Fear & Loathing in Long Beach Interview with Mike Lohrman
explosion across the underworlds of the U.S and Europe? -First of all, I didn’t start the band, I joined it. I answered an ad that they put up in the record store (Underdog Records). We voted “The Stitches” in as the name off a long list of ‘potentials’ and played our first show about a month later.
First off, The Stitches were the band that set off the 90’s into the 2000’s punk revival on the underground circuit, prompting bands to release 7”s that lived in the middle of nowhere, myself included, and created an excitement that had not been felt in a long time. What motivated you to start the band and why do you think the effect was like a musical drug induced
-The Exploding Fuck Dolls had played their first couple of shows (with Duane singing) and the opportunity seemed right. They were really good, but the ‘scene’ at the time sucked pretty bad- I hated most of the bands that were playing regularly at the time, the clubs they played in and the people who went to them. I would get thrown out of every gig I went to- meathead jock bouncers and pony-tailed promoters didn’t seem to dig what was goin’ down…just their disposition alone was enough to prove their retardation to me, but to throw someone out who was spending good money on their overpriced drinks solidified my beliefs…so, I figured if I was in the band that was playing that night, not only could they NOT throw me out, but they’d have to give me all the drinks I wanted and pay me some $ on top of it. Basically, they were gonna fuel the fire that was gonna burn down their club…
Do you think the bands that kind of commercialized “crash and burn” punk with melody killed the momentum this scene had? Did this lead to oversaturation where bands were more concerned with putting on safe and sober stage shows with merchandise being the main focus? It felt like every band from the revival period had turned into a hoodie sweatshirt.
As the premiere band from this genre, with major press publication coverage that seemed non-stop, what made you decide to avoid signing with a major label and streamline the sound for mass appeal like so many did at the time? -The only reason I started Vinyldog Records was because nobody else wanted to put out our records. There were certainly no major label offers coming our way..I’m pretty sure our sound was as streamlined as we could possibly get it ha ha we set out to write mid-tempo powerpop songs and what made it to record was as close as we could come…
-Damn, I dunno…I’ve heard some stories about bands starting because of the opportunity for $ to be made in merchandising…I don’t think people tone down who they are to put on a safe and sober stage show, I think it’s just who they are- safe and sober people. We have Stitches hoodies available on our website www.thestitchespunk.com.
Are the Stitches still together and will there ever be another album of original material?
covers”? Is the writing process time consuming for the Stitches or is it not an issue?
- We’re still together and we play about once a month locally and try to get at least one out of state regional tour in a year…dunno if we’ll ever write another album’s worth of material- we haven’t even practiced in 9 years. The only time we get together as a band anymore is to play a gig.. What was the motivation behind The Stitches Do the Jet Set? I heard the band was met with major opposition in this endeavor. Personally, I love the art/electronica damage of the record. What would you say to fans that were wondering, “Why can’t they just do 5 or 6 new tunes and throw in a couple of
-Skibs came across an electronic drum kit and we motivated to use it. He picked it up during the decline of our band practice nights- I could rarely make it to practice and they had a handful of songs in the works that never got set to lyrics. I think they got bored of playing the same shit and started fuckin’ around with the electronic drums..We purposely played ‘The Jetset’ at a show in Huntington Beach where we knew the reaction was gonna be bad- the crowd threw chairs and bottles, some of ‘em threatened to beat us up ‘if we ever played that shit again’…it was perfect. -We recorded it just to record it. We put it out because we recorded it. I wonder if those fans ‘that were wondering’ like Flipper…
Fashion has always played a big part in the appearance of the band, is this intentional, and is it any reflection on what you do in your personal life? Do you find the “Sid Vicious” look played out and cliché? At some point, does it feel like a “punk show” is more of a social scene than a
chance for the audience to feel the fury of The Stitches?
much more out there to listen to..
-yes.
-Ah yes, the ol’ “frozen in time” phenomenon..I went to my 25 year high school reunion a few years back and had the oddest experience. First, let me say, I was pretty pissed I spent money to attend this shit can event- I forgot that I absolutely hated high school and everything about it- especially the people. Second, a little history- I was 4’11 and 98 lb.s when I graduated. I rarely went to school. When I did, I was high as fuck and usually just went to sell stolen Polo shirts and LSD. I had 2 friends- stoners that I’d blow grass with at lunchand a handful of sympathizers– that I could relate with. 1 friend died on graduation day and the other- well, I wish he had too..So, I go to this lame ass reunion and the “frozen in time” phenomenon is the life of the party- “I was the best…”, “remember when I….” & “…back in the good ol’ days” were king. I think it’s fear that runs it, if you get down to the center of the issue. People, by nature, are scared of change. Most people get their identities from what other people assign to themnot too many folks get to make one of their own. In their youth, people have a bigger social life and therefore get validation on
What bothers you the most about current “punk” bands and what bands outside the genre do you enjoy. Do you find it limiting when people decide to “live in a genre” forever? Some people and artists have a nasty habit of being frozen in time, why do you think this happens. Is the time of everyone’s lives their twenties and then you just give up and settle down? -I’m pretty much out of the loop when it comes to current punk bands- I don’t get out much. I like the Regulations records. We played with a band in Austin called the Flesh Lights that I liked..uhhh, yeah. Honestly, everything bothers me about everybody. I have to make a conscious effort every day to try an’ not let other peoples’ existence bug the fuck outta me.. -I listen to all kinds of musicI’ve got a few records..music is good to people and it’s very subjective- it’s not for me to judge what music and/or ‘type of music’ does for other people. Peronally, I get bored with just one genre. Besides, there’s so
their given identities more often. As they grow older, have kids and start to settle down, they don’t get their egos caressed as often and their identity gets a little lost. There’s certain times, sounds, people, images, etc…that can spark a memory of who they think they used to be and they cherish it as “the best times of their life.” It really is a ‘nasty habit’, as you say- it’s a tough habit to break as well. David Bowie’s ability to reinvent himself….something to be admired. Do you find copious amounts of drugs and alcohol to be the portal to getting to the essence of truly explosive band that emotionally connects with their audience while rattling their nerves at the same time? -Pretty good contradiction there- ‘drugs and alcohol’ & ‘emotionally connects’.. I don’t think it’s necessary, but for a good ‘punk’ show, confrontation, recklessness, destruction, a complete lack of respect and the imminent threat of violence, seem to be what works best…in my book, at least. Drugs and alcohol can help people drop their inhibitions enough to access that, if they have trouble getting there on their own.
In what ways have you changed since the band started and what are your aspirations as an artist and performer? Will Mike ever go solo or join another band? -Next February, I’ll be 20 years older, I have a wife, 2 kids, 2 dogs, a 9-5 office job, a mortgage and a station wagon. The suits I wear on a daily basis have less holes and bloodstains on them. I’m not as angry, as often. I rarely go out to see other bands play unless The Stitches are playing with them. I buy a lot less records. I haven’t been thrown out of a club, gone to jail, dyed my hair, been beaten up, drank booze or done drugs in over 10 years…I’m as fuckin’ square as you can possibly imagine- you can cut glass with the corners of my life. -ha ha- ‘Solo’- that’s funny. I don’t have the time to join another band- even if I did, I don’t know if I would. Besides, at this stage of the game, I see no reason why The Stitches would break up- we have a lot of fun together, it certainly doesn’t take much time or effort -we never practice and don’t give a fuck if it doesn’t sound perfect when we play live- and people still come out to our shows. When we go outta town, it’s like four old friends getting together for a fishing trip- we
pile in the van and laugh the entire time. I love those guys… Thank you for taking part in the interview Mike and you rule!!! There’s a tendency for bands to “sloganeer” and tell people what they already know, which to me is really annoying and exhausting, how do you feel about bands with a “message”? -Isn’t there a ‘message’ of some sort in all music? I guess it would depend on the ‘message’ they were throwing out? Maybe I don’t fully understand your question? “I play in a band called The Stitches and we hate bands with a message!”
Who are your top 3 bands and women of all time that represent your taste as an individual? -Here are my top 3 bands WITH women of all time that represent my taste as an individual: 1) Joan Jett & The Blackhearts 2) The Shangri-Las 3) The B-52’s …and if you’re gonna throw out The B-52’s on a technicality, then please replace them with Elastica. Thank you.
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Hello Sabrina and KingQueen! From Sweden to London to Los Angeles, what makes you tick and how did the band form? You make me tick. I was sick of backing tracks and being a solo artist. After working with Kim Fowley I got inspired to having a band again. Started playing with different people and with the right amount of work and time I ended up having the perfect band for KINGQUEEN. How would you introduce your band to our readers who have not heard the blistering new record yet? Is the live show a must or do you prefer the studio? It's loud, honest and raw. European roots combined with American sounds. "KingQueen is a Def Leppard/Bonnie Taylor with a modern sound." - Kim Fowley (Joan Jett, GNR) Live and studio is so different. In the studio we deliver the sound and live we deliver it with a show.
How hard is it to be an up and coming band in LA with so much competition when you obviously stick out from the crowd with a unique collection of hook laden pop/rock heavy guitar anthems? There is no competition, I am who I am, we are who we are and they are who they are. I can't be them and they can't be me. We don't really pay attention to that because it's just negative. You can't compete in art. And as long as you believe in yourself, others will believe in you too. Do you encounter any harassment with a female fronted rock band in terms of promoters or overzealous audience members?
No I don't pay attention to anything else other than what we have to do as a band to keep on getting better. So after a show we usually just go throw the videos and analyze what we can improve. The rest is just bullshit and we don't deal with that. If you could pick any period in time to exist in the rock n roll world, what year would it be and why? Right here and right now, It's all about the future, the past has already been written. Has the band always been a dream or did something else make you decide to form a rock n roll monster? I love Rock N' Roll. I cheated on it when I got signed to a label and back then no one wanted to work with rock bands, it was all about pop. And my heart and soul couldn't take it anymore so I left the label and created the band. Will there be an overseas tour and what are your plans with releasing a CD with Italy’s White Zoo Records? You never know, it all depends on where we will have our biggest request on traveling and playing shows. Sabrina’s collaborations with the artist Noizee are pretty incredible as well, what else have you done in the past Sabrina? American Music Awards with Coca Cola Lounge 2010.. Also owned my own dance school back in Sweden, wrote, produced and directed a musical. Co operated with some of Germanys hottest rappers (Katha-O) and sang on their albums. Music video on MTV. Art has no limit, you got to do it all. How did the American Music Awards appearance come about? Do you see your band as a mainstream offering or an edgier rock n roll unit? I didn't have my band back then, that was the period where I really had no idea if what I was doing what was right for me. AMAs was one of the biggest things I've done in my life but I wish today that I had done it right because anyone that saw that show and knows me could tell I was lost and confused. It would have been a totally different experience now. But I am grateful for what the team I had at the time gave me, they did the best they could to help me out. What is the craziest band story you have? Oh, what happens backstage stays backstage ;) Does the band have any words of wisdom or advice for our readers? Thank you for hanging out with Fear & loathing in Long Beach Magazine!
GET LOUD!
-KMG 2013
2 devouring any color or soul in his gaze. Only two onyx orbs remained, wasted and lustful, glazed over and stuck into the front of his skull exactly where two eyes should have been. The line kept moving, and Johnson cut up the next cow on the line before the echoes of the squawker faded from the factory. The other bleeders stepped back up to the line. “Okay,” said the manager, uneasy and afraid, “uh, carry on.” “Fuck you,” Johnson said again, reveling and high and bloody. After bleeding two or three hundred more unmoving bodies, Johnson called out up the line, “Send me another live one! The dead ones are putting me ta sleep!” The other men on the line laughed, not with Johnson, and not at him, but out of a need for self-preservation. They knew Johnson, and their fear was reinforced by the display of joy on his face as he bloodied himself up with his lustful work. He felt at home again. He was coming up for air. He was processing meat again. The Bleeders, they were by definition a unique breed, tortured and sick on a great number of levels, but even these sick fuckers weren’t ready for Johnson. They weren’t even in his league.
IDOL LIPS INTERVIEW
F&L LB_Kevin McGovern
Mohawk haircut, it was his previous, "Female Trouble". It was probably an idea of the Italian distributors of the movie to put that title, “Nuovo Punk Story” ("New Punk Story"), to ride the commercial wave of the movement that moment was reaching its peak of visibility in England, having as its epicenter in the city of London. If we consider then some pure fiction movies and analyze them frame to frame as a hypothetical example of "punk rock movies”, I would think about titles as "Jubilee" by Derek Jarman, "Repo Man" by Alex Cox, some productions of the Troma Entertainment probably, surely "Wild Zero" by Tetsuro Takeuchi. (“There’s nothing punk about Emilio Estevez”, still?): The reason for the title of this short essay is intended to justify the nature of a work that arises, rightly, in the midst of what we would call a traditional cinematography (or the story of a film genre) and Punk (Rock). Understood not only as a musical phenomenon, born in the early '70s, but even with all the tensions in the social, cultural and aesthetic with which this phenomenon has dramatically marked the ‘900. The choice to use the italian title for the movie by John Waters, released in America and in the rest of the world, not surprisingly, in 1977, the year of the commercialization of Punk as a social phenomenon, reflects the need to maintain a character of ambiguity that is not only a characteristic of the primitive movement. It refers to the hypothesis of a “fiction” cinema (so we avoid documentaries and mockumentaries) as up to now has not been considered by any film critic. In fact we can’t talk about a real genre ("a punk rock movie" "), but we can detect a wide range of films, that when they do not specifically speak of the aforementioned music scene, but for a number of attitudinal factors and aesthetic consciously or unconsciously, they are inspired by Punk Rock. It should be added that the John Waters movie frieze of that title only in the italian territory (the original title of the movies is "Desperate Living") and that has nothing to do with Punk Rock music except maybe from an ideological point of view. On the other hand, the movie where we saw his muse, the transvestite Divine, showing off a
The relationship of what the punk rock movement have created in a short time and today's globalized society have established is very close, eternal and unchanging. It probably goes far beyond the actual consciousness of this relationship, nevertheless we have politicians in Parliament (in Italy for sure) that raise their middle finger to every good occasion, kids wearin’ leather jaquets and snickers even if it’s snowing, and many more going to the disco dressing punk shirts. Maybe some of those are unaware of the origin of some intimate attitudes, but it is undeniable that what happened with Punk Rock between the early 70s and the mid 80's has changed many things, creating new aesthetics and subsequently a new way to make movies or scripts. And if Madonna talks about her movie, "Edward VIII", quoting Sex Pistols, we can understand how Punk Rock is far from exhausting its influence even in the mainstream business. Like any movement that impregnates the current culture, even when it seems to have been shortlived or died, “Punk” understood as pure attitude (but even the music, come on) is still alive and it’s seed for the future. If we think then about how movies (television, the drug of the nations) plugs directly into the fabric of everyday practices and expectations of each person, we understand where and how this may had an additional and massive natural influence. Certainly cinema plays an important role, for the possibilities inherent its natural benefits: the effectiveness of the visual stimulation, a privileged communication’s channel. There are three main levels of communication: verbal, non-verbal and para-verbal. Above all the non-verbal level (the body language), which relates to visual stimulation,
occupies the first place as it affects the communication as much as 55%. The para-verbal affects just the 38% and only a 7% of communication is influenced by the words. So we understand that Punk Rock, having its genesis in the music field has gradually become a cultural phenomenon that affected not only the other arts, and cinema in particular, but all communication areas and expression of our lives. We could say that Punk entered in the veins of the moderninty mixing with elements of the "liquid modernity" (a term coined by the Polish sociologist Zygmunt Bauman) that marks the break with a world anchored in the tradition, rules and behavioral patterns approved. "Going" is dictated not by a desire of research, not marked by a project and there are no distances to be bridged, but it seems punctuated by the frenetic rhythm and the horror of being bound and fixed "("What they want? I don’t know. They're all reved up and ready to go"). The final sequence of "Repo Man", which we mentioned in the previous issue of Fear & Loathing, where the awareness of diversity pushes the hero to jump into the hyperspace with his car, metaphor of the eternal change of punk rock culture, is certainly indicative in this regard. So we consider the existence of a genre properly "Punk ", understood as attitude again, in the cinematographic culture. The hypothesis is that in many movies we can see the use of specific qualities, which were not just a mere mention of the stereotypes of Punk. So, there are some movies, a few, that, as for other genres (horror, western, sci-fi) may bear the “punk” epithet. Take, for example, a movie as "Wild Zero" by Tetsuro Takeuchi, or the same "Repo Man", but it is also the case of many of the Troma productions, where the elements of Punk subculture were well digested and assimilated and not just an inspiration to color and spice up the pot. In "Wild Zero" punk rock culture is not only a presence because of the music, but the texture, from the script to the editing seem affected. Tetsuro creates a "world", as in the case of “auteur” cinema (Antonioni, Fellini, Lynch, to name a few) completely self-contained and placed in a movie culture that is not simply made of horror and science fiction (the zombies and the ufos seem to come out from a Ramones song, rather than George Romero or Ed Wood movies). It’s something different from what was experienced by traditional cinema, to offer the
peculiarities of a music style, the taste, the rhythm, and turn it into a movie, something very difficult to accomplish (please don’t say Tarantino, that’s crossover). These kind of movies do that easily, and you don’t understand how that could be pure instinct and passion or programmatic, and this is another factor we could associate to punk attitude. Just think of "The Great Rock ‘N’ Roll Swindle", a work in which everything is rationalization, but it would not have achieved the purpose and the message without the blind fury and the instinct of a movement. Not without effort, part of the filmography displayed, and annexed, may be considered maybe negligible in this respect, but at the same time essential for the formation and the harbor of movies such "Wild Zero", up to the point that part of the history of a cinematographic "gender" should be rewritten. Filmography for a Punk Rock Cinema: Border Radio – 1987 – Messico – Allison Anders, Dean Lent, Kurt Voss Breaking Glass – 1980 - UK - Brian Gibson Burst city – 1982 – Giappone – Gakuryū Ishii Class of 1984 – 1983 – USA – Mark L. Lester Class of Nuke ‘Em High 3: the Bad and the Subhumanoid – 1994 – USA – Eric Louzil Dogs in Space – 1986 – Australia – Richard Lowenstein Dudes – 1987 – USA – Penelope Spheeris Hard Core Logo - 1996 - Canada - Bruce McDonald Jubilee – 1978 - Gran Bretagna - Derek Jarman Ladies & Gentlemen , The Fabulous Stains – 1981 – USA - Lou Adler Population: 1 – 1986 – USA - Rene Daalder Repo Man – 1984 – USA - Alex Cox Rock 'n' Roll High School – 1979 – USA – Allan Arkush Rokkazu/Rockers – 2003 – Japan – Jinnai Takanori Smithereens – 1982 – USA – Susan Seidelman Straight to Hell – 1987 – UK, USA, Spain – Alex Cox Suburbia – 1996 – USA – Richard Linklater Surf Nazis Must Die – 1987 – USA – Peter George Tank Girl – 1995 – USA – Rachel Talalay The greatest rock n roll swindle – La grande truffa del Rock 'n' Roll – 1980 UK – Julien Temple They Eat Scum – 1979 – USA - Nick Zedd Times Square – 1980 – USA - Allan Moyle Tromeo and Juliet – 1996 – USA – Lloyd Kaufman Wild Zero – 2000 – Japan - Tetsuro Takeuchi Read: Destroy All Movies!!! The Complete Guide To Punks On Film.
Blag’ard Fresh Candy (Pig Zen Space) The cover, depicting a naked orange-haired girl straddling a guitar, is quite alluring, as is the opening “Candy Town,” an amusing dig at the NYC hipster scene that recalls Perry Farrell and Porno For Pyros. Unfortunately, the attraction ends there, as the remainder of Fresh Candy is dull indie rock that only gets irritating after a while. At this point, the guitar/drums duo thing is overplayed into cliché and, while guitarist Joe Taylor has a few good moves, the limitations of the lineup result in extremely un-dynamic music. Perhaps with other musicians, there could be something here but, right now, these songs sound more like unfinished demos than completed tracks. Buy a download of “Candy Town” and skip the rest. (pigzenspace.com) New Rose Tracklist Within (Flora & Fauna) If you proclaim yourselves the children of Patti Smith and Peter Brötzmann, you better damn well have some groundbreaking music to back it up. New Rose, whose very name is even extremely derivative, do not. Somehow born out of a free jazz duo consisting of drummer Niklas Korssell and guitarist/vocalist Gustav Nygren, the trio write songs that sound like The Feelies or early REM when fast and Crazy Horse when slow, i.e., nothing extraordinary. Nygren annoyingly croons his lyrics like Neil Young doing a Robert Smith impression. It’s really Daniel Bengtson’s fluid basslines that stand out amid the mediocrity. When the members of Can had the epiphany that Velvet Underground drone could be more interesting than jazzy prog rock, they changed music forever. New Rose didn’t get the memo. (brilliant.nu)
The new record is a dizzying array of masterful instrumentation that sounds like Bach and P.T Barnum leading an amphetamine-fueled orchestra of crazed and unpredictable players. Many of our readers are new to the Japonize Elephants experience, how would you entice them to listen to this other worldly new record? Well, think of the album as a story in which not everything is divulged in the beginning but in which it develops throughout the album and characters come and go as the narrative progresses. Throughout the Mélodie Fantastique album, unpredictability is omnipresent, with styles ranging from Appalachia to Country, Swing, Blues, and Baroque. Is this intentional in its origin and how do the varying styles play into the fact that the disc was recorded in several different locations, including your own living rooms. The music on Mélodie Fantastique is largely a reflection of all of our musical influences. The varying styles and unpredictability is most likely a result of writing music for the individuals in the group and then letting each person's musical voice lead the direction the arrangements take. We don't necessarily seek to create music that is unpredictable, and to us (or at least most of us) it isn't. Although this particular album was recorded in many different locations, the individual songs were pretty much already arranged before we began the recording process. In reality much of the diverse styles present in the music are probably more a result of everyone in the group being in a room together hashing out musical ideas. We have many readers into Johnny Cash, Tom Waits, and hardcore punk as their playlist mainstays. How would you lure the “hardcore punk” fan to check out the Japonize Elephants Old Time Eastern Honk Orchestra? We have a pretty raw rhythmic core driven by junk percussion (heavy buckets, lamps, etc...) and driving rhythm guitar. Musically we try to really embrace the visceral aspects of music. On this album we also experimented with re-amping the junk to give it a very heavy and punchy feel. The beginning of The Zorlockian Anthem is a good example of a super driving section with machine gun like guitar/bass/junk percussion riffs supporting a circusy horn-driven melody. We also have songs about pirates, whiskey, gambling, and debauchery in general. Is Burlesque included in the live show? A carnival atmosphere of whiskey drenched belly dancers and back woods erotica flows throughout the disc. Do you consider your music romantic or more sexual in nature?
We don't provide the burlesque in our live shows although I guess there is some sort of a weird circus/pirate clown/whiskey drenched/red neck/belly dancer vibe that does seem to run throughout our music. We do provide quite
a bit of banter at our live shows which will no doubt bring tears of laughter to your eyes...or at least to mine. I never really thought of it, but I guess I would say our music is more romantic than sexual, although both descriptions don't seem to fit in my mind. With that said, I hope that everyone feels free to find what they want in our music. What led to the initial formation of the group, where did you begin, and what has kept you gigging throughout the years from New York to San Francisco to Los Angeles. David Gantz (junk percussion and vocals) and I (guitar and vocals) began the group in Bloomington, Indiana as an excuse to make up songs. We ended up randomly playing at an open mic in Chicago and soon afterwards we were joined by our likeminded friends that liked hanging out and playing different music with us. The Japonize Elephants has always been a band of friends and that is definitely what has kept us playing for almost 20 years. Moving from Bloomington to San Francisco only solidified the bond and made us more determined to keep it going. We are now spread out between San Francisco, New York, LA, Boston and Italy but the idea of getting together and playing a gig or working out music for a recording definitely brings us together. Basically it provides us with an excuse (not that we really need one) to hang out. How many lineup changes throughout and is it a natural growing apart or do people decide to leave a recording and touring group altogether because of the hardships? I would say that although we have slightly different personnel at our live shows, the lineup hasn't changed and has actually gotten bigger. When we moved from Bloomington to San Francisco we actually did stop playing as the Japonize Elephants for a year or so but then realized we enjoyed it too much to let it go. As the years have gone by we have gotten more spread out throughout the country (and the world) but no one has "left" the group. Because not everyone in the original group could make all of the gigs we began adding people to play their parts. I don't think we've ever thought of anyone as a sub for someone else though. As a result, every album the personnel gets bigger and bigger. On MĂŠlodie Fantastique we have a total of 20 musicians. What is your biggest turn off with modern media and modern music? Does it affect the band? I don't really have anything against modern media...I'd like to have less interest based propaganda parading as news, but other than that it is what it is I guess. As far as modern music, I know there's some I love and some I don't really care for but I can't say I'm against any of it. I love the track, MĂŠlodie Fantastique, with its spiraling arrangement that entices and caterwauls at the same time. The sound is very atmospheric and I was wondering if the group has had any soundtrack offers or working relationships with cinema? Getting into composing soundtracks and syncing is definitely something we'd like to become more involved with and something I've wanted to do more of but never really had the time to get into. We don't have anything we're working on just yet but look forward to seeing what type of opportunities present themselves. Being from the mid-west originally, what cultural differences in attitude and style do you notice in your current residence of San Francisco? Are your crowds in NYC and LA strikingly different in any areas? The Japonize Elephants has its roots in Bloomington, IN which is a cool little college town centered around a big university with a great music school. Being a college town, Bloomington is pretty open to other cultures and we were able to really let loose and experiment musically and find people who were drawn to that. We were also exposed to music from all over the world and because of the small town nature of Bloomington we were actually able to meet some of these incredible musicians. For instance, the Master Musicians of Jajuka came to town for a concert and after their show they were looking for something to do so we invited them to our house for a jam session that went until the early hours of the morning. But I digress...as far as our crowds go, they are all over the map. We've played for punk
warehouse scenes, jazz festivals, bluegrass festivals, unitarian churches, cafĂŠs, art openings, silent films, chili cook offs, new music concerts, bars, theaters, and busked in the streets all over the US and Europe playing for tourists and locals from everywhere...I'm not sure that answers your question. I guess I don't really notice a specific cultural difference in our audience, based soley on local, that I can quantify. Since 1998, what differences have you witnessed in live and recorded music? Is it a positive or negative evolution? Where do the Japonize Elephants fit, if anywhere, in the music wasteland of 2013? In music in general I've definitely noticed more and more of a "world music" influence. In modern pop you can hear "eastern" sounds more present either with introduction of new instruments or different types of ornamentation and modes making their way into western music. Once again, the new record is AMAZING and I recommend all of our readers to catch the show and pick up the CD or LP! I love vinyl, as I am an avid collector. What prompted the vinyl decision that seems so popular nowadays? Each one of us in the group has a modest vinyl collection and has always been enamored with the sound and feel of vinyl. The physical format is also larger making the LP more of a work of art. As far as the listening experience goes, it is a little more interactive than cds and way more than mp3s. Because each side can only be 20 min or so, you can't just let the music run on for hours, you have to actually get up and switch sides if you want to keep listening. Also, I really enjoy the concept of the album as a whole work or piece that flows from the beginning to the end and we've always conceived of our music in this fashion. Finally getting the chance to release an LP only made sense.
“Arriving Angels” is your brand new album. As soon as I played this chaotic beauty of orchestral maneuvers into the abyss, it was like the witnessing the most spectacular sunset during the middle of a catastrophic earthquake. How would you describe your new album to our readers interested in a dance of death with an uncompromising cello and tribal rhythms of uneasiness? </b></p>
To me, the songs are dark, and intense, brutal sometimes but also really intimate, if that makes sense. Kind of minimalist doom, I guess.
The legendary Steve Albini produced the new record and it does have reflections of the U.S Steel Cello Ensemble and Big Black, was either one of these an influence on you? It’s hard not to be influenced by Steve – as an engineer, a musician and a writer. But the thing that I didn’t fully appreciate until I toured with Shellac, was how great a guitar player he is. His tone and his style. I am definitely a huge fan. A member of the underground noisemakers Neurosis contributes as well, how did that come to be? Steve suggested Jason when I was ready to record. Fortunately Jason had heard me play when I was touring my first record and was a fan, so he said he’d do it. I can’t imagine the record without him. He’s an amazing player, of course, but a wonderful person as well. This is album number three with a tour coming right up, when does the tour begin and how far will you travel? I’m doing some Midwest/east coast dates in the spring. I’ll go back out in June, hopefully doing some shows with Rachel Grimes. In the
meantime I’m looking forward to playing some shows in and around LA. I moved out from Chicago a couple years ago and I’m really looking forward to building an audience here. Do you tour alone and what are your favorite cities to play? I do tour alone. My favorite city to play in is Chicago – I lived there for 20 years and feel like I have a strong relationship with the city. But I’m looking forward to what the West Coast has to offer. It’s nice to have a new challenge – new people to play for. During touring, what do you do in your time between and after shows? Do you have an intimate relationship with your listeners in terms of getting to know them and staying connected? I try to at least find the heart of the cities I go through – stray off the interstate a bit if I have time. And I do love to meet people at shows. It’s interesting to me how different people are from one city to the next. A wonderful thing to be able to experience. In the 90’s you were part of the alternative/underground rock movement, how did that experience translate into your decision to go solo? It was kind of an organic process. I left Verbow but still wanted to play rock. I didn’t see any situations where I could be as integral to the band as Verbow, so I just started to write. The cello was my first instrument when I was eight; I was not very good at it and to this day cannot figure out how to play a power chord on the fret board. How did your unique style of cello playing come to be? Your cello playing is more expressive than most guitarists in the current world of music are.
Thank you! I think it’s all about sound. What you hear in your head and feel in your heart. And finding your own way to express it. I love the cello – I started when I was 8, too, so it’s a part of me. I think I’ve probably used it to express myself for a long time.
What is the difference between Helen Money, the performer, and the offstage personality? Well, I’m pretty soft-spoken in “real life”. I think when I have the cello and pedals and the amp to help me I’m able to express a part of myself that’s more assertive and maybe emotional the side of me that I normally keep to myself. You have some extensive experience in the world of metal, is it a passion of yours as well? What is your attitude towards the punk/hardcore movement and were those sounds influential? Definitely. I really like how visceral that music can be. It’s serious stuff, not arty. I like music that isn’t afraid to wear it’s heart on it’s sleeve. There has been a renewed interest in the New York No-Wave scene of the late 70’s, what are your thoughts on experimental music and playing? I’m for it – but I don’t see myself ever playing it. Sometimes avant garde stuff loses me because it can be either too conceptual or too heady. But then there’s stuff like Glenn Branca, which is pretty conceptual but very powerful and visceral. That I like. Does your new label offer adequate tour support and how difficult is it to conduct such an endeavor with a public reluctance to live music? Will this be the rise of experimental improve because everyone
can just YouTube live performances of their favorite pop/rock/ metal artists? My label is pretty small and they aren’t able to offer me that kind of support. It’s very hard to tour in the US, but I think to really reach people you have to play for them. It’s important to connect with your audience in that way. To put yourself in a live setting, where you’re dealing with the unexpected – where you’re communicating directly with other people. That’s the best part of it, for me.
Where can readers see your amazing live show and hear your records? I’m playing an in-store at Permanent Records in Eagle Rock on March 2nd. And I have other tour dates posted on my website – I’ll keep updating it as more are confirmed. This record is available at Profound Lore’s webstore. And all three are available on my website. And I’m sure Amoeba and Permanent Records in have it or could order it. CHECK OUT SHOW DATES AND TIMES AT HER PAGE AND SUPPORT INDIE MAYHEM MUSIC MAKERS!
Welcome to Fear and Loathing in Long Beach Online Magazine NOiZEE!
Tell us about your interesting and wild guitar set up and how it came to be. I play guitar but it has been set up with a bass string …as well as 5 guitar strings…and I play with drop tuning…low…then I split the signal thru an octave pedal & bass rig and a guitar rig….so it sounds fucking HUGE!!! :) Your video was banned on Facebook, why? What’s in it and is there more to come?
What is NOiZEE and tell our readers about the NOiZEE experience. NOiZEE is a "one chick ear assault" I am a modern day one girl band…with a twist! The whole thing about NOiZEE is that it is about not giving a fuck what anyone thinks….in that aspect it is punk…tho a bit of a different musically than traditional punk…but the music is about having a good time….and speaking your mind…being yourself….and being proud! Check out my new album LOUD!!! available now from www.noizee.net
What elements of danger and excitement do you bring to rock n roll that no other performers are? I like the live experience to be unpredictable…for me, there is nothing more boring than watching a band that is predictable…BORING!!!… So I like my shows to be unpredictable! When the venue is big enough, I breathe fire, make sparks and most importantly, I like my shows to be loud…so bring earplugs if your ears are sensitive!
My video Happy Birthday FUCK YOU was banned on Facebook…all my accounts were suspended because of my friend Tracey's ass!!! It wasn't even bare, it has a thong on….I can't see what the fuss was about myself…it isn't bestiality either…and it was the dog's idea! I dare you to watch it and not smile! This is a newly uploaded version which is totality safe to share on Facebook on your friends & enemies birthdays to your hearts content! http://youtu.be/aSAbNCK-KTA One of the things I love about this song is the dates the vocals were recorded. This wasn't planned..it just happened that there was availability at the studios they were recorded at. Alex Kane (Life, Sex and Death, AntiProduct) helped me record the vocals, and they were recorded on Christmas Day (If Jesus exists you know he has a sense of humor!!!) at KSM Studios and thy were finished them at the legendary Nightbird Studio in the basement of The Sunset Marquis Hotel (amazing studio with an amazing history!) on my birthday, the 15th Jan. I couldn't think of 2 more apt days to record vocals on Happy Birthday FUCK YOU! There is much more more to come. I have a new video that was released for the end of the world…12.21.12…(which, surprise surprise, of course turned out not to be the end of the world at all) which is a song Produced by Kim
Fowley. Because of this it sounds very different from the rest of my NOiZEE stuff…but it is awesome in it's own, unique way! http://youtu.be/40mwacSs-KI 2013 will see more videos and a new NOiZEE album. Video is a great media to use to make the music even more entertaining and to get underlying messages across…it adds a whole new dimension to what you want to say with the music. I love making videos and do it all myself (with the help of some awesome camera operators when I am in the picture!)
You have a loyal following in EU and a cult following in the U.S, what’s the difference between audiences and which would prefer to focus on? People are people all over the world! EU audiences are great, US audiences are great. I toured the EU heavily with AntiProduct. The AntiProduct People's Rock Army (APRA) were just brilliant!!! We toured with The Ozzfest all around Europe which was a blast….then after that we caused a riot in Milan at The Gods Of Metal Festival. We were nominated for Best New British Band in the Kerrang Awards as well…played in Japan…we did some cool shit! :) Check us out at www.antiproduct.com. I think my favorite audience may be Japan. I went back there in 2009 playing bass with Marky Ramone (one of the drummers of the Ramones) and we had a fantastic show…we were playing at 11am at a massive festival…Punkspring.the crowd went OFF!!!! http://youtu.be/YV6LI9uXDJ4 . Australia is a great place too…and Eastern Europe…everyone loves music and knows how to have a good time…and that's all you need for a great night!!! I'll play wherever people will book me to play…no favoritism!!! :)
You have upcoming tours, albums, and side projects. Tell us about them. I have an album which is just recently released called LOUD!!! You can listen for free here http://noizee.bandcamp.com/ and buy or if you prefer a physical CD, you can order from www.noizee.net I just got back from Sweden where I am played the Rock On Sea Floating Festival in Sweden which is one of the largest floating festivals in the World…and undoubtedly the best in my opinion! I look forward to releasing the follow up to "LOUD!!!" which will probably be called "LOUDER!!!" and will contain some new songs as well as hopefully some remixes from "LOUD!!!" Richie Ramone (another of The Ramones drummers) is remixing the NOiZEE
version of his classic Ramones song (which he wrote for them) "Somebody Put Something In My Drink, which is sounding AMAZING and will hopefully be on the album…it sounds very different from the NOiZEE original which you can hear & see here http://youtu.be/eESZL8vtChc...expect a release towards the end of 2013. I am planning an awesome and unexpected Xmas song as well…so watch this space!!! What are your biggest turnoffs in dating, music, and sex? Feel free to elaborate and get as graphic as you want! Biggest turnoff in every thing in life generally is disrespect. If I see people disrespecting other people…or animals….or music…or the planet…it saddens me deeply. Unfortunately it seems that the human race is in its last throws of civilization…trashing and disrespecting the world past the point of no return, so all we can do is try to be kind to each other and have a good time until the inevitable end of the world…so I like to make music and try to make the world smile! :) I look forward to doing a lot more session work for Kim Fowley, and I also look forward to the release of his Underground Future Cult Classic Film "Black Room Doom" which is also scheduled for release in 2013, which I am in. Any final words for our readers about the NOiZEE experience. To being to truly appreciate the Noizee experience, you should go to www.noizee.net and buy the album & t-shirt…or go to www.noizee.bandcamp.com and buy the downloads! then PLAY IT LOUD!!!! www.noizee.net www.facebook.com/noizeeofficial www.noizee.bandcamp.com www.youtube.com/clarepproduct
SUNSHINE X-RAYS/BLOODY PAGES "Sunshine X-rays and the good times in the clouds" ... Isn’t that what you said? A growing responsibility of the red, glowing nipple to solve the cryptic messages of disease born pathogens... Laying on the couch has never proven greater. I know now... How I may never grasp the greater understanding of the true meaning behind all the torn out pages of a science magazine featuring Stephen Hawking... Or... The dark mystery of how I found those pages next to the mailbox by the road while I was setting out the trash one Sunday evening... So, so mystical... The pages were yellow and aged... Torn from their source and splattered with blood! Yes, I may never understand the meaning behind that discovery... And that’s ok... Maybe the meaning Isn’t for me...
CLOSE TO THE WIND, CLOSER TO THE EDGE Sailing close to the wind. Again... Drinking a pint-8 of PORT REPUBLIC LAGER. Reading Bukowski poems. Pulling hard from the can neatly after each poem... Pulling hard from the can neatly before the next poem... Tonight, Easter Sunday... I will finish this book of poems*... Maybe even write a couple myself. ((This is one of those poems))
I’m confident that it can be done. Despite the spikings of various victories... I’m verily confident it can be done. Despite various attempts against me I still beLIEve in me... I have enough drink on-hand to see all my plans through. I’m verily confident that I do. "I use to love you so much." I hear from the couch. "I know..." I say... Then an unscheduled pull (neatly, of course) of the lager... In honor of the victory. A spiking of the victory... It tastes good too... Damn good! Another pull is taken in honor... In honor of the honor.... Take that mediocrity! You sly son-of-a-bitch. Here I am! Take aim dick-holes. I'm sailing close to the wind... Even closer to the edge. *Burning in Water, Drowning in Flame by Charles Bukowski
James Redfern james.redfern1@centruy21.com 805-975-7205 “TV Dinner” excerpt from the novel HECATOMB
88. TV Dinner When the Undertaker made it home after a long day at the em-balming tables, he pulled a couple tall boys from the icebox and sat down in front of the TV. He picked up the remote control and turned on the cable box. He took up another remote and turned on the television. As he cracked open the first can of beer, the phone rang. “This is Pete,” he said and slugged down half the beer. “Pete, this is Jerome, down at the mortuary,” said the voice on the other end of the line. “―Yeah, dipshit, I know who you are and where you are. How many Jeromes you think I know? What the fuck’s a matter with you?” “Yeah, sorry, boss, just trying to remain professional.” “Out with it,” said the Undertaker, taking down the rest of the first beer and cracking open the second. “The face,” said the voice on the phone nervously, “the face, the head really, it’s all pretty mangled, it’s all pretty, uh, well, it’s all pretty chewed up, sir, and I’m not sure how to, well, how to fix him up. I, I don’t know if I can do it.” “For fucksake kid, I thought you went to school for all this.” “Well, yes sir, I did, but it’s different, and he’s really broken up, I mean, Jesus, his whole fuckin’ head’s caved in, man. His skull’s been crushed. It’s flattened. All the bones in his face are broken. What am I supposed to do? Everybody in town knows him. They know what happened. How am I supposed to fix this?” “Staple the major bones back together, pump the head full of sawdust, and go heavy with the makeup,” advised the Undertaker as he began surfing the channels. “Do I have to come down there and hold your dick while you piss?” “No, sir,” said Jerome, looking down at the crushed and flattened head. “Good man. Now, get your ass back to work,” said the Undertaker. He hung up the phone and got up for two more beers.