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www.atomictat OCTOBER 2008 • REAX MUSIC MAGAZINE • PAGE 9






While I like that you’ve started splitting REAX up into cities/regions, could you please stop lumping Jacksonville venues in with Gainesville? First off, Jacksonville is the largest city in land area in the contiguous United States. They are definitely not just “And North FL”! They are a huge Southern metropolitan city and have their own music scene well worth discovering. Secondly, Jacksonville Beach (where Freebird Live is located) is a whole different place than Jacksonville ... or Gainesville, for that matter. It’s an upper-class East Coast beach town, about a two-hour drive from Gainesville. I mean, you might as well just lump Gainesville into Tampa’s listing with that logic. Oh, and we’re very very inland, so listing surf shops as part of Gainesville’s “Lifestyle” also loses you another point. Good grief. I love Gainesville! Thanks, Christopher Miller Electronic SubSouth We’re working on it. It’s a space issue, no disrespect to anybody’s city/community/scene. As for the surf shop thing, I know several surfers living in Gainesville. Some people occasionally leave their own neighborhoods ... Ed. Always been a fan of Reax Music Magazine and always pick one up when I am at FYE in Countryside Mall ... got the No. 28 edition and lo and behold a full-page ad for Kamelot in the back of the mag by far my favorite band. What are the chances that someone there would do an interview with the band or a review of the show coming up at The State Theatre on Oct 9th? That would be awesome. Keep up the great work!! - LeRoy Keep watching the skies - er, the website - as the show date nears ... Ed.

FROM REAXMUSIC.COM COMMENT ON “RECAP: REAL BIG DEAL, GAINESVILLE, 9/139/14,” BY JULIA STEWART: “That was Cody of Tres Bien with the towel on Josh’s head not Mikey.” - Alice, September 18

“You’re too kind. Thanks for the support and the nice words about the bands. I can’t believe my luck that they all said yes to being on the mix tape!” - Chad, September 10 COMMENT ON “HEART REEL IN ‘BARRACUDA’ FROM MCCAIN/ PALIN CAMPAIGN,” BY MICHAEL RABINOWITZ: “Now let’s hear Madonna kvetch about that one. I mean, c’mon, the song remains the same. Nice point on Toby. And what kind of name is Toby anyhow? No wonder he’s so angry all the time. Prolly wants to kick his momma for that one.” King Jelly, September 5 COMMENTS ON “SOME THINGS I REALLY, REALLY DON’T LIKE ABOUT TAMPA,” BY JEREMY GLOFF: “I know the feeling. And it’s pretty much that way throughout North/ Central Florida. Orlando may be a little bit of an older crowd ... what do you think? Anyway, I’m moving to Brooklyn after many years fighting it and looking on the bright side of Florida, it’s just too dull. The cities are not big enough to support all the things you mention, evidently. But I think Orlando may be better than Tampa around Lake Eola.” - Mike, September 3

“It’s sad but it seems that only New York and maybe Chicago and a few other places can support a strong and varied nightlife for the 30 crowd. I don’t know why. Perhaps the reason is simply that if you are that age you should have enough money to move to New York, you should be desperate enough to find a mate that you want to move to New York, and so ... the only reason not to live there is to afford a big house in the suburbs for raising kids.” - Mike, September 3

“I have lived here all my life and all my (sane) friends have moved out, even my family. I think Tampa was a lot better in the ‘80s early ‘90s ... Decades A Go Go, Dog Eat Dog,


Sweet Charity, Blue Chair Music, The Buffalo Roadhouse,The Loft, etc., there was even some cool pirate radio. Alas, almost all of those people moved on. Hey, it’s a Tampa Tradition. “If I had the money I would have have located our bookstore (Mojo Books and Music) in East Atlanta or Austin. That said, we are nuts and not rich so we stay here hoping to help make things a little better. But basically I kinda feel I’m in limbo land, it’s kind of like fly paper and there is a charm here. The best thing I have seen here this decade is the explosion of local bands in central Florida. It’s a shame the radio here won’t support them but Tampa radio has always sucked. We had a great show on “Record Store Day” including the Beauvilles and Rebekah Pulley, the turnout was dismal. Maybe we will have bingo or a bum dunking booth next year, that might work around here.” Dan, September 13

“Yea it seems the trend here in Tampa is if you are over 30, you are settling down, and boring. Hence nothing but restaurants for people over the age of 30 to frequent, or what the local press says is the cool place for the over-30s to hang out at. It’s like the people here have this conception that once you are over 30 you should not be into going out anymore, unless it’s to have dinner and some drinks. Seems to be the trend in the amount of places opening up here in the area, they have this fear of people dancing. Was not like this back in the late ‘90s. Now with the real estate credit bubble burst it will be interesting, and most likely hilarious as to what the city plans to do.” - djchang, September 17

FROM MYSPACE “Enjoy your work, you guys sound great. Thanks for being our friend! Florida please view Smiley’s myspace. Thanks. Hope you have a great day :)” - Smiley a Lost Dog - Tampa Bay “BEST MAG IN ALL OF FL ... “ - Smart-Enough-2be-DangerousTough-Enou-2fall in lUv, September 8

From my ugly mug you can tell that I’m not the most approachable lad, which is a pretty accurate assumption. I was the kid in the sandbox eating sand and growling at all the other children, and running into brick walls head first. Convincing all psychiatrists that I was borderline retarded before I was five. When everyone else was watching The Muppets and Speed Racer, I was going through my mother’s vinyl collection, discovering Black Sabbath, Led Zeppelin, Black Flag, The Sex Pistols and The Ramones, not to mention pawing through her makeup case trying to put on my best Ziggy Stardust face.


“Colin Kincaid, from the twelfth grade/ guess you could say he was my best friend. Lived in a big, tall house out on Westfall/ where we would hide when the rain came in.” - Okkervil River, “Westfall”


Susie Orr is a rambler and a wanderer, currently searching the globe for the world’s greatest beer. In her spare time she enjoys interviewing bands, inciting riots and pondering the meaning of life. She obsessively watches The Daily Show, South Park and The Venture Brothers and is also a huge fan of Carl Sagan’s Cosmos. Her first word as a child was “hardcore” and she was actually born with black hair. Then it all fell out a few weeks later and grew back blonde (true story). One day she would like to be the computer whiz of a vigilante crime-fighting organization or a magazine journalist.




SUE ANN CARWELL I have her 2nd and 3rd albums on CD. What a 1980s/1990s genius! This month in Dear Gloffy I pay tribute to one of the most underrated lost talents of yester-year! You can find Sue Ann on Myspace.


I have been dating my boyfriend for almost four years. Recently, we have been having some problems, but we both love each other and are working through them. My problem is with one of my close friends, who views my current relationship speed bump as the perfect time to voice her hatred for my boyfriend. She seems to feel it is her right as my friend to justify her hatred for him by pointing out his faults, claiming I could do better and even (gasp!) trying to set me up with other guys. I respect her opinions, and have tried many times to nicely tell her to butt out, but this only leads to an argument wherein she starts crying, claims she loves me, and we patch things up. Things get better for a week or so and then she starts in again, saying that a real friend wouldn’t stop reminding me of what is best for me. It’s even beginning to affect my social life, as he and I have started avoiding our mutual hang-out spots. Which leads her to tell all of our friends that he is controlling me, therefore justifying her hatred for him. Please help me Gloffy, I’m at my wits’ end. Signed, Tired of the Drama in Seminole Heights


The job of a friend is rather clear. They listen intently and don’t interfere. If you break up and hate him for thirty days straight But on day thirty-one you make up and date Your friend just accepts it, that’s life, it’s your choice A good friend won’t judge you or

raise up her voice True friends they keep opinions where they belong They still love you dearly when they think you are wrong. Sue Ann Carwell said it best in ‘92 “Friend until the end/I’ll be here for you.”


My boyfriend’s parents control him. He is trapped. They yell at him for not getting a job, yet they won’t help him get a license. They tell him they don’t want him to live at home, yet they packed his belongings and redecorated his room when he went out of town. He is 19, but stuck far out from the city. It’s pretty crazy. How can he break free without severing family ties? Signed, At A Loss


What a scary predicament. Without knowing this boy ... does he have friends who can put him up for a little bit? Other family members? Sometimes in life you have to take chances to truly move forward. Your boyfriend may just have to risk loosening up those family ties before they wrap tightly around his neck and suffocate him. If he truly wants to make a change, there are ways to do it. I have had many friends crash on my couch while they got their *beep beep* together. I think it’s time for your boyfriend to pull a Sue Ann Carwell. When Sue Ann got fed up in 1992 she wrote her song “P.M.S.” P.M.S. stood for “play me serious” and she meant it! Sue Ann wasn’t in the mood for anyone’s “bull ... sugar” and your boyfriend shouldn’t be either! To write me go to the Dear Gloffy page on www.jeremygloff,com OR







am a product of the American South. I was born and raised here on a farm in southern Georgia. Every aspect of my life has been shaped to some degree by this place. It’s a mixture of the extremely beautiful and the staggeringly profane. It’s fried food and Jesus. It’s somebody’s granny saying, “come let me hug your neck.” It’s blood, dirt, and diesel and a paycheck on Friday. It’s racism with a smile. It’s the heat. Things move slower here, and people’s lives are governed by moral obligations and social expectations. There’s a ready-made life just waiting for you. All you have to do is accept it and get on with it. Most folks do. You adopt the belief system of those around you and this guarantees that you will be accepted into “The Good Old Boy Network.” You work the accepted jobs, you marry your girlfriend when she gets pregnant, you hate the right people, and best of all, you don’t need opinions or ideas of your own. It’s all laid out for you, and life can be so easy if you don’t step out of line. I was about ten years old when I realized I was different. It would have been a hot, humid summer morning in the late ‘80s. I would have been lounging peacefully on the couch my mom was so protective of. I was probably eating a fried bologna sandwich and watching Saturday morning cartoons without a care in the world. I’ve always been a daydreamer and it’s always been a drag when someone calls me back to reality. On this particular morning that call came in the form of my father’s gruff voice saying something like, “put some clothes on. I need you to go help me cut some hogs.” For those of you not raised on a hog farm, this phrase would translate to, “I need you to help me castrate some male pigs.” Now, at this point in my life I was vaguely familiar with the practice of cutting out a pig’s testicles so the pork wouldn’t stink, but I had never been asked to participate. With much reservation I put myself together and got in my Dad’s big red ‘87 Dodge and headed down the road and through the field to the slab - a big concrete floor covered with a tin roof and sectioned off into about eight big pens with a long hallway going all PAGE 12 • REAX MUSIC MAGAZINE • OCTOBER 2008

the way down. The sticky South Georgia heat and humidity have a way of really bringing out the true essence of hog shit, and on this day the slab was particularly foul; as the pungent odor filtered through me I fought to keep from vomiting. We climbed over the fence and into the pen with the hogs to be cut. My Dad produced a few tools of the trade, including a scalpel, what looked to me to be pruning shears, and some powder. I was told to grab them by their back legs and swing their torsos between by legs, and hold them tightly with my knees and keep them steady so he could do the cutting. Now I had been working with hogs my whole life and I knew the smells and the temperaments and tendencies of hogs, but on this day I learned something that transcends the boundaries of species. As soon as I grabbed the first one and the procedure was happening I experienced the most violent scene that I had ever been exposed to: my father yelling at me callously to “hold him still damn it” while blood, piss, and shit shot everywhere. And then I heard it. The most primal noise ever created by man or beast. A vocalization so piercing that it cut straight through me and permanently adhered to my soul. The pure sound of urgency and desperation. The Death Squeal. It has haunted me since that day, and I guess that’s what put the rock ‘n’ roll in me. Urgency and desperation are the heart of the greatest rock ‘n’ roll, and in an environment that seeks to castrate and confine you, sometimes you’ve got to squeal. J Coody sings and plays guitar for Valdosta, Georgia’s Ninja Gun. Their latest record, Restless Rubes, is out now on Suburban Home.




VAMPIRE WEEKEND: ALMOST DONE SUCKING As I’m writing this, there is something truly beautiful happening. After approximately 14 minutes and 59 seconds of unworthy attention, another buzz band is fading into the realm of obscurity populated by noxious acts such as Clap Your Hands Say Yeah and the Arctic Monkeys. This particular group was distinctively undeserving of the praise rained down upon them from Blog Heaven, and yet they managed to parlay that fame into a mostly sold-out tour and an appearance on SNL (for which they canceled two shows and a festival appearance - way to sell out your fans for exposure). I’m of course referring to the four über-preppy kids of Vampire Weekend, possibly one of the worst bands to ever back a fantastic name with contrived non-relevant music. Thank God it’s over. My apologies to any of you hipsters out there who were in the first wave of year 2k7.8 to pick up on these guys. I’m sure in your mind they were going to change the face of music and culture with their “afropop-inspired sweater rock,” but they’ve managed to inspire nothing more than a few drummers in New England to throw out their use of rhythm and a couple of kids in the Midwest to wear pastels. Which would be a feat in itself if A) drummers didn’t need rhythm, and B) kids who wear pastels in the Midwest didn’t get beaten on a regular basis. It would appear that the amount of cultural change that VW has inspired is minimal and unneeded. So I’m sorry, I really am. I’m sorry for all of the money that you spent buying sweaters and cheeky button-up shirts in an attempt to look like a Cambridge student, and I’m sorry for all of the hours that you probably spent dancing to Vampire Weekend songs trying to understand the “uniqueness” of their “groove.” As you can see, the deeper that you get pulled into the grips of VW’s music, the more sharply your understanding of rhythm dips. You can’t argue with science.

STEP CAPTURE A GHOST BY STEP But what of the deep philosophical questions brought up by this group of enlightened philosophers? “Who gives a fuck about an oxford comma?” A very important question indeed. I’m more interested in some of the more existential mysteries that they could’ve tackled, like “what the fuck is a mansard roof?” Or the ever-mystifying “what the hell does Cape Cod have to do with Kwasa Kwasa?” Undoubtedly, all questions for the ages that these bold young men could have addressed on their debut album, but for reasons unknown they decided to let these great enigmas of reality go unanswered. Perhaps in their exalted semi-Ivy League minds, they felt that the world was not ready for this level of information. Surely if the masses were privy to such universal knowledge the world would end (and we wouldn’t have to wait for the French to fire up CERN). We should all thank them, thank them dearly for merely grazing the topics lightly enough to make music writers and armchair philosophers like myself scratch our scruffy heads and say “what the fuck?!” Oh, and we should show our gratitude and buy their record. Summer scarves aren’t cheap, you know. But I digress … let’s get back to relevance. Good music should resonate with listeners to the very core of their personality and being. Artists that have stood the test of time have written songs that are not only pleasant to the ears and hearts of listeners, but also have lyrical content that people can relate to. This is the everelusive “relevance” to which all artists with a drop of altruistic blood should aspire. Unfortunately in the case of Vampire Weekend, what you get is a sad bunch of college kids who probably didn’t want to grow up and go to work with their dads in finance or real estate, so they remake a Paul Simon record with enough 2k7 lo-fi to appeal to hipsters. It’s altogether disgusting that this band made enough noise among non-professional media outlets to get a record contract and actually chart, but the good news is that by the end of 2k8 they will have disappeared into the abyss of none-hit wonders. and never be heard from again. It’s a small consolation to see 15 minutes of fame dry up after suffering through it, but it always warms my heart to see something die a deserving death.



ou don’t have to be Dr. Egon Spengler, with your nuclearpowered proton packs and your stripey portable tractor beams and your Eraserhead coif, to capture the pesky shade that keeps turning your TV on and off or making your dogs bark or moving your keys from the left side of the dresser to slightly closer to the left side of the center of the dresser. In fact, you can trap just about any earthbound spirit with a few readily available household items.

READ ON TO LEARN JUST HOW. STEP 1 Compile the necessary tools. You’ll need: One five-gallon bucket with a quarter-inch hole drilled or poked into the bottom. One piece of paper - blank typing sheet, circular that came in the mail, whatever. One nine-volt battery. One Hershey’s Kiss(tm) in silver foil. One piece of chalk. And, of course, one mp3 file of “Is There A Ghost,” from Band of Horses’ superlative 2007 full-length Cease to Begin.

STEP 2 Next, you’ll need to determine which room in your home is the center of the paranormal activity. If it isn’t obvious - if all of the rooms drip blood, for instance, or your ghost isn’t given to singing long, mournful songs about how it’s trapped forever in the living room, not the dining room but the living room, oh, the irony - ask whichever of your friends it is that owns the most ankhs. She’ll be able to tell.

STEP 3 In the center of the room, set the bucket upside down. Trace around it with the piece of chalk, then remove it.

STEP 4 Place the nine-volt battery and the silverfoil Hershey’s Kiss(tm) in the center of the chalk circle. The nine-volt battery is for the spirit to draw energy from, helping

it manifest itself. The silver-foil Hershey’s Kiss(tm) is because ghosts are sometimes drawn to shiny things and also, seriously, who doesn’t like chocolate?

STEP 5 Replace the upside-down bucket over the battery and Hershey’s Kiss(tm). There’s a chalk outline there to help you out.

STEP 6 Starting on an angle, roll the piece of paper into a funnel shape with your hands.

STEP 7 Shove the narrow end of your makeshift funnel into the hole in the bottom of the upside-down bucket.

STEP 8 Cue up “Is There A Ghost” on your iPod(tm) or similar digital music player, and wait. That’s it! Even if you don’t see it happen, by the end of the song you will have trapped a ghost under your five-gallon bucket. Attracted by stored energy and shiny, delicious chocolate, the ghost will rearrange its gauzy form to travel down the narrowing funnel. Once inside, the energy it draws from the battery will make it too strong to fit back out through the little hole - at least until the battery runs out of juice. So what do you do with it, other than sit around looking at an upside-down fivegallon bucket in the center of your room for days on end until the battery dies, and the ghost escapes to begin flicking your TV on and off all over again? Shoot me an e-mail, and we’ll discuss my fee for actually removing a ghost once you’ve got it captured.





Agrella: “I usually try to stock up, I didn’t for this tour. Normally everyone brings a small collection of books.”


Words: Colin Kincaid Photo: Victor Lewis/Vision Studios



hen the economy got desperately tough, for instance, the men of Look Mexico - vocalist/guitarist Matt Agrella; bassist Ryan Smith; drummer Joshua Mikel; guitarist Ryan Slate; and keyboardist Dave Pinkham - didn’t ditch touring. Instead, they ditched their old 15-passenger van for a diesel model, and converted it to run on vegetable oil. Sure, occasionally things go heywire, like the time in Utah when their pump broke down and they had to revert to filtering the used grease from some Chinese food place through a t-shirt and into a gallon bucket, lengthening their trip to Reno by three hours. But they’re saving cash and keeping themselves out of further credit card debt, so if they pull up to the venue smelling like egg rolls or french fries, well ... “Oh, we do,” says Agrella with a laugh. “Even more. Everything. Popcorn, fried chicken ... but we’re pretty excited. We’ve made it from Central Florida, where a friend of ours helped do the conversion, all the way to Reno on a quarter tank of diesel. We’re looking at a lot of money that we’re saving.” Then there’s the challenge of standing out in a scene crammed above and below

the mainstream radar with an awful lot of bands that sound an awful lot like an awful lot of other bands. Look Mexico neatly sidesteps the issue by succumbing to neither punk-scene dogma nor mainstream trendsuckage; the band’s sound, a deftly layered yet organic balance of engaging catchiness and intricate riffs and time signatures, is one all its own. Which isn’t to say the group hasn’t garnered its share of comparisons over the past couple of years. But most of the other acts mentioned, such as American Football, Braid and Hey Mercedes, are from an earlier, more textured and technical era of proto-emo altogether, and the ambitious multi-instrumental sonics of Look Mexico’s new EP Gasp Asp should leave those formerly somewhat apt associations in the past where they belong. “We could argue as much as we wanted to about how we don’t sound like that, or whatever,” Agrella says. “People are going to say what comes to mind, and we can’t really fight that. For us, what we were pumped about when we were finishing this EP was that there was definitely a different sound happening. We were playing it for our friends, everyone was saying the same stuff, how it was something new, something


they hadn’t heard. It’s not like we’re trying to be something completely brand new - well, we are, but there’s only so many notes, and different ways to play ‘em.” Of course, plying a strikingly new sound brings its own set of new considerations. Like, say, how this mix of melody, keyboards and instrumental prowess is gonna go over at a drunken, bearded, sweat- and volume-heavy shindig like this year’s Fest in Gainesville. “I had about five months of growth on my face [when Look Mexico played] last year, so I think I fit in,” deadpans Agrella. “We feel pretty comfortable in the punk scene. Even though our stuff might not be as aggressive as other bands, we really get along with that whole scene, the people that are a part of it. It just seems like their lifestyle lines up with what we’re going for. We have a lot of fun touring with fun people, it’s as simple as that.” Look Mexico plays Auburndale, Florida’s Bloodhound Bash Oct. 16 before returning at the end of the month for The Fest 7 in Gainesville.


FOOD Agrella: “Before we

left, because we have more room in this vehicle, we could do more grocery shopping. A 15-pound bag of rice, ten pounds of pasta, a cooler with lunch meat and vegetables and juice. We actually have yet to eat fast food on this tour.”


Agrella: “[Bassist Ryan] Smith has a lot of old computer and Nintendo games on his laptop that he can zone out on for a while.”


Agrella: “Our friends from San Antonio and Austin gave us a little piece of Freud art titled ‘What’s On A Man’s Mind.’ We always hang that up, that’s pretty essential.”




Words: Scott Harrell

NOT MANY UNSIGNED SOUTHEASTERN BANDS GET TAPPED TO TOUR EUROPE WITH ALTERNATIVE MUSIC ICONS. THEN AGAIN, NOT MANY UNSIGNED BANDS ANYWHERE ARE AS FOCUSED, MOTIVATED AND MUSICALLY ACCOMPLISHED AS ATHENS, GEORGIA’S MODERN SKIRTS. SINGER AND PRINCIPAL SONGWRITER JAY GULLEY TOOK SOME TIME DURING AN OUT-OF-TOWN LOAD-IN TO TALK A BIT ABOUT CROSSING THE POND WITH SOME OF HIS HEROES, AND HIS GROUP’S NEW ALBUM ALL OF US IN OUR NIGHT. REAX: You guys went back to the UK last summer, and opened for REM. How was it different from your first trip? Jay Gulley: Well, they’re not really comparable. [Laughs] The first time we went, we went basically as green as possible. We were very new to it, and had a different tour manager, and we weren’t opening for bigger name bands. Pretty much the audiene was built in this time. We did meet a fe people who were there to see us as well, so at least we’re getting our name out somewhat. There were some people who knew the names of the songs and the lyrics. REAX: So what else have you guys been up to since we’ve seen you last? Just working on the record and touring? JG: We finally got the record wrapped up and we’re really happy with it. After we got back from Europe, we took a little time off just to gather ourselves and hit this record as hard as possible. REAX: It’s a really ambitious recording was there a conscious attempt to really push or outdo yourselves this time around? JG: No, I think it really did come naturally. It’s been three years since the first record, and a lot of those songs had been written

for five years before then. So these songs are true to the songwriters we are now, after years and years of doing it, you know? REAX: For people who know your first record, there’s some really different stuff on there, like “Motorcade” and “Like Lunatics.” Are you ever worried about stepping beyond what might be considered “the Modern Skirts sound”? JG: We don’t do that so much now. What you gotta do is make it your sound, so really, if you shy away from a song that’s gonna be a challenge, in a way you’re being a wimp. It’s better to continue to challenge yourself with songs that seem like they might not be workable with the kind of band you are - it just means you’ve gotta push it a little harder and make it to where it’s us. REAX: When you’re writing or recording, do you wonder how the hell you’re going to re-create a given song live? JG: Yeah. We’re acutally facing that now, here and there. But we’ve done a fairly good job, I think. Shy of one or two, all the songs on the new album we do live. A big asset is the fact that we’ve let the laptop be a fifth member here and there.

REAX: Do you ever worry that you’re relying on the technology too much live? JG: No, ‘cause obviously sometimes you see groups that rely on it too much, it’s like a karaoke band. But a long as we’re just using it to fill in the sound, it’s a lot cheaper than having another mouth to feed. Plus, we were able to capture the sounds we were getting in the studio, and bring them wherever we want, and that was kind of the goal. REAX: So none of those luxurious harmonies you’re getting famous for are cheated? JG: No, no vocals. [Laughs] On one song, all it is is piano. On another, it’s sounds here and there, it really is just filler. REAX: There’s an old saying in the entertainment industry, and business in general - it’s all who you know. You guys have definitely been fortunate to meet and/ or work with some pretty influential folks. In all honesty, do you think it’s made your career path easier? JG: Well, definitely with this past tour. That was completely REM booking it. But yeah, it’s really helped us along, and we need all the help we can get. Whenever somebody’s willing to throw us a bone, we’re gonna

HAIKU REVIEW Modern Skirts

All of Us in Our Night drift the pop cosmos fun and melancholy twine man, these guys are good

snatch it. It has made things a little asier, but it comes and it goes. Right now, we’re not at a very easy point in our careers. REAX: But, I mean, the flip side of that is you’ve got to be pretty damn good to get people in those kinds of positions to take notice and want to support you. JG: Yeah. We worked really hard to get to a level they could even appreciate, so I think it evens out in the end. Modern Skirts celebrate the release of All of Us in Our Night with shows at Gainesville’s Orange & Brew Oct. 16, Tampa’s Crowbar Oct. 17, and Orlando’s BackBooth Oct. 18.






s the three members of Monotonix and this writer sat down in the bathroom of one of Orlando’s premier punk venues, The Social, the discussion turned to how surprisingly quiet and clean the atypical interview location was. “It’s actually refreshing,” said lead singer Ami Shalev. “It’s better than all the noise.” The trio from Tel Aviv, Israel, has been touring the U.S. non-stop over six months; previous Stateside stops including the past spring’s installment of Austin’s South By Southwest, and the Fest last year in Gainesville. They are taking the nation by storm with their explosive, raw sound and moving live shows. And moving is meant literally here; the three blew through the Social like a Category 5 Hurricane, with drummer Haggai Fershtman as the eye and Shalev and guitarist Yonatan Gat creating the 150 mph winds. Beer was

flying everywhere, and most of the crowd members eventually found themselves on the other side of the venue from where they began. The drum set also ended up on top of the bar, with one crowd member propping up a cymbal. Monotonix’s live performance differs from other punk bands because they play in the pit. It’s actually written in their contract that they will not play on a stage. “It’s boring being so far from the audience,” said Gat. “We need to entertain ourselves.” At the end of this tour, they are planning on recording a new album in New Orleans. “Maybe we will write voodoo songs,” says Shalev. Shalev is currently the primary songwriter, and says he writes his lyrics from personal experiences. The new album, however, is going to be a more collaborative effort.


“Ami writes ‘I’ songs,” said Gat. “The new album will be ‘we’ songs.” Their first release, Body Language, is a pool of unrefined energy that explodes into sound like Iggy Pop and the Stooges crossed with Social Distortion. Tim Green, of California experimental band the Fucking Champs, helped produce it. The men of Monotonix say they are inspired by bands like The Who, Van Halen, The Melvins, and Big Business. Listeners can definitely see where they get their inspiration - if they had a guitar to smash at the end of every show, they probably would. The guys are enjoying traveling in America, and are thinking about moving here permanently. They are huge fans of barbecue pizza and Little Debbie snacks, especially Zebra Cakes. They ended up traveling here after being kicked out of a lot of clubs in Tel Aviv because they were too loud, or because they couldn’t play on


the floor. They left their girlfriends, family and even cats behind in search of a better music career. “My family thinks it’s a joke,” said Gat. “But then I send money home. I have a real job.” After arriving in America, they quickly picked up a booking agent and were later signed to Drag City Records. As far as the future goes, they want what any other band does: to get on MTV, and grow to have larger, louder albums and live shows. Considering how their popularity has skyrocketed over the past year, it seems like a realistic dream for these hardworking Israeli rockers. Monotonix continues to tour the States in support of Body Language, leading up to an appearance at this year’s CMJ Music Marathon.






Words: Justin Lee Amidon Photo: Courtesy of Big Machine

SURVIVING THE ELECTRONIC MUSIC SCENE CAN PROVE TO BE A DIFFICULT, IF NOT COMPLETELY IMPOSSIBLE, TASK. THROW IN A GEOGRAPHIC LOCATION LIKE CHICAGO, A TOWN THAT HAS BEEN KNOWN FOR HAVING A CLIQUE-Y MUSIC SCENE, AND SOME MIGHT BE TEMPTED TO JUST FORGET ABOUT IT. IT ISN’T COMPLETELY IMPOSSIBLE TO MAKE A NAME FOR YOURSELF IN WINDY CITY ELECTRO, THOUGH. JUST ASK CHI-TOWN NATIVES WALTER MEEGO, THE LOVE CHILD OF SELF-PROCLAIMED “HOUSE HEAD” COLIN YARCK AND CLASSICAL MUSIC STUDENT JUSTIN SCONZA. The duo first stated making music together in 2004 when Sconza and Yarck met in college at the University of Illinois. Walter Meego has come a long way since those college days. We got a chance to catch up with Sconza via cell phone while he was driving up the west coast to Seattle. REAX: Walter Meego is actually the name of one of your alter egos. Tell me a little bit about Walter. Justin Sconza: He doesn’t really have a story. [Laughs] I just kind of made the name up. REAX: So he doesn’t really have a story of his own or anything? JS: No, he doesn’t have his own biography or anything, it was just a funny name I made up for myself. REAX: Before you and Colin got together and started making music, you were already playing music under the name of Walter Meego. How far has the sound of Walter Meego evolved since Walter was first born? JS: Oh wow. A lot. When I first started playing as Walter Meego I was passing out these four-track recordings that I was making, and they were totally different from what we’re doing now. They were more like rock ‘n’ roll songs. Maybe one day they’ll wind up in a box set. REAX: In the past two years you have had

two different members leave the band, Pat Pelligrini in 2005 and Jarrett Spiegel in 2006. What’s wrong? Do you and Colin not play nice? JS: No. [Laughs] Pat left because he didn’t want to have a music career. Then Jarrett left for different reasons. He didn’t really play any instruments. So it was one of those things where it was like, ’well, what are you going to do?’ REAX: What is it like playing electronic pop, especially for someone like you who comes from a band background? JS: It’s not really all that different, honestly. I mean when we play live it’s the same way I would play if I was playing with a band. Live, we’re playing guitars and synthesizers. It’s nice to be able to mix things up. REAX: You have been quoted as saying “we are pro-album” - what do you mean by that? JS: I like an album to be more than just a collection of singles. I like albums because I like to experience the whole thing. They come from a certain time in our lives that they can’t help but to be about something. Walter Meego plays The Social in Orlando on October 7, and Tallahassee’s Club Downunder on October 8, and Ybor’s Crowbar on October 9.




very town in the country has its own haunted houses (or cemeteries, or nightclubs, or theaters). And with national interest in paranormal activity at a high, they’re probably all hosting their share of both semi-professional investigators and teenagers high on a couple of wine coolers. Whether it’s a passionate scientific interest or just a welcome distraction from the depressing facts of cold, hard reality, people are loving ghosts, and ghost stories, these days. So with Halloween fast approaching, we’ve compiled a list of some of the most famous haunted hotspots in the nation. Use it to plan the ultimate search for the truth, or as fodder for synchronized sneering with your fellow skeptics. Just don’t read it into a mirror by candlelight at the stroke of midnight ... because that would be, you know, pretty damn weird.





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1.TheJEROME COMMUNITY CENTER seat of this mining town turned

artists’ community has been called “Spook Hall” by the locals. The ghost of a boom-days prostitute is said to wander in front of the building, and other town locations, such as local hotels and the shafts of the abandoned Phelps Dodge Mine, are rumored hot spots as well.


2.ThisCRESCENT HOTEL & SPA historic Eureka Springs getaway,

which dates from 1886, has found a place on both the National Trust for Historic Preservation’s roster of America’s Dozen Distinctive Destination and numerous lists of our country’s most haunted hotels. Its paranormal reputation may be as unfounded as the claims of healing Ozark waters that originally brought droves of tourists to the area, but many have claimed to see the ghost of a worker, dubbed “Michael,” who fell from the roof and died while the original structure was being built.


3.A perennial ALCATRAZfavorite for cable shows

about hauntings, because the only thing creepier than an a abandoned prison is an abandoned prison that also happens to be an island in the middle of the great white shark-infested San Francisco Bay that everybody in the country knows about - and one with a particularly violent history, yet.

4.Paranormal CROCKER ART MUSEUM researcher Dennis William

Hauck conducted an investigation at this San Diego history-and-culture spot in 2002. The physical data and results of psychic readings his team collected lend provide compelling evidence that the ghost of passionate patron of the arts Eleanor Margaret Crocker - wife of the judge who purchased the property in 1868 - is indeed still hanging around.

5.LikeHOLLYWOOD ROOSEVELT HOTEL everything else in Hollywood, tales of the spirits of dead celebrities walking

the earth are best taken with a healthy dose of skepticism. The Roosevelt was built in late ‘20s and hosted the first ever Academy Awards ceremony in 1929, and has since become at least as famous for possibly being Marilyn Monroe’s favorite afterlife haunt; the starlet favored Room 1200 during her early years of notoriety. Montgomery Clift is another classic star whose spirit may or may not take up residence in the hotel. Probably, though, any real paranormal activity is the result of the palace’s being built on the corpses of the careers of dozens of unsung screenwriters.

6.California THE WHALEY HOUSE State Historic Landmark

Number 65 has been called America’s most haunted house by the Travel Channel, and is a regularly cited hot spot in both titillating mainstream programming and serious ghost hunting annals alike. Male and female apparitions have been reported by many, including none other than Regis Philbin, who was startled by a gauzy shade that appeared in front of a portrait of Anna Whaley.

7.This WINCHESTER MYSTERY HOUSE San Jose landmark is particularly

interesting. Legend has it that guilt over the countless lives ended by rifles manufactured under her late husband’s name caused ordnance heiress Sarah Winchester to commission the construction of a house - one that would never be finished, so that the spirits of the dead could never become comfortable with its layout, and haunt the widow at their leisure. Building never stopped from 1884 until her death in 1922. Ironically, she died in this marvel of turn-of-the-century technology and bizarre, often pointless architecture, raising the possibility that she may have joined the lost souls she was so intent on outwitting.


8.TheTHELeeBLACK FOREST HAUNTING family moved into this wooded

area north of Colorado Springs in the early ‘90s. Since then, they’ve had more than two dozen paranormal researchers drop by to witness the orbs, sounds, apparitions and lights that have plagued the clan ever since. Some attribute the activity to ghosts, some to nearby military facilities, and some to


geomagnetic deposits under the earth, but few have denied that something seriously weird is going on. The nearby Black Forest Inn is also the location of unexplained activity.


9.TheASHELEY’S RESTAURANT ghost of a young girl that might

haunt the Ladies’ Room of this restaurant on U.S. HWY 1 in Rockledge is said to be either a woman murdered on the premises in the ‘20s, or a girl who died in a car accident out front. An investigation of the place in the early ‘90s captured some compelling evidence of paranormal activity.


14. PIRATE’S HOUSE RESTAURANT This sprawling, 250-year-old restaurant/

museum in Savannah really was frequented by pirates. A massive tunnel leading from its basement to the Savannah River is thought to have been a smuggling and escape route. And some believe at least one swashbuckler never left - they say the pirate on whom Robert Louis Stevenson based Treasure Island’s Captain Flint died in an upstairs room, and can still be heard calling for his rum.


10. MARY HARDY REESER On the evening of July 1, 1951, Mary

15. JANE ADDAMS’ HULL HOUSE Opened in 1889 to help educate

Hardy Reeser sat down in a chair in her apartment on Cherry Street in the Old Northeast neighborhood of St. Petersburg. The next morning, her neighbor found only a pile of ashes, a skull and a foot. It was one of the first cases of possible spontaneous human combustion to be investigated by the FBI, and has never been conclusively proven otherwise.

the poverty-stricken immigrants of its tenement-riddled Chicago neighborhood, the footsteps and odd noises heard in Hull House are attributed to the ghost of the wife of original owner Charles Hull. The building is also said to be home to the ghost of a Devil Baby - born with pointed ears, horns and a tail abandoned there by its parents.

11. SPOOK HILL Who in the Central Florida area didn’t

16. LINCOLN THEATER Many of the country’s classic old

hop in the car in their late teens or 20s and head out to Lake Wales’ legendary Spook Hill? What mysterious force causes your vehicle to roll uphill, in apparent defiance of the laws of gravity? Why isn’t it quite as interesting after the fifth or seventh time?

12. THE STRANAHAN HOUSE Ferryman Frank Stranahan built this

Fort Lauderdale landmark in 1901 as a trading post; it has since become a symbol of the city’s history and economic development. It has also enjoyed a lengthy reputation as one of the south’s most haunted buildings; Stranahan himself committed suicide in the adjacent New River during the Great Depression, and one former employee claimed the spirit of Stranahan’s wife Ivy would talk to her.

showplace theaters claim to be home to a ghost or two, and Decatur’s Lincoln Theater is among the most famous of them. The reverberating phantom footsteps and frequently experienced cold spots are attributed to the ghost of a one-armed stagehand from the vaudeville days named Red who died on the premises. The story of Red’s falling from a catwalk isn’t true, however - the World War I veteran just didn’t wake up from a nap one day.


13. TROPICATION ARTS NOVELTY WAREHOUSE During a ten-day investigation that

started after police officers responded to a call for help and witnessed enough paranormal phenomena in an hour to realize they were going to have to call in outside help, the American Society for Psychical Research documented 150 unexplainable events at this Miami business. The ASPR came to conclude that the poltergeist activity - which included glasses and other items flying off of shelves - was centered around a 19-year-old Cuban worker. He was tested, and “showed a marked ability to produce psychokinetic effects.”

17. BOBBY MACKEY’S MUSIC WORLD It’s hard to imagine a place more

ripe for haunting than a tavern where deathly violence was common, unless it’s one built on top of an old slaughterhouse where satanists reportedly conducted their secret rituals. Before regionally successful country singer Bobby Mackey bought this place just south of the Ohio state line in 1978, murder and suicide were common in its earlier nightlife incarnations. The Music World hauntings are chronicled in Doug

Hensley’s Hell’s Gate: Terror at Bobby Mackey’s Music World World.

18. WAVERLY HILLS SANITORIUM This former Louisville hospital/TB

ward cemented its reputation as one of America’s most haunted locales when it provided the backdrop for two particularly creepy episodes of the SciFi Channel series Ghost Hunters, including last year’s live Halloween special. The place was also featured in ABC Family’s Scariest Places on Earth, VH-1’s Celebrity Paranormal Project, and the straight-to-DVD horror flick Death Tunnel, among others. Despite considerable evidence that it is indeed haunted, the building’s current owners plan on turning it into a spook-themed hotel.


19. THE LALAURIE HOUSE In the mid-1800s, The LaLauries were

among the most admired and influential residents of New Orleans’ French Quarter. Their lavish lifestyle demanded plenty of slaves, but they seemed to need more new ones than most high-society families, and they did ... because their treatment of their slaves had passed beyond cruelty into torture and even bizarre medical experiments. Locals ran the family out of town when their sadism was discovered, and the rumors about the mansion being haunted probably started, oh, about 20 minutes or so later.

20. THE MYRTLES PLANTATION Ten homicides and at least one suicide

was originally fermented, and fell into disrepair when Prohibition, suicides, and rumors of illegitimate children locked up in the attic drove the Lemps to destitution.


23. GOLDFIELD HOTEL In the film Ghost Adventures, which

documents an investigation of the entire Gold Rush ghost town of Goldfield, there’s some spectacular footage of a large brick being hurled at a ghost hunter by some invisible force. The scene takes place deep in the bowels of the Goldfield Hotel, a location with a particularly unsavory reputation even amid what’s supposedly an entire haunted town.


24. WILMINGTON CHAMBER OF COMMERCE One of the most famous “ghost

photographs” of all time was taken here in 1967. It shows what might be a spirit walking down the set of stairs that seem to be the center of paranormal activity, which continues to this day.



21. GUTHRIE THEATER Another old-school theater said to

26. MONEKA MALL & TEA ROOM Originally built as a boarding house

22. LEMP MANSION The Lemps were a family of wealthy

St. Louis beer barons during the 19th century, and the focal point of much public drama and scandal. Now a renovated restaurant/dinner theater/ bed & breakfast, the Lemp Mansion sits atop the caves where the family’s beer

28. EASTON PUBLIC LIBRARY A mass grave containing more than

500 bodies was uncovered while this structure was being built shortly after the turn of the 20th century. Doors open and close by themselves and patrons feel the featherlight touch of invisible hands, while Mammy Morgan roams the grounds outside.

29. GETTYSBURG The site of one of the most gruesome

and costly battles of the Civil War, the town of Gettysburg is absolutely rife with paranormal hotspots and sightings of dead soldiers. Particularly active locations include the rock formation known as the Devil’s Den (where heavy fighting took place during the war), the Farnsworth House Restaurant and Inn (where snipers used the attic as a killing nest), The Cashtown Inn (where soldiers were bivouacked), the Sachs Bridge and even the Pennsylvania Monument itself.


25. FRANKLIN CASTLE Four of original builder Hannes

will make for some serious ghoststory fodder. A slave hung for murder, an attorney and former resident, and two poisoned children are among the many ghosts that inhabit this late1700s plantation in the little town of St. Francisville.



OHIO Tiedemann’s children reportedly died in four years in this Cleveland landmark. The building contains several secret rooms and passageways, likely used to store liquor during the Prohibition era, and one especially morbid legend has it that when one of these hidden areas was discovered, it was full of baby skeletons.

house an employee whose loyalty couldn’t even be shaken by death. In this Minneapolis showbox, it’s the ghost of a young usher named Richard Miller who killed himself in the parking lot of the local Sears & Roebuck. He was wearing his uniform at the time, and folks who knew Miller by sight reported seeing him back at work within a few weeks of his death.

each and every night.

for railroad workers, it has long been haunted by the ghost of a criminal killed during a robbery gone wrong. Locals say the activity stepped up when the place was renovated to become an antique mall and tea shop.


27. WHITE EAGLE CAFE & SALOON Another location whose features include the kind of underground tunnels most often associated with illicit activity. Portland’s White Eagle once earned the nickname “Bucket of Blood” due to the violent brawls that often erupted there, and one of its most famous ghosts is thought to be the soul of a prostitute murdered in the upstairs brothel; another is the shade of a man said to descend the stairs to the basement

property claim to have witnessed many instances of poltergeist activity.

32. SNUFFER’S RESTAURANT After expanding into a new area

in back of its original property, this Dallas restaurant became the site of paranormal activity. Several employees claim to have seen a hazy spirit traveling the hall between the old and new sections; some think it’s the ghost of a woman supposedly killed during a fight in the Ladies’ Room.


33. OLD DESERET Brigham Young used to haunt his old

residence at this Salt Lake City Mormon colony before it was relocated. Now, his 19th wife Ann Eliza Webb is said to have taken his place. Two other homes on the property also reportedly manifest such ghostly activity as children’s voices and female apparitions.


34. HARVARD EXIT THEATER Owners of this Seattle theater stirred

up some restless spirits during the ‘70s when they added a second screening room to its original design - apparently, women clad in turn-of-the-century clothing began to show up in protest. Most of the sightings are centered around either the third floor, or an old fireplace on the first.


30. THE BELL WITCH FARM Two hundred years ago, the prosperous Bell family bought several parcels of land near what became Adams, Tennessee and settled there, triggering a four-year haunting that culminated in the death of family head John Bell. It remains one of the oldest documented cases with tangible ties to reality (affidavits, journal entries, etc.). It’s been said that Andrew Jackson himself came to investigate. A cave on what used to be Bell Farm property still draws plenty of shiver-seekers yearround.


31. PEYTON COLONY Named for founder Peyton Roberts, this former settlement for slaves freed after the Civil War covers some 350 acres outside Austin. Numerous apparitions, orbs and ghostly voices have been captured in photographs and EVPs Electric Voice Phenomena, wherein disembodied voices not heard by human ears are captured on recording equipment - and those living on the

35. THE WHITE HOUSE Is the most famous house in the country also the most haunted? If strong emotions really do leave some sort of supernatural residue in a location, then the stress of leading America might well produce some lingering after-effects. Harry Truman reportedly believed the place was haunted; so did Clinton Press Secretary Mike McCurry, and Kennedy Press Secretary James Haggerty went so far as to claim he felt Lincoln’s presence within the storied walls. Other White House spirits include the daughter of executed anti-Lincoln conspirator Mary Surratt, Abigail Adams, and Rose Garden ward Dolly Madison, who appeared to thwart Woodrow Wilson’s First Lady’s plans to have the historic garden dug up.







obby Hewitson is a 35-yearold former military man and insurance underwriter from Tampa. He’s also one of those guys who gathers up his digital voice recorders, night-vision cameras and electromagnetic field detectors when somebody gets in touch and tells him that something keeps pulling the covers off of them while they’re trying to sleep. Hewitson went so far as to form the Paranormal Research Organization Of Florida, an organization of similarly professional enthusiasts, for the purpose of satisfying his lifelong curiosity. REAX: The website mentions a few personal experiences that piqued your lifelong interest in the paranormal. How old were you when you began to actively investigate phenomena in an organized, at least semi-scientific way? Bobby Hewitson: When I was seven years old, I recall frequent visits to the school library and checking out books on anything I could find in the topics of ghosts and hauntings. About a year or so later, my friends that lived across the street would explain how they would hear noises and witnessed unexplained footprints on their carpet. It was then that I would start documenting and talking to them more about their experiences. I guess you could say that I was conducting my own investigation in a scientific manner and wasn’t even aware of it at the time. REAX: When did you found P.R.O.O.F.? BH: April 2006. It started with some thought of a clever name, and an exaggerated amount of time producing the simple logo, and soon after I taught myself to build our own website. It wasn’t long until we had our first request for an investigation under the name P.R.O.O.F. REAX: You worked with another organization before founding P.R.O.O.F. Was there a frustration with that group’s process that spurred you to strike out on your own? BH: That is precisely the reason P.R.O.O.F. was founded. Prior to joining the previous group, I knew that I had some interest in possibly starting my own group down the road. Anthony [Simonetti], our current Lead Investigator, and I had both agreed that we wanted to be part of a group that had more of a scientific approach to investigating

the paranormal. Instead of being involved with a group where the majority of them were psychic, we wanted the opportunity to record data and have the opportunity to analyze our findings. This way we would be able to present any evidence to a potential client instead of relying on psychic abilities alone. REAX: How important is maintaining a skeptical perspective when conducting an investigation? BH: It’s critical. A legitimate amount of time needs to be taken to challenge or at least thoroughly examine any reports of paranormal activity. Many times we find that reports of activity can be disproved or have a logical explanation. However, we also understand that just because we can explain something logically, doesn’t mean that the obvious is what is occurring. For example, if we find that an air conditioner vent has the ability to move a door on its own, it doesn’t necessarily mean that there is no paranormal activity as well. REAX: Despite trying to provide conclusive proof, have you ever finished an investigation without any real evidence, but convinced all the same in your gut that the place was haunted? BH: We have found ourselves going into investigations with an open mind only to find ourselves with the feeling of being watched, cold chills, or having unexplained nausea. We’ve experienced hearing voices while they were not captured on any recordings. While we have all had individual experiences, our group has a difficult time claiming something is haunted without additional recorded evidence. REAX: Have you seen an upswell of interest in your group in the wake of the success of shows like Ghost Hunters and Paranormal State? BH: We can usually tell when a new season has started. Normally, we receive about two or three requests for memberships per month. When the paranormal type shows start their broadcasting, we usually average about five or six. This has caused us to be pretty selective of new members and have found that new members need to share the same passion and dedication of time, and have a great deal of patience, which is actually more difficult than one would think.


REAX: Do more people who contact you for information or an investigation hope that their location IS haunted, or do more of them hope it ISN’T haunted? Are more people interested, or afraid? BH: We find that most people have a natural curiosity about their own home or business, and look for validation of their experiences. Many times, if we are limited in the evidence we’re able to present, they do seem a little disappointed. I would have to say that most people hope their place is indeed haunted, but this is sometimes so they can rest easy that they are not going crazy and that paranormal activity is indeed occurring. REAX: What’s the single most compelling personal experience you’ve had? BH: I have witnessed a large room fill with a sort of mist or light smoke without explanation and without any scent. At the same location, our equipment was responsive when attempting some form of communication. A few of us had even experienced an overwhelming feeling of sorrow. It was almost as if you could see this emotion move around the room - a member was actually escorted outside as she had broken down emotionally. REAX: What’s the single most compelling piece of evidence you’ve seen, that you didn’t experience yourself? BH: I’ve seen a video that was apparently recorded at an old schoolhouse. As the camera was set on ‘night vision’ and aimed at the doorway, a transparent full body apparition of a woman was seen walking

through the hallway. If the video was authentic, it is the best piece of evidence that I’ve seen so far. REAX: Have you ever been frightened during an investigation? BH: I’ve never been frightened to the point where I felt I needed to leave. I have had the feeling of nervousness, but have found that this feeling will go away with time. In actuality, I hope to experience something paranormal that’s frightening … as long as I capture it on video! REAX: Do you ever feel a responsibility to act as a sort of “Ambassador to the closedminded,” someone who wants very badly for the field to be recognized as a valid scientific pursuit, or is it more of a personal thing for you? BH: To be honest, I did at first. I would find myself defending what it is that we do, and even get insulted if people found it to be a waste of time. I realized that people all have different beliefs about the afterlife, whether it be about religion, the paranormal or both. When it comes down to it, no one truly knows what happens when we die. Everyone seems to rely on their personal faith, and I have faith that ghosts do exist. And I’m confident that there has to be a way to not only prove their existence, but communicate with them as well. It really doesn’t matter to me what some people believe. I’m on a mission and enjoying the experiences. Check out P.R.O.O.F. on the web at

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Where just about every band in town cut its teeth, this North Tampa stripmall bar is near USF, and specializes in punk and metal. 1441 E. Fletcher Ave. #101, Tampa


A live room with excellent sound and a fully stocked beer garden stand out amid Ybor’s dance clubs and hipster retail, attracting everything from wellknown touring indie-rock acts to local metal legends. 1812 N. 17th St., Ybor City


Cross the bay to St. Pete and visit the local music scene’s favorite dive, where original art adorns the walls and any sort of band or DJ imaginable might take the non-stage. 550 Central Ave., St. Petersburg


Consistently voted one of the best places in the Bay area to see a show, it’s an open-air concert hall housed within an historic city block. 16 2nd St. N., St. Petersburg


A comparatively new hangout that helps legendary Tampa bar The Hub keep downtown Tampa happening after dark. 206 N. Morgan St., Tampa


A killer beer selection and eclectic, culture-friendly musical slate make this Ybor City bar-and-patio a local-scene favorite. 1313 E. 8th Ave., Ybor City


A long-running favorite for national and local indie shows, as well as hipsterfilled dance nights. 1902 Avenida Republica De Cuba (14th Street), Ybor City 813-248-9500


Formerly heavy on the metal and industrial, this medium-sized venue is gaining new respect amid the scene for everything from movie nights to a wider variety of shows and its Skateboard Industry Night parties. 662 Central Ave., St. Petersburg


Another close-to-USF live-music watering hole that often caters to heavier sounds. 10008 N. 30th St., Tampa 813-971-1679


A longtime tour stop for rising punk, rock and alt-country bands, you can catch acts as disparate as Shooter Jennings and The Hush Sound in this converted movie palace. 687 Central Ave., St. Petersburg


It’s the Skatepark of Tampa’s edgy, extremely all-ages-friendly exhibition and performance space. 4215 E. Columbus Dr., Tampa 813-382-3477


Amiable little dive that features an always-eclectic lineup of local shows, from DJs to hardcore. 658 Central Ave., St. Petersburg 727-463-0567

St. Pete’s favorite upscale Saturday brunch spot also offers lunch and menu dinners, as well as various nightlife events. 260 1st Ave. S., St. Petersburg 727-502-5002


Arguably the best pizza on either side of the bay. Casual, and as cheap as a lot of the delivery chains to boot. 4910 N. Florida Avenue, Tampa 813-238-1516 3200 W. Bay to Bay Blvd., Tampa 813-835-0785 2900 1st Ave. N., St. Petersburg 727-321-3020


Stylish and delicious, with surprisingly affordable Spanish-style tapas at both locations. 1502 S. Howard Ave., Tampa 813-250-0203 10 Beach Dr., St. Petersburg 727-209-2302


Where the St. Pete scene meets the morning after for big, cheap breakfasts. Cash only. 2339 Dr. Martin Luther King Jr. St. N., St. Petersburg 727-895-6057


Weird, mostly lunch-only hours, but indisputably awesome cheap and authentic eats. 913 E. Hillsborough Ave. 813-232-5889


Shows, local art, coffee and some of proprietor JoEllen’s famous recipes for healthy entrees and tasty desserts. 532 First Ave. N., St. Petersburg 727-898-5282


Reviewers call its vegan- and vegetarian-friendly menu “creative” and “tasty.” 2702 N. Florida Ave., Tampa 813-221-7668


We’re not gonna get into any beefs by calling it the best Cuban sandwich in town - but it might be the best Cuban sandwich in town. 2924 W. Tampa Bay Blvd., Tampa 813-870-0150


The last classic steel-exterior diner in the area, with the classic eclectic breakfast, lunch and dinner menu to match 4603 N. Florida Ave., Tampa 813-234-9301





This hip St. Pete boutique has some cool/quirky/vintage fashions, particularly for the ladies. 4336 4th St. N., St. Petersburg 727-528-9490

A longtime local favorite for vintage clothes, not to mention kitschy home furnishings. 508 S. Howard Ave., Tampa 813-259-9944

You can generally always find something cool here, even when the other thrifts in the area are picked clean. 4304 S. Dale Mabry Hwy., Tampa 813-831-4377

You know the deal. 1600 E. 8th Ave., Centro Ybor, Ybor 813-242-8472





Nice, big indoor park on the Pinellas side of things. 6140 Ulmerton Rd., Clearwater 727-523-0785

Redken-authorized, forward-thinking salon that emphasizes education for aspiring stylists. 3228 W. Kennedy Blvd., Tampa 813-877-9801


There are, seriously, too many great tattoo shops (including Monique’s and Mean Machine, to name a couple more) and artists in the area to list, but Atomic has long been reputable in the area, and has locations in just about every Tampa Bay neighborhood, so there you go.

A full-service shop for both recreational and serious riders. 2409 S. MacDill Ave., Tampa 813-839-0410

Equipment and lessons for beginners and die-hards alike. 8808 Rocky Creek Dr., Tampa 813-243-5737


The legendary home of the Tampa Pro and Am comps. 4215 E. Columbus Dr., Tampa 813-382-3477


Everything art. 12908 N. 56th St., Tampa 813-989-0302


Quirky but cool collision of guitars, amps and new, used and rare comics. 5226 N. Nebraska Ave., Tampa 813-238-4177


Florida’s largest new-and-used book joint. Make the drive, and plan to spend at least half the day browsing. 2025 Central Ave., St. Petersburg 727-822-8616


Let’s just say they know their shit, from vintage instruments to the latest tech. 650 Central Ave., St. Petersburg 727-822-3304 30111 U.S. HWY 19 N., Clearwater 727-785-9106


Again, there are plenty of great indie record/CD shops in the area (props to St. Pete’s Daddy Kool and Tampa’s Mojo!), but Vinyl Fever has been the gold standard for years. 4110 Henderson Blvd., Tampa 813-289-8399


Excellent (mostly used) bookstore just north of downtown St. Pete. They’ve got everything from comics to contemporary lit to rare collectibles and first editions. 2934 Dr. Martin Luther King, Jr. St. N., St. Petersburg 727-896-3700


This place has it all when it comes to music retail. Used CDs and Vinyl of course, but don’t forget about the huge selection of used books. They are right in the heart of the USF area. Hit it up son... 2558 E. Fowler Ave. Tampa, FL 33612



TRÈS BIEN After four-plus years of big Bay area shows, and one stint on the Fox TV musical reality competition The Next Great American Band, Mike Bostinto, Cody Michael Wilson, Michael James Crowe and Ryan Parker Metcalf collectively known as Clearwater’s Très Bien - are saying hello to a new album called Meet Your Maker, and goodbye to the Tampa Bay local-music scene. REAX asked ‘em some questions about it all. REAX: Where did you white kids get your soul? Ryan: It came free with the funk. Mikey: White guys can’t have soul? Crowe: No, everyone knows that. Mikey: Yeah, maybe. I mean, I’m just trying to impress Erykah Badu anyways. Cody: I believe you can credit our soul to a combination of nature and nuture. We grew up listening to ‘60s rock ‘n’ roll and soul records. The constant traveling definitely contributed though REAX: What were the best and worst things about participating in The Next Great American Band? Mikey: Living in Los Gangelas for free was the best. The worst was the TV show, ha ha. I kid, but being forced to play covers is never fun. Crowe: Sheila E’s rack was pretty great. LC from The Hills kept blowin’ up my phone though. That was probably the worst. Ryan: Seeing how it all works was fun. It’s very interesting being part of the “machine.” Cody: We got to meet a lot of really cool famous people. The worst part was the whole having to wear makeup thing, but they couldn’t hide these jelly rolls.


REAX: So is there anything to do north of State Road 60 in Clearwater? Crowe: It’s debatable. Half of our band is from the south side of Gulf to Bay and the other is from the north. Ryan: I think I’ve seen a bowling alley up that way. REAX: Where the hell are you guys going again? Mikey: To the top! Of Pennsylvania. Cody: Williamsport, Pa. Crowe: Three and a half hours outside of NYC. REAX: Why are you bailing on Florida? Ryan: Don’t say bailing. There’s no animosity goin’ on. We just need a change of pace. Crowe: Bottom line, we can’t wait around here anymore for something to come to us. The world only meets you halfway and we’ve got to get out there and chase it if we really want it. Cody: We can experience the peace and tranquility of the woods while still focusing on our career by centralizing closer to music’s main marketplace. Mikey: Hurricanes. Read the entire interview at Très Bien’s combination CD Release Party/Yo, We’re Out Farewell Gig is at St. Petersburg’s State Theatre on October 18. Mumpsy and Win Win Winter support. The first 200 fans through the door will get a free sevensong CD of b-sides and demos from Meet Your Maker.


Somewhere between the sludge-covered pop of early Nirvana, harmonies and razor guitars of old-school Weezer and collegiate noodling of Pavement lies Palantine, a Tampa group seemingly hell-bent on keeping the sweet and sour sounds at the heavier end of indie rock relevant. And these guys do a hell of a job. Droning yet melodious opener “Social Influence” could’ve come off of Pinkerton, the catchy energy of back-to-back highlights “Linguistics” and “Dead Wreck” is undeniable, and “Carcinogen” simply kills it. By and large, the somewhat muddled production is a little disappointing - these guitar tones and vocal harmonies deserve a crisper, more up-front presentation - but man, this is great batch of new songs with plenty of timeless college-rock vibe. - Scott Harrell Palantine celebrates the release of Melee with a show at Ybor City’s New World Brewery on October 18.

SPOTLIGHT: NEW MEXICAN DISASTER SQUAD Performs at Pre-Fest Mayhem, Day 1 October 29, 2009


AT TRANSITIONS ART GALLERY We give Gainesville’s Fest a lot of love every time around; maybe we oughta throw some of that anticipatory spooge over toward Matt Welch and the folks at Skatepark of Tampa’s Transitions Art Gallery for their ever-killer pre-Fest shenanigans. That this year’s event boasts some 28 punk acts over two nights - in preparation for a music festival a good two hours away - says volumes about how big Fest has gotten, not just in G-ville but all over the state; that a handful of those bands playing Transitions before Fest even gets started are from as far away as the U.K. and Sweden says it’s not just Florida punk fans that are keeping the scene in business. The Transitions crew throws

crazy underground shows all year, too, so if you haven’t been out there in a while, drop by toward the end of the month and thank ‘em not only for giving the bands traveling from hell and gone for Fest another date to play, but for giving bands from all over a place to play, anytime. Kiss of Death Records and A.D.D. Records Present Pre-Fest Mayhem Days 1 & 2 October 29 & 30 @ Transitions Art Gallery, Tampa. Both shows start at 6 p.m.; tickets are $7 for Wednesday’s show and $8 for Thursday’s. For the full lineup, check out our Events listing or

TAMPA BAY EVENTS FRI OCTOBER 03 Against Me!, Ted Leo & Pharmacists, Future of the Left Jannus Landing, St. Petersburg Cost: $17 Time: 7 p.m. Apocalyptica State Theatre, St. Petersburg Cost: $20 Time: 8 p.m. Bill “The Sauce Boss” Wharton Skipper’s Smokehouse, Tampa Cost: $10/13 Time: 8 p.m. Building The State Record Release Party Feat. Guiltmaker, Her:Enemy New World Brewery, Ybor City Time: 9 p.m. Counting Crows, Maroon 5, Augustana Ford Amphitheatre, Tampa Cost: $30.50-151 Time: 6 p.m. Doll Parts, The Plastic Stars, Holiday The Garage, St. Petersburg Time: 9 p.m. Lewis Black Tampa Bay Performing Arts Center, Tampa Cost: $45 Time: 8 p.m. Ron Rotundo, Mortimer Nova, Calafran Pegasus Lounge, Tampa Time: 9 p.m.

SAT OCTOBER 04 Adam Lee & The Dead Horse Sound Company Dave’s Aqua Lounge, Tampa Cost: $6 Time: 9:30 p.m. Genuine Sun, The Junkyard Kings Kelly’s Pub, Tampa Time: 9 p.m. GWAR, Kingdom of Sorrow, Toxic Holocaust Jannus Landing, St. Petersburg Cost: $18 adv. Time: 7 p.m. Joel McHale Tampa Bay Performing Arts Center, Tampa Cost: $31.50 Time: 7 p.m. Rock For Choice Feat. Lorna Bracewell, Someday Souvenir, A Girl Named Noah, Chill Merna, Megan Alfredson, Christie Lenee Skipper’s Smokehouse, Tampa Cost: $10 Time: 8 p.m. Skatober Fest IV Feat. Set-back, Can’t Do It, Rude Squad, CIO, The Pants State Theatre, St. Petersburg Cost: $10 Time: 7 p.m. Trenchbox, Extinction of the Polar Bears, John Gold, Blacklight, Amberly Drive Pegasus Lounge, Tampa Time: 9 p.m. WINO, INYA, Victims of Circumstance The Garage, St. Petersburg Time: 9 p.m.

SUN OCTOBER 05 A Girl, A Gun, A Ghost, Knives Exchanging Hands, Before We Forget, Wings of Victory, Unkempt, Tour of Flies, A Hand to the Fallen Transitions Art Gallery, Tampa Cost: $10 Time: 6 p.m. Fundraiser for Phyllis Busansky Feat. Mike Jurgensen, John Hancock & The Declaration, Bunko Squad, Ernie Williams, Dale Webber & Linda Fackelday, Pamela Joe Hatley & Steele Olmstead Skipper’s Smokehouse, Tampa Cost: $10 Time: 5 p.m. In Swarms, Aeralene, Uprising Promise Pegasus Lounge, Tampa Time: 9 p.m. The Academy Is ... , We The Kings, The Prospect Jannus Landing, St. Petersburg Cost: $16.50 adv. Time: 7 p.m.



Cruiserweight, Thieves and Villains, Jonas Sees in Color, T13C!, The Absentee Ballot, The Woodwork Springs Theatre, Tampa Cost: $8 Time: 6 p.m.

Peter Piek Kelly’s Pub, Tampa Time: 9 p.m.

David Allan Coe, Mojo Gurus Jannus Landing, St. Petersburg Cost: $19.99 adv. Time: 7 p.m.

The Dead Science, Insect Joy, Hi-Jack D.C. New World Brewery, Ybor City Cost: $7 Time: 9 p.m.

TUE OCTOBER 07 Jonathan Richman Skipper’s Smokehouse, Tampa Cost: $12/15 Time: 8 p.m. The Riot Before, Watson, Criminal Culture, The Springfield Cubs, Steady State Transitions Art Gallery, Tampa Cost: $6 Time: 8 p.m.

WED OCTOBER 08 Matt Hires CD Release Party Feat. Nathalia Estrada, Damion Suomi, Chris Tolan New World Brewery, Ybor City Time: 9 p.m. The Rocket Summer, Phantom Planet, The Secret Handshake, The Morning Light Jannus Landing, St. Petersburg Cost: $14 adv. Time: 6:30 p.m.

THU OCTOBER 09 Blues Traveler Jannus Landing, St. Petersburg Cost: $23 adv. Time: 7 p.m. Kamelot, Adrift, Mena Brinno State Theatre, St. Petersburg Cost: $20 adv. Time: 7 p.m. Patriot X The Garage, St. Petersburg Time: 9 p.m. Roadside, Chief Demographic, Green Sunshine Pegasus Lounge, Tampa Time: 9 p.m. Walter Meego, The Morning Benders, DJ Stavros Crowbar, Ybor City Cost: $7/9 Time: 9 p.m.

FRI OCTOBER 10 Brahm Bones, Memphis Train Union Kelly’s Pub, Tampa Cost: $5 Time: 9 p.m. Chris McCarty, Miggs Skipper’s Smokehouse, Tampa Cost: $7/10 Time: 8 p.m. Everlast, The Lords Jannus Landing, St. Petersburg Cost: $17 adv. Time: 7 p.m. Light Yourself on Fire, Wetnurse, Khann, Depravation, Chapstick Cap, Trench Transitions Art Gallery, Tampa Cost: $7 Time: 8 p.m. Pink Lincolns, The Crumbs, Teenage Rehab The Garage, St. Petersburg Time: 9 p.m. Rachel Goodrich, The Basiqs, Auto!Automatic!!, The Oaks, Dynasty State Theatre, St. Petersburg Cost: $8 Time: 8 p.m. The Spam All Stars, The Hip Abduction, Acho Brother Crowbar, Ybor City Cost: $12 Time: 9 p.m. Telfair, Theresa Jean, Me in Firework, Pegasus Lounge, Tampa Time: 9 p.m. Thomas Wynn & The True Believers, Brass Bed, Brent Rademaker, The Junkyard Kings New World Brewery, Ybor City Cost: $7 Time: 9 p.m.

Fifth Annual Fuchtoberfest Feat. Autotrain, Boon, Last of the Great Gunslingers, DSCProject, Poundsalt, Mogul Street Reserve Pegasus Lounge, Tampa Time: 7 p.m. Hodaddys/Kustom Kulture Art Show The Garage, St. Petersburg Time: 9 p.m. Hoods, Give ‘Em Hell, End It, Actions Speak Louder, Palestine, XTitanX Transitions Art Gallery, Tampa Cost: $10 Time: 7 p.m. Mary J. Blige, Robin Thicke, David Young Ford Amphitheatre, Tampa Cost: $25-85.75 Time: 7:30 p.m. Matt Butcher & The Revolvers, Will Quinlan & The Diviners, Win Win Winter, Ronny Elliot, Lauris Vidal New World Brewery, Ybor City Cost: $7 Time: 9 p.m. Southern Rock’s Finest State Theatre, St. Petersburg Cost: $15 Time: 7 p.m. Spooky Greenhill, The Minarets Kelly’s Pub, Tampa Cost: $5 Time: 9 p.m.

SUN OCTOBER 12 Kinder, Gentler Sundays Crowbar, Ybor City Cost: Free Time: 6 p.m. Wine to Water, Uprising Promise Pegasus Lounge, Tampa Time: 9 p.m.

MON OCTOBER 13 The Appreciation Post, Death in the Park Transitions Art Gallery, Tampa Cost: $8 Time: 7 p.m. Silent Trio Uptown Bar, St. Petersburg Time: 9 p.m. Willy Porter Tampa Bay Performing Arts Center, Tampa Cost: $25.50 Time: 7:30 p.m.

WED OCTOBER 15 American Me, Blood Stands Still, Ambush! Transitions Art Gallery, Tampa Cost: $10 Time: 6 p.m. Mike Relm, The Sideshow, Mes Music, Positive Response Crowbar, Ybor City Cost: $8/10 Time: 9 p.m. Skateboard Industry Night The Garage, St. Petersburg Time: 9 p.m.

THU OCTOBER 16 Alanis Morissette Ruth Eckerd Hall, Clearwater Cost: $47.75-77.75 Time: 8 p.m. Blaze Ya Dead Homie, Anybody Killa, Boondox, Axe Murder Boyz, J Reno, Mars Tamiami Bar, St. Petersburg Cost: $14.99 adv. Time: 6 p.m. Chris Nathan, Josh Magwood Group The Garage, St. Petersburg Time: 9 p.m. Zombie Beach Party Feat. Ghoultown, Gen-XX, Zombie Dragstrip Hookers, Ruby Luster, DJ Curse Mackey Czar, Ybor City Cost: $10

05 TAMPA BAY EVENTS FRI OCTOBER 17 2nd Anniversary Show Feat. Worldwide Zoo, Smokestack, The Foothill Fury Kelly’s Pub, Tampa Time: 9 p.m. Hangtown The Garage, St. Petersburg Time: 9 p.m. Hawthorne Heights, Emery, The Color Fred, Tickle Me Pink, The Mile After State Theatre, St. Petersburg Cost: $19 Time: 6 p.m. Jimmy Thackery Skipper’s Smokehouse, Tampa Cost: $12/15 Time: 8 p.m. Meat Loaf Ruth Eckerd Hall, Clearwater Cost: $55-125 Time: 8 p.m. Modern Skirts CD Release Party Feat. Talkdemonic, Clock Hands Strangle Crowbar, Ybor City Time: 9 p.m. Saliva, The Drowning Pool, Earshot Jannus Landing, St. Petersburg Cost: $19.99 adv. Time: 7 p.m. Vicarious, Maybe Foreign, Area 51, Falling Awake Pegasus Lounge, Tampa Time: 9 p.m.

SAT OCTOBER 18 Autovaughn, Junior Revolution, Monte Negro The Garage, St. Petersburg Time: 9 p.m. Bishop’s Show Feat. Malaki, T Collins, Mistah, Taz, Yung T, Bottom Boys Pegasus Lounge, Tampa Time: 9 p.m. Palantine CD Release Party Feat. The Semis, Gleaming Amoebas New World Brewery, Ybor City Time: 9 p.m. Regret And Forgive Again, Strengthen What Remains, Closing The Harbor, Set The Sights, Katalina Anne, All Eyes Before Us, Meadow Glen Transitions Art Gallery, Tampa Cost: $7 Time: 6 p.m. Sarge & The Aeromen Kelly’s Pub, Tampa Time: 9 p.m. The Higher, Just Surrender, The White Tie Affair, The Morning Of Orpheum, Ybor City Cost: $10/12 Time: 6:30 p.m. Tres Bien CD Release/Au Revoir Party Feat. Mumpsy, Win Win Winter State Theatre, St. Petersburg Cost: $6/7 Time: 8 p.m.

SUN OCTOBER 19 All Time Low, Every Avenue, The Maine, Mayday Parade Jannus Landing, St. Petersburg Cost: $15 adv. Time: 5:30 p.m. Jack’s Mannequin, Eric Hutchinson, Treaty of Paris State Theatre, St. Petersburg Time: 6:30 p.m. Uprising Promise (Early Show) Pegasus Lounge, Tampa Time: 7 p.m. Zombie Fetish Party (Late Show) Feat. Shock to the System Pegasus Lounge, Tampa Time: 10 p.m.

MON OCTOBER 20 Dolly Parton Ruth Eckerd Hall, Clearwater Cost: $65-195 Time: 8 p.m.

Pepper, Passafire, Supervillains Jannus Landing, St. Petersburg Cost: $19.99 adv. Time: 7 p.m.

TUE OCTOBER 21 Rise Against, Alkaline Trio, Thrice, The Gaslight Anthem Jannus Landing, St. Petersburg Cost: $34 adv. Time: 6 p.m.

WED OCTOBER 22 Portugal. The Man, Earl Greyhound, Wintersleep Orpheum, Ybor City Cost: $12/13 Time: 7 p.m. Suicide Silence, Emmure, Beneath The Massacre, After The Burial, Architects State Theatre, St. Petersburg Cost: $15 Time: 6 p.m.

THU OCTOBER 23 Buckethead The Garage, St. Petersburg Cost: $18 adv. Time: 9 p.m. Los Lonely Boys, Zac Brown Band Jannus Landing, St. Petersburg Cost: $27.50 adv. Time: 7 p.m. Unearth, Protest the Hero, The Acacia Strain, White Chapel, Gwen Stacy State Theatre, St. Petersburg Cost: $16 Time: 6:30 p.m.

FRI OCTOBER 24 29th Annual Freaker’s Ball Feat. Unknown Hinson, Rev. Billy C. Wirtz Skipper’s Smokehouse, Tampa Cost: $10/15 Time: 8 p.m. Cold Joon CD Release Party Feat. The Long Johns The Garage, St. Petersburg Time: 9 p.m. Ingrid Michaelson, Meiko, Priscilla Ahn, Erin McCarley, Thao Nguyen & Samantha Crain State Theatre, St. Petersburg Cost: $15 adv. Time: 7 p.m. Jarvik 7, Ebu GoGo, Oceans Rise! New World Brewery, Ybor City Time: 9 p.m. John Q, Chris McCarty Band, Radio Amp, Chief Demographic Pegasus Lounge, Tampa Time: 9 p.m. Neil Diamond St. Pete Times Forum, Tampa Cost: $55-120 Time: 8 p.m. Peter Frampton Ruth Eckerd Hall, Clearwater Cost: $37.50-85 Time: 8 p.m. Rancid Polecats, The Semis, Beardsley Kelly’s Pub, Tampa Time: 9 p.m. Steel Train, Dear & The Headlights Orpheum, Ybor City Cost: $10/12 Time: 7 p.m. The Faint Jannus Landing, St. Petersburg Cost: $20 adv. Time: 7 p.m.

SAT OCTOBER 25 DJs Business Casual, Green Sunshine Kelly’s Pub, Tampa Time: 9 p.m. Halcyon, Diane Ward Skipper’s Smokehouse, Tampa Cost: $12 Time: 8 p.m. Halloween Cometh Early Punk Tribute Show Feat. New Bruises, Gator Bait, Cutman, Can’t Stand It, Change of Ideas, Learn Nothing, The Dicks, Ramsey Transitions Art Gallery, Tampa Cost: $8 Time: 6 p.m.

Kore, Malaki, Last of the Great Gunslingers, E-Merge Pegasus Lounge, Tampa Time: 9 p.m.

HalloWEEN Tribute Feat. Poetry n’ Lotion, The Stallion, Part 9, Insect Joy New World Brewery, Ybor City Time: 9 p.m.


Red Elvises, Vodkanauts Skipper’s Smokehouse, Tampa Cost: $15/20 Time: 8 p.m.

Kinder, Gentler Sundays Crowbar, Ybor City Cost: Free Time: 6 p.m. Silent Trio Uptown Bar, St. Petersburg Time: 9 p.m.

MON OCTOBER 27 Breathe Carolina Orpheum, Ybor City Cost: $10 Time: 7 p.m. Dredg, Judgment Day, Division Day State Theatre, St. Petersburg Cost: $13 Time: 7 p.m.

TUE OCTOBER 28 Ben Kweller, Whitley Crowbar, Ybor City Cost: $15 Time: 8 p.m. Freight Train Annie’s Girlie Show Feat. Super Secret Best Friends, Shining Wheel Pagan Chorus, Captain Obvious & The Duh Patrol Skipper’s Smokehouse, Tampa Cost: $7 Time: 8 p.m.

WED OCTOBER 29 Halloween Pornaoke Pegasus Lounge, Tampa Time: 9 p.m. Joe Satriani/Mountain Ruth Eckerd Hall, Clearwater Cost: $29.50-75 Time: 8 p.m. Pre-Fest Mayhem Day 1 Feat. New Mexican Disaster Squad, O Pioneers!!!, Bridge and Tunnel, The Menzingers, The Riot Before, Landmines, Algernon Caldwallader, Bitchin Summer, Cobra Skulls, The Cost of Living, Transitions Art Gallery, Tampa Cost: $7 Time: 6 p.m.

THU OCTOBER 30 Drag The River, Two Cow Garage, Nessie, Brahm Bones New World Brewery, Ybor City Cost: $8 Time: 9 p.m. Green Sunshine’s Halloween Party Pegasus Lounge, Tampa Time: 9 p.m. Pre-Fest Mayhem Day 2 Feat. Off with Their Heads, Lemuria, Paul Baribeau, Rager, Ringers, The Serious Geniuses, Gordon Gano’s Army, The Measure, Shot Baker, Pretty Boy Thorson, Tiltwheel, Dan Padilla, Vena Cava, Drunken Boat, Sista Sekunden, Underground Railroad to Candyland Transitions Art Gallery, Tampa Cost: $8 Time: 6 p.m. Vitale Art & Design Presents Monsters of Art The Garage, St. Petersburg Time: 9 p.m.

FRI OCTOBER 31 All Hallows Eve Party Feat. Unmotivate, Burning Tree The Garage, St. Petersburg Time: 9 p.m. Family Force Five, Play Radio Play, Danger Radio, Ultraviolet Sound State Theatre, St. Petersburg Cost: $13 Time: 7 p.m. Hallo-Freakin’-Ween Feat. Van Horgan, Mouse Fire, More Crowbar, Ybor City Time: 9 p.m. Halloween Party Feat. Foreshadow, David Scarry Perry, Johnny Cakes & The Four Horsemen, Poundsalt Pegasus Lounge, Tampa Time: 9 p.m.

Skull & Bone Band, Boon Kelly’s Pub, Tampa Time: 9 p.m. Success Will Write Apocalypse Across The Sky, Catalepsy, Tour of Flies, Harvest The Deceased, Illithid Transitions Art Gallery, Tampa Cost: $8 Time: 7 p.m. The Rev. Horton Heat, Nashville Pussy, Reckless Kelly Jannus Landing, St. Petersburg Cost: $20 adv. Time: 7 p.m.

SAT NOVEMBER 01 Bang Camaro, Leslie Orpheum, Ybor City Cost: $12 Time: 6:30 p.m. Bogus Pomp State Theatre, St. Petersburg Cost: $21 Time: 8 p.m. Mike Dunn & The Kings of New England, Alexander & The Grapes, Brian Miller, Proud Iron Lion New World Brewery, Ybor City Time: 9 p.m. Silverstein, Chiodos, A Skylit Drive, Alesana Jannus Landing, St. Petersburg Cost: $25 adv. Time: 6:30 p.m. Trace of Day The Garage, St. Petersburg Time: 9 p.m.

SUN NOVEMBER 02 Deerhoof, Experimental Dentist School, Flying Crowbar, Ybor City Cost: $12/14 Time: 9 p.m. Jeffree Star, Brokencyde Red Car Wire, Kill Paradise State Theatre, St. Petersburg Cost: $13 adv. Time: 7 p.m. Retaliation, Alexandria, Seven Kingdom, From The Embrace, Fasttaker Pegasus Lounge, Tampa Time: 6:30 p.m. Richard Gilewitz Skipper’s Smokehouse, Tampa Cost: $12 Time: 5 p.m. Trash Talk, Alpha & Omega, Learn Nothing Transitions Art Gallery, Tampa Cost: $9 Time: 6 p.m. Yngwie Malmsteen Jannus Landing, St. Petersburg Cost: $17 adv. Time: 7 p.m.

MON NOVEMBER 03 Bayside, The Matches, Valencia, The Status State Theatre, St. Petersburg Cost: $13 Time: 6 p.m. The Legendary Pink Dots Orpheum, Ybor City Cost: $16.50/18 Time: 7 p.m.

TUE NOVEMBER 04 Matt Woods, Truckstop Coffee Kelly’s Pub, Tampa 9 p.m.

WED NOVEMBER 05 A Cursive Memory, Single File, Go Crash Audio Orpheum, Ybor City Cost: $8/10 Time: 6 p.m. sBach New World Brewery, Ybor City Cost: $7 Time: 9 p.m.


TUES - SAT: 11AM TO 6PM SUNDAY: 12 NOON TO 6PM 5207 North Florida Avenue • Tampa, FL 33603 813-231-2020 • •










Not really a venue, per se, but it’s a great bar and it’s jammed between The Social and the Independent, so you’re gonna end up taking your business out in the old-school photo booth at some point. 64 N. Orange Ave., Orlando


Great room and beer selection, a favorite scene hangout with an eclectic lineup of local and touring acts. 37 West Pine St., Orlando


It’s actually a converted Firestone building. Great club, heavy on DJ/ dance stuff but hosts trendy-cool touring bands as well. 578 North Orange Ave., Orlando


Out toward Maitland, a cool little beerand-wine bar that hosts a lot of roots, singer-songwriter and rock/punk-abilly shows. 106 Lake Ave., Orlando


Big, stylish room where you’ll see up-and-coming nationals for the last time before they hit arenas opening for someone even bigger, and the area’s top-drawing regional acts. 6050 Universal Blvd., Orlando


Lots of perennially cool nationals and big local draws. 1490 East Buena Vista Dr., Orlando


All sorts of hipsterific DJ and dance nights - Wave Pop Wednesdays seem to be a particular favorite - and occasional shows in the downtown space that used to house Barbarella. 70 N. Orange Ave., Orlando


A nightlife chameleon, where hip-hop, funk DJs and ‘80s nights rage alongside local-band lineups. 68 East Pine St., Orlando


Often unknown to out-of-towners, this warehouse space caters to the extreme metal underground. 6440 North Orange Blossom Trail, Orlando


Another Winter Park destination, this one specializing in metal and the heavier end of the alternative spectrum. 6700 Aloma Ave., Winter Park 407-673-2712


Downtown party spot that does a lot of DJ stuff as well as live bands. 1321 North Mills Avenue, Orlando


Pretty much Orlando’s default live indie-rock room, but they do more, too. 54 North Orange Ave., Orlando

Organic Fairtrade beans, a surprising array of light and/or vegetarianfriendly fare, and regular nighttime entertainment. 929 W. Fairbanks Ave., Winter Park 407-975-3364

Emily sez “free wi-fi, homemade soups, Panini, wraps, quiche, vegan & vegetarian available, live art on Mondays, movie night on Sunday, music movie night on Tues.” Whew 444 N. Bumby Ave., Orlando


Orlando Weekly’s Best Vegan Restaurant of ‘08 sports an insanely deep menu, including pizza and brunch offerings. 1235 N. Orange Ave., Orlando


One of Winter Park’s favorite hangouts, with traditional Irish pub fare and live entertainment to match. 544 W. Fairbanks Ave., Winter Park


Relatively inexpensive Mediterranean radness. 12140 Collegiate Way, Orlando

Most older patrons are here for the beer selection, but the sandwiches are hard to beat, too. 3400 Edgewater Dr., Orlando 407-999-8934

Pizza by the slice. Cold beer. Cheap combinations of cold beer and pizza by the slice. 12269 University Blvd., Orlando 407-658-2396


So much more than a coffee shop. Full menu for vegetarians and carnivores alike. 1842 E. Winter Park Rd., Orlando 407-623-3393


Healthy, fusion-y California-style tapas and sometimes live music in College Pk. 717 W. Smith St., Orlando 407-835-0646


Bridges the gap between fast and healthy. Also, they’re open late. 1 South Orange Ave., Orlando 12040 Collegiate Way, Orlando


Deja Vu Vintage Clothing Specializes in vintage looks. 1825 North Orange Ave., Orlando 407-898-3609


This boutique carries some hard-to-find brands, and wholeheartedly supports local music. Check their Myspace page for deals and discounts. Orlando Fashion Square Mall 3201 E. Colonial Dr., Orlando 407-897-7035


Recently featured in Lucky Magazine, this shop offers scads of accessories as well as image consulting. 4825 New Broad St., Orlando 407-228-6013


Rock ‘n’ roll fashion covering pretty much every inch of the territory that implies. 240 N. Orlando Ave., Winter Park 407-478-1083



MIKE DUNN When I called up Mike Dunn for an interview, he seemed a bit more interested in getting to know me than in talking about himself. He asked where I grew up (a four-year stint in Sarasota), how long I had been writing for (since I was twelve) and was curious to hear about living in north Detroit (it’s kind of rough, but judge for yourself). Apparently, the 25-year-old Winter Park native really enjoys the idea of getting to know random people and, to be honest, it’s a fiercely disarming trait that tends to bleed into his potent brand of Americana rock ‘n’ roll, one positively tainted with a young man’s musical taste, lyrical twist and youthful vivaciousness. Dunn, as an earnest singer/songwriter, occupies the upper echelon of independent and ambitious musicians that reside in Florida, and is unfortunately a relatively unknown gem to the rest of the world (but we here at REAX think that the tides soon will change). Dunn was first introduced into the music world via his mother’s profession as a piano teacher. While he had no objection to playing the keys, the six-string soon came into the picture as a sort of subconscious rebellion when he was 12 years old. Dunn took a few guitar lessons, but the seductive, hollowed-out wooden body of his old guitar was quickly left sitting silent in the corner. “It wasn’t until college when I picked it back up,” explains Dunn. “I wanted to be in a band more than anything. I played bass in a college band because, when you really don’t how to play very many things on guitar, you play bass. I got involved with the local music scene, and really enjoyed being part of that community that I didn’t know existed when I was in high school. I wanted to be involved as much I could.” Dunn would quietly write his own songs on the side, and kept them primarily to himself until longtime friend Louis DeFabrizio (of fellow Orlando outfit Gasoline Heart) encouraged him to show off his songwriting chops. Shortly

thereafter, DeFabrizio booked some time at an Atlanta studio, and the duo headed north for a five-day recording session that would eventually produce Dunn’s debut album, The Edge of America. “We got really lucky,” recalls Dunn, “because it was not super-planned. I didn’t really have a band formed when we started recording. It was more formed to make the record. It’s been a year and a half [since the release of The Edge of America], and it’s cool that I can still listen to it - there is really nothing I would change.”

Great sounds. Great production. Great artwork. Alas, aside from some of the jauntier, off-kilter rhythms of the standout “Can You Feel,” there’s not much here to differentiate The Shoreline from the literally hundreds of other bands with which it shares that wide swath where the Warped Tour playground overlaps with emerging mainstream alt-rock tastes. There’s no arguing that vocalist Jose Solorzano’s got pipes, but either he really, really wants to sound just like a thousand other dudes, or the entire band let modern-rock producer of note Daryl Phennegar have way too much freedom when it came to applying today’s hot generic filters and patches to Solorzano’s tracks ... and everybody else’s. My money’s on the latter. This is obviously a group of competent musicians and songwriters, and they’ve made a decent record - the originality is just buried under too much trend and tech sheen. - Scott Harrell


While Mike Dunn and the Kings of New England often draw comparisons to Pete Yorn, Bruce Springsteen, and Tom Petty, upon my initial listen, I couldn’t help but hear Death Cab for Cutie performing in a small bedroom with a peeping Paul Westerberg secretly jerking off in the closet. But do such bands have a place in the Disney-dominated, Mickey Mouse sleight-of-hand that looms right around the corner from Winter Park? “Musically, it’s really not a problem for me because there are so many good Florida bands,” explains Dunn. “But personally, growing up around here, it’s hard for me to not think that everything is fake. If you go to Fort Wilderness at Disney and you see a totem pole, you think, ‘Oh, that’s what a totem pole is.’ But really, it’s a big piece of plastic with some faces on it. And then you go see one in real life and it doesn’t have the same impact on you that it should. I’m sure everyone feels a little bit of that, ‘if you come from Orlando, you are manufactured.’ But there are so many genuine bands that come from here that it’s just not true, and we’re proof of that.” Mike Dunn & The Kings of New England play Orlando’s Back Booth on October 18, and Tampa’s New World Brewery on November 1.


THE PLAZA THEATRE Every town in America worth its salt has got an old, outdated theater. Hopefully, it hasn’t been torn down to make room for a Starbucks or, worse, just left there unused to become a sad, eroding symbol of times past; hopefully, it’s become a place where they do allages shows or classic movie nights or community theater or touring theater or, well, any type of theater. Downtown Orlando’s Plaza Theatre isn’t as classic as some of those old haunts. It came along in 1963, and was

reportedly the first two-screen movie house in town. But it’s still home to all kinds of live performance - comedy and drama and classics, as well as live music events that run the gamut from jazz to next month’s Rock for Hunger benefit and various touring shows too big for the local clubs but too small for the sheds. The Plaza Theatre 425 North Bumby Ave., Orlando 407-228-1220


FRI OCTOBER 03 Adam Lee & Dead Horse Sound Company, Evan Harris & Driftwood Motion, Anderson Gang Copper Rocket, Orlando Cost: $5 Time: 10 p.m.

LIFESTYLE BOOM-ART BY ROGERS STUDIO Custom pop illustrations that are simultaneously modern and nostalgic; yes, they’ll paint anything - a chair, a door, a bench, whatever. 1821 North Orange Ave., Orlando 407-895-0280


This downtown skate shop has been around for nearly 12 years, and boasts one of the biggest inventories of gear and peripherals around. 334 E. Harvard St., Orlando 407-895-0410


A combination art gallery/clothing

boutique that’s a new part of the emerging arts district on downtown Magnolia Ave.


Sure, the original location long ago graduated from surf touchstone to tourist trap. But at least you know where to get stuff to send to your friends back home. 5160 International Dr., Orlando 407-481-2555


A sick concrete bowl, along with all the vert, mini-ramps and street-course obstacles you’d expect. 5220 International Dr., Orlando 407-351-3881

DMC continues to hold off the big-box music-store chains, maybe because it’s so big its damn self. 3301 Gardenia Ave., Orlando 407-423-4171


Yes, those of us over on the west coast are dying of jealousy. Cheap, neat-looking furniture and a food court? It’s worth it just for the walkaround. 4092 Eastgate Dr., Orlando


They support the local scene, promote shows and even host in-stores. 2916 Corrine Dr., Orlando 407-447-PARK UCF Student Union, Orlando 407-282-1616

Joel McHale Hard Rock Live, Orlando Cost: $32.50 Time: 8 p.m. Koffin Kats, The Van Orsdels, Twisted In Graves BackBooth, Orlando Cost: $10 Time: 7 p.m. The Academy Is ... , We The Kings, Carolina Liar, Hey Monday House of Blues, Orlando Cost: $18.25 Time: 7 p.m. The Expendables, Rebelution, OPM The Social, Orlando Cost: $15 Time: 7 p.m.

SAT OCTOBER 04 Against Me!, Ted Leo & Pharmacists, Future of the Left House of Blues, Orlando Cost: $16.75 Time: 6:30 p.m. Atmosphere Club Firestone, Orlando Cost: $15 The Expendables, Rebelution, OPM The Social, Orlando Cost: $15 Time: 8 p.m. The Legendary JC’s, Mondo Libero BackBooth, Orlando Cost: $10 Time: 8 p.m.

SUN OCTOBER 05 Karrigan, Words Now Heard, Sink The State, They’re Liars BackBooth, Orlando Cost: $8 Time: 7 p.m.



The Walkmen, The Little Ones, The Dark Romantics The Social, Orlando Cost: $13 adv. Time: 8 p.m.


Your place for vinyl - the round kind that makes noises. 1814 North Orange Ave., Orlando 407-896-1952


This place specializes in used and vintage guitars, amps and replacement parts. An impersonal bigbox retailer it ain’t; just check out the info and disclaimers on their website, and you’ll know they’re on it. 5515 S. Orange Ave., Orlando 407-855-1333


An awesome collectible-design shop - art, figures, designer toys, basically Cool Geek Utopia. 480 N. Orlando Ave., Winter Park 407-788-UBER

MON OCTOBER 06 Blues Traveler The Social, Orlando Cost: $30 Time: 8 p.m.

TUE OCTOBER 07 Gym Class Heroes, The Roots, Estelle House of Blues, Orlando Cost: $32.50 Time: 6:30 p.m. Phat n Jazzy & Swamburger Present The Official Smash Mouf Tour Feat. Oh No, Roc C & IMAKEMADBEATS, The Transcontinental, DJ BMF (Late Show) The Social, Orlando Cost: $10 Time: 10 p.m.

Hanson, Dave Barnes House of Blues, Orlando Cost: $23 Time: 6 p.m. Inkwell, Her:Enemy, X.O.X.O., The Still Voice The Social, Orlando Cost: $6 Time: 9 p.m. Wetnurse, Khann, Republicorpse Black Box Collective, Orlando Time: 7 p.m. WPRK Marathon Feat. Eugene Snowden, The Attack, The High Life, Arms Harbor BackBooth, Orlando Cost: $5 Time: 7:30 p.m.

FRI OCTOBER 10 Danzig, Dimmu Borgir, Skeleton Witch, Winds of Plague, Moonspell Hard Rock Live, Orlando Cost: $25 Time: 7 p.m. Dish, So Help Me Rifle, Ryland Bojack Copper Rocket, Orlando Cost: $5 Time: 9 p.m. Hand To Hand, Contest of Arms, Monroe’s Overdose, The Country Slashers BackBooth, Orlando Cost: $8 adv. Time: 7:30 p.m. State Radio, Bongo Love The Social, Orlando Cost: $15 Time: 8 p.m. The Rocket Summer, Phantom Planet, The Secret Handshake, The Morning Light House of Blues, Orlando Cost: $14.75 Time: 6:30 p.m.

SAT OCTOBER 11 Shiny Toy Guns, Jonezetta, The Delta Fiasco BackBooth, Orlando Cost: $15 Time: 7 p.m.

SUN OCTOBER 12 David Allan Coe, Gift Horse House of Blues, Orlando Cost: $17.50 Time: 6:30 p.m. Staind, Seether, Papa Roach Hard Rock Live, Orlando Cost: $45-95 Time: 6:30 p.m.

MON OCTOBER 13 Misfits Tribute Show Black Box Collective, Orlando Time: 8 p.m. Sarah Bettens (of K’s Choice) The Social, Orlando Cost: $10 Time: 8 p.m.

TUE OCTOBER 14 Copeland (In-Store) Park Ave. CDs, Winter Park Time: 8 p.m.

Ra Ra Riot, Walter Meego, The Morning Benders (Early Show) The Social, Orlando Cost: $10 Time: 6 p.m.

Lewd Acts, Tigerstyle, Learn Nothing, Meantime, Change of Ideas Black Box Collective, Orlando Time: 6 p.m.

The Dead Science, Happy Valley, Crutch & The Giant Junshi, Viernes BackBooth, Orlando Cost: $6 adv. Time: 9 p.m.

Mike Relm, The Sideshow The Social, Orlando Cost: $10 adv. Time: 10 p.m.

WED OCTOBER 08 Rogue Fi, Dish BackBooth, Orlando Cost: $5 Time: 9 p.m. The Rumble Strips, Birdmonster, Mumpsy The Social, Orlando Cost: $10 Time: 8 p.m.

THU OCTOBER 09 Common, N.E.R.D. Hard Rock Live, Orlando Cost: $32/37 Time: 9 p.m.

Soldier City Legends CD Release Party Feat. The Year Ends in Arson, Dang We’re On Fire, Camerae, David’s Victory BackBooth, Orlando Cost: $6 adv. Time: 7 p.m.

WED OCTOBER 15 Nikka Costa, Pictures and Sound The Social, Orlando Cost: $15 adv. Time: 8 p.m. Underoath, Saosin, The Devil Wears Prada, P.O.S. House of Blues, Orlando Cost: $20.25 Time: 6 p.m.

12 THU OCTOBER 16 Plain Jane Automobile, Autovaughn, Junior Revolution, Monte Negro The Social, Orlando Cost: $10 Time: 8 p.m.

Portugal. The Man, Earl Greyhound, Wintersleep The Social, Orlando Cost: $12 adv. Time: 6 p.m. Rise Against, Alkaline Trio, Thrice, The Gaslight Anthem House of Blues, Orlando Cost: $29.50 Time: 7 p.m.

Ten13Concept, Fillmore East, A Hero’s Fate, The Radio Suitcase BackBooth, Orlando Cost: $6 Time: 8 p.m.



Buckethead, That 1 Guy The Social, Orlando Cost: $16 adv. Time: 9 p.m.

Gasoline Heart, Poverty Branch BackBooth, Orlando Cost: $8 Time: 8 p.m. WPRK’s Rock En Espanol Presents Kool-us, Urbe, Prima Exit Copper Rocket, Orlando Cost: $5 Time: 9 p.m.

SAT OCTOBER 18 All Time Low, Mayday Parade, The Maine, Every Avenue House of Blues, Orlando Cost: $15 Time: 6:30 p.m. Mike Dunn & The Kings of New England, Modern Skirts, Cure for Caska, The Black Rabbits BackBooth, Orlando Cost: $6 adv. Time: 7:30 p.m.

SUN OCTOBER 19 Crooked X BackBooth, Orlando Cost: $8 adv. Time: 7:30 p.m. The Higher, Just Surrender, The White Tie Affair, The Morning Of The Social, Orlando Cost: $10 adv. Time: 6 p.m.

MON OCTOBER 20 Matt Nathanson The Social, Orlando Cost: $15 Time: 8 p.m. The Kung Fu Girls, The Starlight Getaway, Daly’s Gone Wrong, Hitman for A Heart BackBooth, Orlando Cost: $8 adv. Time: 5:30 p.m.

TUE OCTOBER 21 Alanis Morissette Hard Rock Live, Orlando Cost: $35-75 Time: 8 p.m. Expo Tees Number 8, Fusik, DJ BMF The Social, Orlando Cost: $7 Time: 10 p.m. Opeth, Baroness House of Blues, Orlando Cost: $18.25 Time: 6:30 p.m.

WED OCTOBER 22 Joss Stone Hard Rock Live, Orlando Cost: $37-67 Time: 8 p.m. Pepper, Supervillains, Passafire House of Blues, Orlando Cost: $22.25 Time: 7 p.m. The Faint Club Firestone, Orlando Cost: $18 adv. Time: 8 p.m. The Faint Afterparty Feat. Rocksteady Soundsystem, Fishdicks & Harder Sauce The Social, Orlando Cost: $5 Time: 10 p.m.

THU OCTOBER 23 Dwarves, The Uprising, The Ruins, The Angst BackBooth, Orlando Cost: $15 Time: 7 p.m. Have Heart, Blacklisted, Ceremony, Let Down, Swamp Thing Black Box Collective, Orlando Time: 6 p.m.

Like Satellites, Everyday I, Joel Pickering Copper Rocket, Orlando Cost: $5 Time: 10 p.m. Murder by Death, William Elliott Whitmore, J. Roddy Walston & The Business BackBooth, Orlando Cost: $12 adv. Time: 7 p.m. Nena Dinova, McCarthy Trenching, The Great Deceivers, Sterling Schroeder Will’s Pub, Orlando Cost: $10 Time: 9 p.m.

SAT OCTOBER 25 Ingrid Michaelson, Meiko, Brooke Fraser, Samantha Crain, Erin McCarley (Late Show) The Social, Orlando Cost: $15 adv. Time: 8 p.m. Roger Sanchez Club Firestone, Orlando Cost: $15 Steel Train, Dear & The Headlights, Forgive Durden (Early Show) The Social, Orlando Cost: $10 Time: 3 p.m. The Ludes, Hope & Suicide, Auto!Automatic!! Copper Rocket, Orlando Cost: $5 Time: 9 p.m. Unknown Hinson BackBooth, Orlando Cost: $13 adv. Time: 8 p.m.

SUN OCTOBER 26 Man Man, Tim Fite (Late Show) The Social, Orlando Cost: $13 Time: 9 p.m. Pierce The Veil, Breathe Carolina, Four Letter Lie, Emarosa (Early Show) The Social, Orlando Cost: $10 adv. Time: 4 p.m. Red Elvises, The Little Debbies BackBooth, Orlando Cost: $12 Time: 7:30 p.m. Theory of A Deadman, Black Stone Cherry, The Parlor Mob House of Blues, Orlando Cost: $18 Time: 6 p.m.

MON OCTOBER 27 Ben Kweller, Whitley The Social, Orlando Cost: $17 Time: 8 p.m. Relient K, Ludo, This Providence, House of Heroes House of Blues, Orlando Cost: $15 Time: 6 p.m.

TUE OCTOBER 28 Sole & The Skyrider Band, Daylight District Will’s Pub, Orlando Cost: $10 Time: 9 p.m. The XYZ Affair, The Pauses BackBooth, Orlando Cost: $8 adv. Time: 7:30 p.m.

WED OCTOBER 29 Hydrosonic CD Release Party Feat. In Violent Times, Irrational, A Cover Story, A Palace in Persia BackBooth, Orlando Cost: $6 adv. Time: 7 p.m.

THU OCTOBER 30 A Comic Shop’s Zombie Dance Feat. DJ Gladkill, The Nasty Boys BackBooth, Orlando Cost: $6 adv. Time: 8 p.m.

SUN NOVEMBER 02 A Wilhelm Scream, Polar Bear Club, How Dare You BackBooth, Orlando Cost: $10 Time: 7:30 p.m.

Dredg, Telescreen, Judgment Day The Social, Orlando Cost: $15 Time: 8 p.m.

Chiodos, Silverstien Hard Rock Live, Orlando Cost: $20 Time: 6:30 p.m.


Hello Goodbye, Ace Enders, Never Shout Never (Early Show) The Social, Orlando Cost: $15 Time: 4 p.m.

Bang Camaro, Sound and Fury, Leslie The Social, Orlando Cost: $10 adv. Time: 9 p.m. Joe Satriani, Mountain House of Blues, Orlando Cost: $33.50-300 Time: 8 p.m. Summerbirds In The Cellar, Attachedhand BackBooth, Orlando Cost: $8 adv. Time: 8 p.m. The Automatics, Vomit PoP, The Nova Rays Copper Rocket, Orlando

SAT NOVEMBER 01 Deerhoof, Experimental Dental School, Flying The Social, Orlando Cost: $12 adv. Time: 9 p.m. Rev. Horton Heat, Reckless Kelly, The Country Slashers House of Blues, Orlando Cost: $16.25 Time: 7 p.m. Rev. Peyton’s Big Damn Band, Ben Prestage BackBooth, Orlando Cost: $10 Time: 8 p.m.

The Legendary Pink Dots (Late Show) The Social, Orlando Cost: $15 Time: 9:30 p.m.

MON NOVEMBER 03 Star Fucking Hipsters Black Box Collective, Orlando Time: 7 p.m.

TUE NOVEMBER 04 A Cursive Memory, Mercy Mercedes, School Boy Humor, Go Crash Audio (Early Show) The Social, Orlando Cost: $8 adv. Time: 5 p.m. Minus The Bear, The Annuals, 27 House of Blues, Orlando Cost: $15 adv. Time: 7 p.m. Phat n Jazzy Presents Election Night Special Feat. Gerry Williams’ Band, DJ BMF, DJ Slac (Late Show) The Social, Orlando Cost: $7 Time: 10 p.m. The Reign of Kindo, Mirror Pal, X.O.X.O., Rogue Fi, Words Now Heard BackBooth, Orlando Cost: $9 Time: 7 p.m.






All-ages friendly live-music hangout. 919 W. University Ave., Gainesville


Cozy, eclectic bar and performance space that usually does live music four nights a week. 15 N. Main St., Gainesville


Formerly Eddie C’s, the Backstage caters to more mainstream rock and alt-rock tastes than some of the area’s more indie-centric nightspots. 1315 S. Main St., Gainesville


G-ville’s premier punk/indie-rock club. 210 S.W. 2nd Ave., Ste. A, G-ville


A bit of a drive, but it hosts many touring shows that don’t hit G-ville. 200 N. 1st St., Jacksonville Beach


This altruistic endeavor - more formally known as The Gainesville Community Bicycle Project - promotes responsible bicycle use and ownership when not hosting the shows that help raise operating funds. 722 S. Main St., Gainesville


Award-winning sushi. Their website alone looks good enough to eat. 201 SE 2nd Ave., Gainesville 352-371-3359


More of a diner than bakery. Popular with vegetarians, and drunk folks who really want a meaty sandwich after hitting the bars. 200 W. University Ave., Gainesville 352-371-2000


This meeting-and-eating spot is well known for its gourmet pizzas and Sunday brunch. 706 W. University Ave., Gainesville (352) 378-2001


Opinions vary wildly, but if you want to see/overhear when the hippies and hipsters in town are wearing/doing, this is the place. 101 S.E. 2nd Pl., Gainesville 352-336-9646


Casual atmosphere, fairly cheap Asian food. People rave about their pho, a Vietnamese soup/staple. 1228 W. University Ave., Gainesville 352-374-0934


It’s been called the best restaurant in town. Folks are critical of the service, but the full bar seems to help. Another hot brunch spot, as well. 30 N. Main St., Gainesville 352-337-1188

Derf. Until this hipster favorite opens its Orlando outlet store, Gainesville is the only place in Florida north of the Miami area to get all the stuff you’ve seen on all the cool kids lately. 15 S.W. 1st Ave., Gainesville 352-372-2262


The thrifts in most college towns are usually pretty well picked over, but this is Florida - unintentionally ironic t-shirt heaven. 3520 S.W. 34th St., Gainesville 352-376-9041


This joint has a reputation for great threads and kitschy or unusual gifts. 201 S.E. 2nd Pl., Gainesville 352-372-0455


Clothes. Art. Books. Comics. Cool. 101 N. Main St., Gainesville 352-377-7044


A more upscale place that carries the kinds of designers not usually found outside of bigger cities. 1127 W. University Ave., Gainesville 352-505-8123





One of Gainesville’s biggest and most community-conscious body-art enterprises for a decade. 306 W. University Ave., Gainesville 352-376-4090

Named after the classic wave flick. 420 N.W. 13th St., Gainesville 352-373-SURF

Organic groceries, holistic supplements, and a schedule of events and lectures held right on the premises. 521 N.W. 13th St., Gainesville 352-378-5244

Your one-stop shop for things with dancing teddy bears on them. 1035 N.W. 76th Blvd., Gainesville 352-332-5100


Rent and roll. 805 W. University Ave., Gainesville 352-372-4890


The sign says “Gainesville’s largest home of music and movies,” and that sounds about right. 818 W. University Ave., Gainesville 352-373-1800




THE STATE Obviously, there are people who just want a song - iTunes, the radio, whatever, just give ‘em that three minutes of entertainment so they can enjoy it while it lasts and then move on to the next one. And just as obviously, there are people who want something more from a band. They want to commune with the music, experience it as they would a friendship or a treasured favorite novel. They want to savor the details, and mull over the questions that the songs alternately raise and answer for them. There are worse things a band that wants more from its audience than warm bodies in the club and download stats could do than offer those who are interested something a little more personal than an e-card; something that says the musicians care as much about how the music is presented as the fans do about how it’s received. “I think that our music ... has a fairly limited reach, as far as audience is concerned,” says Justin Tzuanos, guitarist, pianist and singer for Gainesville’s Building The State. “And the people who like it, they just want something that’s beyond downloads. A lot of people into this kind of music are very computer literate, it’s easy for them to have access to that. Whereas vinyl, it’s something special. There’s something about having it in your hand, with the elaborate artwork, blown up much bigger ... “ Tzuanos trails off, but he’s gotten the gist across. Building The State’s dynamic yet intricately layered art-rock isn’t cranked

Is it some sort of reverse prejudice to state confidently that when white guys get together to do this sort of funk/soul/R&B/reggae hybrid, it very nearly always sucks balls? That’s why so many horrible bands of that ilk add metal guitar shreddage to the mix - they’re aware of their limitations, and they fall back on their white-rock-guy strengths. To their credit, these guys are able musicians, and they rarely go for default funk-rock mode. But they have neither the raw, organic edge to pull off reggae, nor the loose sense of groove to make the funk and soul really shine. What they do have, is an awful name and a lot of barely suppressed smooth jazz tendencies, and it all sounds so - I don’t know any other way to describe it - white. - Colin Kincaid


out for easy digestion. It’s lovingly, painstakingly crafted, for people who respect not just the tune, but the whole culture of artisanship that goes into everything surrounding it. (To give you an idea of the band’s commitment to its work, guitarist/pianist Peter Wadsworth, who relocated to Brooklyn a few years back, flies in regularly for bouts of writing, recording and touring.) So the band was understandably excited when a few shows down south in Tampa turned into a relationship with that city’s rising New Granada Records (Candy Bars, King of Spain, The Dark Romantics), and an opportunity to put out the latest Building The State EP, Faces in the Architecture, as a 10-inch vinyl release. It’s something of a gift - sure, the fans will be buying it, but the fact that the band strove to make it available communicates a certain understanding about the passion for music present on both sides of the player-listener equation. “It’s something you can have on your shelf that’s more than a CD, it’s a whole ‘nother ball game,” Tzuanos says. “I think there’s a certain pride in collecting something, and being super familiar with something that most people in the mainstream aren’t savvy about. That’s a huge part of it.” Building The State and New Granada celebrate the release of Faces in the Architecture on vinyl with a show at Ybor City’s New World Brewery on October 3; the band also supports The Walkmen at Gainesville’s Common Grounds October 4, and appears at this year’s Fest.


FEST 7 Well, what the hell did you think we were gonna plug, college football? (Hey, now there’s an idea ... ) A lot has been said about the property destruction, sleep deprivation, Sparks dependency and general mayhem that tend to characterize the Fest. And, yeah, shit gets crazy - you can’t put that many independent, generally anti-authoritarian individuals in an area as small as downtown Gainesville and and not expect somebody to poop on the couch. It’s a given. So let’s talk about some other stuff, like Dillinger Four. Like Municipal Waste.

Like Leatherface and Atom & His Package (welcome back, sir) and The Larry Arms and Coalesce and Drag The River and New Bruises and Japanther. Like more than 250 bands and God only knows how many thousands of fans coming together for no other reason than they like each other, and wanna hang out where it hasn’t gotten cold yet. There are lots of festivals out there; Fest is more like a family reunion. The Fest 7 October 31-November 02 Multiple Venues throughout the downtown Gainesville Area

15 GAINESVILLE EVENTS FRI OCTOBER 03 Danger Radio, Farewell Jack Rabbits, Jacksonville Cost: $10 adv. Time: 7 p.m. Kid Rock St. Augustine Amphitheatre, St. Augustine Cost: $49.10-74.60 Time: 7:30 p.m. Kiiks, Andrea Friedlander, 1982, Gainesville Time: 9 p.m. Less Than Jake, Baker Act, Suckerpunch Freebird Live, Jacksonville Beach Cost: $18 adv. Time: 8 p.m. Matt Pless, Erica Carlsson The Kickstand, Gainesville Cost: $5 Time: 10 p.m. Soulfphonics & Ruby Velle, SG4 Common Grounds, Gainesville Cost: $7 Time: 9 p.m. The Spam Allstars The Atlantic, Gainesville Cost: $8 Time: 10 p.m.

SAT OCTOBER 04 A Tribute to New Order The Atlantic, Gainesville Blues Traveler Freebird Live, Jacksonville Beach Cost: $30 Time: 8 p.m. UF Orchestra/Kick Stand Benefit Feat. Deep and Holy Sea, Devin & Francisco’s Tabletop Soccer Team, Cellorando, Sweet City Action The Kick Stand, Gainesville Cost: $5 Time: 9 p.m. O.A.R. St. Augustine Amphitheatre, St. Augustine Cost: $27.50 Time: 5:30 p.m. The Ones to Blame, Three Legged Dawg, Hollowbody Hellraisers, The Damned Thing 1982, Gainesville Time: 9 p.m. The Walkmen, The Little Ones, Building The State Common Grounds, Gainesville Cost: $12 Time: 9 p.m.

SUN OCTOBER 05 Against Me!, Ted Leo & Pharmacists, Future of the Left (SOLD OUT) Common Grounds, Gainesville Cost: $10 Time: 6 p.m.

The Independents, Stevie D & The No Shows, No More 1982, Gainesville Time: 9 p.m.

FRI OCTOBER 10 Crossin Dixon, Candye Kane & The Swingin’ Armadillos Freebird Live, Jacksonville Beach Cost: $15 adv. Time: 8 p.m. Green Jello, Man Down Jack Rabbits, Jacksonville Cost: $10 adv. Time: 8 p.m. Shotty Beatles, Mumpsy, Rickolus The Atlantic, Gainesville

The Delta Spirit, Lauris Vidal & His Warm Guns Common Grounds, Gainesville Cost: $8 Time: 9 p.m. The Enablers, Elysium 1982, Gainesville Time: 9 p.m.

SAT OCTOBER 18 Lennon Jack Rabbits, Jacksonville Cost: $8 adv. Time: 8 p.m. Skalloween Feat. Chupaskabra, The Duppies, Skuff’d Shoes, The SweetKings, The Brentford Sound 1982, Gainesville Time: 7 p.m. Talkdemonic Common Grounds, Gainesville Cost: $6 Time: 9 p.m.

Unearth, Protest The Hero, The Acacia Strain, Gwen Stacy, White Chapel Freebird Live, Jacksonville Beach Cost: $15 Time: 7 p.m.

SUN OCTOBER 26 Widespread Panic, Los Lonely Boys St. Augustine Amphitheatre, St. Augustine Cost: $37.50-44.50 Time: 5:30 p.m.

MON OCTOBER 27 Man Man Jack Rabbits, Jacksonville Cost: $12 adv. Time: 8 p.m.


Skatoberfest Feat. The Set-Back, Shotgun Diplomacy, 69 Fingers, Funked Up Ska Machine, The Goodshots 1982, Gainesville Time: 9 p.m.


Pierce The Veil, Breathe Carolina, Four Letter Lie, Emarosa Jack Rabbits, Jacksonville Cost: $10 adv. Time: 7 p.m.

Jimmy Thackery Common Grounds, Gainesville Cost: $10 Time: 6 p.m.


Staind, Seether, Papa Roach St. Augustine Amphitheatre, St. Augustine Cost: $37.50-43 Time: 5:30 p.m.



The Higher, Just Surrender, The White Tie Affair, The Morning Of Jack Rabbits, Jacksonville Cost: $10 adv. Time: 7 p.m.

Deathinthepark, The Appreciation Post, Seward’s Folly, Giallo 1982, Gainesville Time: 8 p.m. Laserhead, Squeaky, Lettuce Olive Common Grounds, Gainesville Cost: $5 Time: 9 p.m. State Radio Jack Rabbits, Jacksonville Cost: $10 adv. Time: 8 p.m. Whiskey & Co., Liquid Limbs, Hometeam The Atlantic, Gainesville

SUN OCTOBER 12 Dear Dakota, Junior Doctor 1982, Gainesville Time: 7 p.m. The Mercury Program Common Grounds, Gainesville Cost: $10 Time: 6 p.m.

MON OCTOBER 13 Shiny Toy Guns Jack Rabbits, Jacksonville Cost: $15 Time: 8 p.m.


TUE OCTOBER 21 High on Fire Common Grounds, Gainesville Cost: $12 Time: 9 p.m. Kung Fu Girls, Sweet City Action, Murphee K 1982, Gainesville Time: 9 p.m. Matt Nathanson, Jessie Baylin Freebird Live, Jacksonville Beach Cost: $13 adv. Time: 8 p.m.

WED OCTOBER 22 Astronautalis, Tobacco Pat, That Kid Art Jack Rabbits, Jacksonville Cost: $8 adv. Time: 8 p.m. Buckethead, That 1 Guy Freebird Live, Jacksonville Beach Cost: $15 adv. Time: 8 p.m.

THU OCTOBER 23 Astronautalis, Midikidi, Seward’s Folly 1982, Gainesville Time: 8 p.m.

Rev. Horton Heat, Nashville Pussy, Reckless Kelly Freebird Live, Jacksonville Beach Cost: $20 adv. Time: 8 p.m.

THU OCTOBER 30 Fest Pre-Show Feat. Young Livers, Landmines, Bridge & Tunnel, O Pioneers!!! 1982, Gainesville Time: 9 p.m.

FRI OCTOBER 31 Dredg Jack Rabbits, Jacksonville Cost: $15 Time: 8 p.m. Perpetual Groove Freebird Live, Jacksonville Beach Cost: $17 adv. The Fest 7 Visit for bills, schedules and ticket information

SAT NOVEMBER 01 The Fest 7 Visit for bills, schedules and ticket information

SUN NOVEMBER 02 A Cursive Memory, Rocket to the Moon Jack Rabbits, Jacksonville Cost: $8 adv. Time: 7 p.m.

The Expendables, Rebelution, OPM Freebird Live, Jacksonville Beach Cost: $15 adv. Time: 8 p.m.

Autovaughn, Junior Revolution, Lookalive Jack Rabbits, Jacksonville Cost: $8 adv. Time: 8 p.m.

Ingrid Michaelson, Meiko, Brooke Frasier, Priscilla Ahn, Samantha Crain, Erin McCarley Common Grounds, Gainesville Cost: $15 Time: 9 p.m.


The Takers, The Lower 13th Jazz Band, Giuseppe, No More Common Grounds, Gainesville Cost: $5 Time: 9 p.m.

Steel Train, Dear & The Headlights, Forgive Durden Jack Rabbits, Jacksonville Cost: $10 adv. Time: 8 p.m.



The Faint Freebird Live, Jacksonville Beach Cost: 18 adv. Time: 8 p.m.

Black Cobra, Dark Castle Jack Rabbits, Jacksonville Cost: $8 adv. Time: 8 p.m.


sBach Common Grounds, Gainesville Cost: $6 Time: 9 p.m.

Jonathan Richman Feat. Tommy Larkins Common Grounds, Gainesville Cost: $10 Time: 8 p.m.

TUE OCTOBER 07 Theatre Strikeforce Comedy Show Common Grounds, Gainesville Cost: $5 Time: 9 p.m.

Devin & Fracisco’s Tabletop Soccer Team, For He Who Hung The Moon, Making Eyes, The Toy Tambourine 1982, Gainesville Time: 9 p.m.



The Riot Before, Anchor Arms, Dirty Money 1982, Gainesville Time: 9 p.m.

All Time Low, Mayday Parade, The Maine, Every Avenue Freebird Live, Jacksonville Beach Cost: $15 adv. Time: 7 p.m.

THU OCTOBER 09 Donovan Frankenreiter Freebird Live, Jacksonville Beach Cost: $20 adv. Time: 8 p.m. Obama Campaign Fundraiser Feat. Holopaw, Squeaky, Two Finger Suicide, Scott Becky Common Grounds, Gainesville Cost: $5 Time: 7 p.m.

The Manor, The Early Twenties, Moonshine Trio, Andrea Friedlander 1982, Gainesville Time: 9 p.m.

FRI OCTOBER 17 Sevendust, Taproot, Allyria, Dear Enemy Freebird Live, Jacksonville Beach Cost: $22 adv. Time: 7 p.m.

C. Scott, Danni Bay, Mr. V 1982, Gainesville Time: 9 p.m. Portugal. The Man, Earl Greyhound, Wintersleep Jack Rabbits, Jacksonville Cost: $12 adv. Time: 7 p.m.

SAT OCTOBER 25 Murder by Death, William Elliott Whitmore, J-Roddy Walson & The Business Common Grounds, Gainesville Cost: $10 Time: 9 p.m. Steve Miller Band St. Augustine Amphitheatre, St. Augustine Cost: $43-63 Time: 6:30

The Fest 7 Visit for bills, schedules and ticket information

WED NOVEMBER 05 Minus The Bear, The Annuals, 27 Freebird Live, Jacksonville Beach Cost: $17 Time: 8 p.m.

THU NOVEMBER 06 MC Chris, Whole Wheat Bread, Totally Michael Common Grounds, Gainesville Cost: $12 Time: 9 p.m. The Pink Spiders, Cruiserweight Jack Rabbits, Jacksonville Cost: $12 adv. Time: 8 p.m.




n many areas of the music industry, letting six years go by between albums might be seen as a sign of trouble.

OK, no, let’s speak plainly: If you let six years go by between albums, almost anyone even remotely acquainted with the music industry is going to think you’re dead, or so fucked you might as well be. You can view it as a reflection of evershrinking attention spans, or you can view it as a symptom of the desperation felt by a business that still throws as much against the wall as often as possible in a frantic effort to make anything, anything at all, stick. But there it is. For most artists trying to make a dent in the pop-culture consciousness these days, six years is the span of an entire career, not a restful period of comparative inactivity. Thank God the men of Dillinger Four don’t have to operate in that environment, and wouldn’t give much of a shit if anybody tried to make them anyway. “A lot of stuff has been going on, man,” says singer/guitarist Erik Funk of the time elapsed since the midwestern punk act’s last proper full-length, Situational Comedy, appeared in 2002. “Our drummer got his doctorate, I expanded the bar [Minneapolis nightspot The Triple Rock, which Funk co-owns]. Paddy’s been playing with other bands. It’s just kind of been life stuff, you

know? We’ve tried to play as much as we could every year, but the last couple of years, even going out just for a few days or weeks, we just never found the time.” The obvious question about what Funk, singer/bassist/human force of nature Patrick “Paddy” Costello, drummer Lane Pederson and guitarist Bill Morrisette could possibly have to do with their time other than be rock stars is moot, and dumb. For one thing, these men aren’t rock stars - they’re passionate, independent thinkers, music fans and players whose respective urges to write or jam don’t punch a time clock. For another, they are wellrounded individuals whose varied interests and commitments don’t conform to any sold-our-souls-for-rock-and-roll cliches anomalous blue-collar renaissance men for whom the old saw about having nothing but music, about it saving a body from jail or an early grave, rings hollow, if not downright retarded. Most of all, though, Dillinger Four is their baby, and they’ll nurture it however they see fit, thank you very much. “That’s the whole thing for us,” Funk says. “Back when we were more active, putting out records every two years, people thought that was slow. ‘God, it’s been a year and a half, when are you doing a new one?’ It seemed pretty natural to us. And that’s super important. None of us ever


wanted it to be the only thing we do. We just try to fit in time where we can.” They’ve got the luxury of doing so; early efforts like ‘98’s Midwestern Songs of the Americas and 2000’s Versus God built them a rabidly loyal fanbase among those punk-scene denizens looking for something with a little more gristle and muscle than the overly poppy sounds then monopolizing much of the all-ages ecosphere. Ironically, the group didn’t initially set out to be a feistier alternative to the emerging Warped Tour macrocosm, but rather a catchier stand-in for the gnarly hardcore sounds they encountered in their own local scene. “It’s funny, when we first started the band, Paddy and I had just moved here, and it was all about thrash and crust,” says Funk with a laugh. “We were more of a reaction to do something poppy. It wasn’t until a few years later, touring and playing with loads of Screeching Weasel rip-off bands, that we started to think that way.” A decade after “Doublewhiskeycokenoice,” and six years past the blistering opening strains of Situationist Comedy’s aptly titled “Noble Stabbings!!”, Dillinger Four’s uniquely smart, snarky and surging take on punk remains intact. New album Civilwar drops this month, and if the song structures are a little more stripped down and the harmonies are a little more prevalent, none of the power and energy seem to have

been lost along the way, and the in-joke song titles and socially cognizant lyrics that make listeners wonder if Funk and Paddy are engaged in some ongoing war of wordplay are still as strong as ever. “That’s fair to say,” Funk confirms in acknowledgment of the CD’s somewhat more melodic vibe. “I don’t know, that’s just where my tastes have been more lately. For some reason, everything was coming out more poppy, which is weird, because I’ve had kind of a crappy year.” Slightly catchier or no, it’s another frothing, propulsive effort, and if you’ve got to see it from the perspective of Dillinger Four having been away, then it qualifies as a more-than-fine return to form. All that’s left is for the band to stretch whatever road-tendons might’ve gotten stiff over the last few years before their return to the annual fall punk-rock summit that is Gainesville’s unimpeachable Fest, held this year, as always, as close to Halloween as scheduling permits. “Oh yeah, absolutely,” says Funk, the anticipation evident in his voice. “Fest is our yearly reset, you know? That’s where we hatch our plans for the year.” Civilwar comes out October 14.



proceeds from its sale are being donated to the Minneapolis chapter of grassroots activist group Food Not Bombs and populist news program Democracy Now!, whose host Amy Goodman was arrested at the RNC for trying to find out why two of her producers were being handcuffed. While the idea of thinking, “Hey, I’m going to sit down right now and write a song about this,” and then actually being able to do it, might perplex (or at least piss off) all those songwriters out there who seem to waste weeks waiting to be hit over the head by their respective muses, Leo finds himself working that way fairly often. In fact, the cycle of touring, writing and recording often demands that he place deadlines on his own creativity. “It’s not entirely strange for me to do it that way,” he says. “Usually, when I’m under a deadline, it’s what I have to do. I have to start setting myself those times and tasks I know what I want to write about, so I do it like a job that needs to get done. It’s a good way to get started, to tap the vein without waiting for the lightning bolt.” Of course, this time around he had a little more than a deadline to help him along. He had both his own passions aroused, and the elements of the project laying there right in front of him, waiting to be assembled in his own particular style.


ack when August was giving way to September, as most of us were recovering from a Labor Day weekend during which we did absolutely no labor and tracking Hurricane Gustav, more than 800 protesters were being arrested outside the Republican National Convention in St. Paul, Minnesota in a stunning display of excessive force. The images of college kids, veterans and old ladies alike being gassed, manhandled and sometimes thrown to the ground that found their way from the RNC to TVs and computer screens worldwide were profoundly saddening. They weren’t, however, much of a surprise. The face-offs between the conservative administration and lefty social activists have boiled over into violence again and again over the last eight years. It’s a chillingly telling thing, but many of us can’t find any new outrage in the latest footage to resemble some foreign police state more than it does the America we think we know; we find only the

shrugging defeat of the expected. This time around, though, undergroundmusic icon Ted Leo found something more. He found inspiration. “Over the couple of days that it was happening, just through e-mails with the guys in the band, we started kicking ideas around - ‘can we have a [benefit] show, or what?’,” he says. “But ... even though it seems like a harder thing to do, it seemed more feasible to get together and write a song. It also seemed like a more effective thing.” Leo immediately sat down to begin writing what would become “Paranoia (Never Enough).” Shortly after, he, bassist Marty Violence, drummer Chris Wilson and guitarist James Canty convened in Jersey to bang it, another new tune called “Mourning in America,” and a couple of relevant covers out, tracking them on the low-budget recording equipment normally reserved for rough ideas.



“Years ago, I would do stuff on four-track cassette and release it, so I have a little portable digital-hard-drive recorder that we demo new songs on, just for practice,” Leo says. “I just spent a little more time on it. It just felt really good to get it down, and get it right out.” The result is the scrappy, raggedly galvanizing and perfectly titled Rapid Response Digital EP. The covers - “I Got Your Number” by underdog punk legends Cock Sparrer and “Nobody’s Driving” by the largely unknown Amebix - fill out an underproduced four-song serving of righteous fury. (“Don’t get on my case about recording quality, excessive compression, distortion, etc.,” writes Leo in the EP’s liner notes.) Usually, even something as brief as an EP takes several months to record, mix, master and release; in a perfect example of bringing D.I.Y. ethics to bear on modern technology and digital-age attention spans, Rapid Response hit the web for sale less than three weeks after the Republican National Convention concluded. All

“That’s actually kind of more how this worked out,” agrees the songwriter. “We got the idea of doing something, and I actually woke up one morning with the idea for the chorus in my head. It was a combination of knowing we had to do something, and that inspiration to do something being inspiration enough.” Ted Leo and Pharmacists open for Against Me! at St. Pete’s Jannus Landing Oct. 3, Orlando’s House of Blues Oct. 4, and Gainesville’s Common Grounds Oct. 5.




The Rapid Response Digital EP is an immediate and fiery reaction to the treatment of protesters at this year’s Republican National Convention by the police. For a limited time, the EP is being sold through for $4 before being released to the usual digital-music outlets. One hundred percent of the project’s proceeds will be split between Food Not Bombs Minneapolis and Democracy Now!.

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ith 20 years as a musician under her belt, indie steady Juliana Hatfield released a memoir titled When I Grow Up in September. It’s right on the heels of her newest full-length How To Walk Away, which came out in August. The press, fickle beast that it is, has painted Hatfield over the years as a virginal, anorexic, aloof, tight-lipped “artiste.” The language her life was translated into can be uncomplicated quite easily: Aloof = shy; tightlipped = private; anorexic = any woman (as we all have body image and/or food issues); virginal = well, we were all virginal once, weren’t we? During a recent phone conversation, she was genuine, articulate, and friendly – not at all what one might’ve been left to expect, but surprising in the best way possible. Yes, even rock stars are people too. REAX: What motivated you to write an autobiography? There’s always been a little bit of mystery around who you are and what you’re really about. Juliana Hatfield: That was part of it. I was never very vocal about anything in my private life so people would speculate. And I feel like I’ve been a little misunderstood. People make assumptions about me without knowing me. But I guess I just wanted to tell the truth about my real self. I feel a certain freedom in getting it all out there. I can put some questions to rest and just relieve some mistaken notions about me. REAX: I’ve read that your songs are intensely autobiographical. Do you think the topics of the songs you write open the door to questions about your personal life? JH: People are going to try to figure out who I’m thinking about or what specific details I’m thinking about. I mean, there are no real gory details about my life. I’m being really honest about my feelings and I use metaphor to express them. And I think people can kind of inject their own personal experience and relate them to their own lives. People say that my songs have helped them during difficult times and I think that’s a big compliment because that’s what music does for me - makes me feel less alone. When I hear something in a song that I recognize, that’s true for me too - it’s really nice to know that someone else is feeling the same thing. REAX: In doing some homework for this interview listening to [2004’s] In Exile Deo, I noticed that the riff and piano part in “It Should’ve Been You” is also used in “This Lonely Love.” How did that happen? JH: That was [producer] Andy Chase’s idea. PAGE 46 • REAX MUSIC MAGAZINE • OCTOBER 2008

He thought those parts were cool and that we should try to write another song around them. I think he felt that In Exile Deo wasn’t as quite as great as it could’ve been - that there could’ve been more done with the production. So he wanted to play around with it, just for fun. He and I put a new song together and I liked how it turned out. It wasn’t an obvious homage to myself, it was just kind of a goof. REAX: How did you wind up doing a duet with [Psychedelic Furs vocalist] Richard Butler on “This Lonely Love”? JH: Andy and I just both simultaneously thought that the song needed a British man to sing on it and for some reason Richard Butler popped into our heads. Andy was able to get in touch with him and he was in the New York area. He asked him if he wanted to sing and he said yeah. It was as simple as that. He came down to the studio one afternoon and sang for a couple of hours and that was it. It was thrilling to hear that iconic voice in the room with me. REAX: You’ve said recently that you feel like your voice has “grown into itself” and you’re not “struggling so much against its little-girl-ness.” How have you grown comfortable with it? JH: I think I’ve just come to accept it. I used to hate my voice. I thought it was so uncool. I wished I had been born with a cool rock voice like Chrissie Hynde or Patti Smith. I felt like my voice was a curse and no one was ever going to take me seriously because of it. I’d just push it as hard as I could - try to rock it out, which was a strain on it. I wrote in a higher key just so I’d struggle more and maybe be perceived as rocking. But now that I’ve come to accept the uniqueness of my voice I’ve relaxed a bit. I’m writing in a slightly lower range which is more comfortable for me. I’m just letting it be and now that I’ve relaxed, my voice has relaxed too. Once I stopped fighting it, it became the voice I always wanted. REAX: Do you think that girlish quality in your voice overshadows your technical skills as a guitarist? JH: Yeah it has, definitely. I mean, if you just go back and look at the press, there are many mentions of “Hatfield’s girlish voice” or “her little girl coo” - you know, always mentioning that aspect of my musical persona. But a much smaller percentage mentions my guitar style or “prowess” y’know? It can be frustrating, but what can I do? I guess I’m known more for my voice than my guitar playing. Juliana Hatfield tours the U.K. in October, returning for a New York City appearance October 23. Her memoir When I Grow Up and album How To Walk Away are out now.




WIT AND LIT: SILVER JEWS’ DAVID BERMAN Words: Robert Mortellaro Photo:

ilver Jews has been the pet band of indie music ultra-snobs ever since David Berman and friends (former college classmates and Pavement members Stephen Malkmus and Bob Nastanovich among them) put out Starlite Walker in the mid-’90s. The combination of Berman’s sardonic, literate lyrics, doleful, experience-drenched vocals and exquisitely understated songs, which nod to such varied influences as the Velvet Underground and country music, proved irresistible to Pabstguzzling former English Lit majors everywhere. Since then, Berman has ditched the “Pavement side project” albatross by releasing a series of increasingly brilliant records, the latest of which, Lookout Mountain, Lookout Sea, Sea is free of even a single Malkmus cameo. At the band’s Sept. 15 show at The Social in Orlando the lanky Berman was in turns intense, closing his eyes and clutching the mic cord while searching for the just-right vocal nuance, and whimsical, scrawling secret messages on sheets of paper before folding them into paper airplanes and launching them into the packed crowd. Berman, who only began touring in 2005, sounded assured and slow-burn passionate as the Jews ran through a career-spanning set that many in the rapt and, if you can go by expressions, grateful crowd probably thought they’d never hear. He seemed genuinely grateful himself, taking pictures with fans after the show and showing genuine interest in the stream of questions fans bombarded him with. This writer shot Berman some questions via e-mail (his preferred method of being interviewed, although at the show he was both gracious and funny when we briefly spoke), getting out of the way straightaway the mixed blessing of being closely identified with former indie superstars Pavement. “Up until ‘98 it might have been considered a bother,” he admits, adding that being linked to the band actually allowed him to blow off touring because there would still be an awareness of Silver Jews; call it laziness by association. “Since then,” he adds, “Pavement becomes more and more a frozen object of history, and that’s pretty easy for a working band to distinguish itself from.” To those who have followed the band. there was never any mistaking the two. Berman, a published author, creates lyrics that put him more in the company of artists like Leonard Cohen, Lou Reed and Bob Dylan than any indie-rock contemporaries. Back in ‘95, hearing him sing “In 27 years I’ve drunk 50,000 beers/ And they just wash against me like the sea into a pier“ from “Trains Across the Sea,” it was impossible not to use the word “genius” when describing his ability to create palpable ennui from an improbable juxtaposition here, a few image-packed words there. “Concision is what I aim for,” he explains, “especially on that song, and the songs on the new record.” But Berman, a published poet, says as much work as inspiration goes into his


wordcraft. “It takes a lot of rewriting,” admits. Despite being critically lauded in the pages of the New Yorker and elsewhere for Actual Air, his 1999 book of poems, Berman gets something out of music that writing poetry can’t provide: the audience. “Poetry’s audience is other poets,” he states. “I wrote a book and wasn’t too impressed with its reach. The records go much further into the population.” And deservedly so. Not only are Berman’s songs loaded with memorable lines and subtle melodies that hook into your brain for days, there’s also an intellectual depth to his writing that’s rare in any genre. “How does an animal see once the sun has set,” he muses on a song like “Sometimes A Pony Needs A Rest,” off the Jews’ 2005 stunner, Tanglewood Tales. Then he asks, “What kind of animal needs to smoke a cigarette?” Berman’s songs raise such issues as what drives self-destruction and even whether reason itself may ultimately prove to be a negative survival trait. “I think these are all subtexts for discussion,“ Berman points out. “The songs are not just there to be heard and absorbed, but to be engaged. Very few critics dare to engage with anything other that the press release.” But while his songs may be intellectually challenging and chock full o’ profundities, they never come across as pedantic. In fact, a few are downright fun, with at least some bordering on giddy. “Party Barge,” from The Jews’ latest album, is a perfect example. Complete with sampled foghorn, squawking seagulls and wife/ bandmate Cassie Berman cast as a whacky onshore dispatcher offering help - ”This is Lake Directory calling Party Barge/Lend us your coordinates we’ll send a St. Bernard” - the song is a gem of chug-a-chug pop whimsy. Berman’s voice radiates good cheer even when he sings such tough lines as “Father drove a steamroller/ Momma was a crossing guard/She got rolled when he got steamed/And I got left in charge” or “Living in a little town with my pedigree in charge/I chopped down a weeping willow tree and built this party barge.” Berman, who has struggled with depression and substance abuse, views the song partly as a comment on the collateral damage caused by people set on a path of self-destruction. “The Party Barge destroys whatever gets in its way,” he explains. “It’s what the alcoholic or addict does to his family and friends. The narrator is semi-conscious of this reality.” Never anything less than fully conscious as a songwriter and singer, David Berman and Silver Jews bring a barge-load of intelligence, wit and understatement to those lucky enough to discover them. Silver Jews’ Lookout Mountain, Lookout Sea is out now on Drag City. The band is on tour in the U.S. through mid-October.




veryone has a fascination with the dark side. While some of the more gory scenes of a horror movie make us cringe, there is a certain aspect of our being that pays attention and responds when blood is being splattered and human heads are being lopped off in widescreen. In the confines of reality, the result of an accident on the highway does not necessarily congest the roads, but the barrage of gawkers slowing down to catch a glimpse of the wreckage certainly does. Don’t feel guilty - it’s just human nature. While some of us are not eager to admit such a fatal attraction, there are a percentage of people out there that openly embraces both the bloody theatrics of cinema and the violent realities of life. Count Lyle of Texas’ shock-rock outfit Ghoultown is one of those proud few. “People who are drawn to gothic music or horror movies are just sort of born with that,” explains Count Lyle from the office of his Dallas-based homestead - an office that boasts hundreds upon hundreds of

Universal Monsters figurines and walls covered in classic horror movie posters. “Ever since I can remember, I liked things like vampires and zombie cowboys, and my artistic ability definitely reflects that. All [of the bands I’ve played in] have been somewhat dark and ominous - some representation of the dark side of life. For the rest of the guys in Ghoultown, it’s all varying degrees of the same philosophy. We all gravitated together, and put our own spin on that through the music we create.” Ghoultown came together in the late ‘90s, a product of Count Lyle’s ambition to create something unique that stood apart from the rest. After his former band, the Kill Creeps, hit the skids, the bandleader gathered some bandit musicians and began writing music that meshed the soundtracks of spaghetti westerns with the unadulterated force of punk rock and the drunken swagger of rockabilly. The result was a more refined and less campy take on the horror-punk genre - a genre crafted, defined and dominated by the Misfits and

recently resurrected in the limelight by the likes of The HorrorPops - tangled together with western-themed lyrics. “We really had to develop the sound as we went,” says the Count, who holds up the vocals-and-guitar end of the 5-piece group. “There was really no template or format to copy, so over the years, we started to develop into our sound” into the exclusive image and aural style that he aimed to strive for. “It’s manifest destiny that we’re from Texas. If you were to search the history of [the state], there are bloody battles in the Alamo, dark gunfighter characters and ruthless bandits throughout. We definitely play on some of that Texas mythology within the music.” On their sixth album, Life After Sundown, Ghoultown have truly become masters of their creepy crawly craft, slamming down thick, rampant guitar riffs on top of a car wreck of drums, topped off with lyrical adventures through fog-covered graveyards and illustrated tales of phantom

gunslingers. Ghoultown attracts a large following in their hometown of Dallas, and is regularly invited to play horror conventions throughout the country, including Orlando’s own Screamfest. This past February, Ghoultown was performing at such a convention and attracted the ancient ears of horror icon Elvira - a dream come true for a band that consists of horror fanatics. “Obviously, we’re all huge fans of Elvira,” laughs Count Lyle. “She caught our set, and the next day, she came over to our booth and we got to talking. She suggested that we work together, and wanted us to write a new theme song for her. It was really a no-brainer …” Ghoultown plays this year’s Zombie Beach Party at Ybor City’s Czar on October 16, and Orlando’s ScreamFest October 17-19.






OCT 14

Agathe Max Annuals Antony & The Johnsons Car Commercials Castanets Catfish Haven Crooked Fingers Crystal Antlers CYNE Damon Aaron Daniel Martin Moore Deerhoof Department of Eagles Earthless El Guincho Eulogies Fucked Up Gregory & The Hawk Hauschka Her Space Holiday Hot Lava I Set My Friends on Fire Japanese Motors Jay Reatard Jolie Holland Juana Molina King Tuff Lambchop Land of Talk Little Ones Lou Reed Margot and the Nuclear So and So’s Margot and the Nuclear So and So’s Marnie Stern Matt Hires Megapuss Mt. Eerie Notwist Of Montreal Parenthetical Girls Pretty & Nice Primeridian Rig 1 Rosebuds Skeletons Slaraffenland Spinto Band Sun Ra and His Solar Arkestra These Arms Are Snakes Various Artists White Savage Women Yo! Majesty

Ame Bill Madden Bosque Brown Chandeliers Cool Hand Luke David Bowie Decemberists Ghengis Tron Indian Jewelry




This Silver String Such Fun Another World Eric’s Diary City of Refuge Devastator Forfeit/Fortune Crystal Antlers EP (Reissue) Pretty Dark Things Highlands Stray Age Offend Maggie In Ear Park Live At Roadburn Alegranza Tempted To Do Nothing EP The Chemistry of Common Life Moenie and Kitchi Ferndorf XOXO, Panda and The New Kid Revival Lavalogy Those We Leave Behind Japanese Motors Matador Singles ‘08 The Living and the Dead Un Dia Was Dead (vinyl) OH (ohio) Some Are Lakes Morning Tide Berlin (Original Soundtrack)

Table of Elements Canvasback Secretly Canadian Soft Abuse Asthmatic Kitty Secretly Canadian Red Pig Touch and Go Hometapes Ubiquity Sub Pop Kill Rock Stars 4AD Tee Pee XL Recordings Dangerbird Matador Fat Cat Fat Cat Mush Bar/None Epitaph Vice Matador AntiDomino Tee Pee Merge Saddle Creek Chop Shop Matador



Not Animal This Is It and I Am It... Live From The Hotel Café EP Surfing Lost Wisdom Boneless 7” Skeletal Lamping A Song for Ellie Greenwich 7” Get Young Da Mornin Afta

Epic Kill Rock Stars Atlantic Vapor PW Elverum & Sun Domino Polyvinyl Tomlab Hardly Art All Natural, Inc. Team Love Merge Tomlab Hometapes Park The Van

Above the Tree Line West of the Periodic

Life Like Money Sunshine EP Moonwink

Secrets of the Sun (1962) Tail Swallower and Dove XL Recordings: The First Chapters I Prefer Savage 7” Women

Futuristically Speaking…Never Be Afraid


fabric 42 Child of the Same God Baby The Thrush The Sleeping House iSelect: Bowie Always the Bridesmaid: A Singles Series - Vol. 1 Board Up The House Remix (vinyl) Free Gold (vinyl)


Atavistic Suicide Squeeze XL Recordings Flameshovel Jagjaguwar Domino



Fabric MadMuse Burnt Toast Vinyl Obey Your Brain Lujo Records Virgin/ EMI Jealous Butcher Lovepump Unlimited Lovepump Unlimited




Off With Their Heads Perfect Symmetry Make the Road by Walking Indies Only LP Oh When the Wind Comes Down Thieves EP

Universal Motown Island Daptone/Dunham Yep Roc Manimal Vinyl Hush Mint/604

OCT 14 Kaiser Chiefs Keane Menahan Street Band Minus 5 Rio en Medio Run On Sentence The Organ

OCT 21


…And You Will Know Us by the Trail of Dead An Albatross Anni Rossi Beach House Danielson Deep Vibration Electric Six Eric Copeland Final Fantasy Fireworks Gang Gang Dance Lake Larkin Grimm Night Horse Pit Er Pat Rank Deluxe Sea and Cake Sebastian Grainger Simon Bookish So So Glos The Dears White Hinterland

OCT 28

OCT 07


caUSE co-MOTION! Crystal Stilts Deerhunter Eagles of Death Metal Fight Bite Fredrik Lovedrug Matthew Herbert O’Death Snow Patrol The Twang Various Artists

NOV 04



Decemberists Grampall Jookabox Little Joy Lukestar Past Lives The End of the World Ulaan Khol




Festival Thyme The An Albatross Family Album Afton Used To Be 7” Our Givest (Remix) 7” Vera Cruz EP Flashy Alien In A Garbage Dump 12” Play We Are Everywhere Saint Dymphna Oh, the Places We’ll Go Parplar The Dark Won’t Hide You High Time You Decide Car Alarm Sebastian Grainger and the Mountains Everything/ Everything Tourism/ Terrorism Missles Luniculaire EP



It’s Time! Alight of Night Microcastle Heart On Emerald Eyes Na Na Ni The Sucker Punch Show When There’s Me and There’s You Broken Hymns, Limbs and Skin A Hundred Million Suns Love It When I Feel Like This Perfect as Cats: A Tribute To The Cure



Always the Bridesmaid: A Singles Series - Vol. 2 Rope Chain Little Joy Lake Toba Strange Symmetry French Exit II

Richter Scale/ Justice Eyeball 4AD Carpark Secretly Canadian Dualtone Metropolis Paw Tracks Slender Means Triple Crown The Social Registry K Young God North Atlantic Sound Thrill Jockey Fat Cat Thrill Jockey Saddle Creek Tomlab Green Owl Dangerbird Dead Oceans

Slumberland Slumberland Kranky Downtown Self-Released Kora The Militia Group !K7 Kemado Geffen Arena Rock Manimal Vinyl



Jealous Butcher Asthmatic Kitty Rough Trade Flameshovel Suicide Squeeze Flameshovel Soft Abuse

Trans Siberian Orchestra CdkZbWZg(



Carrie Underwood



with special guest Little Big Town






So the new animated TV series Star Wars: The Clone Wars debuts on Turner Broadcasting’s Cartoon Network the same day this issue hits the racks - Friday, October 3 at 9 p.m. EST. Advance reviews are pretty good, or at least much better than the complete drubbing taken by the associated full-length movie this past August. To all those adults who foamed on and on about that thing pooping all over the Star Wars legacy, we’ll go ahead and say it: It’s for kids, you arrogant cusses, and reality does not permit you to both get laid with regularity and successfully pretend to still be ten years old whenever you want.

Despite a, erm, dip in the publishing market lately, there are still approximately two billion different magazine titles that come out every month, from Car & Driver to Ladies’ Home Journal. (And we’re not even counting porn here.) Everybody’s got a few titles they love but would rather not pay to subscribe to on a full-time basis, and buying more than five or six issues of the same title per year at the cover price can get pretty pricey. But a new service might have the answer: Maghound modifies the Netflix model and applies it to magazines, allowing you to mix ‘n’ match titles for a flat monthly fee. You pick one of three tiers - three, five or seven titles per month - and change ‘em whenever you want to read something else on the can. $4.95, $7.95, $9.95 per month

Delach and Harrell were sitting around the other night talking about how cool the cover art was for the new compilation CD by fledgling label P Is For Panda, and of course there’s a killer P Is For Panda t-shirt to go along with it, because P Is For Panda was originally a t-shirt company before delving into the black arts of rock ‘n’ roll industrialism. It’s gold. It’s lovely. Look. Covet. And once more, with feeling: P Is For Panda! $20


And, of course, here is the absolute best adult Halloween costume on sale anywhere this year. Better than the wholly objectifying “life-size Barbie box,” better than the dude-seriously-howcan-you-wear-that-in-goodconscience “Dark Knight Joker Deluxe,” it’s the Genie In The Lamp. The best part is the disclaimer on the website that says “One Size Fits Most.” $59.99

There’s no longer a need to microchip your kid. Just toss a Trackstick II Personal GPS Tracker into his or her book bag, and it’ll automatically record its location anywhere on the face of the planet at preset intervals. Use it to exactly plot biking, hiking or jogging routes, or put one in your pocket when you feel like tonight’s trip down to the local drinking district might get fuzzy halfway through. Plug it into your Windows-run PC and feed the info directly into Google Earth, and try not to think about all the creepy high-tech stalking implications. Runs on two AAA batteries and OCD. $179.00



HARDCORE LIT In 2007, Gavin Watson published a book called Skins. It has been hailed as the definitive visual representation of one of the most recognizable and often misunderstood subcultures. In fact, Watson’s photos were used as visuals cues for Shane Meadows’ film This Is England. With Skins and Punks: Lost Archives 19781985 we now have a sequel. The book starts out with a quick Q&A with the author, who discusses how he bought his first camera at 13, the non-political and mutli-cultural aspect of growing up in a small, industrial town of Wycombe, and how pride in one’s appearance was a very working-class English thing. There are no photos of bands or anything really music-related; instead, we get a look into the lives of the kids who went to those shows. Mostly black and white, the images are striking, beautifully framed shots of kids in their Fred Perrys and Doc Martens, caught in the act of cultivating a look that is still emulated today. While it would be easy to simply dismiss Punks & Skins as a fashion book, we get something more. We get a rare historical glimpse into a subculture that delves beyond the music. There are shots of everyday kids hanging around, goofing off, simply being kids. You begin to feel a connection with Watson’s subjects, mainly because you see the same characters as they grow up. And through it all there is a sense of wonder, an excitement that is almost palpable at what it’s like to be young and alive. Skins & Punks: Lost Archives 1978-1985 Gavin Watson Vice Publishing

Conversely, the history covered in Radio Silence is all about the music. Authors Nathan Nedorostek and Anthony Pappalardo have completed an incredibly comprehensive documentary of the rise of hardcore music, laid out in a textbook-like style. Admittedly, it would be a textbook for a very cool class. An almost overwhelming source of information, Radio Silence is part oral history, part art project. While there are snippets of interviews and lyrics, the main focus of the book are the scores of flyers, t-shirt designs, album covers, handwritten letters and whatever else contributed to the rise of hardcore. And yes, there are photos. Tons of them. Pictures from shows, contact sheets (most notable the Glen E. Friedman contact sheet from the Minot Threat Salad Days 7-inch), and various candid shots provide a look back at bands that became iconic and others that faded into obscurity. Both are revered equally; both were a part of what made the scene happen. The most interesting part of Radio Silence, however, is not the look, or the pictures, but the DIY ethic of the scene in itself. This was the age before computers, when hardcore was still underground and dangerous. Touring bands were rare, and if they didn’t come to your town you made t-shirts with magic markers. There were no message boards or websites, so you read liner notes to discover new bands or coveted ‘zines made with tape, glue, time and sweat. Kids couldn’t simply go online and find out what was going on; you wrote letters, talked to your friends, and developed ways of finding others who shared your interests that were, at the time, seen as “weird” or “subversive.” Radio Silence captures all that and shows us how what mainstream media dismissed as a fad became one of the most enduring musical styles in the world. Radio Silence/A Selected Visual History of American Hardcore Music Nathan Nedorostek & Anthony Pappalardo MTV Press





Ever wondered what some of your favorite musicians cook for dinner? Or what it would be like to have dinner at their house? To get a glance into this dream, you might want to pick up Lost in the Supermarket: An Indie Rock Cookbook. Authors and organizers Kay Bozich Owens and Lynn Owens say the reasons for wanting to know about rock stars’ cooking is obvious: “We love celebrities almost as much as we love to eat … take a look at any alternative fanzine/website, the underground scene loves it some rock stars, too.” This cookbook, named after a classic Clash tune and featuring Goo-esque art on the cover, serves up recipes for appetizers, entrées, and desserts from the likes of Belle and Sebastian, The Mountain Goats, Dresden Dolls, Pretty Girls Make Graves, Silver Jews, and even Florida favorites Yip-Yip. Naturally, given the scene represented, vegetarian fare is included. Lost in the Supermarket is divided into sections by occasion and situation, such as “Birthday Celebration,” “Rock and Roll Dinner Party” and “Cheap Eats, Cheap Thrills.” Many of the recipes are hand-me-downs, and some are international. Each recipe has been handwritten by the musicians themselves.


One of the easier recipes to follow is “Jamie’s Tomatoless Salsa,” written by Sorry About Dresden drummer James Hepler. Good personal tips are included: “Mince the hot peppers as finely as you can. And for the love of God, wear gloves. It’s not less manly.” Or you can try something even simpler, like “Gummi Salad” from Elf Power, which merely involves finding as many different varieties of gummi snacks as possible and tossing them together in a bowl. Lost in the Supermarket also proves to be an educational read. Dmonstrations, a band that often sings about food, introduces an easy recipe for Okonomiyaki, a Japanese savory pancake that can be topped with an array of toppings including dried seaweed or dried bonito flakes. And Chumbawamba may be tubthumping anarchists, but they certainly were happy to pass on their traditional recipe for Yorkshire Pudding. The instructions for each recipe are easy to follow and give a lot of leeway for beginner cooks and for each reader’s personal cooking style. None of the recipes are too challenging, but some are a bit adventurous, like the “Fly Soup” contributed by Antony and the Johnsons. The book’s only major detriment has to do with pictures of the food - there aren’t any, although the book does have further pen-and-ink art within, courtesy of Sharon McGill. (SOFT SKULL PRESS) - Susie Orr WWW.SOFTSKULL.COM







Itâ&#x20AC;&#x2122;s a telling thing that a lot of the most, well, â&#x20AC;&#x153;musicalâ&#x20AC;? music these days is coming from folks manipulating computer programs and studio faders at least as much as theyâ&#x20AC;&#x2122;re manipulating live instruments. And thatâ&#x20AC;&#x2122;s what makes NYCâ&#x20AC;&#x2122;s critically swooned-over TV On The Radio so important - sheer, refreshing musicality. No genre assignation, no image, no story about how powerful an act is in concert can compare to the pleasure of hearing a band that gets it right with this kind of consistency and imagination. TVOTR is driven by a combination of rhythm, melody and ideas, executed with an almost uncanny balance of passion, originality and attention to detail. Sexier and more accessible than â&#x20AC;&#x2DC;06â&#x20AC;&#x2122;s Return to Cookie Mountain, Dear Science, is space-age pop-funk with substance, the kind of listen that deserves comparisons to other truly eclectic greats like Paul Simon, Prince and Outkast so much more than the hipster outďŹ ts that beat one obviously nonrock gimmick to death, winking all the way. Here, the falsettos and handclaps arenâ&#x20AC;&#x2122;t shtick, theyâ&#x20AC;&#x2122;re essential elements, as much a part of the whole as the go-go rhythms or the postmodern take on soul swing or the programming or the alternately playful and thought-provoking lyrics. And it all meshes perfectly to form a gorgeous, fathoms-deep whole thatâ&#x20AC;&#x2122;s even more than the sum of its already endlessly entertaining parts. (INTERSCOPE) - Scott Harrell

As the timeless adage goes, torch your ride once, shame on the lighter. Torch your ride twice, shame on The Pink Spiders. The Nashville powerpoppers have a way with ďŹ&#x201A;ames, but such is the combustible nature of a touring band on the brink. After accidentally cremating an equipment trailer between gigs a few years back, they decided to one-up themselves by setting ablaze an entire school bus. Apparently the Spiders travel Partridge-style, or rather, they did until the tires melted. Still, it makes a great story, so score it a pyrrhic victory on the road to the top. To the top, after all, is where this band is headed. On â&#x20AC;&#x153;Sweat It Out,â&#x20AC;? the quartet hones a perky brand of all-American candy rock sure to catch the sweet tooth of every 14year-old girl this side of Hannah, Montana. This is a record for teenyboppers and young adults naĂŻve to their inner hipster, so donâ&#x20AC;&#x2122;t be fooled by the wonderfully debauched lead single â&#x20AC;&#x153;Gimme Chemicals.â&#x20AC;? Is the image of Spider-as-wild-child believable? Of course not, but then Katy Perry probably doesnâ&#x20AC;&#x2122;t like kissing girls either. The Hot 100 doesnâ&#x20AC;&#x2122;t reserve spots for honesty.

'/-#/&./, %()1&! /(



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Opener â&#x20AC;&#x153;Busy Signals,â&#x20AC;? with its ace â&#x20AC;&#x153;woohooâ&#x20AC;? vocal and crunchy guitar, would also stand out if not for the albumâ&#x20AC;&#x2122;s hook-laden format - Sweat essentially applies varying degrees of pep to the same song. Itâ&#x20AC;&#x2122;s a damn catchy song, though, and one that forecasts a dĂŠjĂ vu-tinged future: the Pink Spiders are about to catch ďŹ re. (ADRENALINE/MEAN BUZZ) - Robert Hilson


OH, THE PLACES WEâ&#x20AC;&#x2122;LL GO


If you have a road trip planned for the near future, this album should be put in rotation. Itâ&#x20AC;&#x2122;s equal parts openroad jams (â&#x20AC;&#x153;Gold For Bread,â&#x20AC;? â&#x20AC;&#x153;Fire + Fast Bulletsâ&#x20AC;?) and folksy, OK-letâ&#x20AC;&#x2122;s-not-get-a-ticket Dylan-eque tunes (â&#x20AC;&#x153;Sleepytime in the Western World,â&#x20AC;? â&#x20AC;&#x153;Black River Killerâ&#x20AC;?). Lyrically, Blitzen Trapper mine interesting territory, especially with the title trackâ&#x20AC;&#x2122;s story of a boy raised by wolves. Furr, their fourth release and ďŹ rst on Sub Pop, also has a weird time disconnect. It gives the impression of a great record from the â&#x20AC;&#x2DC;70s, something youâ&#x20AC;&#x2122;d steal from your parentsâ&#x20AC;&#x2122; vinyl collection. If youâ&#x20AC;&#x2122;re not going on the road, play it at your next house party itâ&#x20AC;&#x2122;s equally acceptable to quietly sit back and nod along as it is to get up and dance. (SUB POP) - Timothy Asher

As a Natural Lightdrinking, Marshall stack-loving, nonCalvin Johnsonworshipping man, Iâ&#x20AC;&#x2122;m generally satisďŹ ed to dismiss childlike pop stuff like this as overly cutesy, twee and self-aware. But, damn their cutesy, twee, childlike and poppy hides, the men and women of Olympia, Washingtonâ&#x20AC;&#x2122;s Lake manage to give off a sense of earnest enjoyment thatâ&#x20AC;&#x2122;s just impossible to resist. Yeah, itâ&#x20AC;&#x2122;s all very featherlight and sunny and given to kitschy touches like rumba rhythms and harmony horn lines, but the songs are great and, perhaps more importantly, thereâ&#x20AC;&#x2122;s no sense of the hey-look-weâ&#x20AC;&#x2122;re-adultspretending-to-be-children smugness that has ruined so many similar yet less conďŹ dently unselfconscious projects. Oh, The Places Weâ&#x20AC;&#x2122;ll Go isnâ&#x20AC;&#x2122;t for kids, or for adults who like it when other adults make stuff for kids; itâ&#x20AC;&#x2122;s just innocent music for everybody, and that makes all the difference. (K) - Colin Kincaid





LOOKOUT MOUNTAIN, LOOKOUT SEA Guided by the haunting, melancholy vision of leader David Berman, the Silver Jews’ sixth fulllength release, Lookout Mountain, Lookout Sea, is another collection of moving, intellectually challenging and emotionally rich jewels, played by perhaps his strongest band yet. The group’s organic, sly counterpoint playing throughout wrings every bit of subtle melody from Berman’s meticulously crafted and arranged songs while his wry, talk-sing delivery remains the perfect vehicle for his penetrating lyrics, which are in turns acerbic, touching and whimsical. “Pain works on a sliding scale/So does pleasure in a candy jail/True love doesn’t come around/ Any more than fate allows,” he intones on “Candy Jail,” his intimate, “non-singer” voice so understated that slight inflections are able to communicate universes of nuance. A self-described “resurrected ex-nihilist,” he deploys wife and bandmate Cassie Berman to great effect here and throughout the album, her vocals adding just the right amount of sweetness to his sour. On “Suffering Jukebox,” one of the record’s many standout tracks, he lets her deliver one of his most poignant lyrics: “Suffering Jukebox, such a sad machine/You’re all filled up with what other people mean/Hardship, damnation, and guilt/Makes you wonder why you were even built.” Is the jukebox Berman? “The jukebox is more likely a cover band singer working shifts of the honky-tonks of Lower Broad in Nashville,” he explained in a recent interview. “At another level it is me. At another level it is the obsolete, the left behind, the ignored.” Or maybe even you and me. (DRAG CITY) - Robert Mortellaro


most of the rest just wallows in tired heavyblues grooves. Ultimately, the whole thing stinks of making a half-assed effort, in the name of pre-emptively shrugging it off as such. (METROPOLIS) - Scott Harrell


He may not be reinventing the wheel, but we definitely haven’t seen any with rims exactly like these before. Jacksonville MC Astronautalis has always approached hip-hop from original angles - he’s one of the few to bring backpack’s free-associative poetics to the battle stage, and live to tell the tale - but now he’s using the genre as the most vague of jumping-off points, and charting an unknown territory all his own. Shades of the anticon. crew and salad-days Beck lightly color his third full-length; so does the influence of such varied storytellers as Tom Waits and G. Love, however, revealing Astronautalis as a postmodern troubador whose sound and stories are both cutting-edge and surprisingly classic. Highlight “Secrets of the Undersea Bell” clangs and stomps like a more melodic update of Rick Rubin’s Zeppelin-pillaging Def Jam-era best, while elsewhere the man of the hour croons, snarks, and speed-raps his way though tales and times, calling on everything from folk to Miami bass to oldschool English synth-pop to flesh things out. The result is an entertaining, mindblowing peek into a world where the borders between sounds, styles and ages simply don’t exist. (EYEBALL) - Scott Harrell




It’s never a good sign when a band kicks off its new album with a song referencing its fiveyear-old moment in the sun. And while Detroit’s Electric Six was once famous for reveling ironically in all the worst elements of rock stardom, “Gay Bar Part Two” comes off less as a winking acknowledgement of the band’s current status, and more like admitting defeat. It’s a vibe that permeates Flashy, in which much of the clever has been stripped from their formerly cleverly dumb lyrics, leaving the - yup, you guessed it. “Formula 409”? Seriously? “Graphic Designer” can’t hold a candle to Cake’s “Short Skirt/Long Jacket” when it comes to modern-career-lady satire, and “Heavy Woman” is too sad to even be offensive. The music of “We Were Witchy Witchy White Women” and, heh, “Dirty Ball” nearly achieve the propulsive, danceable arena-rock bombast of previous efforts, but

Five lazily melancholy tunes laid down by the Tennessee indiepop mini-orchestra as part of Illinois studio Daytrotter’s ongoing attempt to basically get every cool band in the world to drop in and have their thing captured live. Songwriter Richard Edwards and company have rarely sounded so countrified, and that’s a good thing - they know a little thing or two about cinematic downerdom, and it’s never been grabbed in as vibrantly naked form as is showcased here. “Broadripple is Burning” and “Love Song for a Schuba’s Bartender” are almost painfully evocative, and all these tracks manage to come off as vulnerable but not ragged. The instrumental performances are largely solid, with the occasional lessthan-perfect bits adding to the songs’ allure. This is a great listen for meditative moods evocative and emotionally savory, not neither too long nor too depressing. (DAYTROTTER.COM) - Colin Kincaid



Censored Colors, the third full-length from Alaska’s Portugal. The Man can be described in one word: pretentious. It’s pretentious because they describe their songs as “transcendent vignettes.” It’s pretentious in its attempt to out-prog the Mars Volta and out-pop Coldplay. And it’s pretentious because it succeeds. Prog-rock, pop, post-punk, jazz, folk and hints of classical create an ethereal yet powerful experience, deftly intertwined with singer Jason Gourley’s voice. His falsetto is what holds it all together, becoming calming or eerie as the song demands, sometimes simultaneously. At first listen you want to hate it, but by spin three it’s deeply burrowed in the brain, an almost compelling listen. Gourley is also responsible for the impressive artwork, making Censored Colors a well-rounded art project. So yes, it’s ambitious and pretentious, but worth several rotations. (EQUAL VISION) - Timothy Asher


Recycled indie-rock grooves create the perfect soundtrack to suicide. Soft, mumbled, falsetto vocals only work for Thom Yorke; there are exceptions to this rule, but unfortunately Rickard Olsen’s offerings do not cut the mustard. The Windupdeads’ debut is almost as awful as their name. Somewhere on the rock ‘n’ roll journey we began to accept mediocrity as art. Unoriginal, piss-poor lyrical content is currently filling the airwaves. Every song on this debut by the Swedish group stumbles into the next with a slow, sad theme. This genre of music in particular is ruining all hope of balls-out, burn-down-a-hotel, damn-the-man nomercy rock n’ fucking roll. What happened? Supertramp and Peter Frampton made it OK to try and be The Beatles. Not everyone can be the quarterback. This band was better when it was called Snow Patrol. (ONE ELEVEN) - Jack Gregory


Rock stars don’t age like the rest of us. So Lindsey Buckingham, at 60, is just now beginning to settle into his role as chamber pop auteur. On Gift of Screws, the one-time Fleetwood Mac guitar hero further refines his six-string

experimentations, crafting a ten-song masterwork that isn’t so much a record as it is an ethereal soundscape. Buckingham plays the guitar like David plays the harp he plucks and strums, bends and tweaks. There’s a third hand somewhere, but try not to get caught up in the trickery, because he sings, too. And the voice is as singular as the dexterity. “Did You Miss Me” and “Wait for You” apply sonic tinkering solely as means: springboards for gigantic choruses. However compelling, these sing-along psalms, and maybe too the backlog of an entire solo career, are mere prelude to “Love Runs Deeper,” an anthemic tour-de-force dripping with a distillation of all things melody. They say it’s better to burn out than to fade away. It’s better still to avoid having to choose between the two. (REPRISE) - Robert Hilson


TRANSCENDENCE Slow, groovy, altogether as interesting as a Number 2 pencil. Transcendence fills out the art rock clichés and inspires Sunday afternoon listening parties, sipping herbal tea and rocking a turtleneck sweater like it’s 1954. (Note to reader: if this is your bag, STOP reading now, buy three copies of this album and enjoy the shit out of them.) Although there are some haunting “librarian sexy” vocals on “Prick,” the rest of the album leaves something to be desired. Fairmont could be described as a very Early R.E.M. meets Weezer/ The Rentals sort of thing. These are all great bands, mind you: however, they’re not things that need to be copied. From lyrics and melody right down to lack of mystique and imagination, this could be the most boring album of 2008. However, that foxy, impure thoughts-style librarian makes another appearance on the last track “Melt Your Heart,” which is the only fit way to end this journey. (MINT 400) - Jack Gregory


ON THE CHEWING GUM GROUND Jangly guitars over driving beats, raw production pushing a strippeddown feeling and the occasional keyboard evoking Bowie? Yep. Wallpaper brings a minimalist style to the table and still hits the Recommended Daily Allowance of rock. While there is obvious affection for ‘50s and ‘60s rock and roll (think Beach Boys, not fat Elvis, and pre-White Album Beatles), ‘70s U.K. punk - a la Buzzcocks, Stranglers and The Jam - haa a stronger hold on the sound. This is grand, as Wallpaper reminds us that melodies and harmony are just as, if not more, important than bombastic solos. (K) - Timothy Asher



ONLY BY THE NIGHT This band of arttwanging siblings (and one cousin) has long been a part of the drooly Friends of REAX circle, so you probably know what we’re gonna say about their latest anyway, and yup, you’re right - we love this baby. We don’t love it as much as the unimpeachable Aha Shake Heartbreak, which is looking more and more like the quartet’s high-water mark, but damn, if Only By The Night isn’t a fine step forward for the group. More spacious and soaring than previous efforts, it pulls apart the manic, tightly coiled riffs of its predecessors, freeing ‘em from the Kings’ trademarked shuffling grooves and giving them room to breathe. As a result, the marvelous vocal melodies are more prominently featured, and those occasional U2 comparisons suddenly seem a bit less retarded. (Also, you can actually discern what Caleb Followill is singing this time around. Sometimes.) The taut, Stills-esque “Sex on Fire,” steadily building “Notion” and alternately claustrophobic and anthemic “Be Somebody” are highlights, but nothing even approaches filler. It’s nice to hear a band stretch its creative legs, and not wander away from quality. (RCA) - Scott Harrell



ANARCHY & ALCHEMY Since leaving Tampa and his rep as an ace bass player for the likes of Magadog, Gabe Freedman has reinvented himself as Dub Gabriel, a globetrotting DJ and producer with a knack for melding deceptively downtempo grooves to such international influences as Middle Eastern instruments and melodies and reggae’s organic, smoky vibe. Overall, his third, gueststudded full-length is more far-reaching than previous efforts, in terms of style and mood. It’s also often refreshingly gritty and energetic when compared to much of his former work. The album opens with the ominous post-dancehall grooves and mournful loss-of-innocence lyrics of “Chasing The Paper;” No Surrender spits rabidly over a raw broken machine groove reminiscent of a more straightforward Aphex Twin on “Run Down;” the enlightened and raunchy ladies of Tampa’s own Yo Majesty drop by to enhance the accented hip-hop of “Pony Girl;” none other than Michael Stipe helps turn Suicide’s “Cheree” huge and Bowie-esque and stunning. It’s nice to know Gabriel can come out of the chillout room swinging, and with his unique sonic identity intact. (DESTROY ALL CONCEPTS) - Scott Harrell | 813.971.9717

2558 E. Fowler Ave., Tampa

Located next the University Mall, in the Fela Kuti: Lagosto Baby same plaza Mexican Grill & Quiznos Vampi as SoulChipotle Records

Before his music became fascinated by political themes, but after his explorations in the London club scene of the early 60s, this compilation of 37 tracks from 1963 to 1969 elucidates the interlaced path of jazz, rock, and native syncopations he honed while maturing the Afrobeat sound into a dynamic of world renowned quality. Jimi Hendrix: Band of Gypsies Capitol Records Culled from a few live performances 9 months before his death, most of this collection of legendary tunes never received proper studio versions; and although the recording was only released on Capitol because of a contractual obligation, they commemorate its 38th anniversary with a vinyl reissue on red wax. The Music Tapes: Music Tapes for Clouds and Tornadoes Merge Records Nine years in the making, Neutral Milk Hotel’s Julian Koster gathers a bunch of friends from Elephant 6 and records on antique devices for a guaranteed lo-fi aesthetic, using predominantly a singing saw. Other clatter toys and trinkets of chime concord ghostly melodies on the weirdest record of the year. It sounds haunted. Sir Richard Bishop: Polytheistic Fragments Drag City Records An Epcot-style tour of guitar styles from all corners of the globe. Each track shuffles another to a portal of spellbinding technique: surf, bluegrass, South American folk, across thousands of miles of Asian terrain. Unlike the majority of Bishop’s compositions, most (on his fourth record in as many years) are under four minutes long. Mika Miko: 666 PPM Records Sometimes I miss Bikini Kill. Do you? Then you’ll probably like these kids. Are they waving or drowning? Probably a bit of both. | 813.971.9717

2558 E. Fowler Ave., Tampa

Located next to the University Mall, in the same plaza as Chipotle Mexican Grill & Quiznos






Words: Trevor Roppolo


f you know anything at all about video games, and haven’t just thawed from a block of ice, then you know that right now millions of people are playing a computer game called Spore. You’ve seen the commercials and the shameless Discovery Channel informercial, er … special. You may have even played the Mr. Potato Head-like Spore Creature Creator that EA offered as a free download. So does the biggest and most hyped game of the year deliver the goods? Does it live up to the hype? The answer is yes … mostly. Spore comes to us as the brainchild of Will Wright - the man responsible for countless failed tests in my early 20s - who also brought us SimCity and The Sims. He and the other geniuses at Maxis have put themselves out there, and pursued an idea that is perhaps the most ambitious attempt at creating the most all-encompassing gaming experience ever. The basic concept was to build a game that has, well, everything. And although Spore tries to do a lot, sometimes it seems to do nothing at all. From pond scum to interstellar explorer, your evolutionary journey starts in the Cell stage, where you’re a small microbe trying to survive in a large, blue world. In true arcade fashion reminiscent of Feeding Frenzy, you eat until you get bigger and eventually sprout legs and emerge from the cesspool. Curious about the world around you, you create a nest, mate and eat. And like those late-’90s Tamagotchi digital pets, your intrigue soon turns into a repetitive series of babysitting duties.

enable them to leave the atmosphere; the creation tools are truly an impressive technological accomplishment. The Tribal and Civilization stages are where a bit more starts to happen. Although still super-basic, managing your tribe plays out similar to a realtime strategy game. Your goal is to communicate with neighboring tribes and either play nice and ally with them, or burn, rape and pillage until you’re the last tribe standing. Moving on to the Civilization stage doesn’t take long at all, and once you get there you’ll be familiar with the routine because it is basically the same as the Tribal stage - except with land, sea, and air vehicles. Eliminate all foes in a Civilization-style domination victory, and you’ll be on to the next stage. In the Space Stage - the only portion of the game with any real depth - you’ll be in control of your very own spaceship, piloting from barren wasteland to galactic empire and back to your home-star system. Your job is to create colonies, terraform planets, and establish trade routes with other empires. Along the way, you’ll encounter hostile aliens who want to kill you, and friendly ones who engage you in enjoyable side-quests - all while extending your empire to the farthest corners of the galaxy. This portion of the program takes the term “god game” to a whole new level.

For its accessible controls, cutesy presentation, and Brian Eno-designed ambient music, Spore is a unique and charming experience. Eight years in the making, it does, however, fall a bit short of both our high expectations, and its own high ambitions. The Space stage aside, Putting the evolutionary cycle on hold there’s really not much to do at each stage for a moment, your creature-creation is of evolution - you can get from the pond truly your own. The creation tools are to space in a day or two. And although revolutionary, and combinations of body Spore will serve as a great introduction to parts are limited only by your creativity. Is video games for casual gamers, veteran that a Manbearpig? Why yes, Mr. Gore, gamers will be left wanting a much longer it is. With these easy-to-use tools, you experience. Maybe Maxis just tried to do get the chance to design everything from too much. your creature/species, to the dwellings, REVIEWED ON PC and eventually the spaceships that



And we have a winner. The Yaris three-door has everything in the right place on the inside; even the cup holders and storage areas. It somehow seems roomy and is affordable for just about everyone. It gets similar mileage per gallon to the Smart Car, can handle long drives on the highway at 70mph & 40+ mpg, and has way better acceleration if you need it, which the Smart Car isn’t really up for. The Yaris can seat four with room in the hatch trunk for luggage. It is by far the best environmentally friendly and size-efficient car I have tested so far, and it’s fun to drive; I predict that this will be the next “minicar” that you see people mod-ing and customizing, especially now that there is a sport model. If you are in the market for a fuel efficient car, trust me - give one of these a shot, although it does not have the cachet of the Smart, it is a better bang for the buck, and you can bring more than one friend along for the ride.

The concept of “bottled water” is crazy. Really crazy. We let the big guys in charge pollute everything, and ruin our water where we live and take it other places and sell it, then charge us for bottles of clean water from a well somewhere else that they bought and didn’t pollute, and 40% of it has been proven to be on par with (or worse than) tap water. What the hell? And to make this even crazier, you are mainly paying for the bottle, as bottled water produces 1.5 million tons of plastic waste each year - the vast majority of which ends up in our landfills and oceans. If you want to get mad, spend an hour on the computer searching “bottled + water + pollution.” That’s why I only drink whiskey. Problem solved.

This guitar was designed in the ‘50s as the Cadillac of the electric guitar world. Remember, though, that back in the ‘50s Cadillacs weren’t the embarrassing pieces of shit that they are now. It has everything you could ever want on a guitar, if you want orange sparkly trim, 24-carat gold hardware, an old-school Bigsby vibrato, and all the classic twang and rock ‘n’ roll. Fuzzy dice, pompadour grease and matching bowling shirts for your band are not included. And if you think that it’s just for rockabilly, think again - Johnny Thunders used one of these to record Heartbreakers Live in ‘74. Found at Stevie B’s Total Guitar


The latest urban and college trend over the last couple years has been the hookah bar. Ironic, in a country that is so mixed up in its emotions towards all things Mediterranean and Mideastern, that hipsters and frat members alike can often be found any hour after 8 p.m. puffing on hookahs in a posh and well-decorated lounge among friends. Decors can differ, however. At a local authentic lounge that has only Al Jazeera on the television and majority of the patrons to the café are Middle Eastern immigrants, it almost has the look of a neighborhood deli, but with couches; at the college-marketed lounge, it has all the trappings of a European opium den. While the hookah is over 3000 years old and has been an integral part of communal culture in multiple civilizations, there is one downside: one 45minute session on the hookah can have roughly the same amount of tar and toxins as a dozen packs of cigarettes. Yes, it’s hip and cultured, but all things in moderation.

Yes, an iconic piece of clothing. Weird that someone can consider clothing iconic, but more people recognize these than Napoleon’s hat, so there you go. For this one review I will step aside for a moment … “… well, they were made better back then in the ‘70s, we actually wore them for basketball shoes. They were all that was available back then. And the canvas was tougher and thicker, and the rubber sole didn’t just fall apart. They smelled different then too, one pair would last you for a long time, now they just fall apart … and you know what else, Son? The bands were real back then, none of this studio computer crap! I feel bad for you kids nowadays, got all this stuff to worry about … every day things going to hell … even worse than those morons that had us in ‘Nam …” Uh, OK … thanks for the info, Dad. I had no idea they were for basketball, I thought they were for being in the Ramones or something.

It’s the newest version. It has the screen that automatically flips on the side when you are holding it sideways. It is tiny. It is curved. It is all aluminum; it is all glass. Well, at least it looks and feels good. It’s another iPod. Why the heck should we take note of this one? Hmmm. Well, Apple’s new “Genius Feature” makes a “Genius Playlist” for you, and according to Apple, it will select songs that you have in your player that will go well together because it is like a (and I quote) “highly intelligent personal DJ.” Apple must be hanging out with a different set of DJs than I hang out with. The DJs I like are savage and drink like Civil War veterans with one leg, and surprise the heck out of me with music that I would never think of putting together. I don’t think that the Nano is up for all this, you can always turn the built-in iPod DJ off with ease, and if you unplug the DJ at the club you will probably be kissing the asphalt outside before you can say “Pulp Afterparty.”


thxmgmt upcomingevents


Friday October 10

Saturday November 8

The Basiqs, Auto! Automatic!! & Dynasty State Theatre, St. Petersburg Cost: $8 DOS/$5 w/ Voter ID Time: 8 p.m.

Sons Of Hippies, The Black Rabbits & Special Guests TBA New World Brewery, Ybor City Cost: $6 Time: 9 p.m.

* Rachel Goodrich

Friday October 10

* The Spam All Stars

The Hip Abduction & Acho Brother

Crowbar, Ybor City Cost: $12/$15 DOS Time: 8 p.m.

Friday October 24

* Jarvik 7

* Bang Bang Boom

Thursday November 13

* Parts & Labor

Flexxehawk, Lush Progress & Special Guests Crowbar, Ybor City Cost: $8ADV $10DOS Time: 8 p.m. Onsale Now Online!

Friday November 21

* The Prospect

Ebu GoGo, Oceans Rise! New World Brewery, Ybor City Cost: $6 Time: 9 p.m.

Karrigan, The Woodwork, Stalling Dawn & Awestruck Crowbar, Ybor City Cost: TBD Time: 9 p.m.

Saturday November 1

Saturday November 22

* Mike Dunn and The Kings Of New England

Alexander/The Grapes, Brian Clark & Proud Iron Lion New World Brewery, Ybor City Cost: $7 Time: 9 p.m.

october 2008 & beyond

Devin The Dude

Kap Kallous & Redd Simpkins & Special Guests TBA Backbooth, Orlando Cost: $15 Time: 7:30 p.m.

thedigits website & pre-sale tickets: myspace: booking:


Sunshine/Fluorescent Pink

Heather Gray/Fluorescent Purple

Teal/Fluorescent Yellow


REAX #29  

REAX - October 2008

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