Looking Back; With Iann Robinson Part II

(Iann Robinson interview from Unite Fanzine continued .)

James: Fast forward a couple of years after Monkey Butt Sex and "oh shit, that dude from MBS is on MTV. I couldn't help but wonder "What the fuck was he thinking?" "What the fuck was MTV thinking?" How did the job come about?

Iann: This guy Ocean Macadams used to watch Monkey Butt Sex with his friends and when he became a big wig at MTV he remembered me. Originally they were casting for some countdown show and wanted a metal guy, pop girl, hip hop guy and techno fan to report the news for various scenes. He found me and asked if I would come in and read. I did a camera test and then didn't hear back from them.

A few months later Ocean called and asked if I could do a fake set up in a bar pretending it was a news segment. I did that and then a few months past until I was called again. I went to a Powerman 5000 show and did am entire news segment as if it was live. Suddenly there was silence, I mean almost six months of it. My old band Puny Human was playing a show so I emailed the MTV people I'd met and invited them to come down. I got an email back from a producer telling me I couldn't play a show that weekend because I was going to cover the Metallica/System Of A Down show for them. It was a shock to me, nobody had told me anything about it.

I did that and then was told that I wasn't being hired because MTV decided to go for a girl due to the original show not happening and MTV only having a need one news reporter. I said fine and went back to MBS Productions. About four months later I was called and told they wanted to offer me a job on air. Apparently my test tape went out and had the highest rating of anything ever tested for MTV.

James: Did they try to change your abrasive style or perhaps polish it up a bit?

Iann: Oh yeah, they had to. I was way too rugged for TV just in the normal sense of I cursed too much and gave too many offensive statements. I didn't mind that but when they started trying to change me into this "metal guy" character and tone down who I was it got ugly. See I'm one of those assholes who needs things explained to him or at least for it to make sense or I fight it. MTV never explained anything they just said, "do it" and right there I was armed for a battle.

I also have no truck with hypocrisy and MTV is as hypocritical as you can get. They would pull news stories because labels asked them to, run segments on performers because they wanted the label to be happy, etc and so on. Then they'd tell me I couldn't have an opinion because it would hurt the credibility of MTV news. Let's keep it real here folks; MTV News has no credibility because it's entertainment. That kind of hypocrisy sets me off so we were fighting all the time.

You can see the reality coming to light now as MTV News has, much like music, disappeared almost completely from the channel. Looking back I didn't realize what I was fighting or how to fight it. I just swung my arms and kicked and screamed, which was the wrong move. In 2000 when I started MTV was just beginning to change from a music channel to the reality TV, pyramid of cowards channel it is now. If I had realized that I would've held on for the ride and laughed as it crumbled. Instead I made so many people angry they opted to get rid of me.

James: You kind of gave the channel a short lived sense of street cred. Here was this guy from the Hardcore scene perhaps trying to show that there are alternatives to the garbage that was out there.

Iann: The term "street cred" always makes me shudder because it's a goofy term. I didn't bring the ills of street life into MTV or anything but I did bring a sense of reality. Everybody on MTV is so polished, so worked out and put together nobody can really relate to them. Even when MTV goes for a "normal" look it's usually a pretty boy dressed down. There I was fat, bald, tattooed and in t-shirts not something chosen for me by wardrobe. I looked like your buddy or a guy you worked with plus I knew what I was talking about. Combine those two and you get a sense of honesty that MTV lacks and people felt I brought that to the channel.

It goes back to the hypocrisy thing. MTV is forever trying to pull the wool over their viewer's eyes whether trying to sell some hugely backed major label artist as an "underground" artist or shilling their news reporters as people they just happened upon when in reality it was a long exhausting search. I cut through all that so people trusted me plus I had actually been in the music scene for a long time.

Lastly I delivered the news differently than anybody else ever had. I talked to people not at them, I was weird and random and made stupid jokes. I wanted people to always know I knew how dumb this all was and how ridiculous it was I was getting paid to do it. It was like when George Reeves would make a joke about Superman and wink to the crowd, it's a unsaid thing we all respond to. People liked that about me so they responded to it. MTV still tries to get their news people to mimic it with varied results.

James: Were there a lot of instances where you were interviewing or covering a band that you absolutely hated or thought were complete garbage?

Moments where you had to kind of bite your tongue and just kind of suck it up?

Iann: Of course, it was a job and just like any job you have to do things you don't want to do. I interviewed bands all the time I had no interest in and just sucked it up. The funny thing was it wasn't who you'd think I'd hate interviewing. I enjoyed sitting down with Britney Spears a whole lot more than Korn or talking to Eminem was way cooler than dealing with Godsmack.

I never bit my tongue when a band would ask me what I thought of them but I didn't march into an interview ready to start bitching. The worst of the lot was Limp Bizkit because I completely hated them. Not only was their music garbage but Fred Durst was a cunt, a bully and an all around piece of shit. I couldn't hide how much I hated him and at that point he was MTV's darling. We had a few run ins, the worst was when we nearly came to blows at Metallica Icon. 

Fred boasted a lot of threats and gestured a lot and blew off steam but nothing happened. I think Fred thought that when he "stepped" to me I was going to cower and cry for mercy. When I just stood there looking at him like the joke he was he had no plan B. So after ten minutes or so of him priming like thirteen-year-old girl he just walked away. Later Fred called a truce and I nearly pissed myself laughing. What are we in the third grade?

James: Any experiences that really stick out or left a mark? (Good or Bad)

Iann: Oh lots of good ones, it's easy to make MTV seem all bad but it wasn't. I got to go to Lucas Ranch and meet George Lucas, of course that was before I realized how badly he'd raped my childhood. I got to meet Black Sabbath, Lemmy, Megadeth, Dave Grohl, etc. The main thing was I got to bring exposure to bands I felt needed it and get press to shine on those I felt deserved it. I also got to travel and do things few ever get to do.

There's no one experience that really jumps out, it's all an amalgam of things that happened to me there. It's also been seven years since I was on MTV so it all tends to blur. Touring with Slipknot was fun, hanging with all the big rap dudes at the NBA thing in Atlanta was cool to. As for bad experiences that came more with the day-to-day of working there.

MTV isn't set up as a community or a place that creates an atmosphere of compromise or creativity. You are told what to do and either you play the game or go home. MTV big wigs are really into acting like parents and scolding their workers like children. They also like to mess with people's livelihoods by hiring everybody as "permalance", which means you're always there but still considered freelance. Then they can fire you with impunity, which they do often. Letting people stress their jobs is how they maintain control and that makes the place hard to work.

James: I'm not a science fiction fan in the least but I'm a complete and total Star Wars nerd. (I've got an unopened Sand People action figure on the shelf next to my desk.) But you hit the nail right on the head when you mention "having your childhood raped." (Eluding to the prequels) If you had met him after their release and had an opportunity to engage him honestly. What would you say?

Iann: At this point I'd just ask him why. Why did he let his ego destroy something so precious to all of us? Why did he make Anakin's turn so anti-climactic, why include Sam Jackson, why do any of it. I guess the biggest question is why make Jar Jar Binks an annoying loser who sounded like a Jamaican talking underwater? Why make the bad guys in the first one Asian?  The biggest question was why not let people who can write and direct do these stories? Write the treatments, tell the tale and then let people who are actually good at this take it from there.

Lucas has no sense of dialog, pacing, structure, timing or character development. One second Anakin is saying "Oh God what have I done" when he kills Mace Windu and then five minutes later he's killing children? What the fuck Lucas? The movies should have started when he was a teen and shown his gradual turn, plus it should have involved the Clone Wars more. Amedalla or whatever her name was dying of a broken heart? Are you fucking kidding me?

I would want to point out every problem with all three movies and have George explain it to me. Not with excuses but with actual reasons why he made these three movies so ungodly bad. I'm just as big a Star Wars geek as anybody, I have an entire forearm of tattoos dedicated to those movies and I just can't watch them anymore. Even the ones I grew up with are tainted for me. It's like this giant part of my childhood has been ripped away thanks to Lucas making what amounts to a reverse Roger Rabbit movie with humans in a cartoon world.

James: One of my favorite memories of your time on MTV was the episode of MTV Cribs that featured you. Here was a really badly scripted show that was a bad copy of "Lifestyles of the Rich and Famous" The people seemed fake, the comments always sounded scripted and the cars always seemed strategically placed. The episode that featured you was the only one that actually made me laugh. How did that come about and were you completely taking a piss out of the show?

Iann: They actually came to me about it because of my massive toy collection. Part of my self-medicating when I was miserable besides eating was buying toys and collectables of all kinds. It was out of control and I literally had a huge two bedroom apartment overflowing with toys and pop culture items. I wasn't trying to take the piss out of the show itself but I was taking some swipes at the rich folks and their whole "player" thing.

The funniest part of all of it was I made some innocuous joke about Lars Ulrich and he lost his shit. He called MTV, tried to get me thrown off the Metallica Icon show, was a prick to me, anything you could do he did it. I just laughed that he was such a little bitch over a joke but he pitched his tantrum and then it went away. Since then I've sold everything I ever owned in that show, all of it. I got into some rough times and needed the money plus slowly I was getting out of the whole impulse buying thing. Now I just kick myself because if I had all that money I could buy a fucking home.

James: One of the funniest things about watching the early "Real World" episodes is there was always a musician or a guy in a band who made a point of pimping his music on the show. It always turned out to be a really shitty band or dime a dozen soul act. None of these bands ever went anywhere. Maybe they put out a record or two but they always went right into the cut out bin or better yet the good old circular file. At the time you were working for MTV you were also playing drums for Puny Human. (A very good, heavy fucking band) There you were working for the biggest Music network on the planet yet you never talked about. In retrospect that seems like a very wise choice.

Iann: I never thought about bringing Puny Human into MTV because it was my one chance to live away from the channel. In the circles we toured in my being on MTV had no bearing at all people didn't care. I could just be me and hang, play shows and exist. The other thing was in that circle it was about the merit of your band, if we'd rang bells and sung songs announcing my thing on MTV we'd have been sunk, people would have seen us as a joke band or not respected us.

You also have to remember I was the drummer, as far from the front man lead guy as you could be. I always hated when photographers tried to put me in front of a picture or started asking me all the questions at interviews, I felt like it would be incredibly super douche to take on the front man roll just because of my job, Fearing that I made a conscious effort to stay in the background so we didn't become stonerrock's answer to No Doubt.

James: I got to see the band a few times and still listen to "It's not the heat..." and "revenge is easy" Can you tell me a little bit about the band?

Iann: Puny Human started from the ashes of a band called Grey and the fact that I wanted to play drums with Josh (guitar) and Jason (bass), two brothers who at the time were my best friends that I respected as musicians. Originally we were going to be called Master Blaster but we were being big fans of the band Deadguy who had a song called Puny Human as well as comic geeks we settled on that name. We had a singer at first whose name I forget and he sucked. He sounded very Brett Michaels and jumped around on stage like it was an arena GnR show. After firing him the band kind of went nowhere and stalled.

A few years later we were thinking of enlisting our friend Brian who sang in Crawlpappy to be our frontman but he lived too far away. He suggested this guy Jim Starace who we instantly clicked with and loved his voice. From there we banged out songs and recorded our first album Revenge Is Easy, which is still my favorite. We toured some, played shows, did normal band things and it was great. My two best friends and I with this new awesome dude making music we loved, I couldn't have asked for more.

Things started getting hinky during the writing for our second album. Josh and Jason were amazing players but they had one Achilles heel, this weird fear of not being seen as consummate musicians. Our songs became more complicated, we veered away from the straight groovy stuff we were doing and it ran some tensions high. We also called in J. Yuenger from White Zombie to produce our second album It's Not The Heat It's The Humanity and while he is a kick ass producer and an amazing human being we didn't need that many bells and whistles.

I'm very proud of It's Not The Heat It's The Humanity but it was really where the cracks started. After I left MTV and moved to Boston we had a terrible falling out that resulted in myself and Josh and JAson losing a fifteen year friendship and my relationship with Jim becoming strained. The whole thing ended badly, with really bad moves and harsh words from both sides. None of us handled it correctly and I think it was part of a bigger issue that had been breeding in our friendship for a while.

Somehow I was labeled the bad guy in all of this, which I don't think is one hundred percent fair. Right when the fallout happened I had moved to a new city, I was broke, getting divorced for a second time, dealing with the MTV loss and all these other things. I was a terrible mess but not without reason. My reactions to things were way off and incredibly harsh and I regret that but it was during a dark, dark time for me.

It was sad that people were quick to believe the worst about me and a great deal of people I had helped turned their backs on me and that hurt, still does. I tried to patch things up but it became out of sight, out of mind. I wasn't invited to the party anymore and since I wasn't there nobody thought about me.

It's been five years since all of that and we're all different people now. Everybody who was in the band has a kid except me and while Puny Human did release an album without me on drums I think it's pretty much defunct now. It's too bad it all went down how it did and I hold a bit of hope that one day we'll all be in the same room and maybe work it out but if not it's so far removed from my life now that I can't really be too upset about it.

Crave Online
Iann Robinsons Writing

New Breed Tape Compilation - CD/Vinyl Re-issue

Sometimes it takes a little time to really allow the epic nature of a release wash over you before putting your two cents in .         The New Breed Compilation is without a doubt the best example I can site. The fact that I've been friends with the comps creator since grade school and was present when some of the bands excitedly submitted their tracks and artwork when the original project in 1989 started taking shape didn't allow for much of a bipartisan review. The truth of the matter is this long over due re-issue has more than lived up to the excitement that it's resurfacing had created.

Originally released to in 1989. The New Breed Tape Compilations legend far overshadowed the scant 700 copies that were released. At the time New York Hardcore seemed to be arriving at its Mount Everest of creativity. Freddy Alva and Chaka Malik (Burn, Orange 9mm) were able to coral the NYHC's  best and brightest names along with some of it's most promising prospects. When comparing to the many to the recorded documents of NYHC at the time, New Breed fits nicely between Revelation Records "The Way it is" and Blackout's "Where the Wild Things Are". Pretty good company if you ask me.

After more than twenty years of bootlegs, reminiscing and talk the original cassette compilation has been officially resurrected and remastered on both CD digi pack and Vinyl for the first time. 

Highlighted by tracks from Absolution, Beyond, Breakdown, Life's Blood, Outburst and Raw Deal. The comp also features upstarts such as Collapse, (one of my favorites) Discipline and Fit of Anger.

Available as a CD digipac and vinyl. Bonus tracks from All for One and Life's Blood (live) and an almost haunting sound bite from CBGB's Dennis the Bouncer. (A man who once banned me from CBGB's for excessive stage diving.) This is a piece of our history. If you were there you were very lucky to be a part of something unique. If you weren't but still love Hardcore music this is a chance to see how us old men used to dish it out. I was lucky enough to be personally handed #1 of 200 limited edition airbrushed "Wild Style" Vinyl version. It was a moment I will not soon forget. James Damion

Wardance Records  Buy it Here

N.Y. Hoods - "Neutral Demo" 7 inch Re-Issue

Classic NYHC demo from 1986 finally gets a very deserving and long over due vinyl treatment from Urban Riot Records.
The vinyl version features
N.Y. Hoods - Neutral demo in all its glory. The six song demo has been remixed and remastered for great sound quality. 100 pressed on
white vinyl, 100 pressed on splatter vinyl and 300 on traditional black. The NY Hoods were one of many excellent bands that occupied the NYHC scene of the mid eighties.
The Queens band were contemporaries of classic NYHC bands such as
Gorilla Biscuits, Token Entry, Krakdown. The N.Y Hoods also featured bassist
Gavin Van Vlack who would go on to help form and play with Side By Side, Absolution and Burn. (Just to name a few) Needless to say this is an important document of a pivotal time in New York's colorful music history.
Slap this on your turntable and you'll be singing the chorus to "Mirrors of Reality" and
"Poor Girl" in no time. James Damion


United Riot Records/Big Cartel  Order Here

Sean Favre on his Departure from Meet Pause

Sean Favre's announcement he was leaving Meet Pause came as a shock to many. I was honestly saddened to hear of the announcement, mainly due the fact that Meet Pause was a band I felt I was just beginning thoroughly appreciate and enjoy. Having seen them perform at Clifton's Dingbatz just a few weeks prior I couldn't help but feel a chemistry between the band. It didn't hurt one bit that Sean seemed so sharp and focused at the time. So on the eve of his last show with the band I reached out to Sean to get some answers and insight on the reasons for his departure, his fond memories of his time with the band and what the future holds for this very talented and very likable mainstay on the New Jersey music scene. James Damion

James: You've been the trusted bass player for Meet Pause for some time now. Why the sudden departure?

Sean: I felt that, for myself, it was time for me to move on. I haven't given the band 100% for a while now. It just didn't seem fair to me or to the other guys in Meet Pause for me to continue. It has been a hard decision to fully make but I feel like it was the right one and it's what I felt was, and still is, in my best interest. I hope everyone can respect my choice.
I always tried to look at this band as a small business, which it is, but the other half is that this band is a hobby. After awhile, this hobby wasn't fun anymore . Don't get me wrong, I'm still looking forward to playing music privately and publicly. Just for now, it will not no longer be with Meet Pause.
I feel that anyone in Tiny Giant can agree that this lifestyle of playing shows and making original music doesn't bring in the paychecks. We play because we love it, and it drives us. Without that drive the train loses its steam.

James: How did the rest of the band react to your decision?

Sean: The guys in the band were very gentlemanly about it all. No name-calling or any of that petty garbage. They still remain supportive of my decision and show the utmost respect for me.
I wrote up a message that I felt was as professional as I could be for such a delicate subject and action on my part. I posted it to a private group page we use on Facebook so they would all be able to read it one spot. One of my main points to them was that just because I'm leaving this band, doesn't mean I'm leaving our friendships.

James: What made you decide to leave the band through a Facebook message? Wouldn't it have been better to just jump from the van en route to a show?

Sean: I had spoken to Keith beforehand the previous day on the phone about it. I had a lengthy conversation the week prior after one of my shows with Keith and Graeme about a lot of the things going on too. Maybe some may think it's cowardly to send a Facebook message, but I felt it was the best choice so I could take my time with writing what I wanted to exactly say in one go, rather than calling each of them up individually and saying a paraphrased version to all three bandmates at three separate times. Plus, I wanted to get it out there rather than sit on my decision because I wasn't going to see those guys for another 4 to 5 days. I included in the message that if they wanted to call me to talk about it, then I would gladly fill them in on the details.
The "Van tuck-and-roll" was definitely an option, but it may have turned into an extended hospital stay...for Scott. (Evil laugh echoes in the night)

James: Did you get your FB message signed by a Notary Public to make it strictly legit?

Sean: The Notary Public wouldn't get back to me in time. I'm trying to have a break-up/suicide note published as an ebook exclusively on Kindle through Amazon. Just waiting on the details due to copyright and publishing restrictions.

James: Where are you heading from here?

Sean: There willy always be different directions I'll be go in. This isn't the last time anyone is going to be hearing from me, "The ole' mighty Sean Favre!". Not many people know that I'm actually a guitar player, as well as a drummer and bass player. I've wanted to play guitar more in a band for some time now and this is my opportunity to write and perform the music that I've wanted to express from my own creativity.

I know how to play guitar, bass, drums, I want to see what I can do with recording all parts with my own vocals over top. Maybe I'll take the Everymen approach having a bunch of my friends be revolving members to play shows with. Maybe I'll find some other musicians/friends to play full-time with. Who knows just yet? I have plenty of time to put things in order, keep contributing to Tiny Giant, and have a good time otherwise.

I'm not fully set on what genre I'm looking at, but I'm sure it will incorporate something with my musical taste in rockabilly, folk, punk, and maybe some of the instrumental side of playing I love. Maybe I'll finally get that one-man Tom Waits tribute band off the ground like I've always dreamed of. (wink,wink)

James: What's the fondest memory of your time in Meet Pause?

Sean: My fondest memory with Meet Pause was when we played the basement of Lucky Cheng's in the city, which is a drag queen bar, and having an almost 7 foot tall drag queen that looked like Lady Gaga walk in.

James: So what transpired when the Drag Queen walked in? Was it love at first sight?

Sean: I was very joyful. It seriously made the night! It's a moment that made time stop. Any lovebird knows that feeling like that moment will last forever, or when he takes the wig off and goes back to being a beautiful man.

James: If you had a choice in the matter who would you like your replacement to be?

Sean: For a replacement, I would hope the ghost of John Candy would fill my spot in Meet Pause. If that's not possible, then I would gladly like to see Adam Copeland (Black Water/Warface) in there so he could say he's in three bands now.
(I couldn't bare to tell him John Candy is dead. Mums the word on that one…)

James: In ten words or less, Keith Hotpockets is a ......

Sean: "…pleasure to have in class, a true delight."

James: Being that we're finalizing this after your last show. What do you think you came away with? Was it an emotional night?

Sean: I think I came away with a great foundation for future projects and some enduring friendships, not only with Keith, Graeme and Scott, but with all the people that I know in the audience. It wasn't too emotional, even though I must admit right before doing "Hybrid Moments" my heart was racing a bit and I even added an extra two lines in the chorus because I couldn't remember the first line of the next verse.

I think it was a good send-off for me with the guys in Meet Pause. Like anything that ends, there is always the oppurtunity for something else that comes along the way. I'm at a point where I can do anything I want musically, or maybe I'll take a break for a few months to finish up my schooling and analyze Nirvana songs to figure out how to write the perfect pop song. Anything could happen!

I didn't pop a kidney because then I would've only been down to one. I didn't like the idea of being a freak living with one kidney. I know people wouldn't be able to see it, but it's the emotional hurt I couldn't stand, knowing one of my organs is missing from my body.

Pusrad - Smart Trams 7" Just 4 Fun records 2012

Pusrad is comprised of two founding members of Sweden's Raped Teenagers , and these guys definitely still have the magic touch based on the greatness of this their debut 7".

On this 7" Pusrad deliver Excellent fast paced hardcore punk that goes by in the blink of an eye. Honestly, it feels like these 7 songs go by in 7 seconds. My only complaint is that I wish they had made this a one sided record so my lazy ass could spend an extra 30 seconds on the couch before having to get up to flip the record over...DaveG.

P.S. I believe this is a limited 1 time pressing so you know what you have to do...Buy Buy Buy

Pusrad Bandcamp
Just 4 Fun Records

The Nervous - s/t 7" - Nervous Records 2012

I've always been a sucker for female fronted punk rock bands, and The Nervous are right up my alley. The music is driving yet catchy and memorable with jangly guitars galore and an excellent vocalist who infuses just enough anger into her melodic vocal approach.

I understand that the band self released this record in a very limited quantity so I'd suggest you grab a coppy before they are gone...Dave G.

The Nervous
Purchase

Balance - European Hardcore Music Book Review

"‘Balance: European Hardcore’, by Tom Barry and photographer Sophia Schorr-Kon, documents he modern European hardcore scene and the people behind it. The book features striking photography of shows and portraits of influential musicians. Alongside these images, the authors provide insights into the informal rules that give order to the international movement—for example, all lyrics are written and performed in English—allowing readers an insider’s perspective on the enduring but underdocumented music scene."

In all honesty I was very unimpressed with the book overall. I have plenty of respect and fondness for the bands and the genre overall but forty dollars (suggested retail price) for what is basically a photo essay with catch phrases on how "Hardcore is my life" is a bit ridiculous. The photo on the cover is the best of the entire book and that really isn't saying  much. The photos from live shows don't seem to capture the energy, emotion or fire of a thriving scene. The candid photos fail to evoke the character of the subjects or provide any insight to the viewer.
People involved with that particular scene might have a different outlook having been involved with the music. However, as an outsider I didn't very compelled to investigate it further.
If you think this is something you might be interested in. I'd recommend going to your local punk record store or place that sells independent releases and take a good look for yourself. To order this online or to walk out of the store with a sealed copy under your arms  would seem fool hearty and something you might end up regretting. In my very humble opinion this isn't worth the admission to a local VFW show.  James Damion
Buy it here

Front Line - Basic Training e.p. 1982

Front Line unload 10 blasts of hardcore/punk fury on this demo tape from 1982 that has finally seen the light of day as 7" in 2012 thanks to Beach Impediment Records. If you are a fan of old school punk / Hardcore then this record is an absolute must.

Here's some more specific details about this release straight from the record label:

After having been in limbo for the better part of 30 years, we are proud to bring you the long lost "BASIC TRAINING" E.P. by Norfolk, VA's FRONT LINE. Commonly known as the "Second Demo" by tape traders over the years, this was recorded in October of 1982 shortly before the band imploded, leading to the formation of BONESAW and eventually GOD'S WILL. "BASIC TRAINING" features 10 tracks of primal and vicious USHC not unlike fellow Virginians WHITE CROSS with whom they shared the stage many times over their brief existence. Select tracks from this session would go on to be featured on compilations like THE MASTER TAPE VOL. 2 on Paul Mahern's Affirmation Records (along side bands like MECHT MENSCH, ZERO BOYS, NO LABELS, and many more) and the legendary all Virginia TARANTULA ON MY COCK tape that guitarist Jeff Clites would release in 1983, but this is the first time all of these songs have officially appeared together the way they were meant to. Raging Southern Hardcore at it's finest.

Basic Training e.p. Soundcloud
Beach Impediment Records Purchase

Pure Scum - Demo Tape 2012 Sorry State Records

Pure Scum are a bunch of 15 and 16 year old miscreants from Raleigh NC who have managed to lay down a demo of unrelenting hardcore that is just spilling over with youthful exuberance and total hardcore goodness.

Sorry State records compares Pure Scum to Negative Approach and SOA, and that comparison works perfectly for me...good stuff...listen/buy, and keep your eyes peeled for future releases...Dave G.

Pure Scum Bandcamp
Sorry State Records.

Stripmines - Crimes of Dispassion 2012 Sorry State Records

Pissed off Crust influenced hardcore that brings bands like Infest, Negative Approach and maybe even Sick of It All and the Cro-mags to mind. Now before you tell me I'm crazy for hearing the Cro-mags in Stripemines full on brutal assault just check out the mid song break in "Politcal Correction" and tell me you can't hear the Cro-mags "Hard Times" coming through.

Anyway, regardless of Stripmines influences, Crimes of Dispassion definitely stands on it's own as an excellent slab of full on pummeling Hardcore that will definitely get your adrenaline pumping...Dave G.

Sorry State Records

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An Interview with The Sun The Moon The Stars

Every now and then I accidentally come across a band whose live set just simply blows my fucking mind. On one particular February night  I was standing in the slim corridor of Maxwells when I asked Adam Bird of Those Mockingbirds if he knew much about the bands they were playing with that night. Without pause he cocked back his head and said, "You absolutely have to check out The Sun The Moon The Stars". "The band is fucking amazing live." Heeding his words I made my way through the revolving doors. That night I learned a couple of things. 1. Adam Bird tells no lies. 2. The Sun The Moon The Stars were a band I wanted to get to know better. That night I spoke briefly with Matthew and  took home the bands record Mind Reader. Upon listening to Mind Reader the hooks sunk deeper and deeper moving me to contact their bearded, barefoot, singer/guitarist to learn more about the band and what they were all about. James Damion


James: I was really sorry to have missed your record release show at The Clash Bar the other night. I heard you guys brought some much-needed energy to the place. How did everything go?

Matthew: Magical. We couldn't have asked for a better night. The support from our friends and family was absurd. Truly one of the best nights of music I've had in my life. It's a really cool little bar. I hope they will get a solid promoter and get some good music coming through.

James: Tell us a little about the new record "Mind Reader". How does it differ from "We are Swine"?

Matthew: "We are the Swine" was written mostly by me over the course of a year. I intended on making something for myself to find musicians and hopefully garnish some interest locally. At the time of recording "We are the Swine" I had already played with about ten different people, none of which really fit the mold besides Joe--and he barely fits into anything. Adam from Those Mockingbirds was living with me at the time and knew what I was looking for drum wise, so he stepped up and helped on drum duty for those demos.

"Mind Reader" came after Joe and Ian so we all worked on some of the songs together rather than it being a one-man show. Vocally I started to find where I am more comfortable. There is just a lot more dynamics to the songs. A lot more time went into recording/writing. Way more polished overall. The truth is we recorded Mind Reader a pretty long time ago. We just got smashed with delays. To see it finally materialize is a blessing.

James: How did your signing with Black Numbers come about?

Matthew: I've known Dave since back when I was in The Oval Portrait. We've been buds forever. Once "Mind Reader" was done and needed a home I showed him the songs and it just sort of worked out. Black Numbers is a more punk centric label, but both Phil and Dave were excited to put out something heavy and I've always loved the DIY approach they have. It's been an adventure so far.  

James: So you're in really good company. Have you played any shows with artists on the label?

Matthew: Not yet! We do have something lined up with Kill Wealthy Dowager. Banquets have been super busy as of late. The dudes in Luther love metal, so we really need to get down to Philly and party in a basement with those guys.

James: Are you planning on touring on the record?

Matthew: Regionally, yes. It's just not feasible for us to be on the road for 2-3 months at a time right now. This summer we are planning to do some dates with our buddies in Sydbarret and then some more with the riffs of Changes. Hopefully we can make it to a few fests later on in the year and maybe to Europe next year.

James: You guys are all over the Metal radar mixing a lot of different styles and blending all that aggression with a lot of harmony. It really makes you stand out. When you were forming the band and when you're writing songs now, is there a certain vibe or sound you're going for?

Matthew: We just like making loud heavy music you can bang your head and raise your fist too. Have fun, drink a beer, smoke a joint, be free and get loose--whatever gets you off. I've never been a "singer" before. This whole thing is new to me, but I just had some things I wanted to say and it all just worked out. So it goes.  

James: The Sun The Moon The Stars is a pretty all-encompassing name. I get somewhat of a spiritual vibe from it. What does it mean to you personally?

Matthew: Honestly this came right from Black Sabbath's NIB. That's not to say it didn't manifest itself into other meanings. Sometimes I'll name something or write something and later on it will hit me and I'll think, "Holy shit that’s what that meant." The unconscious mind is outstandingly powerfully. Sometimes I just trust what it's giving me and run with it.

James: You've had two Birds in the band one past in Adam and one present in Evan. Besides their instruments of choice. How would you describe the personalities, similarities and differences? Do you think they could ever co-exist in a band?

Matthew: Oddly enough Adam is not a drummer and Evan is not a bass player. The instruments they play in TSTMTS aren't their primary weapons. Even when we look at Joe, he's been a drummer in most of the bands he's played in. Ian and I mostly bass. Everything got all jumbled up. It keeps us honest and allows us to work harder. But Evan and Adam--like Adam and Eve/black and white. These dudes came from the same gene pool but are super different. Even the way they learn songs--Evan doesn't want anyone to show him, he just wants a copy in his email so he can figure it out. Adam is more hands on. He wants to sit down, learn it with someone, and then writes it down to take home.
Who knows if they could. I doubt it. It would be fucking incredible, though, and I would love to be part of it.

James: Tell me a little bit about the rest of the band, their personalities and backgrounds in music.

Matthew: Joe is a fuck. Dude picks up an instrument and it's like he's been practicing for fifteen years. I have to bust my ass to try and keep up with the dude. His comic book collection is unreal.
Ian is a fuck too. He's got the higher gamer score than Joe. I don't know where he finds the time to write music between watching reruns of Wrestlemania and playing retro console games, but dudes got volumes of music written. The two of them are compulsive collectors. And i hate collecting. And I'm no good at video games. Rehearsal is always interesting. We've all been playing in punk/hardcore bands since we were kids. I can rattle off tons of bands we played with but most important is here, now. Each of us have super distinct tastes in music that the other one wouldn't be caught dead listening to yet our roots are all the same. Somehow it works.

James: We talked a bit earlier about Buddhism. What was it that initially drew you to the philosophy? How much of it do you apply to your everyday life?

Matthew: Eastern philosophy has always attracted me mainly because it's so different from what I was taught when I was younger. I was looking for something new that I could relate too. All these esoteric ideas really caught my attention. But the more I study it's all very much the same. Look for the good stuff, weed the bad stuff out. Or weed the bad people out. I like using theological ideas, stories and characters and sliding them into songs. We talked about the song Mara//Traitor on We are the Swine which is heavily influenced by the Buddhist demon. And then on Sire it's a fabrication of Ganesha's story. On Mind Reader's Sand and Stone Methuselah from the Hebrew Bible shows up and gives us some advice. 

James: How long have you been growing the beard?

Matthew: Turns five in July. That's a long time not to see my face.

James: I bet you get a lot of attention at airports and such? Any stories you can share?

Matthew: Ya know the only place that ever gives me a problem is when I am flying back into the US. My cousin and I were coming back from traveling through Costa Rica and we were "randomly" stopped and searched. Not that good of a story really. They just want to find drugs on us. We smoked it all man!

James: That brings me to the feet. Is playing on stage in bare feet just an invitation to disaster? When did you start this practice and why?

Matthew: Story of my life. Really though, if I could I would never wear anything on my feet. I picked up the habit back when The Oval Portrait was on tour. Sometimes I would just feel constricted so I would kick off my shoes. Now it happens pretty much all of the time. It's like being able to stretch out your fingers--feel the freedom. Plus it feels more connected to where I am. The worst thing that’s ever happen is I get really bad cramps in my arches when it's super cold.

TSTMTS Facebook Page
Black Numbers Page

Olde Ghost's Derrick Hachey

Derrick Hachey and I have shared an online friendship since the days when My Space was a relevant internet presence. Over the years we've stayed connected through both mutual friends and a love for Hardcore Music.  So when he contacted me and asked if I could give his band "Olde Ghost's" upcoming EP a listen and possible review I was more than happy to oblige. After giving "If We Ever Get Out of This Alive" a fair share of listens I was rather impressed. So with about a month left before the records release I decided to hold off on the review and send over some questions about the band, the record and the state that seems to have cornered the market on rain. Washington's Olde Ghost are set to release their debut EP  04/14/12 via 1,000 Knives/ Hardcore Maniacs. Be sure to get yourself a copy.
James Damion

Olde Ghost is:
Sara Russert- Vocals
Chris LaPointe - Vocals
Kirby Charles Johnson - Guitar
Derrick Hachey - Bass
Ego - Drums

James: The bands been together for a good two years now. Why did it take this long to release an EP?

Derrick: The truth of it is that we are all pretty busy… Sara teaches vegan cooking classes and caters; Chris has a demanding job with Earthcorps; Kirby is a fulltime student and also runs a company with his partner, Anika; Ego is a tattooer and artist; and I have a consulting company. So while we love making Olde Ghost music, it seems to take us longer than most bands to do so.

James: How are you planning to support the release? Will you be touring or just playing locally?

Derrick: Mostly we’ll be playing around locally and regionally in the Pacific Northwest. If there is an opportunity to go out and play some shows with friends beyond that, we would consider it if it fit into our schedules. As a band, we aren’t under too much pressure to ‘move units’ or whatever, which gives us the freedom to kind of do what we want. Mostly we just want to play fun shows with our friends.

James: Tell me about the title. "If We Ever Get Out of this Alive…". It's pretty dark to say the least.

Derrick: It’s a line from a song on the record called ‘For’, which primarily talks about animal liberation activists faced with the loss of personal freedom and imprisonment. The second part of that line, which makes it perhaps a little less dark is “I’d do it all again”, but for the sake of a title for the record we left it off, leaving the interpretation up to the individual in a ‘what If I got a second chance’ sort of way.

James: I just recently became a vegetarian. I'm curious about your status as a vegan. How long have you been vegan and was there an evolution of sorts from  meat eater to vegetarian to vegan?
My reasons for become a vegetarian came from more of a health standpoint. What were yours?

Derrick: I've been vegan for about five years or so, and was vegetarian for about twenty years before that. I'm sort of the newby in the band in that regard, the rest of the band has all been vegan for fifteen years or more. For me, basically, I made the transition from vegetarianism to veganism because I just felt I could do more to alleviate the suffering of living beings. I don't want to contribute to that suffering, and really didn't want to literally injest suffering and more. The transition was pretty easy, and Seattle is a pretty easy city to be vegan in, there are a lot of vegans here, and finding food in restaurants and grocery stores is pretty easy.

James: Over the years I've known a lot of people who were met with a lot of anger, aggression and prejudice over there chioce. More so than any choice over drugs and alcohol regardless pro or con. What was your experience like?

Derrick: I have witnessed and experienced the hostility from non-vegans towards vegans, however. I'm not sure what it stems from...why would anyone care if I, or anyone, don't eat animal products? Does it go against what most people were brought up to believe, in terms of what animal's perpose is? I guess. Most people are taught that cows, pigs, chicken and fish are for eating, dogs and cats are for pets, and so on. When that is challenged, I guess people become uncomfortable and lash out. Maybe it's born of guilt in their own dietary choices. I really don't know, but i do know that there is nothing anybody can do or say to get me to eat or use animal products.

James: When you decided to form the band what were you looking to accomplish? Was there a particular message or mission statement you wanted to put out there?

Derrick: Honestly, we weren’t (aren’t) trying to accomplish anything. The reason we started the band was because we are all friends, and wanted to make music that we love with none of the pretense that normally goes along with being in a band, like we all did in high school. No drama, no trying to ‘make it’.
As far as a message is concerned, we believe in total liberation for all sentient beings. No humyn or non-humyn animal should be oppressed or forced to live in servitude to anything or anybody. Racism, sexism, speciesism, homophobia…they are antiquated concepts that have no place in any society.

James: I really like the vibe of the male/female vocals. They definitely compliment each other. What went into the decision to go with two singers?

Derrick: Chris and Sara have sung together in previous bands, but not in a co-frontperson sort of way. We thought the dynamic and duality of it really added to our songs, and would allow us to have this whole different layer we wouldn’t have otherwise.

James: Was the male/female decision a conscious one or did it just happen naturally?

Derrick: It was really just a natural thing. We had a song early on that we thought would be better if Sara sung some back-ups on, which she did. It sounded great, so it just sort of happened…she was our friend, and feels the same way about political issues as we do. Plus, she has an amazing voice.

James: Listening to the EP I got an immediate 90's vibe. i can't quite put my finger on it but it brought me back to a time when there was a lot more going on than just a band writing Hardcore breakdowns. I felt a certain urgency about it. What are some of the influences musically and personally?

Derrick: That’s great to hear! You know, we’re all a little older, and came up in a time when it seemed hardcore was more than hitting the pit, so that type of influence can be heard through most of our songs. Bands like Swiz, Verbal Assault, Soulside, Embrace and Black Flag are a huge influence on us, along with revolution summer era DC bands, and newer bands like All Teeth, A Better Hope Foundation, and Run With the Hunted.

James: You always hear about how depressing and shitty the weather is in Washington. Yet, anyone I've known that has lived or travelled there loved it and considered it a very special time in their lives. What's your take on that? I heard it rains twelve hours a day. The other twelve are devoted to fog.

Derrick: Haha! We just tell people that so they won’t move here. Seriously, I moved here from the East coast about 15 years ago, and instantly fell in love with the Pacific Northwest. Seattle is such a special place…so clean and beautiful. All the rain just makes the sunny days that much better.  That said, as I type this it is pouring out…I’m ready for some Spring.

James: Olde Ghost does a lot of work in its community. What are some of the project and causes you're involved with?

Derrick: There’s a few things we do, either through playing benefit shows or volunteering time. We’ve helped out organizations like Precious Life Animal Sanctuary, which was founded in September 1999 by Ralph & Caryl Turner, who have been actively involved in local, state and national animal protection issues their entire adult lives. We’ve also helped out The CAIR (Community Abortion Information & Resource) Project, which is a 501(c)3 non-profit social service organization dedicated to removing barriers to abortion access, and many others. We also play benefit shows to support Pasado’s Safe Have, One Hundred For Haiti, as well as the work our friends our doing at the DIY music space Black Lodge here in Seattle.

James: What's the Washington music scene like?

Derrick: Well, without sounding too much like a history lesson, The Pacific Northwest has always enjoyed an extremely vibrant underground music scene. Going back to bands like Brotherhood, Christ on a Crutch, and The Accused, through bands like Undertow, Champion and Trial, up to the present with bands like Cowardice, Erode, Cynarae, Outlook, Dead Weight, and so many others. We’re really fortunate that so many people make the choice to play music and support bands and venues. Because of all that, so many national bands find it worthwhile to make the trek up here to play. Even if they didn’t, it really wouldn’t matter…we can make our own fun.

James: I always talk about leaving things better than you found them. Leave a positive footprint on the places you've walked. Something that seems to be a constant uphill battle where I'm from. Do you think bands/musicians have a responsibility to their community? I mean, "Your just a fucking band.".

Derrick: Bands have no responsibility to anyone or to do anything. They are free to do whatever they choose. Whether it’s to write songs with pit calls and breakdowns or songs about animal liberation, or if they want to wear bear suits, or whatever…their choices and responsibilities are only to themselves , because yeah…it’s just a fucking band.

James: What are you looking to accomplish with Olde Ghost?

Derrick: Really, I just want to have fun and make music I love with my friends…play some shows, and maybe get people to think about how they treat other people and animals, and the planet we all inhabit.

Reverb Nation Page

Olde Ghost on Facebook

Sectarian Violence - S/T 7 inch

The band Sectarian Violence serve as a sort of United Nations of Hardcore boasting members from Sweden, The UK and Washington DC. On this self titled 7 inch the band plays some of the best straight up Hardcore i've heard in quite a while. For someone like me who's become somewhat bored with Hardcore lately, this has been a total refresher course on a genre that once moved me.

Sectarian Violence play lightning fast Hardcore with breaks that will have you forming a pit no matter where you are. There were distinct moments when I felt as if I was at a Breakdown show at CBGB's in the late 80's. With each of the six songs being delivered in well under two minutes one might wonder how they could possibly make a lasting impression but I can assure they left one on this listener. Fans of fast, loud and relentless Hardcore bands like Life's Blood and Breakdown will love this record. Fans of Sectarian Violence will be thoroughly rewarded.

The band is just weeks away from embarking on a European Tour. I really look forward to hearing about it while hearing more music from these guys. The record is available Grave Mistake records with a limited pressing of 1,000 copies. James Damion

Grave Mistake

Sectarian Violence - S/T & inch

Sectarian Violence Blog

Bad Advice - Do Not Resuscitate 7" - Grave Mistake 2012

Richmond Virginia's Bad Advice originally dropped a 3 song demo cdr about 3 or 4 years ago and then seemed to immediately drop off the punk/hardcore landscape. Eventually, Grave Mistake announced that they were working on releasing this 7" and after numerous delays and the passing of a couple of years the "Do Not Resusitate" 7" has finally seen the light of day...and it was well worth the wait in my opinion.

Bad Advice features most notably Tony Bitch (Ladies) and Brandon Ferrrell (Direct Control, Government Warning, Obsessor etc) so if you are a fan of any of these dudes other bands then you are sure to be pleased with Bad Advice.

What you get on this platter is some Straight forward angry hardcore punk with early NY/Boston hardcore touches throughout. I swear I even here some Crumbsuckers in the songs "If Life's A Joke" and "Anger Problem".

Anyway, Grave Mistake has done it yet again, the quality control at this label is outstanding and I recommend you dig through their back catalog and keep your eyes peeled for no less than 8 new releases from Grave Mistake in 2012...Dave G.

Grave Mistake Records
Grave Mistake Bandcamp features song samples for Bad Advice and every other Grave Mistake release...listen and buy some records if you like what you hear.

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

Local Magazine Lamplighter Seeks Support.

Let's help Lamplighter get printed. I can't think of many print magazines that are out there supporting and reporting on New Jersey's thriving independent music scene. Patrick and Nadia have worked tirelessly on this and were kind enough to make me a part of the very first issue. To say the very least, I feel honored. Here's a chance to make a difference in your community. Even the smallest donation makes a difference. Let's get involved. James Damion

Lamplighter Magazine starts IndieGoGo campaign to raise funds for its first issue.

Lamplighter is a Northern NJ-based quarterly magazine that covers alternative music & culture, a heading under which local music, art, poetry, and all alternative culture collaborate, for the purpose of supporting and expanding the local arts scene. The first issue features local photographer, James Damion, among other artists and musicians. Owned and operated by Patrick Boyle (editor in chief), Megan Dermody (managing editor),Nadia Nieves (promotions director), and Dhruvin Dave (marketing director), the magazine has launched a two-week campaign ending March 19th on IndieGoGo to help fund their initial print release of 1000 issues. The $2000 funding goal will cover the cost of printing.

The campaign, building community support for the magazine, will extend the magazine’s capacity for future issues. Advertisers will require a first issue as well as strong community support for the endeavor, to ensure the viability of advertising circulation, before they purchase ad space. Crowdfunding enables the magazine to demonstrate that these needs are met, so that the magazine can be sustained by local advertisements in the future.

The magazine will regularly release updates about the campaign on their website. http://www.LamplighterNJ.com

Man on Fire - I Thought My Friends Were Punk

I have to say I was damn right excited when I heard that local hero Dan Pelic (Chambers/Something About Death and Dying) was involved in a new band. I have grown quite find his throat scraping vocal stylings over the last couple of years and felt pretty confident that if he got involved with new music again it would bare good results. The fact that he was playing drums with the new band didn't do anything to lessen my curiosity or expectations. After sampling a track on their BandCamp I was able to catch them live and pick up their 7 inch later that night.

On "I Thought my Friends were Punk" you get four songs that deliver excellent results. "God's an Atheist" is an anthemic opener. Guitarist Matt Harvey plays like he was born in the basement of the Dischord House during the peak of the Revolution Summer. While Brian Goglia vocals are a Rites of Spring meets Ebullition Records giants Current. (Look them up. You'll know what I'm talking about.) The intro to "Wild Turkey" has a  dizzying affect while the bass lines on "Rex Manning Day" are worth serious praise. Throughout the record the band melds straight up Hardcore and Punk rather nicely with excellent tempo changes, breaks and gang vocals. All of this coming together making for an excellent mix. Recorded at Jersey City's Treehouse Sound and engineered/mixed by Royce Jefferies.

The EP features some stunning illustration from Robert Gray and eye popping photography of Luke Brereton. Add Man on Fire to the list of excellent and diverse bands on The Tiny Giants Artist Collective. I'm looking forward to hearing more from these guys in the near future. James Damion

Man on Fire  Bandcamp

Four Fingers Ryan Betrix Gives Us the Low Down on Their New Album "Custodians of Light" and More.

If you've followed the blog over the last ten or so months you've probably noticed that we're pretty fond of the kids in Four Fingers. Who wouldn't love a band that mixes musical influences like Adrenalin OD and the live energy of Black Flag and the Stooges. Add to that they just happen to be the  band I'd most like to share a late night skillet with. So as the bands upcoming album "Custodians of Light" is about to hit the streets,  I reached out to their bass player Ryan Betrix to get the 411 on the record and recent changes within the band. Here's what he had to say.  James Damion

James: You recently finished recording the new album "Custodians of Light". Can you tell me a little about the process and what we can expect from the new album?

Ryan: The actual recording process was a one-day thing. After the tour and a few shows here and there we put our full attention to the writing of the record. There’s like 5 songs on this record that were  songs that actually pushed us to do a record. We used thee songs almost as guidelines to how we wanted the record to sound and the addition we wanted to bring to the record. On this record we wanted it to have a dark feel. Also, we wanted to keep it catchy like songs in the past. I think you hear everyone’s  specific influences in every song. Going into this record we didn’t want to follow just one style. It’s got a bit of everything. Best thing we’ve done yet.

James: "Custodian of Lights" is a pretty epic title. I don't know why but it somehow makes me think of the Foo Fighters "Wasting Light". What's behind the name?

Ryan: The title reflects on the idea that the Custodians of Light are those who deal with the bullshit and garbage life has to offer and somehow make the best of it. Were there are the people that have everything in life handed to them and take things for granted. The Custodians of Light feel that one man’s trash is another man treasure. That’s how I see it. To get the perfect answer you would have to ask Chris. “Wasting Light”? Never heard it. Is it a good record?  Other than the word Light I don’t think they have anything in common.

James: The band was taking pre-orders on the record before it was even recorded. You also didn't have label support. Was that somewhat of a risk for you? How did you feel about that decision?

Ryan: It was not a risk at all. There was a part of us that didn’t even think the record would happen. Because we were so passionate about the songs and felt they needed to be heard we needed to do anything and everything to get this record out there. Not having a label backing you is one of the hardest parts of doing a record. We never had a label back us before so it is something we are really use to. The pre-orders are just a way to help speed the process. Also, we planed to give the people that did do preorders a little extra. I like to think we are treating them good.  We never ruled out putting it out ourselves. It’s the way we do things. Even if someone were willing to put the record out for us it may not have felt right. All of us like to have the control of the band. I wouldn’t want just anybody putting out our record for us because we may risk losing  control.

James: Did you reach out to any labels during the process or was this planned as a self financed release from the beginning?

Ryan: We did send it out to a few labels but again we always go into it thinking we are going to press it ourselves. Having someone back us would be awesome, but it’s got to be right. We just knew we had to go into it thinking it would be self released. It’s better that way. Never get your hopes up.

Jeff in action at Kearny Irish

James: I've just heard that Jeff is leaving the band. This honestly came as a major surprise to me. What was the reasoning behind his departure?

Ryan: Jeff has other things in his life he needs to focus on. He really wants to work on his film. It’s not easy being in Four Fingers. (Laughs) With everything going on in his life right now, staying in the band would just be too much. We are cool with it and wish him the best. Love you Jeff!

James: Not too long ago you were the new guy in the band. I'm not sure if I ever told you this but I really felt that, in a sense you felt like the missing piece the band needed to take things to the next level. What was the transition like?

Ryan: Joe is a great guitar player. I pushed for this really hard. We played in Shakedown together and we’ve been jamming together for about seven years now; whether it was just jamming or in bands. I know Joe’s style better than anyone else. So this was easy for me. He fits into this band very well and brings a lot of energy. Also, we’ve been playing and writing together for so long it makes him very easy to work with. After the very first jam with him we knew he was the guy. He had everything down. Also, his attitude shows that he wants in for the long haul. Hope everyone digs him as much as we do. Yes, I get the missing piece thing a lot, but don’t see it. To be honest, I didn’t feel like there was much of a transition. The guys always made me feel equal in everything we do we do as a group. I mean sure,  there where times when they would talk about shows they played that were badass; but I never really felt like the new guy, even though I was. Joe won’t have a problem at all. Now I can rub my awesome shows in his face.

James: What advice would you give Joe that would help him in both filling Jeff's rather large shoes all while dealing with the energy that is Tohm and Chris?

Ryan: I would just say be you. We don’t want him to wear Jeff’s shoes or fill them. We just want him to have fun and learn to love what we do. I know this is what he’s dreamed of. Joe’s the type of guy to feed off of others energy. That’s why I really think it’s going to work. I promise you the next couple shows we got coming up will be intense! I think fans of Four Fingers will be very pleased with what we accomplished this year.

Custodians of Light

Four Fingers Facebook Page

Talking with Omer Leibovitz of The Courtesy Tier

James: I keep looking back to the "Brick City Sound  Riot Festival" and the first time I saw the band  perform live. Though there were a over abundance of excellent performances, the Courtesy Tier offered a lot of interesting twists and turns. Can you give me a little background on the band? How you met and how you evolved?

Omer: Layton and I met in Boston around 2001.  We had both been Jersey boys Layton from south jersey growing up on a diet of grunge and Hip Hop. I grew up in North Jersey on more of a Punk Rock and Metal diet, but we both also loved the usual classics such as Jimi Hendrix, Pink Floyd, Led Zeppelin, Bob Dylan etc...

We were both freshmen attending Berklee college of music. We met in the dorms, naturally connecting on important issues such as pot consumption, psychedelics and music, we had decided it would be great to do some messing around.  At that time Layton had already been attending Berklee for a semester longer and when we would hang out he and his roommate would start exposing me to a whole lot of Jazz music they were studying: Coltrane, Elvin Jones (which became one of Layton's biggest influences), Grant Green (which became one of my greatest guitar influences).

To make this long story a bit shorter, we spent about 5 years playing in a 7 piece experimental rock band: Drums, bass, Keyboards, two guitars, and two saxophones. Touring around, playing festivals and such, until getting along became difficult, and truth be told once the drugs wore off a bit neither Layton and I wanted to experiment so freely with our music anymore.  So we broke up and started a 3 piece instrumental band called The Courtesy Tier and moved to NYC.  When Layton and I realized that we had wanted to get back to our rock roots and could not see eye to eye with our Bass player, he decided to go his own way and Layton and I decided we were gonna learn how to sing and move forward... Here we are now.

Originally Courtesy Tier was actually Courtesy Tear which was one of those joke sayings used by us and our friends at the time, referring to something crass we should not get in to.  We connected with what the name meant to us.

To Layton and I playing music is not about us it's really about the people we are interacting with.  We have always discussed how important it is to us that our live shows would not be about people coming to see us, but rather us coming to entertain and interact with people.  We were craving that authenticity we got from our Jersey VFW days.  When you felt like these bands you loved were on your team. And we wanted to get back to that, we didn't want to be another band doing anything for a record deal or money. Feeling like we were exploiting people who would come see us by charging as much as we could, or guilting them in to showing up just because some guy that might book us will be there and its all about impressing him.

Courtesy Tier, we connected with it. we wanted it to remind us to move slowly and make art that might actually better someones day, or make them happy or get them dancing.

James: How long did it take before you found your voice and felt that you could make things work/gel as a duo?

Omer: It's been about 3 years as a duo, and we are just starting to feel a bit closer to gelling the way we would like.

James: Did the sound and direction of the band change as the lineup changed?

Omer: Yes the sound has changed drastically, this is the most honest we have dared to be.

James: You mentioned how drugs were a big influence early on in the band. When did it stop working for you?

Omer: I don't know that they were a big influence, but they were around and I dont think they ever worked for any of us, I think they slowed us down.

James: Was it difficult at first to write and create without that influence?

Omer: No it was a very natural transition towards focusing more on achieving a musical vision verses before when we would be more on the instant gratification of the playing experience.

James: Though you come from the Jazz and Classic Rock background I can't help but feel a Alt Country vibe in a lot of your songs?

Layton: Absolutely Omer grew up listening to a lot of punk rock, but also loves country and Folk: Towns Van Zandt, Bob Dylan,

James: The song "Fall Asleep" from Holy Hot Fire had an immediate impact on me. I often found myself waking up with the songs rhythm in my head. I was curious about its inspiration and recording.

Omer: The basic song Layton and I wrote on the spot while jamming around, the words are a story of growing up, learning to accept that life is just a series of phases. People come and go ushering you from one world to the next, those who stick around are usually still teaching you.

James: The song "Cold" originally appeared on "Map and Marker" . What led to your decision to re-record it for "Holy Hot Fire"?

Omer: We re-recorded "Cold" because we really love playing that song. In the two years we've been playing it the composition has just kept developing, shifting and getting more involved. So we wanted to capture the new version the way we play it live.

James: Have you had the chance to tour in support of  "Holy Hot Fire"?

Omer: Not as much as we would like. We are going down south during March and hit up SXSW for a few shows.

James: I've seen you perform live a couple of times and have been very impressed by both performances. I've also noticed a big difference in your personalities on stage. While Layton is constantly smiling and looking as if he's having the time of his life. You seem a lot more subdued and focused. I might even go as far as saying possessed. How would you describe your personalities both on stage and off?

Omer: Yeah I don't think its a conscious thing, just kind of happens.  Layton has always been pretty laid back, and I have always been really afraid of singing and nervous in general so that might shine through a bit.

James: I understand you’re in the midst of writing new material. Can we expect another release soon?

Omer: Yeah, we are hoping by spring.

James: What are your goals with The Courtesy Tier? Where do you see yourselves going as both songwriters, musicians and as a band?

Omer: Creatively we are always pushing ourselves to stay inspired. For the next record we are working to try and satisfy our love for electronic elements in music, and loop based writing.

James: How do Omer and Layton measure success as a band?

Omer: Most importantly we want to like what we hear back. We also never let it get boring, we love to constantly push each other away from getting too comfortable and we do measure success through those small victories.

The Courtesy Tier  Band Site

United Riot Records to re-issue NY Hoods '86 Demo

For the first time ever on vinyl will be the official release of the NY Hoods' demo, remixed and remastered. Due out in late February the 7" will have 5 songs. Limited edition of just 500 pressed with 100 white, 100 splatter and 300 on black vinyl. The first 300 will come with a digital download card. Members of NY Hoods went on to play in Side By Side, Absolution, and Burn.

On February 20th a new label called Under Watchful Eyes with the help of United Riot Records will be releasing the Strong Island Boot Boys "Pitbull Breed" 7". The 5 song 7" features members of Offensive Weapon and Fed Up! and this release will be out on red, white, and blue vinyl.

United Riot Records  Get it here

The 65's - "Walk on Selfishly" Video

Here's the video for the first single off The 65's Debut album "Strike Hard". The album ranks pretty high on my list of 2011's best albums. Check out the video and go over to Dromedary records to purchase a copy.  James Damion

Dromedary Records
The 65's

Sara - Spud Brain

As I was about to give Sara and their EP Spud Brain a listen I couldn't help but think I was about to tune in to a female fronted pop band that sang songs about high school crushes, teen alienation and how     "Mom  will never understand". Though, that type of music has surely carved out it's little niche in musics broad landscape, it could not have been further from the truth when it came to this band.

Sara, in fact, are a three piece (each of them strapping young men) from New Brunswick, NJ. The band plays a style that mixes 70's rock with the aesthetics 90's indie and a bit of a low-fi value that ties everything together rather nicely.
     The EP's seven tracks are driven by some genius guitar work that produces a lot of unique and interesting twists and turns. Spud Brain delivers its share of up tempo and low key moments throughout. Each song  offering  its own unique identity and style. There are soaring moments on songs like the title track "Spud Brain" and its followup "Cancer Songs". While, offerings such as "Almond Hours" and "Criminals" offer a more intimate vibe. 

Overall I found this to be an excellent release that has a lot of different elements that come together rather seamlessly. I always wondered what it was about New Brunswick that turned out so much excellent music. Listening to Sara moves me to continue seeking the answers. This band is definitely worth further investigation. James Damion

Sara Facebook

Download EP Here