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march 2012

My 10 Favorite Songs Over 10 MinuteS by kyle kuchta

In the age of fast-paced information, multitasking, and you know, technology, not a lot of people want to listen to anything longer than two minutes and thirty seconds. But I do, sometimes, and I think other people should. So here are some of my favorite tracks longer than 10 minutes. Note: None of these are songs with some weird speech intro, or hidden tracks. These are songs that take up the full 10+ minutes.

10) “The Horrible Fanfare/Landslide/Exoskeleton” by Beck The Information was actually the first Beck album if you consider these all three different songs. because all three together equal about 10:36. All futuristic acid-jazz, and I’m big into closing an

I ever bought. I don’t know But, it’s going on the list these songs are like a weird album with weird shit.

9) “Rosetta Stoned” by Tool Yeah, fuck off, I like Tool. 10,000 Days is NOT my favorite Tool album, by any means, but “Rosetta Stoned” is so driving and so crazy, I couldn’t help but include it on this list. It’s pretty rad. I do like it better than the other Tool song I would’ve included, “Third Eye.”

8) “The Crane Wife 1 & 2” by The Decemberists As a “folkie” (someone who likes new folk music, in case that wasn’t necessarily clear) The Crane Wife is one of those albums that people hold up on a folk pedestal. With good reason too, it’s a spectacular album. And parts one and two of the title track are the epitome of folk greatness.

7) “Carouselambra” by Led Zeppelin I used to be a huge fucking Zeppelin fan in late elementary/early middle school. Actually, they were probably the first band I really got IN TO. But I overlooked “Carouselambra” off of In Through the Out Door until I was well past my Zeppelin phase, if you will. And you will. Because I asked you to. Anyway, the song is rad.

6) “The Diamond Sea” by Sonic Youth I don’t usually like the question of “what’s yr favorite band” just because


that’s almost too overwhelming for me. I don’t know my favorite band; it’s always changing. But one thing that’s stayed constant in my life, musically, for the last seven years or so has been Sonic Youth. So I always attribute the title of my favorite band to Sonic Youth. Their epic conclusion to Washing Machine chiming in at JUST under twenty minutes is out of this world.

5) “Wham City” by Dan Deacon Probably one of Dan Deacon’s most well known songs, “Wham City” is an assault on the senses. It’s usually after this 12-minute track that I have to take a quick break from Spiderman of the Rings. My favorite part of the track is the acapella breakdown about ten minutes and twenty-five seconds into the song. It’s at that point where you reflect on the time that passed, “Wham City’s” journey, and just go “well, shit. There was a lot going on there.”

4) “Cicatriz E.S.P.” by The Mars Volta De-Loused in the Comatorium is amazing. I like it so much, I don’t want to listen to any other Mars Volta album out of fear that it won’t live up to my expectations. It’s a trip. “Cicatriz E.S.P.” is a stellar example of why I like the album so much. Musically intricate, it tells a good chunk of the Comatorium story, which in itself is quite the journey. Also, Cedric Bixler-Zavala is a nutcase, and I’m all about it.

3) “Let’s Not Shit Ourselves (To Love and Be Loved)” by Bright Eyes I’ve always loved Bright Eyes. I always will. Lifted is good stuff. So is “Let’s Not Shit Ourselves.” I wish I had the words to describe it, especially since that’s the point of me writing a list. But I don’t. It is just good stuff.

2) “The Battle of Hampton Roads” by Titus Andronicus Oh man, how good is The Monitor? Titus Andronicus makes fourteen minutes feel like four, and “The Battle of Hampton Roads” is the only acceptable way to end an album like that. Patrick Stickles is sings his lungs out the whole album, and ends it repeating, “please don’t ever leave.” It’s just SO GOOD. Rarely do I like the use of bagpipes, too, but I love it here.

1) “Marquee Moon” by Television In my mind, Marquee Moon one of the greatest albums of all time. Television’s epic title track is like a dream. It takes me back to a time where I didn’t even exist. It transforms any setting, any mood, into something alien. That rarely happens when I listen to music, but this is what happens. This is why I take the time to listen deep into every second of Television’s masterpiece. Easily, EASILY, the best song longer than 10 minutes.


this issue is brought to you by new friends.

Single of the


This issue’s Single of the Week comes from the forthcoming SSWAMPZZ release, Sleeper. Check out “Pools,” a really poppy track from the EP, and a crowd favorite at shows!



Although still a newborn, RAPEWHISTLE already seems to have embraced the Syracuse syndicate in full stride – both musically and ideologically. Their debut EP, Having Problems, embodies the area’s underground aesthetic; it conglomerates all the most crucial elements into five neatly packaged tracks. The band emulates local noise acts’ grandiose nature through their heavily distorted guitar hooks, while verbally paying homage to the angst of their fellow punk/post-punk rockers. RAPEWHISTLE’s garage metal sound is immediately evident on Having Problem’s intro track, “Rose,” which is perhaps its most artistically inspiring song. The song’s punk-aspiring guitar melodies perfectly forecast the album’s raw emotion. By the time vocalist Mathew Jamie interjects his hoarse belting, the notion is confirmed. Yet it’s “Brooklyn Pickle” that seems to have real potential to became a Syracuse underground anthem. Accompanied by a few particularly addictive power chords, Jamie’s respectable lyrical honesty is sure to strike a chord with any jaded degenerate to hear it – and that’s meant as a compliment. The track begins with a dispell of senseless hope: “That’s what optimistic means, you know? It means stupid. An optimist is someone who keeps thinking something nice will happen? Why the fuck would anything nice ever happen? What are you, stupid?”** The longer the song plays out, the more it becomes apparent his cynicism stems from a long-standing history of dejection and shit luck. It’s a confessional of a man on the verge of giving up. He perfectly conveys the exasperation accompanying a legacy of misfortune, fizzling out as he concludes there is “no hope, no hope, no hope.” The album’s following track, “Zac’s Song,” is easily its most emotionally fueled song. After one of his closest friends suffered a life-ending heart attack in his sleep at the age of 19, Jamie hopes to keep Zac Connor’s memory alive. “If you were to have asked me about this even just a year or so ago, I probably would have started tearing up. But now I’m glad to be asked about it,” he said while enjoying a cigarette after a local show. “It’s great to keep Zac’s memory alive; he really was such an amazing person.” As “Zac’s Song” begins, its speed and chaos succeeds in conveying the initial emotions felt by a songwriter immediately following the death of a friend. Amid the crashing instruments, a whirlwind of voices can be heard counteracting each other – much in the same way as conflicting thoughts battle their way into the mind of a griever. However, although the lyrics are pretty indistinguishable, the sentiment that “there is hope” seems to stand out. It’s interesting to note that Jamie places his faith in the future during a song of mourning despite having just professed his despair in the track immediately preceding it. “When I think about Zac I feel hopeful despite anything else going on in my life,” explained Jamie. “I know the things that he stood for and I know that person that he was, and honestly knowing him and losing him helped to teach me who I want to be.” Overall, Having Problems does an excellent job capturing a RAPEWHISTLE’s sound: one which can sometimes be lost amidst the hullaballoo of their live performances. At its core, the band’s primary intention is to bring together people who share a passion, not scare them away. “It’s great to see people coming together to support each other,” said Jamie. “It doesn’t matter how much you’re making at a show. What matters is sharing your music.” **editor’s note: This is a Louis CK quote!


sswampzz an interview by the miscreant

SSWAMPZZ is band of three dudes who like watching the X-Files. Here, the Miscreant Records band talks about how they met, their upcoming EP, and Cool Ranch Doritos. TM: What/who do you think is the primary inspiration behind your band? Ricky Balmaseda: Having fun and letting it all out. Garrett Koloski: I would have to say our awkward, goofy selves; making our personalities into songs. Ray McAndrew: I am musically inspired by Clues, Nirvana, and Sonic Youth. I think what keeps us inspired as a band is to just keep the focus on having a good time. TM: How, exactly, would you categorize your music, gun to your head? RB: Melodic noise rock. GK: Uh, noisey? Punky? Mildly fun? Similiar to Cool Ranch Doritos only in band form. RM: Creepy noise rock. TM: Why not just “Swamps”? RB: Well, basically, there’s already a band called “Swamps” from the Boston area. Usually it isn’t that big of a deal for two bands to have the same name, but these guys made it pretty clear that they wanted to be the only “Swamps.” We made an online page and within hours they were already harassing us about “not being the REAL Swamps”. They also threatened to schedule some shows near Syracuse so they could come beat us up, but one of Garrett’s friends basically cleared our name to them. We were in the process of recording our EP and we hadn’t settled on a band name yet, so we decided it would be a nice “fuck you” to them to keep the name but just make it ridiculous. RM: Swamps are for babies. TM: How did you guys all meet? How long have you been playing music together? RB: I met Ray through the Clarendon Collective. We played a show together with our solo projects back in August, and became friends afterwards. Ray introduced me to Garrett a couple weeks later when we were all seeing Best Coast play at The Westcott. Ray and Garrett had been playing together a little bit over the summer, and during the show they invited me to come jam with them in Ray’s attic. I was just excited to meet new people and have some fun, so we all met up in the attic and jammed some stuff out and the rest is kind of history. I guess we’ve been playing together for about 5-6 months at this point.


GK: Ray and I have been playing on and off for the last 8 months, I think. And figured we should try out a bass player, or keyboard. We met Ricky and it was love at first sight. Worked perfectly, knew exactly what to play and created, and finalized the family known as SSWAMPZZ. RM: Garrett and I met at an AA meeting, and we met when Ricky delivered a pizza to us one day while we were jamming. TM: What was your first show like as a band? Where did you play, who did you play with, etc? RB: Shortly after we started playing together, Garrett got us a show at Badlands with this punk band from Pittsburgh called Run, Forever. We had only practiced together a handful of times and just kinda winged it to get a 20 minute set together. Honestly, I felt pretty awkward about it. Garrett’s friends were the only people who showed up. It was only my second time playing in front of people. GK: It was alright, I guess. My friends came down from Pittsburgh and we scavenged around to put a show together. Good ole Badlands always comes in the clutch! TM: What has been your favorite show you’ve played so far, if you had to pick? RB: My favorite was this basement show we played on Lancaster a few weeks ago with our buds in Beauty School and RAPEWHISTLE. The energy was ridiculous. GK: Probably Ray’s basement show, or at SPARK when the cops came. Both were awesome. Both totally fit the “my life as a movie” ‘is fucking crazy. Yeah, that movie is becoming pretty cool, I would have to say. RM: My favorite was the show we played in a basement off of Euclid. We played with some awesome bands, and Ricky threw his bass. It was pretty rock and roll. TM: What bands have you all been listening to a lot (that may or may not have had an influence on SSWAMPZZ)? RB: Lately I’ve been listening to Women a lot. I feel like their music is really ugly and depressing and that’s pretty much how I feel about spending the winter in Syracuse. GK: Marilyn Manson 666 RM: Currently, I have been listening to Dumb Talk, Nick Cave bands, Nation of Ulysses, Someone Still Loves You Boris Yeltsin, and Stephen Malkmus.


TM: Talk about the EP – what can we expect form your first release? RB: The EP is a really good representation of what we’re about so far. We recorded most of it over one weekend in Ray’s attic back in December and got it onto a tape last month. We recorded all the instruments live as a band so it sounds as close as possible to how we sound when we play live. I think there’s something to be said for recording it live as a band. There’s just a certain energy that I don’t think would have been there if we were all playing our parts separately and playing along to a click track. GK: You can expect a fresh sound. I think it gives the listener exactly what they want to hear. Covers every emotion, if you listen hard enough. RM: It’s like if you played the X-Files soundtrack while reading any Goosebumps book. TM: Where do you guys see yourself fitting into the “Syracuse scene”? RB: I’m not sure! I just like that we all come from different backgrounds. Ray and Garrett have been around the Syracuse scene for a while and I’ve only been here since I’ve been going to school. It makes me really happy that people from the SU scene and the Syracuse scene are starting to meet each other because I feel like we all have a lot to offer. GK: I am not really even certain what Syracuse’s music scene is. We fit somewhere. I feel like there are two “scenes” of music. One is totally awesome and I can get behind it 100%. And the other I absolutely want no part in. Fake people, fake problems, and more importantly fake music. RM: That’s a tough question. The Syracuse scene is known for hardcore, Phish tribute bands, and whiny-folk solo acts. I think we’re a little bit different from what’s come out of here previously. TM: Speaking of which, what do you make of recent developments in the music scene? RB: I like it! I’m no historian but I can definitely say that people seem to be coming together and being more enthusiastic about the scene. I wasn’t around for the Ra Ra Riot days, or the glory days of the Syracuse hardcore scene with guys like Architect, but I feel like it seems to be on an upswing. I think you have to give a lot of credit to bands like Sarongs and Sarah Aument and guys like Dan Creahan, too. Bringing people together in a scene takes a long time, and the people who have really pushed things in the past are just as deserving of credit as all the guys who are trying to do that now. Whether its Mouth’s Cradle or Black Throat Wind or the Vanderbuilts or the Clarendon Collective or the guys who run Spark and Badlands it shouldn’t matter - the big picture is that the more people who put themselves out there now and support the scene the better. GK: I have absolutely loved the bands we have played with, I like the collectives we are a part of, and I like what our friends and soon-to-be-friends are doing for music in Syracuse, or all around the world.


RM: It’s pretty cool. There are a few organizations that are trying to stimulate it and there are a few really cool bands. My favorite is Beauty School. TM: Talk about the space you practice at – it’s a pretty big part of music around here, yes? RB: It’s pretty great. It looks like a warehouse where people get murdered, but it’s definitely the best kept secret of the Syracuse music scene. The bathroom is permanently caked in shit and puke, and we find dead rats in there pretty often, but it’s exactly what we need as a band and as a scene. GK: We have the coolest practice space in all of Syracuse. Every band that practices there is fantastic. Even if I do not like the genre of music, it is absolutely fantastic. Every human in that building is creating something special, and that is incredible. RM: The practice space is like a funhouse for musicians. Awesome shows go on there at least once a month. Just watch out for ‘Los. TM: What other projects are you guys individually involved in outside of SSWAMPZZ? RB: Ray and I have some solo stuff. Like I said earlier, we met while the Bedtimes and Only Child were playing a show through the Clarendon Collective. Garrett is in White Picket Fence and Dirty Humans, and has been in a ton of bands in the Syracuse scene. We all do SSWAMPZZ, but we do our own things as well. GK: White Picket Fence, Dirty Humans, AFROnips. RM: I have something in the works with my friends Joel and Meagan. Nothing is set in stone, but we’ve been calling ourselves Gyaos. TM: What’s next for you guys as a band? RB: We’re finally releasing our EP! We’ve only played once outside of Syracuse, so we’ll probably try and play some more shows all over New York state and out of state as well. We’re writing new songs too! GK: Hopefully some sort of 7”. I feel like that is the appropriate next step in our musical endeavors. RM: Selling out. TM: What does being “a miscreant” mean to you? RB: I forgot who it was (I think either Matt Gasda or Dan Creahan), but someone summed it up pretty perfectly in one of those earlier issues. To me it means being aware of the environment you put yourself in, and being willing to be yourself and supportive of the things you believe in. Everyone’s got something to offer, it just takes a little initiative. GK: FIGHT THE MAN, FIGHT THE POWER! Solidarity, my brothers and sisters. RM: It means learning to love myself the way I am.


ALBUM REVIEW: ODF’s elephant by shawn perry

Our Daily Fix is a four-piece math rock/ska fusion band out of Monroe, New York. Don’t get me wrong, though; no genre specification can really pinpoint this band. I had the chance to see ODF at The Benefit Show for Carly Beth put on by none other than Miss Miscreant herself and I spent the rest of the night with their songs trapped in my head. With an upcoming show on the same bill as Topshelf Records’ Native and Prawn, ODF is having their share of success right now paired with their recent EP release elephant. elephant is a quick EP coming in at just over 20 minutes but I found myself putting it on repeat the past couple of days which I’m sure will turn into weeks. Kicked off with the only strictly instrumental song on the EP, “I.A.M.A.H.A.B.” bursts right in through the door with four quick snare hits followed a face melty, head rolly guitar lick. The sax then comes in and you’ll find yourself repeating the rhythm over and over in your head without even really thinking about it. Around 3/4ths of the way though the track, a melting pot of sounds including some feedback all thrown into one wind the song down only for it to pick up and finish the song off with the same guitar lick from the intro and the repeated sax tones. “Toy-O-Da” is up next and is the first track to introduce vocals into the mix. Easily comparable to Snowing, CSTVT, and 1994! ODF has that half-yelling/raspy vocal that really hits something with me. I don’t know whether to slowly bob my head, get up and skank or try and mosh when I hear this song but I kind of wish I could do all of the above without looking like an absolute moron. My favorite track on the EP has to go to “By John Wayne’s Bootstraps” because of that jazzy intro. Coming in with that bass line right into the saxophone lead I was already hooked. It doesn’t last long though, once the vocals break in so does the spacey guitar and the song really starts to have some movement in it. I knew somewhere in the EP there would be the loud calling of ‘Let’s Go!’ being belted and my want for it to happen was met in this track. The combination of all these things, seemingly simple and in many other tracks in the history of music made for a great track in this one and I have played this track an ungodly amount of times. The next track, “Backpack Honor”, has that honest punk sound to it that will appeal to all fans of the genre. Filled with almost grating guitars, the same unpleasant-to-most coarse vocals, fast and hard drums with a solo halfway through, with only the saxophone taking it from a strict punk sound on paper but in no way taking away from the end product. The EP is rounded out with the 5:47 title track. Probably the most serious song throughout the whole EP, it is a great way to end things and create a whole music experience in a 5 song EP. Stating, ‘Three months of all my time, wasted so here’s the rhyme, been I responsible, maybe then I’d be fine’ along with ‘These bones are brittle’ are lines loaded with emotion. Whatever may have caused these lyrics ended up helping to create an awesome song though. I’ve always said that whenever I write album reviews they just turn into tribute to the artist and the album as a whole, which is completely true. This EP rules, and having been listening to Our Daily Fix for a whole week now, I back them hard. Go pick up their EP elephant. Now.




t u o e r e w s d n e i r f r e While all h e i s u S , s s e c e R t a n u f having r e d n o p o t t f e l , e d i s n i was stuck g n i t r o p p u s n i e c i o her poor ch a chain coffee shop.

t u o e r e w s d n e i r f r e h While all e i s u S , s s e c e R t a n u f g havin r e d n o p o t t f e l , e d i s n i was stuck g n i t r o p p u s n i e c i o her poor ch ca hain coffee shop.



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Prison art releases Each Other’s Taking Trips by liz kenny

Taking Trips is Each Other’s February 2012 cassette release. The songs are cohesive as one rolls into the next; yet, the echoing, lo-fi sound of their voices, mixed with the simplicity of repetitive phrases that then come to join into smooth verses give every song its own quirk. The guitar riffs and almost ska-like beat (at times) work perfectly as the group transitions their style of the lyricism within seconds of a song. The instrumentals within Each Other’s work truly glue each song together. At times the strings and beat are just simply undertones to the soft, cooing voices, until an area of a song comes to sweep the listener away with a wave of riffs with an alternative, but jam, feel. The songs have a way of taking off without an overwhelming climax to them, which keep the songs from overambitious jolts; and instead, ease the listener throughout. The Taking Trips cassette has the capability of transcending the listener into a different vibe. The simple lyrics matched with spurts of intricate melodies make one want to just bob along to each song while thinking of a day on the beach or a drive around town with your best friends. Songs to take note on were “Freak Heat” and “Stream Scene.” “Freak Heat” was the most upbeat of all, making one want to bounce around their bedroom while singing along, if you can figure out all of the lyrics. “Stream Scene” is one of the more complex sounding songs; however, it seemed to have the catchiest riffs to it, although sounding a little darker. The singing lightens the tone of the song until all elements of the song wind together in a clever and intriguing way. Each Other displays their truly authentic sound throughout the tracks of “Taking Trips.” Both the cassette and digital album can be found on Prison Art’s Bandcamp page. Get your copy of the tape here: 12

Its hip to be square by wesley wren Over the past few years the music scene in Indiana has finally awakened to the wave of sunny surf-rock and psych-rock bands that are splashing into the mainstream. Fountain Square, a booming arts district in the city of Indianapolis, has given a breath of new life into the Circle City’s culture. Evolving from market town into a central manufacturing power, this neighborhood eventually became an area of ill-repute. In recent years Fountain Square has seen a revival, becoming a cultural destination in Indianapolis. Despite its coarse nature, the neighborhood has always been a central location in the Midwest rockabilly scene. It hosted one of the biggest rockabilly music conventions in the country for years. The popularity of the still-active swing dance ballroom is reminiscent of those earlier days. Though popular in the rockabilly market, it was not the best place for popular music. Until recently, bands such as Vacation Club, Crys, and Learner dancer (among others) have made this neighborhood their home, and they are all hard at work writing really great pop song. These bands do the 60’s pop shtick with a twist, blending elements of electronic music and noise rock into their repertoire. They make themselves individuals in the scene, opposed to the average West Coast gentrified surf-pop band. Whether it is the high-pitched vocals of Vacation Club’s singer, Samuel James, or the electro-shoegaze assault of Crys, one can tell each band apart. One can also generally hear any of these bands in the Murphy Art’s building or Radio Radio on any given night. The first time I saw Vacation Club, they were playing a show in Shared Heritage, and they, opening up for Bloomington’s Landlord, and Muncie’s Everything Now. The space was small, and the show was loud. The show was so incredibly loud, that my ears rang for a week afterwards. The sheer volume only helped their performance. The reverb clanged and everything shot through in a lo-fi way. In a similar fashion, Learner Dancer and Crys had played a First Friday show, which was also during the big Superbowl stranglehold on the city of Indianapolis. The show was an epic one featuring not only Crys and Learner Dancer, but also the Bloomington bands Apache Dropout, Open Sex and the abstract experimental band DMA from Indianapolis. The show was a veritable who’swho of the Indianapolis music scene. Given time, constant touring, and support from local labels like Gloryhole Records this scene can be something that will make Indiana a spot musically, like it was for DIY punk-ers during the short lived Zero Boys. It could be a beautiful thing. If anything, it will be loud.


For Your Entertainment: An Interview with Bosa by lamar stephens

Syracuse University houses a handful of student emcees. I got to sit down and catch up with SU senior and artist Cameron Baker, also known as Bosa. Bosa explained his musical journey and what he’s been up to lately. Check out what he had to say: Tell us how you got into music. When did you first know you had the gift and talent? I first got into this when I went to my first concert. It was a Kanye West concert, and for some reason, being there changed every interest and hobby I had previously had. I used to be all about sports, but as soon as I saw Kanye on stage I thought, ”I have to do that some day, I have to get into music.” From there, I started to make music as kind of a joke- just experimenting with it because I wasn’t completely comfortable with it. Honestly, its because I didn’t want to have to take real criticism for it, so I would make stupid song with my friends on Garage Band until the day I thought to myself, “Shit, I think I’m addicted to making music!” (Laughs) Jello & Grits was my first mixtape, and then Jello & Grits II. After I dropped Jello & Grits II, I felt like it was time for me to start making music for myself and I wanted to begin the path to actually becoming a good musician. I dropped my third mixtape, Posted on the Quad. Around this time I noticed people responding differently to my music- it was a good feeling. You said this was when you started making music for “yourself”. Were you just making music for entertainment before? Well, what I think is- one thing about being a rapper is that a lot of rappers do it for competition,


or to prove something. That’s what I was doing, until I realized how annoying and stressful that is as a writer. Trying to figure out how to one-up someone else just ends up wearing you down. Once I started making music for my own listening purposes, more people started to like it too. Started doing shows after posted on the Quad, seeing live reaction for something you’ve worked for hours and hours, it made it all worth it. What would you call you music style? My music style is filmmaking. I’m a combination between a filmmaker and musician, so whenever I write songs I try to visualize a movie beforehand. I’ll try to visualize color schemes and editing styles before I even write the words down. When I find tracks, it’s sort of like making a movie score. I’m curious about your song writing process. Some emcees start with a beat and some start with the 16-bar format already written. Where do you start? I try to find the beat that fits the visual in my head and from there I try to half write, half freestyle. I’d write like two lines then try to freestyle from there, and then I’d stop and write the next couple of lines, freestyle again, and so on. I do this because I want my music to be organic. I want it all to sound as natural as possible. Who has influences your writing style over the years? Kanye West from the start. As of now I’m getting a lot of influence from Childish Gambino. I feel like we’re similar, since we’re both in the film-music world. We’re also both “less-hood” black people (laughs), so he really helped make it easier for me to be comfortable as a rapper. So its been Kanye and Childish Gambino, those two opened the door for me the most, made me comfortable as a rapper. What directions do you see your music going in the future? Well, I got tired of the whole mixtape thing. Right now, I’m working on what I call an “experiment”. We’re called Bosa and the Red Rockets. It’s a comedy show mixed with music. I play this character, Bosa, and we have a group of other guys, The Red Rockets, who are like my “Motown backup band”. Some of it is based around music and the rest is sketch comedy. We call this the “Mainstream Hipster Show. We already have episodes online at It’s a new form of entertainment. I’m excited about it. I edit all of the video while my roommates and I write the comedy for it. Check out the site, we’re always updating it with photos, music and comedy.

For more content from Bosa and the Red Rockets, follow them on twitter @redrocketsmusic, and check out 15

music identification by tori cote

If I had to make a playlist for every time my best friend and I drive from our hometown to my beach house in Maine, I can already tell you what we would be listening to; Lily Allen, Florence + the Machine, Dashboard Confessional, Best Coast, Kate Nash, and a lil bit of T.I. I’m aware that this list is a little odd and not exactly comprehensive, but I don’t really care. All of these bands represent our relationship, and I hold them dear because of that. Now, don’t think that she’s the only person I associate certain music with. I have a band for every single one of my friends, boyfriends, family members, etc. The Miscreant? An Horse or Beyoncé. My dad? New Order. My sixteen-year-old brother? Tigers Jaw. One of my besties sitting on the couch with me? Young the Giant. I’m not kidding, I have a band recognition for every stupid relationship I have. While some people think that this might be weird, it’s sort of how I operate when it comes to music. I even have different band associations with different seasons! (Fleet Foxes, winter. Eisley, fall.) But to be 100% honest with you, I kind of like it that way. I like being able to relate certain aspects and people in my life with music. It’s like everybody has their own personal soundtrack, kind of like if everybody was a movie. I think that bands are supposed to have their own personal story or message, so it only makes sense that other people’s stories relate to a specific band. I don’t think that associating bands with people is a bad thing. Sure, if you have a rough relationship or falling out with someone you might have a sour association with that music, but you’ll move on. If you are able to relate music to people, than you probably understand the artist’s intent of making music. Music is meant to be relatable, personable, and emotional. You’re supposed to have your own experience with it and make it your own. I know it’s a little corny and gimmicky, but it really just makes sense. So, don’t be afraid to recommend music to people or tell them that they remind you of a song. You never know, you could remind them of a song as well. Relating music to your everyday life and relationships can make you a little bit more introspective of people’s personalities and the relationships you have with them. And let me tell you, it’s not exactly a bad thing to take time out of your day to think about music. You’ll never know what you might find out.


The Vanderbuilts Release New Album by andrew mcclain The Vanderbuilts released their first LP, “Miguel’s Orchard”on February 24th. Their full-length is a compilation of material the band has recorded in the past year – some of it has previously been available on EPs like “Far From Here.” The first two singles, “I’m Coming Home” and “She Takes The Cake,” are upbeat folk-rock songs with some pretty hot fiddle playing. The album is rich, warm and fully realized, and a progression from their earlier EP “Far From Here,” which was a little more ethereal. “Miguel’s Orchard” sounds fantastic – the recording is bright and airy and very easy to listen to. Lead singer Sam Kogon’s voice is versatile and emotive, and his voice is the most present on the album. Dave Riddel wrote and sings “Freight Train” and “Scratch,” which are both standout tracks. Fiddle player Aya Yamamoto adds dimension to their sound in a very organic way, accenting the twang on “Freight Train” and “Pennies and Dimes” in a way that meshes with the rest of the band. Fiddle and string sections can be a questionable choice for some bands and can run the risk of coming off as a little hokey or affectatious, but Yamamoto’s playing is worlds away from either. The band plays as a unit very well – everything is tight. This band seems to have a lot of direction and specific intent. Everything about this album seems meticulously mixed and planned – nothing messy, but not lacking in passion. “I’m Coming Home” is probably the best song Frightened Rabbit never wrote. “Miguel’s Orchard” is refreshing in a time when most pop-oriented folk rock is veering towards the overblown and melodramatic. Much of the album is lighthearted, but can be impactful in ways that it fully earns. Rooted in Americana traditions and fleshed out with soft rock sensibilities, “Miguel’s Orchard” meets a broad base of listeners from a variety of preferences. The band’s nouveau-bluegrass twang mixed with their rock sound makes for a great spring album. Download and enjoy. Take it outside for a drive. “...our fans can pay what they want. If they’d like to throw us a few dollars, it’s greatly appreciated, however, the option to download our music for free is and will always be available” says a press release for “Miguel’s Orchard,” which is available on the band’s Bandcamp site. Everything is also available on iTunes, Spotify and Amazon.


thanks to everyone who came out to the show a couple weeks ago! we had a great time with dumb talk, sswampzz, rapewhistle, friendless bummer, our daily fix, and gngsgns. friday, february 18 @ the practice space photos by meagan gregg



On Dating a quasi-Radio Disney StaR poetry by lauren stefaniak Don’t do it. I swear to you: don’t do it. No matter how fruitful the connections, the opportunities, the sex—don’t do it. You see, it’s not that dating a quasi-Radio Disney star wasn’t cool in it’s own right— frightfully turning the dial to AM to catch a snippet of one of the most overdone yet so damn catchy songs had its perks—it’s that logistically it’s not plausible. The managerial-bound red tape was ridiculous. It takes a lot to be inducted into the clandestine child-drug-addict circle of fame (…so I’ve heard), and Action Item* was well on their way to kissing enough asses to get there. However, in order to “preserve the integrity of the innocent, young, single boy band image,” I was not about to be a blip on the fans’ radar. Given my “look at all the fucks I give” attitude, this wasn’t a problem. When would I ever come in contact with a fan, let alone the far-away manager whose commands seemed to have descended from the sky? I wasn’t about to let some bitch ass band wrangler get in my way of my perfect college romance. However, given Mark*’s “I’m going to cover up all the fucks I ever did” attitude, keeping me a secret was a priority. Though I was welcomed in his small group of friends and with the band, I was that persistent dust bunny that kept getting swept under the carpet. Facebook comments were purposefully ignored among the mass of fan mail, and a request to publicly acknowledge our blossoming love via Face20

book relationship status was met with a resounding “no.” But it’s not just that our secretive relationship was the crux of or even a reason for our issues—the kid was just too damn busy. Maybe I underestimated the capabilities of someone who traded a college education for a shot at a music career, or maybe I just didn’t understand the band slave dynamic. Mark poured all his energy and free time into answering emails, staying on top of social networking sites, and keeping fans happy. After hours of alternating between a computer screen and a Blackberry, he was too worn out to catch up with his long-distance girlfriend. Maybe I’m giving him too much credit—the kid was a straight-up asshole. Despite the fact that he spent the earlier months attempting to woo me while on tour, that façade quickly deteriorated when I actually was able to spend time with him over winter break. Cute, meaningless texts turned into ugly, even more meaningless silences as my image of the perfect relationship disappeared from view. Where was my Radio Disney star? We broke up shortly thereafter in a heated text message battle where I begged for a minute of free phone time only to be denied on the grounds of a “band meeting.” And as most text message break ups go, it was ugly. Real ugly. After that night I laid low by going out, partying, and making out with at least five people. I also repressed Action Item’s keyboarder from memory and resolved to never date a band member again. I’d say I got the upper hand on that one. But life moves on, and *some other garbage quote like that here*. It wasn’t until recently that I’d noticed he’s dating someone new, a hairstylist from back home who was graciously allowed to post her relationship status with him on Facebook—how quaint. And even though that’s a telltale sign their band is failing and missed their calling as Radio Disney stars, and even now that it’s exactly a year since we broke up—I’m not bitter or anything—I still wince at the thought of what that relationship could have been otherwise. It would have been bad. Real bad. And I’m glad I got out of that shitstorm with my dignity and reputation in tact. Because, let’s face it: who really wants to be caught dating a Radio Disney star? *To preserve the integrity of no one, all real names are used in this article.


Meet three trapped tigers by queen karen edith millar

WHO: A three-piece group making instrumental noise rock that’s easier to listen to than the umbrella term for its genre might suggest. WHAT: Progressive music with rhythms so intricate and random time signature changes so regular that it will give even the most established math rock musicians a run for their money. WHERE: Based in London, obviously. It’s where all the best people live. Like me. WHEN: They’ve been on the scene since 2007 when classically trained pianist, Tom Rogerson decided he wanted to share with the world his idea of ‘intelligent dance music,’ using not only synthesized but real instruments too. The band now has its own Wikipedia page; if that doesn’t say success, I don’t know what does… WHY: Why listen to them? Aside from the fact I’m telling you to, these guys really are making the most interesting and innovative music I’ve heard for a while. Check out their track ‘Ulnastricter’ – it’s all kinds of awesome.


MISCREANT UK HQ TOP 10 PLAYLIST by queen karen edith millar

It’s pretty obvious that I’ve been feeling pretty ghetto lately; as a small, blonde white girl in a pretentious liberal arts college it’s only understandable. And I’m going back to Brooklyn next week. Word. 1) Notorious B.I.G – ‘Juicy’ 2) Childish Gambino – ‘Heartbeat’ 3) Major Lazer + Vybz Kartel – ‘Pon De Floor’ 4) SBTRKT + Sampha – ‘Hold on’ 5) Notorious B.I.G. – ‘Big Poppa’ 6) Jay Z + Kanye West – ‘Ni***as in Paris 7) Nas – ‘Last Real Ni**a Alive’ 8) Big L – ‘Put It On’ 9) Snoop Dog – ‘Drop it Like it’s Hot’ 10) Dr. Dre – ‘Forget About Dre’


WANT MORE MISCREANT? Thank you for reading issue 18 of the Miscreant! More and more amazing people continute to submit, and I can’t wait to see what comes next. There are so many great miscreants out there! And I’m so happy to finally be putting out an issue with SSWAMPZZ on the cover. These three dudes are making amazing music, and you all are definitely going to want to get your hands on one of those fancy, green cassettes. At any rate, all I want to say is that I’m so blessed to be working with (and to be friends with) such rad, talented dudes. Anyways, my fellow misfits, I want to remind you, as always, to be sure to send your album reviews, your artist profiles and your interviews to:! You’re all what keeps this going, and I appreciate it more than words can say. all my love, the miscreant

The Miscreant - Issue 18  

Featuring SSWAMPZZ!

The Miscreant - Issue 18  

Featuring SSWAMPZZ!