D. Smith - Groping For Luna, Vol. 1

With the overwhelming amount of music we acquire on a weekly basis. It's become nearly impossible to gain a sense of intimacy with an album the way I used to.
That was until 'Groping For Luna' showed up in my mailbox.

On perhaps one of 2014's most surprising, out of nowhere releases of the year. D. Smith (Known to many as Dan Smith of Shirk Circus/The 65's)
gifts us sixteen songs that  give the singer songwriter bit a healthy kick in the gut.

'Groping for Luna Vol. 1' puts excellent songwriting, as well as a knack for storytelling in the spotlight. Each song shares a raw, honest and unflinching quality that is both haunting and real. It's hard to imagine songs that have this sense of darkness can also feel so beautiful and eloquent.

 From the muscular rock of Worst Case Scenario to the more restrained, folky
The Ballad of Squeaky Fromme. Smith approaches each song with enough grit, honesty and sin to earn the respect of anyone with  a soul to put on display. There were moments here where I felt Smith was channeling the great Bob Mould.  That somehow, there was a lost Husker Du album waiting to surface. From start to finish Groping for Luna felt like a record worthy of a sequel. Here is a record that makes me recall the days when an album, not just a song, but an entire album stuck with you and made for a conversation starter.
Not to be missed or overlooked. With the beginning of Al Crisafulli's Sugarblast Music..This very well might be the last we here from his long time label Dromedary Records for a while.
If that's the case. Dromedary may have left us with it's best release to date.
James Damion

Dromedary Records  Get it Here
Sugarblast Music  Also check out

United By Images; Archers of Loaf

While the 80's fueled my love for Hardcore and Punk music and the ethos I would come to live by till this day. I t was the 90's that expanded my taste in music while broadening my love of music and understanding and overall experience. Inspired by a long list of bands, including The Doughboys,
Big Drill Car, Velocity Girl, Small 23, Superchunk Mega City 4 and countless others. I was exposed to a world of varied music that, at the time and for me at least, went beyond the trappings of any set genre. One of those may bands during that time was Chapel Hill's Archers of Loaf. By the time I got wind of the band. I was already enthralled by what was happening in that particular college town of North Carolina. "Loaf" as I often called them, came at a time when bands like Superchunk and
Small 23 were already wearing out the reels of my tape deck. Along with the may flyers and posters
I had attained at Hoboken hot spot "Pier Platters" was my oversized one of the Archers playing live with their #1 fan Tracy Wilson rocking out all front and center. Looking back, I wish the original negatives I shot help up as well as my memories have. James Damion

The original poster I proudly displayed for years.
That's Tracy in mid Loafgasm at the bottom right.

Stuyvesant - Shmyvesant

Is it me, or do bands these days seem to take themselves way too serious. With all the competition, grabbing for press and campaigning for votes. The indie scene is beginning to look like it forgot to have fun.  Lucky for us we have Stuyvesant to balance things out by reminding everyone that making music is supposed to be a fun, creative outlet that makes everyone involved feel good and not worry about the daily pressures and bullshit life sends our way on a fairly daily basis. Like a reliable friend or a good, stiff drink. Stuyvesant never seem to let us down. Their music sticks with us through both the good times and the bad. They're always there to remind us of the good things. The simple pleasures. Whether it's through their hook laden melodies, their uplifting singalong choruses or maybe their incredible ability to allow us to be silly and just have fun, even it it's at their own expense. Each one of these qualities go a long way towards making Stuyvesant so accessible and endearing to those to us.

The bands latest, Shmyvesant marks Stuyvesants third full length release and the debut release for Al (Dromedary) Crisafulli's new label, Sugarblast Records. The record opens with Baby Bear.  A song that immediately puts the spotlight on those aforementioned hooks and melodies. More than ever before, I'm instantly reminded of how vital the combination of Sean Adams and Ralph Malanga's are to what makes this band so loved. As much as I've come to love their former bands Friends, Romans, Countrymen and Footstone.
It's nearly impossible to measure the improvement made when bringing the two together.
To say that they compliment one another would be, at the very least, an understatement.
The album seamlessly flows from one song to another, with tracks like Hellbent for Heather, Oatmeal Song, Shhh and Until You Came Around leading the way. Stuyvesant's effortless ability to create punk infused power pop melodies, hooks and sing along choruses make even the most jaded old curmudgeon sing along and dance with uncoordinated, wild abandon. Overall, Shmyvesant closes out a tough year on a high not and reminds us we we shouldn't rush to deliver those "Best of" lists. The more I listen and experience Stuyvesant. The more I realize how they are to the present what bands like Superchunk, Big Drill Car and ALL were to me in the 90's. Not a bad class to be included in if you ask me.
James Damion

Sugarblast Music  Get it Here

United By Images; Chambers (Old Love)

I was standing outside of ABC No Rio when I managed to start a conversation with Jim Testa of Jersey Beat. For whatever reason Jim seemed to know me. So when I enquired about the possibility of becoming a contributor. His response,
"We'll, I don't really cover much Hardcore."
though predictable, irked me. Looking back, I felt that somehow, a lot of people saw me as this one dimensional "Joe Hardcore" character more than twenty years after I last produced an issue of my short lived fanzine. One who was still referred to by many as James Unite. 

Regardless of any preconceived notions Jim might have had. I assured him that my interests in music lay far beyond that of any genre or sub genre labeling. Before long, my pestering paid off and Jim handed me my first assignment.
An interview with New Jersey Hardcore Metal act Chambers. While I had no prior knowledge of the band. I had their brand new album "Old Love" and two consecutive shows to help me get familiar. The first night I headed to Clifton's Dingbatz to see the band perform with the mind blowing
Tiger Flowers and a host of others.
What impressed me most about Chambers and singer Dan Pelic in particular, was how they took on the lazy son of a bitches who were too busy to leave the comfort zone of the bar. Chambers were one of the rare acts there, or anywhere else for that matter, to bring it to the crowd. Dan leaped from the comfort of the stage and got in the face of everyone while challenging those at the bar to make the price of admission worth a damn.
Before the end of the night. I had two new bands to cheer for and an interview set up for the next at Maxwells.

Aside from getting to experience some new music. The guys in Chambers were aces and the interview turned out to be the first of many collaborations with Jersey Beat and Jim Testa.
I also look at my interview with the band as a moment where my exposure to music and in particular, the NJ music scene began to broaden. Great thanks to Dan Pelic, Gregg Kautz and Vinnie Fiore for making my first assignment so enjoyable.
James Damion

Stuyvesant Says Goodbye to Maxwell's

Last night I dusted off my old bones and headed over to Maxwells just in time to catch my favorite Crunch Pop nerds Stuyvesant. As the closing of
this legendary club looms near, every day I've had the opportunity to reflect on my twenty plus years of  going to shows on 11th and Washington.

From my early days of taking the Path from Manhattan to see acts such as Helmet,
Big Drill Car,

Sunny Day Real Estate,
The Doughboys, Knapsack and Dahlia Seed. (Just to name a select few.) To my nights walking or riding my bike from my nearby digs in Hoboken. Maxwells, for me and many others has been about the people just as much as it's been about the music.
The waiters, waitresses, bartenders, door and sound peeps and of course
Todd Abramson.

Each and every one of them played a part in making Maxwells a special place.

In recent years I've grown very accustomed to seeing the band Stuyvesant play Maxwells.
It wouldn't be any stretch of the imagination to describe them as Maxwells house band or for lack of a better term
'house blend'. The two go hand in hand in that I just could not imagine experiencing either without feeling a sense of joy. Good music, good vibes, good people. What else can you ask for?

No matter how tired, busy or downright sweaty I had become in the days leading up to Stuyvesant's final Maxwells show. I knew in my heart of hearts that there wasn't anything that was going to keep me from making an appearance. Prior to arriving; I can honestly say I was not in the highest of spirits. Thankfully that mood changed as soon as I made my way through the doors.

As the band took the stage with an unfamiliar face setting up behind the drums. "Where's Pete?" I thought. Turns out it was Friends, Romans, Countrymen drummer Dan Murphy. Without skipping a beat the crowd was treated to a single song quickie of a reunion with a performance of 'Marry Me, Fly Free'.
After a few hugs and some high fives from friends and family Dan became one of the crowd and Pete Martinez  ascended to his proper place behind the skins. From there on it was all Stuyvesant all the time.

The band put on a spirited set that brought to mind many exemplary nights at Maxwell's. The energy from both the band and crowd were electric. I don't think anyone really wanted it to end. The fact that we wouldn't let them leave the stage after two encores proves that.
The band was unplugging their gear for what might have been the third time when the crowds chants were met by
"Don't you people have to go to work in the morning?" The truth is, we didn't care. With a new record due soon, I know I'll be seeing Stuyvesant again in the near future. It's just kind of sad knowing it won't be at Maxwells.

Special thanks go out to Ralph, Brian, Sean and Pete for making it such a fun night.
I appreciate their giving into my nerdy request to each sign their set list. One day that shit is going to put my kids through college. James Damion

An Interview with Jersey Beat's Jim Testa

Chances are, if you're from the Tri-state area and had even the slightest interest in local music over the last thirty years. You've more than likely heard of Jim Testa and Jersey Beat. His passion, dedication and longevity have earned him the love and respect of musicians and fans alike. In the Spring of 2010 I gingerly approached Jim at ABC No Rio about contributing to the site. Since then I've been an occasional contributor as both a photographer and writer. All the while, learning from a walking encyclopedia of music knowledge and love. Learning, each step of the way, how to carry myself when it came to doing my own blog. Last week I finally got to ask some of the questions that had been rattling around my head since that fateful day on the Lower East Side. Thanks to Jim for his time and what he's passed on to me over the past years. James Damion

James: You're someone that really needs no introduction. However, I would love to give our readers a little background on what you do. Can you fill us in on the origins of Jersey Beat and what you were setting out to accomplish when you started the first issue?

Photo of Jim Testa courtesy of Dan Bracalia

Jim Testa: One of my best friends at Rutgers,       Howard Wuelfing,  moved to Washington DC when we graduated and we kept in close touch.    Howard became involved in the very beginnings of the D.C. indie and hardcore scenes and started a fanzine called Discords.  (This was before there was even a Dischord Records.)  In the zine, he had scene reports  (this was years before Maximum Rock N Roll had the same idea)  from places like Minneapolis, Los Angeles, Chicago... and I became the columnist  from New Jersey, since I was involved in the early Hoboken scene at that time.   I called the column Jersey Beat, a pun on "Mersey Beat," which was a term used to describe the early Beatles (since Liverpool was on the Mersey River, and Hoboken was being called "the new Liverpool" back then.)  Long story short, Howard had to stop publishing his fanzine.  I was having so much fun doing the column that I just spun it off into a zine of its own and kept the name.  That was about April, 1982.

James: Fanzine culture was a lot different back then. Aside from writing for Discords, were there any fanzines, mags or rock writers that you particularly looked to for inspiration?
How would you describe your approach to writing the zine back then? Has that blueprint changed much in the thirty years you've been doing this?

Jim Testa: One of the things I think it's hard for people today to grasp is how small a community the zine/indie rock/college radio world was back in the Eighties. There were relatively few people involved and it seemed like we all knew each other.  I wrote for lots of other zines and magazines, including The Bob, Matter, Boston Rock, and for one issue (before it went bankrupt,) New York Rocker.  That was pretty common.  Steve Albini and Gerard Cosloy also wrote for Matter; try to imagine the three of us writing for the same publication today! Jim DeRogatis and Karen Schoemer wrote for Jersey Beat when they were still in college, then for Matter and The Bob, and eventually went pro;  Jim wound up at the Chicago Sun-Times and Karen wrote for Newsweek and the NY Times.

My two favorite writers were Lester Bangs (who died about a month before the first official issue of Jersey Beat came out, oddly enough) and Hunter Thompson, but they were such originals that I never considered them role models.  They influenced me to be passionate and creative, but in terms of style, my real hero was Jimmy Breslin, the hard-boiled newspaper columnist.  There's a famous story that at JFK's funeral, all the other press covered the ceremony and the Kennedy family and other politicians.   Breslin found the gravedigger who dug JFK's grave and talked to him.  That's the kind of angle I try to look for when I'm writing a story.  Try to look at the person or event and put a little spin on it.

My real guiding principle when I started Jersey Beat was that I'd write about anything that interested me.  In 1982, when all this started,  I was a regular at Maxwell's and writing about bands like the Bongos and Feelies, but I was also really into the early NJ hardcore scene and bands like Adrenalin OD.  There were a lot of great zines that kept a pretty narrow focus (like Al Quint's excellent Suburban Voice, which only covered hardcore and punk.)
I never wanted to do that.  Jersey Beat has always been about any and all kinds of music, which is why there was a "Quiet Corner" column for years about folksingers. In the Nineties, we had a ska column when that was hugely popular. We've had various people do metal columns over the years.  I really wish I had someone right now who was heavily into EDM and could cover that for us.

James: You're one of the many successes when it comes to people who came from the print age but managed to not only survive but thrive in the digital age. Did you see the writing on the wall? What was the transition like for you? Was there any gap between the last issue of Jersey Beat and Jersey Beat's online presence?

Jim Testa: Jersey Beat went online about as soon as it was humanly possible.
Don't forget, in 1982,  we had manual typewriters and scissors and rubber cement.
And our imaginations.  Luckily at work I got to work with personal computers from their first introduction as clunky DOS machines to Windows 3.0 to today. Jersey Beat had one of the first zine websites (I am pretty sure it was www.earthlink.net~jerseybeat.)  I acquired the JerseyBeat.com domain in 1997.

At first, since dial up was so slow and you could only use very minimal graphics and small photos, the website was really just an online advertisement for the print zine. But as it became easier and easier to put content online, the website became an adjunct to the print zine.  (Also we'd only do three print issues a year, so we could do live reviews and more timely stuff online in between print issues.) So there was never any sort of gap. I originally had every intention of doing at least one more print issue (which would have been #78) but time and circumstances just worked against me and I never got to do it. People always talk about Nirvana and Green Day changing mainstream culture, but the success of those bands really trickled down into the underground. Everybody was making money in the Nineties and labels like SST, Lookout, Epitaph, and so on put a lot of their profits back into the scene by supporting fanzines with advertising and promos. The loss of advertising hurt but what was even worse was the loss of distribution.  After See Hear (the fanzine store in the East Village) closed and then Tower shut down its distribution,  there was no way to sell zines except out of a backpack at shows.  So I was printing a thousand copies and giving away 950 of them, and maybe selling 50 by mail order.

James: In doing this blog I quickly realized that I can't be in more than one place at the same time. From working with you I've noticed you often cover more than one event in a day on your own. Between your day job, Jersey Beat, the podcast and every thing else, do you ever think that maybe your spreading yourself thin? Does it ever take a toll on your personal life and relationships?

Jim Testa: I think the secret of my longevity has been that  whenever I start feeling burnt out, I can take a step back and give myself a little time to recharge. Jersey Beat has never been my day job, in fact it's never been a source of income.
From the reputation I built doing the zine, I have been able to freelance for magazines and newspapers and that does bring in a little extra money, but I've never been so busy as a freelancer that it's intruded on my time.  My weekly radio show for BlowupRadio.com and AsburyMusic.com takes up a few hours a week, and that's mostly just downloading mp3s from music blogs and bands to play on the show.  Recording the actual show takes maybe two hours and I usually do that on the weekends.  I only do a podcast once a month or so so that doesn't take up much time. And I really don't go out to see bands - especially on weeknights - as often as I used to.

James: In all my years, I've not come across a single person with knowledge of Jersey Beat that didn't have the nicest things to say and share about you. Hard to fathom with the kind of work you do. How do you see yourself? A critic? A fan? A writer? Do you see yourself doing this ten, twenty years down the road? What do you think is the main characteristic responsible for your longevity and consistency?

Jim Testa: I'd probably put it in this order - writer / fan /critic.  Some people make music and it's what they do for a while; some people are musicians and it's who they are. Same with writing.  It's no secret that I am - even at my advanced age - still a huge fan and really enjoy seeing bands and listening to music.  And I'd like to think that after all these years, I have the perspective and taste to render intelligent commentary on it.

I recently recruited a new writer for JerseyBeat.com and he asked if he was allowed to write negative reviews since so much of the site was so positive.  That took me back a second, but I guess it's true.  The fact of the matter is that there is more music out there than there has ever been, and we can only write about a little bit of it.  So I do tend to focus on the good stuff - especially the things I do myself.
I think if you look through the site hard enough, you'll find a few negative reviews or at least some constructive criticism in there with all the raves.  I probably spew more venom on Twitter and Facebook these days if I have something negative to say or a snarky comment to make.  I really do look at those forms of social media as an extension of the zine, or at least of my role as a media critic.  If I'm going to be remembered, I guess I'd like it to be because people thought I was fair and passionate and cared not just about the music, but the people who create it and the fans who enjoy it.

James: I'm glad you mentioned that. I was talking to my blog partner Dave and mentioned how most of our reviews were very positive. I don't want to be mean or become a jaded critic; but in the same breath, I don't want our readers or the artists to think we're kissing ass or that we're push overs. His response was that we really don't have the energy and time to cover the things we really don't like. Your answer gave me a sense of comfort in that we're going about things the right way.


Jim Testa:  I would agree with that.  When I did Jersey Beat as a print zine, there were dozens of record reviews in every issue.  Most of them were shorter than what we print online, and there was a smaller pool of material to choose from, so we printed lots of snarky, funny, snotty, negative reviews.  Today, I just don't bother with something I know no one is going to like or care about, there's just too much music being created and pointed in our direction. And it's harder to get people to read it. Even at the height of the DIY movement, there were only maybe a dozen fanzines anybody really cared about. Today there are hundreds if not thousands of music blogs competing for attention.

Four Bands with Instantly Forgettable Names Play Memorable Sets at Maxwells

I've really been slipping when it comes to my show attendance. Finding more excuses to stay home and just listen to records or work on other things. No matter how much I love going out to  check out bands, bump in to some friends or better yet, make new ones.
The body and the mind need a change of pace sometimes.
Fast forward to last week when Jersey Beat's Jim Testa asked if I'd like to cover a night of Rock n' Roll at Maxwells. It was a nice night and the opportunity to stretch my legs and do a little experimenting with the camera was a good enough excuse to head out.

Ba Babes

Toms River native sons Ba Babes open the set and really helped to get the night off to a good start. Great Rock n Roll with a Garage vibe that had a nice driving edge. The set was short yet memorable. They've got a bunch of shows down in Asbury Park, Red Bank and Toms River towards the end of the month and will be heading down to Maryland in May so catch them if you can. Ba Babes Blog

Black Wine

Black Wine followed and the Jersey trio did not disappoint. Playing an impressive set of  kick the tires and light the fires Rock & Roll. Jim Testa had mentioned the band to me on numerous occasions so I was really eager to hear what he was talking about.
The band features Jeff Schroeck of The Ergs and has several releases under their belt including the self titled debut and 2011's 'Summer of Indifference'. You can go download their stuff here at their Bandcamp. Black Wine

Liquor Store

By the time Black Wine finished their set I was content and for the most part, ready to head home. Lucky for me I stopped myself and decided to see this thing through to the very end. I'm really I listened to that voice in the back of my head because Liquor Store brought the testosterone to another level. As the night had progressed the level of energy kept rising higher and higher and these guys really put on a show. The Jersey band is all rock bombast and swagger. Something you have to see in person and let wash over you. Liquor Store

Natural Child

As the night began to wind down and I readied for the nights headliner Natural Child I got into a conversation with a woman who sounded like she might have a promising future as a public relations or advertising guru. She talked up Natural Child as if they were the second coming of Christ. "They're really big right now and they're about to be huge." "They're going to be out on tour for a Really long time." "Think Country meets Classic Rock, The Blues and Sabbath." Now I'm no shit farmer but I know when someone's trying to sell me a truck of  horse manure. No offense to anyone but I kinda like to let people's recommendations blind my ears. Nashville's Natural Child took about half their set to convince me they were any more than a random touring band sweeping through town. The Country/Classic Rock influences were immediately apparent but the muddy bluest Sabbath didn't show itself until much later. I'm still kind of on the fence about these guys but will take some time to check out the disc that lovely lady handed me. All in all it was an excellent night. Busy Child

James Damion

The Brixton Riot - Palace Amusements

Upon hearing the name                   The Brixton Riot one might immediately think of the Clash or a bunch of working class greaser punks with cuffed black jeans and a pack of cigarettes rolled up in the sleeve of their white than white Hanes tee shirt. Pretty cool image but don't start pulling your union card out of your chain wallet just yet. When my old Facebook buddy Matt Horutz sent me a link to his bands new album I took it like any other solicitation to the blog. As some of you reviewers know, being sent a link to someone's band camp doesn't illicit the same excitement as actual hard copy has throughout the years. The fact that he put the bands new disc in the mail for me the same day was a pretty cool gesture.

Here is a record that immediately had me hooked. Instead of getting the Clash sound alike the bands name might have hinted I got what can easily be considered a Power Pop standout. One that instantly resonated with this listener and pretty much set the mood and pace for the rest of my day. On Palace Amusements this Jersey band delivers an album highlighted by excellent song structure, hooks and harmony matched with a certain Punk brattiness thrown in for good measure. There's a distinct warmth to the songs that feels honest and unforced. Think  Late 70's Power Pop meets 90's Pop Punk. I keep thinking the Replacements meet Pavement on the way to a Bouncing Souls show in Asbury Park. Check out the song "Ocean Avenue" if you have any doubts. The band will be playing a record release show at Maxwells with Eastern  Anchors, Roadside Graves & Lieder on March 23rd. Come out and go nuts. James Damion


The Brixton Riot  Band Site
The Brixton Riot  Facebook

Images From Killing Horse Records Second Anniversary Show at Maxell's 01/06/12

Though I had originally planned on writing a show review for the Killing Horse Records anniversary show, I just lost track of time. Instead I thought I'd go ahead and post some images and thoughts about the show. This was a not only a night of celebration for a label and the bands that call it home. It was a testament to the fact that we are in the midst of a thriving scene. When Dave and I started this blog I was looking for an energy and inspiration that Unite Fanzine was no longer giving me. At the time I had no idea just how much of that inspiration was about to hit me. Killing Horse Records and The Tiny Giants Artist Collective have given this blog and me personally, the fuel to not only do this, but fully enjoy and look forward to it.

Killing Horse has become a platform for some of the best bands and musicians in the area. 

They've helped foster a scene that continues to welcome new bands and inspire people to get involved and go to shows. They've recently signed the Nico Blues and plan on new releases in 2012 and beyond. The label is also a part of a growing community known as the "Tiny Giants Artist Collective". We look forward to the labels future success and growth. See you all at the next anniversary show.

James Damion

Michael Keefe Cicada Radio

Reed Adler The Nico Blues

Alan Gomez Invisible Lines

Producer Tom Unish with ¡No Pasaran!

Mike (KHR's) matches wits w/ Jay Monaco of Secret Country

The gang's all here

Killing Horse Records

Those Mockingbirds - Commercially Speaking

Here's a peak at the upcoming release of Those Mockingbirds - Fa So La to be released exclusively on Star Beat Music. You can pre-order the record Here. If you haven't heard Those Mockingbirds before you will definitely like what you here. If you are like me and you feel that Rock n' Roll needs a serious kick in it's currently soft ass, then this is the band for you. The following commercial stars frontman/guitarist Adam Bird (vocals, guitar)  and Tory Anne Daines. (violin, vocals, piano) The band is celebrating their record release with a show at Maxwell's Friday January 20th with Shayfer James and Birdhand. Be sure to come out celebrate. See you there. James Damion

Those Mockingbirds  Band
Star Beat Music Order the Record
Event  Show Details

U.B.R.S. Presents; The Very Best of 2011.

James and I decided that we would do a top ten lists for 2011 because we are super cool and know more about good music than you do (insert sarcasm). Dave G.

Well, Here is my 2011 best of list (Dave)…

• Void - Sessions LP (Dischord)
• Video - Leather Leather (Play Pinball Records)
• Night Fever - New Blood (released in 09 but new to me in 11)
• The Nolan Gate - Alchemy (self released)
• Night Birds - The Other Side of Darkness (Grave Mistake)
• Deep Sleep - Turn Me Off (Grave Mistake)
• Dark Ages - Can America Survive ( Sorry State Records)
• Omegas - Blasts of Lunacy ( Parts Unknown Records)
• Iroha - "End of an Era" (2011) Denovali Records
• Bad Influence - Wars No Fun 7" (reissue of 1983 demo on Who Cares Records)
• New Breed Tape Compilation Lp - (Wardance Records) 
• Double Negative - Hardcore Confusion Volume 1 and 2 - Sorry State Records 2011 
• American Dream - s/t Lp - (America Records 1984 - new to me in 2011 - reissue coming in 2012) 
• Foo Fighters - Wasting Light (good solid record all the way through - true professionals) 
• Blessed Offal ( best unsolicted demo submitted for review on my blog) 
• Bazillion Points Books for bringing us a steady stream of incredible books. 
• Hot Snakes - Live @ Maxwells Hoboken NJ ( Reiss and Fork what else could I ask for) 
• Chronic Sick Reissues on No Way Records - yeah they came out towards the end of 2010 but so what this is my list. 
• Killing Horse Records and Dromedary Records for supporting our local bands and releasing some damn fine records in 2011.

Label to soon celebrate its second anniversary.

Here's my shot at the title. James D.

Best releases of 2011

• Night Birds - The Other Side of Darkness (Grave Mistake)
• Double Negative - Hardcore Confusion Volume 1&2 (Sorry State Records)
• Those Mockingbirds - Fa Sol La (Star Beat Music)
• The Foo Fighters - Wasting Light (Nirvana who?)
• The Horrible Crowes - Elsie (SideOneDummy Records)
• ¡No Pasaran! - Porter in the Making (KillingHorse Records)
• The 65's - Strike Hard (Dromedary Records)
• Stuyvesant - Fret Sounds (Dromedary Records)
• My Rifle - S/T EP (Wardance Records)
• Invisible Lines - Wise Up (KillingHorse Records) (Released in 2010 but new to my ears.)
• Rival Schools - Pedals (Photo Finish Records)
• Holy City Zoo - S/T EP
• Ben Franklin - Urgency (KillingHorse Records)

Strike Hard!

Re-issues/Discography's

• New Breed Tape Compilation LP - 2X LP (Wardance Records)
• Void - Sessions (Dischord Records)
• Faith - Subject to Change (Dischord Records)
• Archers of Loaf - Icky Mettle (Merge Records)
• Resurrection - I am Not Discography (Deathwish Records)

New Breed's 1989 tape comp. Re-issued on Vinyl 

Shows;

• The Rye Coalition at Maxwells 02/19/11
• Seaweed at the Belle House 04/22/11
• Night Birds @ Kearny Irish 07/21/11
• Brick City Sound Riot Music Festival 09/16/11 - 09/18/11

The Rye Coalition at Brick City Sound Riot Music Fest 

Notables:

• The return of Wardance Records.
• The support of labels such as Killing Horse, Dromedary and Wardance.
• Working with Jim Testa and Jersey Beat.
• The Rise of the Tiny Giants Artist Collective.
• Double Decker Records (nuff said).

Rye Coalition - Live & in Person DVD

Back in January of 2010  I was already writing for Jersey Beat covering local shows, writing and above all taking lots and lots of pictures for the site.

One day I got an email from Jim asking if I'd like to cover Rye Coalitions one off reunion and 70th Birthday celebration of David and
Gregg Leto's Dad Jack. 

I was already dead set on going but had once again forgotten to get tickets. Covering the show meant I didn't need to hustle for one prior to the show. "Fuck Yeah" The band hadn't played in five years but truthfully 

I hadn't seen them since the 90's. That night at Maxwells was by far one of, if not the, most incredible shows I had been to in my life. Now, for the first time since we're able to experience it through more than some random memories and about a hundred or so photos.

"Live & in Person" features the entire set from that February 19th 2011 set. The footage is exceptional, capturing the energy, enthusiasm and raw intensity of the bands performance. As I watched it I felt the same chills I experienced that night. Though I have to admit it was a little more comfortable watching from home than being front center. Not having Ralph Cuseglio's sweat dripping all over my camera was a big plus. Bonus features include interviews with Maxwells booking guru Tod Abramson and a very animated Alap Momin (Dälek). There's also a trailer for the upcoming Rye documentary
"Story of the Hard Luck Five". The trailer itself is, for lack of a better description,
hair raising. If this doesn't make you wet….. I don't know what will. Whether you're a long time or casual fan of the band, this is a must….    James Damion


Buy it Here!

Hot Snakes and Rye Coalition Bring Mayhem to Hoboken.

As the days drew closer to the show I recalled a September conversation with Michael and Vic of Static Radio NJ about how stoked we were about the Hot Snakes coming to Maxwell's. Here was a band that was both releasing an album and embarking on a European Tour and all they could talk about was a distant Hot Snakes show. A month passed and with all that talk I forgot to get my ticket. Did I not for see the show selling out quicker than a Justin Bieber signing at an all girls junior high?      I don't know. The thing is I completely fail when it comes to getting advanced tickets to a show. So a few days before the show I begged Jim Testa to get me on the guest list by promising pictures, a story and my first born. Surprisingly, it worked.

It wasn't until the day of the show that I realized that Rye Coalition were also on the bill. Feeling as if my stomach was performing some kind of sick voodoo ritual, I thought to myself, "Shit, I don't know if i can handle this." Knowing full well that I was being counted on I sucked it up and headed out to meet my partner in crime Dave.

As we headed in I couldn't help but feel that there were a lot of friends missing in action.   No sign of Mike or Vic along with a lot of others I expected would surely be there.  I made my way up front to find a comfortable spot to get a few pics and enjoy a close and personal vibe. Before long I spotted some familiar faces including Jenni Matz, the woman behind the epic Rye Doc "The Hard Luck Five". All was well and before we knew it Rye Coalition launched into another unforgettable set.

The band launched into "One Daughter Hotter than One Thousand Suns" and never once let up from there. The bands energy and passion is boundless.
This was my third time seeing them this year; second time at Maxwells.
Thus matching the amount of times I saw them during their hey day. I can honestly say there are few bands that do it as well. Each time I've seen them they've had me come away with a new perspective on how a a band can perform at a peak level while also connecting with its audience on a personal level. After the set I ran into an old friend, Dave Sien who was electrified by the bands energy. As he tried to describe the look on guitarist Jon Gonell's face throughout the set, I intervened and said, "Possessed". That would be my best description of the bands entire set.

Before long it was time for Hot Snakes to take the stage.
It had been what, five years since the band was last active? Though I'd never seen them live I had all the records and was well versed when it came to their songs. As the group took stage I took a deep breath and readied myself for what I was about to witness.

The band quickly launched into "I Hate the Kids", "Gar Forgets His Insulin", "XOX" and "Who Died" from the album "Suicide Invoice".  Rick and Speedo firing away while Jsinclair and Gar kept the rhythm.
The pace was fierce to say the least. At one point I noticed my that voodoo that had been working on my stomach all day was either gone or had been reborn in my hips as I could hardly stand still. As the band closed their set the already vocal crowd demanded more. Within minutes the band launched in to an encore of around six songs. More than enough to let the band get out of Hoboken unscathed. All and all it was just another amazing night at Maxwells. Great running into so many friends and finally putting a face to face to some of my long time Facebook friends. Can't wait to do it again.
James Damion

Taking a Closer Look at KillingHorse Records Part I

In just a short time KillingHorse Records has managed to build a strong foundation and lasting reputation with a handful of incredible releases that have made an immediate impact on the New Jersey underground landscape and beyond. With releases from Ben Franklin (RIP),
Secret Country, Invisible Lines, Cicada Radio and ¡No Pasaran! the label is quickly establishing itself as a quiet giant on the independent music scene. As their releases become quick favorites I decided to ask Mike and Ryan about the labels origins and direction. Here's part one of my interview with the men behind the music. James Damion


James: You started Killing Horse in the midst of a fragile economy and at a time when a lot of record labels were on their last legs. What made you want to do this?

Mike: Our circle of friends became close because we all loved music. Where we are from, we are the music kids; a lot of us were in bands. We consumed records, talked about them incessantly and went to shows as much as we could. Seeing shows is where music became accessible to us, a lot of the bands we were seeing were smaller, young, and poor. They just got in a van, and made something happen, not only that, but they did it with a great attitude, they were generally psyched to see people from towns they weren't from at their shows. We would listen to bands like Black Flag, or Fugazi, and see how SST records, and Dischord did things, how anything could be done on your own, as long as you had the will and organization. We started noticing a lot the bands we liked were all on the same kinds of record labels, Like Merge or Sup Pop, labels that did things their own way and made things work. In the meantime we started our own bands, we would see our friends bust their ass to find a space to practice, put all their free time into writing songs, beg venue owners to let them play, and get all their friends to come see them. Then they would spend all their money to get a record made, they would have them sitting there in boxes in their bedroom or their apartment, and then the band would break up. They would be bummed that they had to look at this graveyard of unsold records that cost them all the money they had. Ryan and I had this vision, that we could take the knowledge we had from being in bands, working in the music industry, constantly listening to music, being passionate about our friends' music and the willingness to put some hard work into something despite expecting little return, and turn that into something that could benefit our group as a whole. If we could pool our resources and our contacts and let each other know about pitfalls, what worked and what didn't work. We could start a record label. We could do it with a realistic approach and set small goals for ourselves, so little by little, we could keep moving forward. For us the key is to keep our goals realistic and attainable, believe in ourselves, and do things that we like, we don't look at it as a way to get rich; we just want to be able help our friends continue to make music we want to listen to.


James: Tell me about your partnership with Ryan?


Mike: So Ryan and I are really close friends. We have a mutual respect for each other. Ryan is a quiet genius, the dude can play any instrument, and he’s a wiz with sound. When we started KHR, he was doing a great job producing and engineering records on his own out of the practice space he shares with ¡No Pasaran! and Secret Country. Between our friends he's our go to guy for anything that has to do with sound. Me on the other hand I'm different, I work at Maxwell's in Hoboken. I go to shows a lot; I'm talking to people in bands, booking agents, managers, and label reps on a regular basis. I am able to see what the needs are for people in bands. It really helps us grow our network of friends and like-minded people. I gravitate to anyone who has a DIY attitude about things, anyone who isn't trying to just make a quick buck. People who make decisions based on passion and their heart. Generally those are the people I want to hang out with, talk about music with, and ultimately work with. Also I'm a get-off-the-couch-and-go-do-something guy. When Ryan and I said to each other, “Hey dude- lets just start a record label”. We both knew that would actually happen.


James: How does the partnership work? Do you handle different parts of running things? Is there something you individually work on? 


Mike: Ryan generally does the technical stuff, if a band wants to record with us, he's available to do produce their record, like he did with ¡No Pasaran¡'s 'Porter In The Making". He manages the website, until we can get a nice professional one. He currently does the accounting stuff, handles the Inventory, talks to the Record manufacturers I do most of the PR stuff, work with the bloggers and the journalists. I work with our promotions team; we are constantly looking for new music. So that takes up a lot of time as well. I try to reach out to other venues whenever I'm out of town. However, we talk a lot and pick up the slack for each other when the other person is too busy.



James: My initial introduction to you and the label was through ¡No Pasaran! How did you hook up with them?

Mike: Well, let's see. Eric and I have been best friends since we were in 5th grade; we went to High school together played in bands together. Romel is from Kearny, NJ too, Just like Eric, Ryan, myself and a lot of the KHR bands. He's been in bands like Dog Tired and They Fought Back, local bands that were doing the same thing the KHR bands are doing now. It’s a bloodline that keeps going back. Those are the bands we saw play live, or looked at their 7 inches and said - I want to do that!  Tom, the drummer, was in the awesome Jersey City Band, The American Watercolor Movement (among a million other bands).  His musical taste and sense of humor clicked with not only the band but us as well as soon as we met. We've all worked at Maxwell's together at some point in time. We planned on working with them from the start, but wanted to make sure we did it at their pace.   ¡No Pasaran! is enjoying a much more active time now then they have been in the past couple of years, I like to think that the stuff we are doing with them helps them stay motivated and want to keep making music, which is awesome because everyone who hears or sees them loves them, because they put their heart out there with every show and every release. That band alone is a really good example of why Ryan and I wanted to start a record label.

James: "Porter in the Making" is a favorite of the blog, which begs the question. Are they going to be doing an LP with you in the future?

Ryan: Actually, we haven't discussed future releases much.  At the moment, those guys are busy plugging away with live shows and pushing "Porter".  Of course, we'd love to do an LP down the line - or possibly just another EP like "Porter".  In the end it's really up to the ¡No Pasaran! Guys, and we'll be more than happy to help them in any way we can.

James: What are the chances of a re-issue of "Credentials"?

Ryan: Technically, it would be just an "issue" of Credentials, as the album never really saw an official release.  We sent out a few copies as part of the reward system that we did with the Kickstarter for "Porter," so there are a select few individuals who actually own a physical copy of the record, and I do have a few more copies laying around - so it is possible that it could see a proper release in the somewhat near future.  I engineered the record myself, so I have a bit of a personal stake in it, and would love to see it come out.  We've been hoping the mystery would build around it - the fabled lost ¡No Pasaran! Record. So we'll see what the guys want to do, and take it from there.  Hell, the Beach Boys' "Smile" finally just came out, so maybe it's time "Credentials" saw the light of day too.

¡No Pasaran! Lay is down at the Brick City Sound Riot.

James: You used "Kickstarter" to help get "Porter in the Making" out? What are your thoughts on using that platform? Do you think fans share a responsibility in getting the bands records made?

Ryan: I think the platform is fantastic! It really gives DIY groups a chance to do some things that they ordinarily may have been prohibited from due to financial restrictions. Of course fans share some responsibility in producing new material.  After all, without them, there's no market and no demand for anything we're trying to do.  The Kickstarter platform allows fans, especially on this DIY, grass roots level, to really become part of the process and show their support in a way that can truly benefit the artists in a direct way.  When you boil it down, it's really just a glorified pre-sale with some extra benefits for people who choose to get involved, and allows us the gauge the interest in a project before it's completed.  With "Porter", the fans clearly showed plenty of interest in new ¡No Pasaran! material; we were able to fund most of the project through it. It was a great success for us, and we'll definitely use it again in the future, however, it seems that almost everything is funded using Kickstarter these days.  It's really exploded out of nowhere in the last year.  I think it's important to use the platform sparingly, and not for every single thing you do. Otherwise it becomes like the pay-to-play system where you're asking your friends to buy tickets for your show or vote for your band every day to the point where fans lose interest very quickly.

KillingHorse Records

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Images from the CMJ

Last week I got off my lazy butt and attended day two of the CMJ Festival. I got to see some of my favorite new bands and was treated to some new ones. The people were awesome and the vibe was laid back. I started my day with a visit my old stomping ground on the Bowery. Hung out at Bowery Electric and ended my night at my home away from homes Maxwells. I added a shot of The Nico Blues who lit up the stage a week prior at a "Tiny Giants" showcase over in Jersey City. James Damion

The Nico Blues

Soft Reeds 

Capybara

Canon Logic

Those Mockingbirds

Invisible Lines

Marvin Glover

Lost Romance

Lights Resolve