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dimanche 28 décembre 2014

Top 2014 selon Rico



1) SwansTo be kind ; Young God Records
Swans, la bête, est un projet qui traîne dans les entrailles de son mentor Michaël Gira depuis le début des années 80. Pour ce treizième album, il pousse encore plus loin l'intimité viscérale qui nous colle à l'os depuis les premiers souffles des K7, maintenant usées, du milieu de la décennie quatre fois vingt. Plus de 120 minutes étourdissantes où les mélodies frêles supportent avec détermination, les apogées sonores.



2)The Healthy boy and the badass motherfuckersDolce Furia ; Kythibong
On se souvient de l'impact provoqué par The Enchanted wood avec Monster Parade. Ici aussi, nous sommes très proches de l'auteur (Benjamin Nerot, ex Belone Quartet). Unis dans une belle émotion, nourris d'inspiration, les 4 titres de cet ep, hantent votre esprit pour longtemps.
On retrouve les lyonnais de Zëro (Bästards, Deity Guns) en accompagnateurs de luxe.



3) CheveuBum ; Bad Born records
Coiffé de la plus moche pochette de l'année, Bum raconte l'histoire de notre musique-mère préférée, si elle est anglaise, plutôt située dans l'après Punk.
Ce que The Fall, bon an mal an, rencontre des signes d'essoufflements, quand ce n'est pas de la tachycardie pure.
La relève est assurée.


4) Liars -Mess ; Mute
Si Cheveu a sauvé le Rock cette année en lui donnant un grand coup de peigne dentu dans les bigoudis, Liars aura dynamité la musique de danse et globalement aura ajouté une nouvelle pierre dans le jardin des musiques actuelles. Entre rudesse à l'allemande et sexualité franche rencontrée chez Light Asylum, les new-yorkais se lâchent pour de bon.
En plus, Mess est finement agencé.



5) Horse TempleGhosts /tracks ; Zéro égal petit intérieur
Ghosts/Tracks est une bande originale d'un film dont vos fantasmes sont probablement les héros. En détective habité par des forces occultes, ou en flic déchu – dealer d'images prohibées... Cet album sent la pluie, la nuit, la barbe de trois jours et le costume-cravate sombre.
Ici, l'urgence est présente et dépasse de loin, la simple intention.



6) GoatCommune ; Rocket recordings
L'exercice du deuxième album pour les suédois aura été moins évident que ce que l'on pouvait attendre après le magistral World Music. Le cru 2014, sans démérité, ne confirme pas pleinement la musicalité du collectif. Titulaires d'un des meilleurs shows vus sur ces vingt dernières années pour ma part.



7) Le ButcherettesCry is for the flies ; Nadie sound inc
Mesdames, Messieurs, LE rafraîchissement de l'année !
Teri Gender Bender renvoie dos à dos les growleuses téstostéronées et les divas pop. Son truc à elle, c'est l'énergie et une désarmante sincérité. Small is beautiful. 



8) Rorcal/Process of guiltsplit ; un conglomérat de signatures
Chronique d'un somptueux malaise annoncé.



9) Berline 033 - The Abyss will gaze back ; Rejuvenation Records/Katatack/Tandori Records/Et mon cul c'est du tofu ?
Avec leur album un peu trop long et dur à digérer, les Berline auront donc tout dits avant de tirer leur révérence. 



10) Unik Ubik – s/t ; Rockerill Records
Certainement que l'on aime cet album avec ses multiples références, on l'apprécie aussi parce qu'il s'y dégage quelque chose d'unique.

Top Albums 2014 selon Maud

10. Viet Cong - Viet Cong

Flemish Eye, 2014






9. The Amazing Snakeheads - Amphetamine Ballads

Domino Records, 2014







8. Goat - Commune

Sub Pop, 2014







7. Pypy - Pagan Day

Slovenly Recordings, 2014







6. The Wytches - Annabel Dream Reader

Partisan Records, 2014







5. The Beauty of Gemina - Ghost Prayers

Metropolis Records, 2014







4. Swans - To Be Kind

Young God, 2014







3. Young Widows - Easy Pain

Temporary Residence, 2014






2. Lower - Seek Warmer Climes

Matador Records, 2014







1. Eagulls - Eagulls

Partisan Records, 2014








dimanche 14 décembre 2014

Album de la Semaine : 2:54 - The Other I

2:54
The Other I


Interview de 2:54, par 7 Digital

Hi Colette, can you explain the history of the group and the inspiration behind your name please?
Hannah and I have been in the band for over two years now and we met Alex and Joel – our rhythm section – pretty early after we made ‘Creeping’.
The name “2:54” refers to 2 minutes 54 seconds into our favourite Melvins song, ‘The History of Bad Men’ on the album A Senile Animal. In the band, we find ourselves obsessed with particular moments in songs, going, “I like that bit, have you heard it?” So for us it was that particular moment in that Melvins track.
Did you and Hannah grow up in a musical household?
Our parents don’t play instruments but we’re from a music-loving family. There was always music on in the home, and hearing stuff like The Band, Rory Gallagher and The Pogues was definitely very influential. It ignited that first passion for music.
Who would you cite as your main influences, musically, and why?
Bands I love are people like Fleetwood Mac, Queens of the Stone Age, Yawning Man… The first album I saved up to buy was Pearl Jam Vs. but I was also massively into R&B. I really loved, and still love, artists like Aaliyah.
How long did it take to write and record your debut?
Over the last couple of years, Hannah and I were constantly writing – she’d send me the track and I’d do the melodies and the lyrics, and we’d restructure/finish the song together – and it reached a point where we’d arrived at the family of songs that we wanted to make up the album. We had two weeks to record it in Monnow Valley in Wales, which is this incredible isolated studio in the middle of the countryside. It was a really great, immersive experience.
Your debut was produced by Rob Ellis, who has a really impressive track record with female artists like PJ Harvey and Anna Calvi. Is that why you chose to work with him? And what do you think he brought to your sound?
Certainly. He has such an incredible musical heritage, and we’re inspired by the work he’s produced. We first met him when he worked on the B-side for the Scarlet EP and we got on really well, so it seemed a fitting choice to work with him again for the main body of the album.
We went to Rob with complete songs, so we weren’t going into the studio to explore anything or embellish anything; we were there just to learn what a professional recording experience is all about. Rob taught us loads about the science of sound: y’know, how to get sound out of a room and all these things we never knew about before. The whole experience was a privilege and we learned a lot.
What were your musical and thematic reference points for the record?
We don’t really have any pre-conceived ideas about the sound and we were just focused on making the songs for ourselves. I guess you write the songs because you’re compelled to, not for any other reason. Maybe it is cathartic but there wasn’t any influence other than we just wanted to create something.
I think lyrically I’m really inspired by the music – I respond instinctively to a track when I hear it. I never try to analyse it too much.
Is there a track you’re most proud of on the album?
I’m proud of all of them. They just feel like a unit so I’m reluctant to isolate one, sorry... (Laughs) We’re happy for people to listen to it however they want, but it feels like a cohesive body of work to us; it goes on a particular journey.
You’ve toured extensively with some incredible bands. If you had to invite one of them back to open for you, who would it be and why?
Oh god, I’d have all of them (laughs)… Er… Oh god, I don’t know! We’ve been fortunate enough to have been touring from day one and touring with incredibly supportive bands. I think we’ve learned something from every band we’ve played with.
They’ve all been quite different as well: touring with The Maccabees and touring with Wild Beasts, you get very different crowds. And being fans of the bands and being able to watch their show every night, it’s just all really educational and you find yourself aspiring to that level of confidence and prowess.
Are you going to be touring for most of the rest of 2012, then? And what can audiences expect from your live shows?
I believe so (laughs). Yeah, it kicks in. We’ve got a London show in June and then we head to America for three weeks. We went to New York before Christmas, and to SXSW recently where we did a few dates, but this is the first proper stint, so we can’t believe it – it’s really exciting.
Our live show? It’s big and loud and energetic, and I hope it’s got soul: it has for us.
Touring is a notoriously intense experience – do you think it makes it easier doing it with your sister?
It’s all I’ve known so I don’t know. We’ve always been close and we’ve always hung out but getting to play music together all the time… It’s the best, y’know? It definitely helps having your sister with you on the road.
Ok, aside from your record, what album should we be most looking forward to this year and why?
I’m really looking forward to The xx album. I’m really excited for their return and I can’t wait to see them play.
And finally, what are your ambitions ultimately for the band?
Being able to do this as a job is amazing. But we just hope to tour a lot more and be a great live band. And record more albums, hopefully!

Line Up :
Colette Thurlow
Hannah Thurlow
Joel Porter
Alex Robins

Label:
Bella Union

Tracklist :
01 – Orion
02 – Blindfold
03 – In The Mirror
04 – No Better Prize
05 – Sleepwalker
06 – Tender Shoots
07 – The Monaco
08 – Crest
09 – Pyro
10 – South
11 – Glory Days
12 – Raptor





dimanche 7 décembre 2014

Album de la Semaine : The Amazing Snakeheads - Amphetamine Ballads

The Amazing Snakeheads
Amphetamine Ballads


Interview de The Amazing Snakeheads, par Julian Marszalek de the Quietus

How and why did The Amazing Snakeheads form?
Dale Barclay: Myself and William [Coombe, bass] have been friends since we were young and I met Jordon [Hutchinson, drums] about seven or eight years ago when I moved into my old flat and he was my neighbour and we became fast friends; we all did. We just decided to go to a practice room and have a bit of fun and make a racket. That was the extent of it at the beginning; we just wanted to have a bit of fun and play some music loud.
Did you always intend for the sound you arrived at or did it evolve?
DB: It certainly evolved. I can't say there was much intention in terms of the sound of the band. We learned how to put music together. It wasn't a case of 'let's do this' or 'let's do that' because we weren't really that capable of it, to be honest. We just sort of blundered on and we just made a racket. I think it's really important to try and let whatever influences you have come through in a way that's natural and not contrived. If you spent too long thinking about what kind of sound you want then you're sort of missing the point. We were keen to let things come out the way they come out. Don't get me wrong, there was no other way to do it when we started because we really couldn't play that much together. I'd never been in a band before, but Jordan had a little bit.
The music you make is a glorious and unholy collision of blues and punk. Was this music that you'd grown up with?
DB: There are certainly those elements in there, but there's a lot of other stuff that goes in there. We listen to a whole load of music; it doesn't matter if it's punk or it's blues or it's soul or funk. It could be anything, really. We like what we like regardless of what it is. Again, I think you've got to let things come through naturally; that's how you arrive at a sound. Or, arrive at a sound that's honest and that's us. We play music out of love and that's all that we can ask of ourselves, really. We're digging what we do. What people get out of it and what people want to reference it to is really up to them.
Songs like 'Flatlining' and 'Every Guy Wants To Be Her Baby' are like film noir set to music. Have those kinds of films or books influenced you in any way?
DB: If you're really into being creative then films and literature should all be in there somewhere. You've got to be open to whatever it is and that's what we are. We just try to let things through in a natural way in terms of, 'ok, is this feeling right?' We really go on instinct. But you're right; there's a whole load of influences there that do include films and literature. I don't want to explain this too much because rather than starting to give things context and referencing things you give people a heads up and we want them to make up their own minds; if people get different things from it then that's fine.
Some of the songs on the album are quite minimal and mantra-like and it seems as if you're trying to induce a trance-like state in the listener. Is that the intention?
DB: We don't really put a lot of thought into who's going to be listening to the music; we never have. We never thought anyone would be listening to the band but the wonderful thing about music is how awe-inspiring it is in the way that it connects with people. But minimal? Yeah, that's the one thing that we've always touched on – that and space and giving things room to breathe. We've always taken that approach from the start; we don't need to fill every space up. Minimal is good for us, especially for our music. And if that induces a certain feeling then all the better.
Rock and roll always seems to be written off but it always manages to return, phoenix-like. What do you think is its enduring appeal and why is the music of The Amazing Snakeheads connecting with people now?
DB: I don't know how our music is connecting with people; that's where the wonder and awe comes in! It really is awe-inspiring that for some reason the music that we make and will continue to make has connected with people in a certain way; that's fucking awe inspiring, and if you can't see the wonder in that then you shouldn't fucking do it. For me, rock and roll saved my life and it makes me feel alive. When things click into place, whether it's onstage or recording or writing then it works and I feel like I have a purpose in life. For me, that's where I'm at with rock and roll and I'll die for that feeling. If you're fortunate in life to have something that makes you happy then you should treat it accordingly. It's about excitement and it's about energy and it's about feeling alive.
You've toured with Glasvegas and The Jim Jones Revue. Did you learn from them?
DB: Absolutely. Glasvegas were the first band to take us on tour, and it was really good, because if you're in band then you really want to be on tour. Certainly we do, and that was our first experience of being on the road. It was only six days but it was a good taste, and we're very grateful to Glasvegas for doing that. The Jim Jones Revue are a fucking rock and roll band who go onstage every night and lay it on the line, and that's what it's all about. Forget the music - it's about what you do onstage. Rock and roll, jazz, whatever it is, your sole purpose is to be on that stage and that's what they do. It was really good being on tour with The Jim Jones Revue so we could see them actually do that. That's the way it's meant to be, because a lot of the stuff that we've talked about as a band has been really theoretical, but it was really good to be on the road with them and see what they do every night. They really do give everything, every night, onstage.
When you're onstage, do you find that you're no longer you, but a new character altogether?
DB: Speaking personally, it can either be hell on earth or it can be transcendental. It's one or the other for me. There's no middle ground; it either works or it doesn't. I'm either feeling it and achieving that feeling that I want to achieve every night that we play, or else it's just not there. That's not where you want to be, so every night we take the approach that this is the last gig we're ever going to play. We don't think about what's coming after it, because it has to be that way for us. When it does work, it's fucking powerful, man, and it makes me feel good.
You've already garnered a reputation as a fearsome and intense live band. How easy or difficult is it to capture that in a studio environment?
DB: To be honest, it wasn't particularly difficult. We took the approach that we didn't have much to lose. But playing live and making a record is not a chore. We were really looking forward to getting in the studio and we were really confident. We knew we were going to do it with Emily McLaren and Stuart Evens at Green Door studios so we were really excited about getting in there and just seeing it. In saying that, you never know how it's going to be, however confident you are. When we started, there was never a moment when we said, 'This is working', I could just tell and we were feeling it. The five of us in the studio were really getting to it and we were really being creative and ideas were coming. Some ideas worked and some didn't, but it was a really beautiful experience to be in a studio. It has exceeded expectations. We were confident, but we knew we wanted a lot in terms of textures and the sonic things we wanted to do, and we love the album. We're really pleased with it.
There's a high degree of dramatic menace in your music. Is that a reflection of your environment?
DB: I don't know. It's come up a few times. People can take our music how they take it, and I have no problem with it, but there's a lot more to it than just being angry. I mean, you say 'menace', but there's a lot of joy in it as well. Most of the time, when I'm writing the lyrics, I'll be fucking laughing. 'Where's My Knife?' was cracking me up when I was writing it.
I'm hoping that Glasgow is on the record. It's a tough city but it's a great city. It's got a bit of a bad rep; certainly in the 60s and the 70s, it was a rough fucking city, man, but now it's a beautiful city and a really creative city. I hope it's made it to the record, but it certainly wasn't a conscious thing. We believe that who you record with and where you record with will all make it on to the record. You just don't think about it – you let it seep in.
The dramatic menace thing, I can see where you're coming from with the horror movie and film noir stuff, rather than real menace. 'Every Guy Wants To be Her Baby' is just a story, and if you're going to tell a story in song, then you've got to go there. If you're going to tell a story, man, you've actually got to be there when you're telling it. You've got to put yourself in that position and you've got to visualise it and you've got to be able to smell it. If it comes across as dramatic then all the better, and it's down to how you tell it, and how far you're going to go with it.
What music would you play to get a party started?
DB: I'd put on some Sam Cooke and James Brown. Soul music is good to dance to. I could throw a lot of things in there but I'd say James Brown – that's when the party gets going. When he goes on, everybody's on it! You'd better believe it.
Line Up :
Dale Barclay
William Coombe
Jordon Hutchiso

Label :
Domino Records

Tracklist :
01 – I’m A Vampire
02 – Nighttime
03 – Swamp Song
04 – Here It Comes Again
05 – Flatlining
06 – Where Is My Knife
07 – Every Guy Wants To Be Her Baby
08 – Memories
09 – Heading For Heartbreak
10 – Tiger By The Tail



dimanche 30 novembre 2014

Album de la Semaine : Viet Cong - Viet Cong

Viet Cong
Viet Cong


Interview de Viet Cong, par Brightest Young Things

What’s the origin of the band’s name? 

Our drummer Mike [Wallace] came up with it.

Have you encountered any negative reactions – especially in the States – to calling yourselves Viet Cong?

We’ve got a bit of hate mail about it but nothing too crazy. We were kind of worried about having some vets working at the border, but it’s been all-fine in the States so far.

I’ve legitimately had four conversations in the past few weeks where people have been singing the band’s praises – a small sample size, obviously, but still. Have you noticed an increased enthusiasm about your music in recent months?

I dunno. There’ve been some more people at the shows on this tour than the last one, but we had no press or proper releases then, so that kind of makes sense.

What was last fall’s North American tour like? When your going across the country, without an album officially released, just getting your name out there, do you ever think, “What the fuck are we doing?”

Naw. It was pretty raw, but we’re all pretty pro at eating shit. I’ve done some good tours, and Matt and Mike have too, but it’s fun to just hobo-renegade and sleep outside on the side of the highway.

How would you describe your relationship with Chad VanGaalen? Have your experiences touring and recording with him had any effect on how you approach music, from a technical perspective or more generally?

I’ve been good friends with Chad for the past 6 years or so, and Matt’s been friends with him for a bit longer even. I think how it’s affected me is that no matter how bad a show goes now, there’s always been one that’s gone worse in front of more people.
Recording with him has been good, because he just kinda goes for it. When I was just starting to get serious about recording and production, he was good to see work because I realized you could just figure it out as you went along and not worry about it too much.

I spoke with Chad a few months ago, and he said that he had encouraged you to record by yourself.  Why did Viet Cong end up working with [Holy Fuck's] Graham Walsh? What sort of history – if any – did you have with him?
Graham is the partner of our good friend Julie, so that’s how we originally got hooked up with him a long time ago. We just wanted to do something a bit more hi-fi than what we’d done with the cassette, plus we wanted to go to a studio outside of Calgary to get some isolated focus. Anyway, he did a great job on the record!!!

MUSIC-vietcong-2013-10-16T21-38-45-086046

How did you connect with Mexican Summer?
They just emailed us about doing a 7″ and it just snowballed into the reissue of the EP.

I read that a few of songs on Cassette were from the same sessions as the forthcoming full-length, but didn’t fit “the shape” of record. What’s “the shape” of the LP? A song like “Bunker Buster” – granted, in its rough mix form – feels slightly more expansive.
The songs on cassette were actually just all the songs that we didn’t want on the full length. It’s really kind of a b-sides thing more or less. Honestly, we just threw the cassette together the day before the last tour so we’d have some merch. I’m happy it’s getting a more proper release now, but it’s definitely a bit of a mixed bag.

Any concrete details you can share about the record?  Is it signed, sealed, and delivered?
It’s mixed and mastered, and the art is all done, but I can’t really say more then that right now. We have a label to put it out worldwide, and Flemish Eye will be doing it in Canada, but beyond that, you’ll just have to keep an eye out.

When can we expect to hear it?
The release date is gonna be in the fall sometime.

How would you describe the personality of Calgary musically?
Hmmm, there’s a bunch of good bands in Calgary right now. Lab Coast, Modern Aquatics, Un blonde, Teledrome and Fist City being some of my faves.

Do you think you’d ever leave?
I don’t know about moving somewhere else. We’ve talked about it, but I still like Calgary. It’s where I’ve always lived, plus all our families are there and all. We’ll see.

People have thrown a lot of comparisons at Viet Cong. Are there comparisons you’ve seen that make you scratch your head? Are there bands you’re directly inspired by or draw references from?
Whatever people are getting from it is fine, so nothing’s really made me scratch my head. I’m personally just trying to ape This Heat’s “Deceit”



Line Up :
  • Matt Flegel
  • Mike Wallace
  • Scott Munro
  • Daniel Christiansen


Label :
JagjaguwarFlemish Eye

Tracklist :
01 – Newspaper Spoons
02 – Pointless Experience
03 – March of Progress
04 – Bunker Buster
05 – Continental Shelf
06 – Silhouettes
07 – Death









dimanche 23 novembre 2014

Album de la Semaine : The Icarus Line - Avowed Slavery

The Icarus Line
Avowed Slavery


Interview de The Icarus Line, par L.A. Record

Amberlie Bankoff
Los Angeles hellions Icarus Line released their fifth studio album, Slave Vows, on July 22nd via Agitated. Joe Cardamone (frenetic frontman and owner of Valley Recording Co.) waxes about robbing banks, bloody steaks, and weeding out the pussies. The Icarus Line prepare to embark on an intense tour cycle beginning this weekend, October 13th, at The Fonda with Primal Scream. Check out their new record Slave Vows, which Pitchfork called “…feral and uncompromising…burdened, discordant blooze…every instrument is being physically wrestled and beaten into submission like rabid dogs…”Interview by Jacquelinne Cingolani
How’s Valley Recording going? ( note: Joe owns a studio in Burbank that has had many visitors ranging from Pink Mountaintops, Jay Mascis, and Annie Hardy and the Psychos (Annie Hardy from Giant Drag) Is it weird to balance the studio, touring, and making records?
Joe Cardamone: Yeah sometimes I feel like I’m robbing one or the other of attention. Sometimes it’s tough, sometimes it’s easy, but I never make money. I don’t know man, sometimes I think I should just burn this place to the fucking ground.
Haha, buyers remorse? Well, on a positive note, you released the new record Slave Vows through Agitated (UK label), are you guys getting ready to roam the European cities?
Well, it’s like nothing is gonna happen for me anywhere. Ya know? It’s like nothing is gonna happen if I just sit in London and well…you know try and make this thing happen. I’m not so career driven. It doesn’t really matter to me. I don’t really care half the time what happens. I live here. I don’t wanna go anywhere.  It’s like I’ll go over there, play a show and then go home.  If people buy our records and come to the shows that’d be awesome but if they don’t then I really don’t care, I’m still going to do this.
I think that’s the whole grand irony, it’s almost as if the more you don’t give a shit about it, the more it just keeps knocking. It works the direct opposite of other things which I find really funny.
Well, you have to do it for yourself ya know? If you’re not concerned with exciting yourself and reaching your own bar then you’re not doing anything. There’s just no rewards in pleasing other people when it comes to art.
Is that something that you learned? 
I’ve always been like that. I mean, I’ve learned it maybe in the few instances that I’ve compromised for money or for pleasing other people and the few times I’ve ever done it I was like, “Oh, this is pointless.” But, I’ve always been under the train of thought that I really wanna fuck with people and that’s why I do this. There is one main goal here and that is to freak people out and have a good time.
Speaking of the devil, you guys played at Taix the night before The Roxy recently. That was amazing. I was telling your girlfriend Charlotte how nervous I was seeing you hop from table to table and throw lit candles off the tables like some crazed loon. We both were worried you were going to fall! How was the Roxy?
Yeah that was weird. That part of town sucks as everyone knows but we got a lot of money to play there and we really need to buy a van.
Were you not feeling it? 
It was cool but a struggle. It’s like OH GOD! Everything on that part of town is a struggle. You have to overcome so much to be there…ya know? That’s just the nature of it. But, I’ve been doing this a long time and really all I want to do is be up there with those guys and enjoy the moment. Because at the end of the day if you can’t do that then you have nothing really.
But what if you aren’t feeling it? 
That’s the only thing I’m in the mood for. Even if I’m not in the mood ten seconds before we play, as soon as we start playing I’m in the mood. I always pretty much feel like this could be it, I could be dead or loose my hand, or whatever horrible thing could happen. I need to enjoy it ya know. It’s like I never know if I’m going to be able to play again.
So just live in the moment?
Yeah that is the rare instance where I am liberated from worrying about the future, worrying about money, worrying about the bullshit in life. When I’m up there I don’t even remember anything that happens when I’m up there. I’m not even there, it’s awesome, it’s better than any drugs.
So no poisoning yourself before you go on stage? I know you don’t drink and you quit using hard drugs so what do you do to prepare before you play a show?
I’ve never drank. It’s never been that good of a drug for me. It doesn’t have any positive benefits. I always liked street drugs that altered me in a productive way. Drinking alcohol doesn’t make me sing better and actually it makes everyone tone deaf.  You know the one thing I do to get ready when I can is eat steak.
I know! You’ve said that to me before! And super rare right?
Yeah, I always do that if I can. Something about red meat protein makes me feel like I have fuel inside. I can literally eat a steak, rob a bank, and get shot a hundred times and feel fucking great. That was the advice from the only vocal coach I have ever had. It was a coach paid for by a major label and it’s the only thing he taught me that I remember. I had a steak before the Taix show, that’s for sure.
I didn’t even know you guys were playing!
I didn’t even tell anyone.
I got a text from my old neighbor telling me my friend was playing and I had to come down. You guys blew his mind. It was cool to see someone so excited.
That’s the way it should be man. I still walk into places and hope I’m gonna see something like The Cramps.
Have you walked into anything recently that wowed you?
Swans at The Fonda blew my brains out! They were one of the best bands I have ever seen in my life. They played the same three notes on these giant chimes for twenty five minutes while they weeded out all the pussies in the room.  They pummeled people for about an hour and a half.  There is not a lot of stuff out there like that. It was so fucking loud when they were playing the chimes! It was like going through my fucking skull!
So then what is the problem? Solve it for me JC! Why aren’t there experiences like that happening all the time?
The problem is there are too many people in bands that have no business being in bands. It’s like if this is a hobby please keep it to yourself. They don’t need to smear their fecal, middle of the road garbage in our faces.  It’s like if you are going to be in a band you better be better than you think you are.
So is that the formula?
What the hell do I know? I’m not a huge success so, what do I know about anything except annihilate everybody.

Yeah, then what is success really? I think you had it in your opening statement. You have to do it for yourself first and foremost. That always rings the most truth.
I define success as an emotional thing more than anything you can quantize in numbers.” That’s why I love the studio (Valley Recording). It allows me to open people’s minds to new music or help a band explore other parts of their sound. It’s so rewarding. That’s what I don’t understand.  Why do people do this unless doing it is enough? The reward is being able to do this at all. Having the experience of moving people’s bodies with sound. It’s like that is the sacrament, that is the holiday.

Line up :
Joe Cardamone
Alvin DeGuzman
Ben Hallett
Lance Arnao
John Bennett
Kyle Spider

Label :
Agitated

Tracklist :
01 – Leeches and Seeds
02 – Junkadelic
03 – Raise Yer Crown
04 – Salem Slims
05 – The Father The Priest