Conflict (issue 53)
you asked for it. Or maybe you didn't.
CONFLICT 53 SXSWZZZ BONER EDITION What's a little 22 years between issues? Lots of great artists take their time. Tom Scholz. Blancmange. Terrence Malick. But none of those lightweights had to reemerge in a medium ﬁlled with such heavy hitters as the guy from the Long Winters dissing punk (next we'll learn that Dishwalla no longer believe in anarchy). NO BIG DEAL. I'm up to the challenge, even if this is just a oneoff. It's a lot of effort just to gain media credentials to the Austin Psych Fest, but anything's better than giving those creeps money. By Gerard Cosloy Over the course of 52 issues (1979-1991, with a sight hiatus in the mid-'80's), Conﬂict was one of the most overrated fanzines of the era. Sure, there were funny moments here & there (over the ﬁnal dozen of so issues at least), but the early years were mostly typiﬁed by horrible writing and lousy taste. There were slight improvements towards the end,, but none of it was helped by a generally bullying tone and a penchant for petty vendettas. It is my fervent hope that with this possibly (HOPEFULLY) ﬁnal issue, Conﬂict will experience some measure of redemption. Never again will I use the printed word as a mallet with which to smite enemies real and imagined. From this day forward, I'm all about togetherness, understanding and trying to foster a sense of community, rather than knee-jerk elitism and ironic distance. It would take someone or something truly despicable to ruin my glowing mood and feelings of genuine optimism for this city and it's vibrant music scene. Fortunately for you, there's several someones or somethings, otherwise this pamphlet would already be more boring than reading The Deli Austin. Apologies if you've already read me saying as much elsewhere, but could someone please lock the persons responsible for The Deli Austin, Do512 and SonicVaultAustin in some storage POD? At least one until one of them comes up with a single interesting idea? Look, I've no qualms with entrepreneurs , A FREE PUBLICATION FROM YOUR CLOSE FRIENDS AT CUMBUCKET MEDIA : MORE VENAL THAN BUZZMEDIA SINCE 2003 MARCH 2013 but only if they ﬁll a niche beyond being a suckier version of something else that sucks. Selling heroin to schoolkids is more digniﬁed (and less destructive) than the digital garbage pile these jerks are responsible for. Let's segue from that unfortunate local business to a matter of a greater international concern --- namely, Spray Paint's self-titled debut album. I've been out of the rock critic game for a while, admittedly, but to these damaged ears, the trio's high-treble histrionics could well be the glue that binds pre-Warners Devo to the Urinals (which you must admit, would only be slightly more awkward than gluing Devo to an actual urinal). A few have opined the album isn't quite as explosive as Spray Paint's live show, but if it were, would the Austin trio really be wise to torpedo one big revenue stream simply to move a few hundred LP's? I don't expect most of you numbskulls to really follow what I'm saying here, so let me put it in terms even the slowest among you can understand : WHY SELL THE MILK WHEN YOU CAN RENT PARTS OF THE COW? It's Economics 101. Alas, that's not the end of the discussion where Spray Paint are concerned. Recenly, a NY based reviewer (OK, Long Island City) treated his readers to a rather lengthy exposition concerning his contentious relationship with the band's Sacramento-based record label. I'm sure we can all agree there are almost no other burning topics the general public is nearly as interested in as whether or not a record label has or has not snubbed a blogger. Except perhaps, for the burning issue of playing fast and loose with symbolism that evokes some of history's darkest chapters. While the critic was happy to share his dispute with the label in question, he's got little to say about the company being named SS Records. Yes, I know the propreitor's name is Scott Soriano (though we've not actually seen a birth certiﬁcate) but given the rise of the far right in this country, it seems the very least a music journalist with a social conscience could do would be to ask "HEY, WHAT'S UP WITH THIS SS STUFF?" And since my own social conscience is even bigger than my love for kitty kats, I have asked that very question in the form of a spraypainted message (get it?) on the side of Spray Paint's van. At least I think it was their van. Many of these vehicles look the same in the Trailer Space parking lot late at night. Anyhow, enjoy the new issue (or what little of it there is) If you'd like to order copies of old editions, please understand that none are available (and I would sooner sell heroin to your children). If you must spend money (on something you can ﬂip on eBay) this week, please purchase Spray Paint's album instead (SS, 1809 S Street Sacramento, CA 95811 USA, s-srecords.com). Catch you again in 22 years! www.cantstopthebleeding.com 1