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SCION A/V SCHEDULE
January 2011 Scion Garage Show, Austin: The Hex Dispensers and King Tuff Scion Garage Show, Chicago: The Hex Dispensers and King Tuff
CHECK IT OUT!
Scion Garage 7”: The Strange Boys/Sex Beet Scion A/V Remix: The Dirtbombs
FEBUARY 2011 Scion Garage Show, Austin: Thee Oh Sees and Cola Freaks
STREAMING NOW AT SCIONAV.COM
Scion Garage 7”
Scion Garage 7”
Kid Congo Powers & The Pink Monkey Birds / Hunx & His Punx
Haunted Fang Castle
Nobunny / Jacuzzi Boys
MUSIC VIDEOS TO WATCH INCLUDE:
Hunx & His Punx
“Too Young To Be In Love”
ASK SCION Question: Is there any reasoning behind the artist matchups for each Scion Garage 7” or is it completely random? Answer: Every 7” pairing is thought out in advance of reaching out to bands. The pairing has to make sense or the 7” just won’t work. The Oblivians and Andre Either used to be in a band together called the Deadly Snakes. For Black Lips and Pierced Arrows, the Lips have spent their entire careers looking up to Fred Cole and cover a couple Dead Moon songs. Kid Congo and Hunx also stand out as an important matchup since both artists are truly fans of each other’s work and have the same ethos in their music. —Christopher Roberts of VICE Records
Interview: Brian Costello Photography: Tyler Bjerke
Since their beginnings as a two-piece in Dallas, the Strange Boys have relocated to Austin, expanded their line-up, brought in LA-based members, recorded the song “American Radio” for the Scion A/V Garage 7” series and released their phenomenal second LP, 2010’s Be Brave, on In the Red Records. While on tour in Europe, bassist Philip Sambol answered some emails about where the Strange Boys’ sound comes from and where it’s going. In most genres, and particularly in garage rock, bands get subjected to lazy comparisons to older bands, where those making the comparisons ignore the nuances. Beyond the influences of records and bands, what are some examples of sounds, lyrics, rhythms, etc. that have found a way into your music? The sound of town square bells and church bells on the hour, boots on a hard floor hotel hallway, jet engines, the sun and the smell of fall and winter. Comparisons to Highway 61-era Dylan keep popping up with what you’re doing. On one level, that seems as generic a comparison as saying a metal band sounds like Black Sabbath, and yet it keeps coming up. What are your thoughts on this comparison? It doesn’t really bother me. Dylan is one of the greatest songwriters ever. There are a lot worse people to be compared to. Do you think “musical influences” in general are given too much emphasis when discussing bands, and when discussing the Strange Boys in particular? Yes. Influences mean nothing, it’s what you do with them. And it doesn’t matter where you get them from. How did you guys start working with Calvin Johnson? Calvin came to a show of ours in Olympia and introduced himself. We happened to need somewhere to stay that night and he offered his place, so we went. The next morning he asked us if we wanted to record at Dub Narcotic, the K Records studio, so we said yes. The song we did didn’t have any lyrics yet, so when we left I said he should put lyrics to it and sing them himself. When we went back to Olympia a few months later he had finished it, and that’s what’s going to come out in 2011. Calvin’s great. Do you have a backlog of unrecorded songs dating back to your two-piece origins, and if so, do you return to them, building on what you know now and who’s now in the band? We have a lot of old songs, but we don’t really go back. A song has to be really good to rework it, and almost all those real old songs are not good enough to go back to. It feels likes a waste of time if the song isn’t good enough. Do you get the chance to work on new material while touring? Oh yeah. We use every soundcheck to work on new stuff and we’re constantly trying out new songs in the sets. Since the band is split up between cities [Los Angeles and Austin], we use tour to practice for our recordings. On page 96 of The True Adventures of the Rolling Stones, the author Stanley Booth quotes Shirley Watts as saying, “And it’s just a tour, after all, just a group of people going around getting up on stages and playing music for kids to dance.” Does that sound about right to you? Sounds right to me. Because that’s what it is. Except sometimes people don’t dance, but that’s okay too. myspace.com/thestrangeboys Hear the Strange Boys’ contribution to the Scion A/V Garage 7” series at scionav.com/garage
Photography: Derek Beals, William Hacker, Kara McMurtry
Photography: Kara McMurtry
The Cola Freaks
On October 2, 2010, nearly 30 bands from the international garage rock community descended on the college oasis of Lawrence, Kansas, for the totally free and totally insane Scion Garage Fest. Showing the breadth of the lineup, some of the bands didn’t even have albums out while others have been touring the world for more than 20 years. Since the show took place at four different venues in downtown Lawrence, it was kind of impossible to catch every act, so we checked in with some of the bands to find out who their favorite performers at the Fest were. I guess I should start off by saying I did eat that day, but not a lot, so it was a pretty epic day for me. You know who the best band of the whole thing was? The Cola Freaks. They just killed it. They didn’t really fit in because they’re not really a garage band, but they play this really frantic version of punk rock and the singer looks like Frankenstein about to strangle someone the whole time he’s playing. It’s madness. I don’t think anybody knew what to expect, and people were freaking out and dancing when they were playing, but I don’t think they knew why—it was just happening.—Jesse Smith, Gentleman Jesse & His Men I’d say Cloud Nothings were my favorite band. I love their record, their songs are super melodic and awesome and they’re not really your standard, run-of-the-mill garage rock songs, they toe the line with a lot of other things. They’re all really young and energetic and whenever they play you can tell that they’re really enjoying themselves. It’s really fun watching them freak out onstage because when you talk to them they’re all relatively shy people.—Zach Campbell, Rooftop Vigilantes My favorite performance was definitely Thee Oh Sees. I loved that John Dwyer’s guitar would go massively out of tune during every song but it still sounded fantastic because the rhythm section was so tight on that consistent dun, dun dun dun that happens in every Oh Sees song. The energy was great. It was awesome to see a crowd of nerdy Lawrence, Kansas, students thrashing around to the kind of music that people in Cleveland would stand there and stare at. Just a really great set overall.—Dylan Baldi, Cloud Nothings
Photography: Sean Connaty
Timmy Vulgar of Human Eye
I think I could speak for the rest of the band too in saying we were all really blown away by Human Eye. I remember there was one moment that really stuck out to me. There was a guy in the audience a couple rows back, and he was an older guy. He looked like an old time soul guy or jazz guy. I don’t know if he was in the entourage of one of the bands or if he was just there for the festival, but he had his eyes closed and the way he was just kind of grooving to things was so old and jazz-inspired, and you would think that was the kind of music being played if you didn’t know what was happening in the room. At that exact moment I looked on stage and [Human Eye’s lead singer] Timmy Vulgar had on a giant paper-maché alien head that was split open and there were plastic bats and Halloween candy spraying all over the crowd. That was my favorite moment of the whole festival for sure.—Salvatoré, Teenanger Human Eye were my favorite performance of the festival. Not only can they make Fruity Pebbles a psychedelic experience, but they just keep getting better and better, even with the freshly stitched hand of Timmy Vulgar. I think the most amazing thing that happened at the whole fest was when Tim locked himself in his hotel room and called the front desk and told them someone was trying to break in. They basically wound up calling the cops on their own security. Having the Shrines back up Gino Washington also made me really proud.—King Khan, King Khan & the Shrines
As told to Maud Deitch For photos and videos from Scion Garage Fest 2010, go to scionav.com/music/garagefest
Visit scionav.com for original videos of interviews & performances, exclusive & free music downloads, live event photos, streaming music on Scion Radio 17 & much more
new o r l e a n s
For years now, Sherry Cardino has been a tireless champion of garage rock bands from Austin and beyond. Every March, she sets up countless unofficial shows around town during the SXSW festival. Cardino gives us a guided tour of some of the more distinctive places and sounds that make Austin so different.
Beerland is located on Red River, a street that became part of the rock & roll live music district starting around 2000. Until that time, the only two existing garage/punk venues since the early 1990s were Emo’s and the Blue Flamingo, located a half block north of famous 6th Street and Red River. Live music finally crossed Red River north to 7th Street, where Beerland and many other live music venues hatched. Bands such as Black Lips, Jay Reatard, King Khan & BBQ, the Strange Boys, the Spits, the Box Elders, Harlem and Thee Oh Sees have all played there and most, if not all, have gotten too big to play there for a few years now. Some other notable garage greats that have played Beerland are Guitar Wolf, Pierced Arrows, Angry Samoans and Reigning Sound.
scene re p o r t
Local Bands Some of the more notable current local garage-type bands worth checking out are Golden Boys, Rayon Beach, Flesh Lights, A Giant Dog, OBN III’s, Shapes Have Fangs, Women in Prison, Stuffies, Love Collector, Manikin and Hex Dispensers. Trailer Space Trailer Space is heaven on Earth, or the Magical Island of Misfit Toys, for rock & rollers everywhere. You go to TS to hang out; play dice, Yahtzee, pinball or video games; watch a game on TV; look at girls or boys; and eat pizza from East Side Pies next door. The owner is Spot Long, who I believe has been given the key to the city. He’s everywhere—charming, sarcastic, outspoken and probably the best uncle to every rock & roller that has ever crossed his path. He was a longtime employee of Waterloo Records who decided to open his own store. Trailer Space also has in-store music performances about 20 days a month, where locals, friends, touring bands all play equally. They’ve hosted many, many benefits for great causes over the years, in addition to hosting more notable showcases for labels such as Burger City and HoZac Records. 91.7 FM KVRX and KOOP share the same airwaves. Community-supported 91.7 FM KOOP is on the airways weekdays from 9AM to 7PM, weekends 9AM to10PM. And KVRX is the University of Texas’ student (also community-supported) radio, on the airways all the other times and streaming 24 hours a day. On KOOP, Saturdays from 8PM to 10PM is Scott Gardner’s “Stronger than Dirt” show, and it is all things garage—heavy on garage roots like Back From the Grave comps but featuring all current garage artists too. Scott has been the garage guy in this community since KOOP first went on the air in 1995. For KVRX, Fridays from 7AM to 9AM is “Jammy Jams” with Rebecca. She plays anything under the sun, especially in the realm of new wave and post-punk, as well as lots of newer stuff, like Blank Dogs, Ratas de Vaticano and bands on the HoZac label. To find out what bands are coming to Austin during the monthly Scion Garage Shows, visit scionav.com/garage
Watch videos from the Scion A/V Video series at scionav.com/music/scionavvideo
Including Hunx & His Punx’s “Too Young To Be In Love”
THE ART OF
L A M M JEFF
Story: Brian Costello
Hairy one-eyed monsters, skull-faced greasers, space-travelling junk robots, collegiate types dreaming of Frankenstein…these characters created by Jeff Lamm (and many more) have found their way into the artwork for the Scion A/V Garage 7” series and more than 170 show posters. Lamm started doing artwork for bands when he was a student at the Art Institute of Pittsburgh. “I went for commercial design,” he says, “but ended up doing more stuff for my band and dropped out.” Afterwards, Lamm “floundered around,” working in a record store and eventually joining the Army before returning to artwork five years ago. Lamm’s creations are equal parts Japanese movie monsters, anime and the hot rod culture conceived by Ed “Big Daddy” Roth. These influences stem from both his hobbies and his childhood. “Growing up, my older brother was into ‘Big Daddy’ Roth, and he used to draw Rat Fink for me,” he says. “Roth’s artwork would show up in punk magazines, and it sort of subconsciously comes out in my art in the big eyes and the crazy tongues and the teeth hanging out.” greasebat.com To see Lamm’s artwork for the Scion A/V Garage 7” series and to hear the music, visit scionav.com/garage
Art by Jeff Lamm for the Scion Garage 7â€? Series
& the influences on Haunted Fang Castle As the longtime reigning masters of garage rock that sounds like the soundtrack to an post-apocalyptic skate punk film from the 1980s, the Spits seem like unlikely candidates to record a children’s album. But for the recent Haunted Fang Castle, released through Scion A/V, they created a five-song EP and book that tells the tale of a group of travelers on a journey to save a princess from certain doom. Spits drummer Lance Phelps breaks down the childhood influences behind this one-of-a-kind project. Scooby-Doo Scooby-Doo was a huge influence on Haunted Fang Castle. In the original Scooby-Doo, they were these groovy teens hangin’ out in a van, and they always had these great musical interludes when they were getting chased. There would be these montages right after Scooby would yell, “Rets get outta here!” But in the style of the artwork, they did a really good job of capturing a moodiness and darkness that was very much for kids. We liked how they would always have these blurry backgrounds, and the colors and the tones were very subdued. That makes my hair stand on my head even now. I always liked the one episode where there was the glowing green deep-sea diver. Oh, and that Tiki episode was great, when they were in Hawaii and there was the scary witchdoctor, and Shaggy and Scooby pretended they were barbers and sat him down in the chair and put a cloth over him and went through a whole skit and then took off bookin’. Scooby-Doo and all related characters and elements are trademarks of Hanna-Barbera. Thundarr the Barbarian After the original creators of Scooby-Doo kind of folded their hands, their next project was Thundarr the Barbarian. Seeing it now, you notice the same style of animation. It was a huge influence on Haunted Fang Castle, because of its post-apocalyptic setting. It’s set after a nuclear war—thousands of years later—in this world of swords and sorcery coming up from the chaos. After technology is destroyed, magic comes back into the world. It was only on for two seasons in the early 1980s, but because it was done by the same team that made Scooby-Doo it had a much older feel to it. The backgrounds were almost like they used watercolors. Cartoons now are in these simple, primary colors. It’s amazing to watch Thundarr as an adult and see how tripped out it was and that this is what they were showing kids. So many of the cartoons from that time are actually way more intelligent and show more artistry than what’s going on today. Thundarr the Barbarian and all related characters and elements are trademarks of Ruby-Spears Productions.
Story Books and Records From Childhood At first we knew we wanted to make Haunted Fang Castle childish, and it developed from there. We first wanted to do a coloring book, but then we got into the idea of these record books from when we were kids that would ding when you turned the page. I had one called Spiderman vs. The Wolfman that was really freaky and scary. Of course, there was also Dungeons & Dragons. I never played it, but I liked going through the monster manuals and reading about the different spells and creatures. Post-Apocalyptic Films From the 1970s and 1980s Movies like Class of Nuke ’Em High, Mad Max and The Terminator are a constant for us. We reference this stuff a lot, even if it’s not referenced verbally. Growing up, those movies had a pretty big impact. Mad Max and The Road Warrior—they’re both classics—but the second one, The Road Warrior, is when the bad guys are really mutated. But yeah, anything dystopic, like A Boy and His Dog kind of stuff that talks about the ravaged wasteland of the future. Psychedelic Music, Psychedelic Artwork and KISS We wanted to tie in a late-1960s psych rock influence with this children’s book. There was all kinds of artwork from this era. We sent the artist [JJ Rudisill] a bunch of black light posters. We sent him David Mann stuff, the guy who did the biker posters for Easy Rider, and Peter Max stuff from Yellow Submarine. With the music, 13th Floor Elevators are always gonna be a big influence, as well as any Roky Erickson stuff. We’re all huge Dead Moon fans, and Fred Cole’s earlier stuff like Lollipop Shoppe definitely played into this. Music Machine was another influence. KISS was a definite influence, because they had action figures (they had everything) and their own comic book. For us, this was a chance to do something outside the regular Spits repertoire and draw from our childhoods of the late ’60s and ’70s. As told to Brian Costello myspace.com/thespits Listen to The Spits’ Haunted Fang Castle and download a PDF of the accompanying book at scionav.com/thespitsep
SCION GARAGE SHOW PRESENTS
THE HEX DISPENSERS KING TUFF WEDNESDAY, JANUARY 26, 2010 10:00 P.M. – 1:00 A.M. 18+
MOHAWK 912 RED RIVER ST. AUSTIN, TX
THURSDAY, JANUARY 27, 2011 10:00 P.M. – 1:00 A.M. 21+
THE EMPTY BOTTLE 1035 N WESTERN AVE. CHICAGO, IL
FREE WITH RSVP!
RSVP IS STRICTLY REQUIRED AT WWW.SCIONAV.COM/GARAGESHOW
EARLY ARRIVAL IS SUGGESTED AS SPACE IS LIMITED. ENTRY IS NOT GUARANTEED. LINE UP SUBJECT TO CHANGE.
Sex Beet in New York City
Story: Brian Costello Photography: Sandy Kim
There’s a frenzied caterwaul to the music of Sex Beet. Death ray surf guitar solos coupled with trashed-out/ blown-out/fuzzed-out chords. Trillly, frilly, squealy organ wails. Dude squad gang shout vocals. Oh, and they do a fantastically mangled version of the Beach Boys’ “I Get Around.” And yet, the beaches of their English homeland aren’t really known as the stuff of inspiration (unless you’re Pete Townshend writing Quadrophenia). “We dig partying on beaches, which is kinda hard, living in England,” says vocalist/guitarist Luke Lust. “The beaches in the UK are awful: really cold and full of semi-naked ugly people. We really don’t suggest ever going to one. The rest of Europe is better, though.” Joined by drummer Tom Lust and keyboard player Just William, they believe what really defines Sex Beet is what they don’t have. “For a start, we don’t have a bass player,” says Luke Lust. “We usually get at least one person after each show telling us how much better we’d be if we had a bass player, and that kinda puts us off the idea even more.”
facebook.com/sexbeet Hear “Alone,” Sex Beet’s contribution to the Scion A/V Garage 7” series, at scionav.com/garage
The Dirtbombs in New York City
THE DIRTBOMBS Photography: Bryan Sheffield Though Mick Collins is primarily known as the leader of the Dirtbombs and a founding member of the Gories, this champion of garage rock has also been fan of and occasional participant in Detroit’s techno community since its beginning in the early ’80s. On the recently released Party Store album, the Dirtbombs recorded covers of classic techno songs, including Cybotron’s “Cosmic Cars,” Derrick May’s “Strings of Life” and A Number of Names’ “Sharevari” using live instrumentation. Here, Collins discusses the connections between garage rock and techno, and making them work together. Garage rock and techno music have always been one thing to me, and it’s like that even in the larger Detroit scene. The techno guys would go see rock shows, and at least a few of the garage folks and I would go see techno. I went to see Rolando every chance I got, DJ T-1000 used to come see the Gories play and Carl Craig likes the Dirtbombs quite a bit. There was never any real separation there. In the larger world, there does seem to be huge separation between the two, but really the only group of musicians that tend to not go to other types of shows in Detroit would be the hip-hop guys. You see country guys and reggae guys and punk guys at everybody else’s shows. It’s all Detroit music. Doing Party Store was a spur of the moment idea that I had: Release a single a month over the summer, just to have something out for people to buy and know that we’re still alive and kicking. They would be covers of techno songs. One would come out in June, one would come out in July and one would come out in August. I have to admit, it was really a half-formed idea. All the songs were recorded live. There were no edits. I could very well have played a chunk of it, or had one of the musicians play a chunk of it, and loop it, but I thought it would be much more interesting to see if we could make it through the entire song, or come up with an arrangement that was different enough but still worked as a live recording. It got to be extremely repetitive. “Strings of Life” and “Jaguar,” they were extremely repetitive, because in the originals they’re just synth loops that come in and out. Trying to do that as a live act was very nearly impossible. I have a short attention span, so it’s difficult for an album to really hold my attention for an hour. I get bored. The best albums are usually singles comps anyway, or the greatest hits comps. Those are the most interesting songs, and they put them all together. And even with those, I’m usually gone after 40 minutes. So all of the Dirtbombs LPs have been a challenge in some way to hold my attention. I’m one of those weirdos where as soon as the album is done, I’m on to the next project already. All the albums are exercises. In general singles for me are much more immediate, but I don’t really have a problem with the concept album because you can do a concept album made up of two-minute pop songs. So to an extent, every Dirtbombs record is a concept album. They can be pretty tenuous or nebulous, but there’s always something there. As told to Eric Ducker
Listen to Scion A/V Remix: The Dirtbombs—featuring songs from Party Store remixed by Detroit techno artists Omar S, Ectomorph and Kyle Hall—at scionav.com/thedirtbombs
Party Store by The Dirtbombs is available on In The Red Records. thedirtbombs.net
Cole Alexander of The Black Lips at N.Y. Hed in New York CIty
SCION A/V Garage 7” SERIES AT N.Y. HED Photography: Bryan Sheffield
Every month at N.Y. Hed studios, two bands record a song for the Scion A/V Garage 7” series. Located on New York’s Lower East Side, the studio is run by Ivan Julian and Matt Verta-Ray, two garage rock devotees and veterans (Julian was a member of Richard Hell & the Voidoids and VertaRay is in Heavy Trash! along with Jon Spencer). Verta-Ray explains what makes N.Y. Hed the ideal home for the 7” series: Greg Cartwright from the Oblivians steered [the Scion Garage 7” series] our way. Greg was like, “Whoa, whoa, whoa, hold on. We should go analog with this, this is garage music!” Now we’re recording all the bands, some I’ve never heard of and some legends. They’re all really special and each has such a unique sound. The music is so tailor-made for the kind of equipment we have here at N.Y. Hed. We have all kinds of tube gear and old compressors, and the whole place looks like a 1950s science lab. We have a computer that we sometimes record on and we use it for the automation of mixes once in awhile, but overall the general feeling is that we’ve all been students of the history of recording, and when you listen to music recorded from 1950 through 1970, there is a quality to it that music recorded in, say, 1997 just doesn’t have. We try and get that lost quality back. [The recording process] changed because of the music business and musicianship and taste, but there is an actual qualitative difference in sound that comes from analog recording, and that is what we strive to achieve. As told to Maud Deitch nyhed.com To hear songs from the Scion Garage 7” Series, go to scionav.com/garage
Larry Hardy, owner of beyond-respected record label In the Red and host of “In the Red Radio” on Scion Radio 17, spotlights the music he’ll be listening to in the coming months. The Dirtbombs Party Store (In the Red Records) The next Dirtbombs record will be all covers of Detroit techno. In the Red is releasing it as three 12-inches, like Public Image Limited’s Metal Box. Some of it sounds kind of like German music from the 1970s. There will be a 20-minute instrumental on it. I think it’s going to surprise a lot of people. I’ve heard it so much I’ve lost track of the fact that it’s something put out by the Dirtbombs. I think it’s really great, but it is also really weird. Timmy’s Organism Rise of the Green Gorilla (Sacred Bones Records) Timmy Lampinen sent me a bunch of their music, and I know this album is gonna be awesome. He’s done some amazing bands in the past, bands I’ve put out, like Clone Defects and Human Eye. At some point I’d like to do Timmy’s Organism as well. The Clone Defects were more of a straight-ahead punk/rock & roll band, though they had hints of Timmy’s arty weirdness. Human Eye took that arty weirdness and made it the foundation of the band. They took their music into more of a psych/prog direction. Timmy’s Organism, to me, sounds somewhere in between the two previous bands. Davila 666 Tan Bajo (In the Red Records) This is coming out in February. They’re from Puerto Rico, and the songs are in Spanish. I did one album with them before, and this new album is a bit darker and weirder than what they’ve done. With this album, they’re working with samples. The results aren’t even remotely hip-hop, they are still more of a garage band thing. It’s somewhere between Jesus & Mary Chain and Black Lips. Also, they’re an amazing live band. The Greenhornes **** (Third Man Records) This will be out on Third Man, Jack White’s label, and The Greenhornes’ rhythm section also plays in the Raconteurs. They’re a band from Cincinnati. This will be their first album in a couple years. They have kind of a British style, sounding like a modern take on the Yardbirds. White Mystery This is my favorite of all the bands Alex White has done. I put out the two Miss Alex White & the Red Orchestra albums. White Mystery is a two-piece with her brother Francis, and they have matching big curly red hair. When they played in Los Angeles, their cousin got on the stage, and she had similar hair to Alex and Francis, only it was brown. They looked incredible together.
intheredrecords.com Listen to “In the Red Radio” at scionav.com/music/radio17
Never afraid to say what they really think, the folks at buddyhead.com offer hilariousâ€”and occasionally brutalâ€”blog posts, reviews and interviews covering the legends and failures of the music world.
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Strange Boys at Scion Garage Show, Brooklyn
Nobunny at Scion Garage Show, Brooklyn
Guest and Director Ace Norton at The 2010 Vice Photo Show at Scion Installation LA
Mick Collins (The Gories) at Garage Fest, Lawrence, KS
Jack Oblivian at Scion Garage Show, Brooklyn
Photographers and Curator from The 2010 Vice Photo Show at Scion Installation LA
Human Eye at Scion Garage Show, Brooklyn
Mannequin Men at Scion Garage Show, Brooklyn
Bad Sports at Scion Garage Show, Brooklyn
King Khan & The Shrines at Garage Fest, Lawrence, KS
Jack Oblivian at Scion Garage Show, Brooklyn
Ed Emberley at the Ed Emberley and Friends exhibition at Scion Installation LA
Saelee Oh at The 2010 Vice Photo Show at Scion Installation LA
Published on Jan 20, 2011
Published on Jan 20, 2011
For the first issue of Scion’s new magazine dedicated to garage rock, we feature some of the exciting and influential artists that Scion wor...