-rooted affection for bicycles. I used to ride a skateboard, but I didn’t love it. And… I am disgusted with technology and smog and smoke, and computers, and modems, and fax machines. I see a lot of people in their cars, and it’s just a big ugly box that shoots out smoke. I think all vehicles should be banned, except for public transportation, or Greyhounds, for interstate travel. But for inner-city travel, I don’t think vehicles are necessary. It only adds to the smog and pollution.

So, are you a hippie?

No. But I think that if it weren’t for hippies, there wouldn’t have been any punks. Hippies almost got something done politically. Punks only got on MTV. Hippies just sell Volvos now. If hippies were still around, I would respect them. But now there’s just a bunch of 18-year old Dead-Head guys. It’s just not my bag.

What do you think of Maximum Rock n Roll and the New Punk?

I think it’s a beautiful thing that shouldn’t be worshipped. It’s just there, and it’s really nice. And I think MRR gets a bad rap. I really don’t think they deserve it. They have been around for so long, and they have done so much for whatever you want to call the “scene”, punk or post-punk.

REX- The cheerleader scene!

I fully support them. And I support cheerleaders.

Rymodee on MySpace

Sense from Nonsense (Review)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 04:22:00 +0000

Sense From Nonsense- The Dikeou Collection (Bandcamp Recs.)

A side project of the group Echo Beds. This made me giggle when I heard it. Very reminiscent of early industrial acts. This won't mean anything to non-Alaskans, but it sounded a lot like FSUN. There's a cello, drums, and a lot of sound effects and ambient noise. The first track is live. This was great. It's music to put on in the background while doing chores around the house. My cats and dog didn't know what the hell was going on. Hahaha! (Josh Medsker)

Echo Beds (Review)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 04:21:00 +0000

Echo Beds- An Agonist Revision of a Futilist Lament (Bandcamp Recs.)

These guys are pretty great. Minimalist noise from Denver, with one track featuring whispered vocoder-ized vocals and barely anything else. This is a 3-song album (ep?), available at Bandcamp.com... and it's name your price! Woot! (Josh Medsker)

Hopscotch (NNN Rewind!)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 04:18:00 +0000

Hopscotch, 1995. Snapped directly from NNN #4.
Lo-fi blogging, baby!

Hopscotch was one of my favorite local bands. They always put on a high-energy show, and the lead singer, T.C. had musical tastes that mirrored mine, except he was enamored with the Beatles, and I hated them (at the time). Rockabilly, surf, mod rock, punk... So good. They carried on until the late 90s, when T.C. called Hopscotch a day and went on to front similar groups such as The Tall Cool Ones, and The Ambition. He's now living in Ohio, rockin his 40s. Ken B. got married and lives in the Northwest. They had a revolving door policy on bass players. Hahaha! Enjoy a slice of AK rock n roll magic.

(from Noise Noise Noise #4, April 1995)

John (the new guy)- Bass
T. Christopher Ottinger- Vocals, Guitars
Ken Bodensteiner- Drums

Interview by Josh Medsker

When did Hopscotch start? Who were the original members?

Chris: The original line-up (June 1993) was Shawn Corey Campbell, Rick Kinsey, Andrea ?, and myself. Andrea was our backup singer. She was cool, but she didn’t fit the mode of the band. Shawn and Rick were on loan from another band. Shawn was undecided as to whether to stay in Trauma Groove or join Hopscotch. I tried to get him to be a full-time member, but I don’t think Trauma Groove is worth a hill of piss. Because Dylan Bucholt is in it. I like the other members of the band, but their music is ball-less! (sings a Trauma Groove song) “Words mean nothing….” That song sucks! And I need a beer.

Between June 1993 and December 1993, Hopscotch had 5 drummers and 8 bass players. Before we were going out as Hopscotch, we were called Rev. Jim’s Purple Passion (and other ones. –nnn). We had to play the same songs, because we couldn’t go changing the songs, the new bass players had to learn them. But, Hopscotch really wasn’t a band, till December 1993 when Ken joined us. He’s my best friend. I would have probably killed myself by now, if it wasn’t for Ken. I have nothing but respect for him. Sure I’m a jerk. I treat a lot of people like assholes, but I will not promote my band on KRUA. All local original musicians have gotten in free at Hopscotch gigs. All through ’94 we’d have new bands, playing their first gigs, opening for us. If that’s not supporting local music, I don’t know what is. Some of them were better than us! Our policy has always been, if it’s a show that WE put together, all members of local media get in free. Anyone from KRUA, Mammoth Music, from fanzines to the Daily News, and as always, members of all original local bands. Cover bands take money away from the original songwriters, and the bands in town that write original music.

So what local music do you like?

Hopscotch, OK! Art by TC Ottinger.

Chris: I will always thank Trey (Green Eggs y Spam, FSUN, Liquid Bandade) for letting us play at his warehouses, but it pisses me off that Green Eggs and Spam fucked it [up] for everyone else. I like Green Eggs y Spam. In fact, I’ll take them over Sleeve, or T.S. Scream, because it’s RAW music. I don’t like people that go to school to learn and read music. Music is something that should be felt, not read. I am a classically-trained trombonist. But I won’t play in an orchestra, because that would just be another COVER BAND! If you don’t like me, don’t just dislike Hopscotch because of it. We have the best stage show in town! When John joined our band, a friend of his said “Oh, you’re selling out. You’re joining Hopscotch.” The best 3 bands in town are: Tuesday Weld, Freedom ’49, and Dr. Zaius. Then after that, it would be: Phillipino Haircut (because they are raw), George Tomko, Cucumber Lang, and Sleeve. Also, when Green Eggs y Spam play, they look like they are having fun on stage, but not with Sleeve.

The best band that “never was”, is Middle Finger. They were the best band I’d seen. Mike Fleck is a good guitarist. He was the best thing about The Drunk Poets. And The Field would be much better if they didn’t try to be The Drunk Poets Jr. (what a disgusting thought.—nnn). And didn’t try to pass off Replacements songs as their own. The WORST band in this town is…The Lobbyists. It’s just pussy music! I love every band in this town, except for two, The Lobbyists, and The Drunk Poets. I will freely tell you that, on the microphone, at our shows. Hopscotch isn’t doing anything new! But we know it! They think they are fucking great! They play 7 minute pussy songs, and we play 2 ½ minute shitty songs. I’ve got one thing to say to Chris Watkins (singer for The Drunk Poets)—get out of Alaska! Go experience life, instead of writing about what you read in books!

I do think he’s a good songwriter, but he’s not “better than Bob Dylan”! They all have rock-star syndrome. Except for Kristian, the drummer.

What’s your favorite color?

Chris: Red. But I don’t have any clothing that’s red. I like black clothes. I went through a Goth phase, back in ’85, for two weeks. Then I realized how stupid I looked. I’m a happy person. I only get depressed about politics, and when someone is telling me how great some new band on MTV is. But if Hopscotch got on MTV, I’d have no problem with it. I’m a whore. I need a new car.

What music do you draw inspiration from?

Chris: Surf/garage music. We have a couple of surf/spy songs. I really like garagey music, less than 2 ½ minutes long. If a song is more than 2 ½ minutes long, it doesn’t deserve to be played live.

How do you get that great reverb guitar sound?

Chris: On my red Rickenbacker, there’s no tremolo bar, but on the white Rickenbacker, I play through a tube amp, with reverb control, and a tremolo pedal.

(Chris starts Kung-Fu fighting. This is my cue to leave…)

This part of the Hopscotch interview was conducted several days earlier, at Thee Extreme, in downtown Anchorage. Ken was the only band member present.

Rex: (owner of Thee Extreme, local icon) What do you think of TC’s comments about Green Eggs y Spam?

Ken: I can see his point of view, and everyone else’s point of view, BUT let’s be honest. Cyn City (Midnight Express) couldn’t give a fuck about local music. The people who run it love Lynrd Skynrd, and Led Zeppelin, and Garth Brooks. Plus, they are oblivious to the fact that the techno music they play is 3 years old.

I hear there’s a Hopscotch World Tour?

Hopscotch, with new bass player: TC, Pat, Ken.

Ken: In full effect, boyee! Biatch! There’s two venues so far. The Java Joint, and The Capn’s Club. The 5^th, we’re playing at this new place opening up. Next to the Hub. And then there’s a gig on the 6^th at Sweet Vivian’s (next to Chilkoot Charlie’s). It’s run by the same people.

Ok, Ken? When was your first time? All the girls are dying to know.

Ken: I was in the 7^th grade, she was in the 11^th grade. She took me to her prom. She had a pimply ass.

What local bands do you like?

Ken: I like all of them.

Are you serious?

Ken: I love all local original music.

What do you think of the Anch. Press?

Ken: Well, if you’re a bar or restaurant, it’s a great place to put an ad. It’s great for what it is. Hopscotch will open for any local band! But people hate us. Everyone rags on TC, hoping he’ll respond, and give them press. Hey, any publicity is good publicity, baby! Hopscotch plays at least 3 times a month, TC writes for the Quip and the Northern Light (the UAA paper—nnn), and he’s on the air all the time…

For more info on punk, rock n roll, and etc. etc. from Alaska, visit the:
90s Anchorage Alternaculture Facebook Page

McSpic (NNN Rewind!)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 04:16:00 +0000

"The spirits got me belly and there's a fire me culo!" Art by Brendan Price

Rising from the ashes of The Clap was McSpic. The only ska-punk band I could really stand at the time, except maybe Rancid. It helped that Ron, Brendan, and Tavis (and later, Ace) were all stand-up guys, and wrote great tunes. This interview was, in fact, how I met Brendan... who became a frequent Josh Medsker collaborator over the years, not to mention one of my closest friends. Viva McSpic!

(from Noise Noise Noise #7, Nov. 1995)

Ron- Basses/Vox
Brendan- Guitars/Vox
Tavis- Drums

Interview by Josh Medsker

When did you start McSpic?
Ron: It started about 3 months ago, when I got back from Seattle. It was a joint venture between Brendan and I. I had just broken up The Clap.

Why?
Ron: Musical differences, and drugs. I didn’t want to play that grungy punk rip-off type stuff anymore. I was getting tired of it. Also, the other Clap members were doing drugs. It got annoying to me, because it affects you, when the other two members are coming to practice all stoned.

How did you come up with the name McSpic?
Brendan: His girlfriend was watching a McDonald’s commercial!

Ron: I would say a word, and then Brendan would say a word…

Brendan: We came up with Mexican Crisis Corner…etc…

How would you describe McSpic, musically?
Ron: Ska and blues inspired. Brendan’s the blues side.

Brendan: It comes from my mother.

Are you going to bring in more instruments?
Brendan: We’re throwing the idea around about an accordion player.

No shit, Seriously?

Brendan: No.

You bastard! So what instruments do you use right now?

Brendan: Kazoos! It’s all done on kazoos!

Ron: Just drums, bass, and slight distortion on guitar. And hopefully later, more percussion-oriented shit, like conga drums.

Brendan: I’d like a record scratcher.

Ron: And the live drummer, IF HE EVER SHOWS UP! Bust mainly, just us two. We write the songs [Brendan: That make the whole world sing…] Brendan has written most of the lyrics, though. We trade off on vocals. It takes away that frontman shit.

Brendan: We try to just shut up, have fun, and play.

Ron: And not have anyone mosh.

Brendan: We are going to say before our shows that if anyone starts moshing, we’ll stop playing.

Ron: We’ll wait till they calm down. (a talk about McSpic hating the Anti-Common #3, a local band, and moshing.]

So do you guys do any covers?
Brendan: Tons of covers! We are trying to do old blues covers. We’re doing an Elmore James song. He’s an old blues slide guitarist. All those 60s rockers like Eric Clapton do covers of him. We are doing a Descendents song, “Hey Hey What Do Ya Say?”

Ron: And an Angry Samoans song, “They Saved Hitler’s Cock”.

Brendan: A Willie Dixon/Bo Diddley song called “Can’t Judge a Book By Its Cover”…

Ron: What others?... “It Hurts Me Too”, by Elmore James.

Brendan: We play a Desmond Dekker song that starts out slow, then
goes really fast.

Ron: Like an Oi!-type song.

So you aren’t going to play any Clap songs, huh?
Ron: No. [Then we went into a long talk about Ron’s past bands… Fuzzy Cleavage, Moodglo, The Clap, then…] Yeah, “Drill” was a Moodglo song that I brought into The Clap. It’s been described [note. By me!] as an Agent Orange, punk/surf type song.

Yeah, sorry. Every time the words punk and surf get mentioned together, Agent Orange is the first band people name off. So, are you afraid people will think you’re jumping on the ska bandwagon, now that Rancid, and the Bosstones, etc… are making it popular?
Ron: No, I don’t think so. We aren’t really part of that scene.

Brendan: We don’t come from that area. [We start talking about rude boys, and a black punk rocker we keep seeing here in town.]

Ron: The way we play our ska shit, we mix it with blues runs. You can tell it’s ska influenced, but it’s not like Operation Ivy, “go at it” type-stuff.

Brendan: I don’t think there’s shit for a scene up here. If you look at all of these poser faggot bands, they want to be just like all those So. Cal bands. And the thrashy metal bands, jumping on the punk bandwagon because of the look. They all wear those chain wallets, and homie pants. I think it’s really sad that nobody can be themselves up here and create their own scene. It’s like being in school still, with all the little cliques. I think now that they’ve left, maybe we can create a more original scene.

Do you think people will be offended by your name?
Brendan: They’re stupid if they are. If they get offended by it, they are just falling into our trap.

Ron: It’s just a word.

Brendan: If you get offended by it, you are probably just as closed-minded as everyone else. It should offend some of my mom’s friends. She hangs around with Irish folk musicians. The ones that play at the Java Joint?

Ron: My sister wanted us to change it to “Enchilada Whisky”, or something stupid like that. She doesn’t get the name.

I noticed it was on the “Punk Rock Night at GIGS” flyer?

Ron: We were supposed to play that show, but I thought it was for Halloween night. Turns out it was a week ago. I guess they moved it ahead. I didn’t really care.

Brendan: And that’s our first show!

It’s all a publicity stunt, isn’t it? Hey, do you see that fat bitch over there? She was one of my room-mates.
Ron: Really?

I hate her guts. I want to kill her. [They start talking about bondage masks, The Look, penis-head loincloths…]

Do you have any material recorded?

Brendan: Ah, no. We haven’t gone into the studio yet.

Ron: We want to pay for an hour, maybe, go in and record four songs, and make a record.

Ska ska ska!--Desmond Dekker

You aren’t going to record on 98 channels?
Ron: No no no, just 4-track shit.

Brendan: We are going for the Yes thing, you know, 78 channels, with 24 tracks of vocals, and then 50 tracks of guitar solos… and make it 20 minutes long.
Ron: Tommy!

Brendan: Our Ska Opera!

Ron: We want to record an EP…and send it to some little shit record label. To see if they like it. Moon Records, and Radical Records specialize in ska.

Are you going to get it played on KRUA?
Ron: Yeah, I’ll give it to Craig, the drummer for Liquid Bandade. He will play it. He always plays Phillipino Haircut!

Do you do any straight songs, like non-ska?

Ron: We have an instrumental called “Spanky”, that one that you said could almost be a surf song. “Sailor Song”.

Brendan: I’ve never been on stage before. I didn’t even want to be in school plays.

What are you going to wear for your first show?
Brendan: I was thinking about wearing a jumpsuit, and a fishing cap.

What are your lyrics about?
Ron: Funny stories. Things we like.

Brendan: I’m going to write a song about a toilet, but I don’t know if we’ll use it.

Ron: One is called “We’re All Just Cattle (or Animosity)”. The way the system is run, it’s just a bunch of white males, sitting on their asses, following these bullshit laws that should be changed.

Brendan: They just do what they are told. I don’t think anyone really cares anymore. It was that way [the gov’t] back in the 70s! Now it’s my turn to bitch about it. About how crappy we see our lives.

When you are done bitching, what are you going to do about it?

Brendan: (pause) Willie Dixon wrote songs, and sent them to politicians. I want to do that.

Did he really?

Brendan: He wrote one song called “It Don’t Make No Sense If You Can’t Make Peace”, and sent it to all the Representatives. This was in 1980. On a couple of GIGS posters I’m drawing, I’m going to make fun of Don Young, and Jerry Prevo.

Ron: Brendan did all of the Clap posters.

Brendan: I hate religion, because I don’t like the merging of church and state, and that is what it’s getting to nowadays. If you look at all the politics, it’s all revolving around Family Values bullshit. And how does Prevo get so much airtime on TV?

Ron: We just want a couple of songs to make you think [Brendan: If we can.] then the rest… dance, baby, dance! Skank it, baby!

Brendan: We both had Catholic upbringings, and we both find complete dislike and discomfort in them. My dad’s a hick drunkard from Kentucky.

Ron: My dad’s just a cock. He’s an asshole, spanish bastard.

Brendan: I grew up with my parents listening to Neil Diamond crap, The Mamas and the Papas… I had to find all of my own music. I heard Cream’s stuff. Not Eric Clapton, and his bullshit solos and shit. And I went back and found out who influenced them, like Muddy Waters… then I went back even further and found Arthur Crudup and Charley Patton…

Who?

Brendan: Arthur Crudup, he’s fucking great! (sings a tune)

Ron: If we re-do all of these old songs no one knows about, we’ll bring something new to people.

Brendan: Yeah, maybe they’ll go check it out. I love this stuff. All of this music popular now has no roots, doesn’t pay any debts, you know? Like Pearl Jam was influenced by Neil Young, but they never bothered to go back and find out what Neil Young was influenced by.

Yeah, they just copied the sound.

Brendan: I’d like to bring that up here, maybe open someone’s eyes. I like Jack Bruce a lot, the bass player for Cream. I wrote him an invitation to my 16^th birthday party, and he sent me back a signed CD. He wrote most of the music. Eric Clapton didn’t do shit. But that’s as close to buttrock as I get.

For more info on 90s Anchorage punk, ska, what-have-you, visit the
90s Anchorage Alternaculture Facebook Page

FUBAR (NNN Rewind!)

noreply@blogger.com (josh medsker) — Fri, 30 Dec 2011 04:14:00 +0000

I used to work at an espresso bar inside Fred Meyers, with Jason and his mom. (Heh). I got to knowJustin and Luke a little over the years also. All the fellas in this band were nice guys. They were someof the youngest kids in the scene. In fact, I seem to remember that they were all right out of HS Anyway, FUBAR was a neat punk/rock/alt band. Enjoy!

FUBAR (From Noise Noise Noise #10, Aug. 1996)

Justin-Gits

Jason-Drums

Jeff-Bass

Luke-Vocals

So did you name your band after the Aerosmith song?

Justin: At the end of our first practice, I said “man, we’re FUBAR”.

When did you guys play your first show?

Justin: At our high school, for music appreciation week. In January.

Jason: We’d only been together for a week.

Jeff: It sucked. We only played 4 songs.

Justin: We totally lost it.

Luke: Then we played “The Happy Song”.

What’s “The Happy Song”?

Justin: It’s a song I wrote, then Jason wrote the lyrics.

How would you describe FUBAR’s music?

Luke: A little bit of everything… We don’t want to be labeled. I’m sick of the whole labeling thing. I think if people like the music, that should be the end of it.

What are your lyrics about?

Justin: Every time we play, Luke changes the lyrics.

Jason: I have all the “root lyrics” to all the songs.

Justin: But if you change the lyrics, they don’t mean shit.

Luke: I change the lyrics a lot. But they still mean the same in the end.

Jeff: Ha, but you can’t sing along with them!

Jason: Personally, it’s dealing with life situations. It kinda gives the crowd a feeling of “we’ve all got the same things to deal with”.

Jeff: People get fed [up] with music about religion…and politics. I mean, I like that music too… but you get sick of it. A lot of things, you really can’t relate to it.

Jason: A couple of songs are about kids going bad and not knowing what their parents want… and some are vice-versa.

What are some of your goals, as a band? And why did you start this band?

Justin: It’s just awesome being on stage. I remember one show… There was this drunk lady rolling around on stage, trying to grab me and Luke. All the time, I get shit like “You’re not gonna make it! You’re just chasing a dream!” Those people will be stuck in an office … some 9 to 5 job. I’m gonna do what I love, and send a message to those people. I’m gonna say “Fuck off!!!”

Luke: (My goal is to) live my life playing on stage. (Justin says over the top “to masturbate 8 times a day!”) My other goal is to be famous, but not rich.

Jeff: Why?

Art by Lukas Ketner

Luke: I just look at a lot of bands who became popular, and they’ve changed so much. Not all of them, but a lot of them. I like the people who don’t change because of their popularity.

Jason: My goal is to play good music, have a good band, and to have fun. When I was younger, I tried to get my friends to start bands… Then finally my best friend said, “face it, it’s never gonna happen”. Now I’ve stuck with it, and he didn’t, and he’s like a hanger-on. It pisses me off.

Jeff: (My goal is) to make something of myself… not be a loser. Maybe if I could change a few people, make them colorblind, I’d feel fulfilled. Also, not to be a showoff, but to improve my style. I mean, I am a showoff… but I’ve worked for it.

Last question… What do you guys think of the Sex Pistols reunion?

Justin: Bullshit

Jason: Bullshit

Jeff: Rock on! (Luke was nowhere to be found…)

For more 90s Anchorage punk/alt music info and history, check out:
90s Anchorage Alternaculture Facebook Group