Friday, December 31, 2010
Lists are in alphabetical order but not limited by a number.
Akitsa-Au Crépuscule De L'Espérance
Ash Pool-For Which He Plies The Lash
The Bastard Noise/The Endless Blockade-The Red List (split)
The Bastard Noise-A Culture Of Monsters
The Endless Blockade/Unearthly Trance-(split)
Joshua Norton Cabal-Inner Light
Juhyo/Joshua Norton Cabal-Human Cargo (split)
Slaughter Strike-At Life's End
Swans-My Father Will Guide Me Up A Rope To The Sky
Integrating my 2010 cassette purchases into my yearly list proved to be a trying task for some reason this time around. I ended up with a lot of really great ones during 2010. Of note, was that Hospital Productions put out a whole slew of really interesting cassettes this year. I was fortunate enough to acquire a good number of them among my cassette purchases throughout these past 12 months. The killer “Lone Gunman” cassette by Raspberry Bulbs is worth noting as well.
Burning Star Core-Inside The Shadow
Prurient/Cold Cave-Stars Explode (collaboration)
The Bastard Noise in Raleigh, NC
Cough in Norfolk, VA
Double Negative (twice in one night) in Richmond, VA
Druglord in Richmond, VA
Druglord in Hampton, VA
Ocean in Richmond, VA
Swans in New York, NY
Wolf Eyes in Baltimore, MD
Thursday, December 30, 2010
A lot of people don’t notice what’s going on and plenty of people that do notice might even tell you that they don’t care. I can see that side of it but I think that this sort of thing is extremely dangerous, even if you don’t notice or care. One of the primary functions of true art is supposed to be it’s representation in some way of the human condition, it’s supposed to mean something and evoke emotion in some way, both for the artist and admirer. That’s my opinion at least. When those things are turned to nothing but business deals and marketing strategy devoid of any emotion it undermines the entire institution of art. It cheapens it for everyone and contributes to the ever growing plastic nature of the modern culture that we live in. True underground/independent culture is the last haven for true art by true artists (but that’s something that I’ve covered multiple times in this blog so I’m not going to focus on it too much in this entry).
Music in the mainstream with any sort of authenticity at it’s root has been on a steady decline. Sure, there’s always been people making and marketing music for the sole purpose of making money but at least in the past you had some “real” artists with integrity to look toward or even cut your teeth on as a youngster. These days things seem to be more horrible than ever, people will no longer embrace anything unique the way they might have in decades past. Within the context of rock music, since it’s creation in the 50’s, even when shit was looking really bad, you’d at least always have these shake-ups roughly every ten years or so where something would rise up and take over, completely underneath the major labels’ noses. Then they’d have to scramble for a few years to reign it in and find a way to turn a profit on it (rock’s creation in the 50’s, the psychedelic/hippie movement of the late 60’s, punk in the late 70’s, “alternative rock” in the late 80’s/early 90’s).
We haven’t truly had another revolution like that in the mainstream since the early 90’s. I’m scared that we may not see another one. Over the years, every time something like this rose up and threw the major label system into a frenzy, they learned. They got better and better at quickly reigning things in every time it happened. They’ve gotten so damned good at containing, manipulating, and marketing youth culture, the concept of artistic integrity, and “coolness” over the years that it’s very rare that anything of quality or with an actual artistic vision can get through their filters untarnished anymore. Unfortunately the majority of consumers don't notice and/or don’t care so nothing gets done about it and something will usually make money whether it has any properties inherent to art or not. Often times, the more homogenized it is, the better it sells these days, only reinforcing the behavior.
I think that the state of things is disgusting and is only going to breed more of the same and create a more oppressive environment for true art and true artists. The money making lowest common denominator is being allowed to have complete control over what the majority of people see as art. There is no longer any room within the mainstream for anything different or authentic or interesting. Anything that might alienate anyone is deemed a financial risk.
I don’t care much for mainstream culture anyway, so I guess this is mostly just commentary from an outsider. I do think this sort of thing is dangerous for all of us in the long run though.
Sunday, December 26, 2010
The break up of the vinyl colors/alternate covers is: glow in the dark w/ regular sleeve (/100), black w/ record release sleeve (/25), black with regular sleeve (/375).
Ordering from Last Anthem is your best bet for getting a copy on glow in the dark vinyl and obviouly coming out to the record release show is your best bet for getting a copy with a record release sleeve.
There will be two separate raffles for a test press. One online and one at the record release show. For the online raffle, you get a chance to win a test press with every record you order (1 record=your name 1 time in the pot, 2 records=your name 2 times in the pot, etc). Phil will be announcing the winner on Feb. 1st. The raffle at the record release show will be based soley on sales that night at that show and the winner will be announced at the end of the night. You will get a raffle ticket for every record you buy at the show (1 record=1 raffle ticket, 2 records=2 raffles tickets, etc).
Last Anthem also has copies of "Lot Lizard" (7inch) and "Ornament" (CD) in stock.
Thursday, December 23, 2010
Tuesday, December 21, 2010
Monday, December 20, 2010
@ The Boxx in VB (for their "Metal Mondays" thing)
Starts at 10pm
Surrogate got added to this a few days ago. I'm really glad to have some friends playing too. Maybe it wont be so awkward now haha. I think people are DJ'ing music as well.
Sunday, December 12, 2010
Saturday January 8th
@ Double O Recording
(223 Salter's Creek Rd #19
Hampton, VA 23661)
8pm $5 (donation)
Last Remaining Pinnacle
Debris Amour/Pan Galactic Straw Boss (collaborative set)
This WILL START ON TIME so don't be late or you're gonna miss a set.
There will be 25 record release covers. The pressing is 500 (100 glow in the dark/400 black). Record release version will be on black vinyl. This means there will be 3 different options at the show. Black vinyl w/ record release cover ( /25), black vinyl w/ regular cover ( /375), and glow in the dark vinyl with regular cover ( /100). There will also be a raffle for a test press. A raffle ticket will be given away with every record purchased.
Check out the previous post for info on other shows and various happenings.
Wednesday, December 8, 2010
Moutheater show on December 29th @ The Candle Haus in Washington DC (Fairfax, VA) w/ Natural Law and Lotus Fucker. This should be a real fun show. Probably $5 and probably starts at 7pm. All ages. Has to be over early so don't get there late or you're gonna miss shit. *Edit* We are no longer playing this show. Sorry for the inconvenience. *Edit*
"Colonial" should be in our hands soon. Record release show is in the works.
Swim Harder Cassettes 50% off sale is still going on. Now thru Christmas (or until shit runs out). Everything in the webstore is included in the sale.
Swim Harder Cassettes has a new release planned that will hopefully be out (if I can find some time to sit down and get it done) in January by Panther Modern (members of T.O.M.B.) called "Satanic Logic".
Lastly, I'm in the very earliest stages of getting my shit together for a new Debris Amour release.
Monday, December 6, 2010
Sunday, December 5, 2010
1. Tell me about the origin or Debris Amour, Moutheater, and Swim Harder Cassettes. Moutheater started out as Tim and I. I met Tim through his studio (Doubloe O). My old bands used to record there with him and long story short, we became friends and started working on music together. The initial concept for the band was for it to be the most aggressive elements of the 90's stuff that we both love combined with various other influences. Swim Harder Cassettes started as a result of another cassette label offering to put out a Moutheater release. Things didn't pan out with that label so I decided to do it myself, this became the No Ballet ep and SHC's first release. Debris Amour started as a result of my growing interest in "experimental" (for lack of a better all encompassing word) music over the past 6 or so years. I needed an outlet that allowed both pure sonic freedom and for me to somewhat step outside of the box of the guitar (which I've been playing for 16 years) and guitar oriented music.
2. Do each of your projects fulfill different needs from the other? If so, how? Yes and no. They allow me to do different things and have a wide range of places for my ideas to go but at the same time I sort of look at them as all one big thing underneath the umbrella that is my creativity.
3. Where do you tend to draw inspiration from, creatively? The most horrible parts of existence and me as a person are often the focus.
4. The first Moutheater recordings had a more Jesus Lizard/Shellac kind of vibe going, but a little more aggressive. Recent material seems more direct and heavier. Why has the band progressed this way? To be honest, we just do what we want, how we want, when we want. There's not any conscious effort to steer the band in any certain direction so it's hard to really look back and analyze something like that. We write, and whatever comes out comes out.
5. Your performance style (from what I've seen), or approach, seems a bit different between Debris Amour and Moutheater. Is it just a matter of Moutheater being a full band, or is there some other significance to facing the crowd, talking more, with Moutheater, versus knelt down, back to the crowd, with Debris Amour? Sort of like the last question, it just sort of is what it is. I do what I feel during every performance. So any of it could potentially be different every night. Some Moutheater sets I might talk a lot and interact with people inbetween songs, some I might not say much at all. With DA I just sort of feel that's the best way to present it. I like being right in front of the amp and feeling the sound rain down on me and push against me. There are often points in Moutheater sets where I'll stand in front of my amp and push my head against the speakers for very much the same reason. It all really just comes down to what I'm personally feeling at any given moment.
6. While I haven't read the lyrics to any of the Moutheater songs, the lyrics to Debris Amour seem very hopeless, desperate, and, to a degree, self-loathing. Where does this stem from? Do Moutheater songs tend to follow the same suit? Moutheater and DA lyrics are very similar. When I'm putting together lyrics for either project they're all coming straight from the same source, which is the ramblings and thoughts in my head and notebooks. In reference to where it stems from, I look at my projects as sort of an outlet for the most awful, ugly, horrible parts of me as a person.
7. You performed in both the noise/experimental and metal scenes... What are some of the differences you've noticed between the crowds, or is there any real difference? Do you tend to enjoy one over the other? People tend to be a little bit more open minded in "experimental" circles but for the most part I think they're pretty similar. I enjoy both very much.
8. You run the tape label, Swim Harder Cassettes. What's the reasoning behind the label, and what are you hoping to accomplish? I sort of stated the reasoning earlier. I really have no goals or anything that I feel I need to accomplish. It's something I enjoy doing so I do it.
10. How did you first discover "underground" music? Is there truly such a thing, anymore? The very first band that sort of opened the door for me to underground culture was Nirvana. I write a lot about my thoughts on underground culture in my blog so for the few that might care about what I have to say about it, I would recommend checking that out. It's just too much for me to sum up here in a few paragraphs.
11. What is one movie, one album, and one event that has had the biggest impact on you? Movie: Apocalypse Now, Album: Nirvana Unplugged in NYC, Event: Picking up the guitar for the first time at age 11.
Saturday, December 4, 2010
Tim and I are a difficult bunch to work with, you can ask almost anyone who has worked with the band on some level over the years and they’ll tell you the same. Nothing ever goes smoothly when we’re involved.
The records and covers are both being pressed at their respective plants now and should be available very soon.
Friday, December 3, 2010
Sunday, November 28, 2010
Monday, November 22, 2010
Saturday, November 20, 2010
Sunday, November 14, 2010
-Friday December 3rd: Debris Amour, Pan Galactic Straw Boss and others at 37th & Zen in Norfolk, VA. Not sure of cost or start time. I've got some new live material that I'll be playing for the first time at this show.
-Monday December 20th: Moutheater at The Boxx in Virginia Beach, VA for their "Metal Mondays" thing. It's free. From what I gather it's only one band per show and then people DJ afterward.
We (Moutheater) are currently waiting on the "Colonial" test presses to come in. Hopefully they'll be hear soon and we'll be able to approve them and get this thing out in the next month or two. More details on a record release show once we get a little more solid info on a release date.
I've been taking a short break from Swim Harder Cassettes. I should have a new release out early in the new year by Panther Modern (which features members of T.O.M.B.) called "Satanic Logic". It's going to be a good one so be on the lookout for it.
Hopefully many more Moutheater and Debris Amour shows will ensue in the new year. The pickings have been slim lately unfortunately.
Feel free to contact me if you need any additional info on anything mentioned above.
Saturday, November 6, 2010
Picked up a few things at the show and at Vinyl Conflict:
Trap Them-Filth Rations (CS)
Diapsiquir-Virus STN (LP)
The Endless Blockade/Hatred Surge-split (LP)
Sunday, October 31, 2010
-The Beatles-Helter Skelter
-The Cramps-Voodoo Idol
-The Melvins-If I Had An Exorcism
-The Dead Kennedys-Halloween
-Jimi Hendrix-Voodoo Chile Blues
-Echo And The Bunnymen-The Killing Moon
-The New York Dolls-Frankenstein
-The Smiths-Girl Afraid
-Halloween (movie theme)
-Bad Brains-Fearless Vampire Killers
-Electric Wizard-Black Magic Rituals And Perversions
-Werewolf Jerusalem-Werewolf Shadow
-The Brian Jonestown Massacre-Monster
-Sunn O)))-Hell O))) Ween
-Bauhaus-Bela Lugosi's Dead
-Prurient-Mask Of The Boys
-Unearthly Trance-Blind Driving Through The Ghost Mountains
Wednesday, October 20, 2010
Monday, October 11, 2010
My wife and I flew to NYC on Saturday to see Swans at the Bowery Ballroom. They were incredible. I had a great spot up front (stage right).
I stopped by HP earlier in the day to get some new tunes. Picked up some killer stuff, got a few recommendations per usual, and chatting with Dominick was a pleasure as always.
Monday, October 4, 2010
Often times the answers to this question are only excuses for laziness, failure, or total lack of any real ideas, inspiration, or creativity.
Tuesday, September 14, 2010
Saturday, September 11, 2010
I also just realized that I never mentioned on here how awesome Double Negative was a few weeks ago. Again, that was another Richmond drive. Saw them play two sets in one night. Once in a basement and then downtown an hour or so later. New LP rips.
Thursday, September 2, 2010
Wednesday, September 1, 2010
Tuesday, August 17, 2010
Double Negative-Endless Dissapointment
Swans-In The Eyes Of Nature
Bastard Noise-Interior Warfare
Monday, August 16, 2010
Sunday, August 15, 2010
Saturday, August 14, 2010
Friday, August 13, 2010
People no longer appreciate anything when everything is at their fingertips. For underground culture this is a particularly troublesome issue. The result is less dedication to the culture behind the music.
The records you listened to and the things you knew used to be a reflection of who you were. Now they're just a reflection of how fast you can type something into google or wikipedia. You used to have to actually put effort in and really get down and dig. Now you don't have to do anything. It's all right there in front of you, ripe for the picking. This sort of touches on some aspects of an article that Ryan McKenney wrote a few weeks ago that I really enjoyed (it's a good read and I suggest you take the time to check it out). People not putting the time and effort in and being more concerned with getting those great seats at a sporting event and tickets to the latest flick instead of getting out and supporting something that they claim to love, and that actually NEEDS their support to stay afloat. This is sort of the classic example of the weekend warrior within underground culture. They want to take the tidbits that they're comfortable with and be involved when it's convenient for them. I believe that when looking at the big picture, that sort of thing is harmful to the cultural aspect of underground music.
On a larger scale, records coming back is probably just a passing fad. I used to not feel that way, I used to think that maybe they could actually come back on a grand scale. But I really just don't think it's possible. The reality is that the majority of people are lazy and careless. Right now within mainstream culture, records (and also cassettes on lesser level) are "cool" and "hip" and "making a comeback", but not something necessary to listen to music anymore. Things that are "cool" and "hip" go out of style. Things that are necessities stick around because people have no other choice. Records no longer serve a necessary purpose for your average, mainstream, music consumer. In 15 years cd's will be "retro" and thus "cool" and "hip" and "making a comeback" again. They're all bullshit passing fads, not a revolution in the way people look at music. The mass of people don't give a fuck about ideals or preservation and aren't going to cling to something that's expensive and makes life/listening to music more difficult after it's not "cool" or "hip" anymore. Especially when there's an easier option right in front of their faces.
I'm a huge supporter of music as a physical medium and I've stated that many times in this blog. To get to my end point, the underground needs to burrow further down and I believe that physical medium is one way to do that. In this day and age when every aspect of underground culture is accessible to every asshole on the internet, I think it's important for the underground to hold tightly to physical mediums as an attempt to burrow further away from the mainstream and the weekend warriors (because again, their fixation with phyiscal media will be over in a few years and it'll be a downloading feeding frenzy). It's a way to limit the access of our culture to the people that truly have their hearts and minds in the right place. It's also a way to slow down the information overload and allow time for reflection and appreciation of art/music.
So I guess to sum up, the internet and downloading aren't killing music. People thought the same thing about records ("people wont go out and see music anymore if they can listen to it at home") and cassettes ("people will just tape everything and stop buying music") when they first came out. Evolving times might change the way people hear music but they can never kill the artistic spirit. The desire by true artists to make true art is something that very few things in this world can stamp out all together. But I do think that the internet/downloading is aiding in the destruction of the culture of underground music. It's allowing people that don't care to have access to our culture and to hurt our culture. As I've said before, what makes underground culture so unique and potent is it's self-imposed exile from the mainstream. We can't ever give that up.
Sunday, August 8, 2010
Tuesday, August 3, 2010
Noise project of Andrew Nolan (of The Endless Blockade). Unbelievable recording from this long running project featuring field recordings, bass, vocals, found sounds, and extremely well orchestrated harshness. c20. Limited to 60 copies.
Wednesday, July 28, 2010
Trying to get a little extra loot together for my next two releases. Sale ends Friday at midnight. Moutheater titles are included in the sale.
Joshua Norton Cabal-Between Two Fires
Joshua Norton Cabal is the noise project of (ex)-Shank and The Endless Blockade member Andrew Nolan. I have the tracks and they are incredible. More details to come.
Panther Modern-Satanic Logic
Featuring members of Philly based black noise band T.O.M.B. I'm being told this release will come with religious propaganda. Should be very interesting. More details to come.
Sunday, July 25, 2010
Pharoah (Friends from NJ, members of The Banner, new tape on Free Cake.)
Surrogate (Heavy VB punx.)
@ The Candle Haus
Fairfax, VA (Washington DC suburb)
Sunday July 25th
I've head talk of a keg.
Hit me up on email (posted over to the right) if you need the address.
Sunday, July 18, 2010
I was in NYC again this past weekend to take care of a couple of things. I hit Hospital Productions and Generation Records. I didn't have any luck at Generation unfortunately but I grabbed a bunch of stuff at HP:
The Endless Blockade/Unearthly Trance-split
Raspberry Bulbs-Lone Gunman
Carlos Giffoni/Prurient (collaboration)-Heavy Rain Returns
John Wiese-Circle Snare (Limited Edition version w/ book)
John Wiese/C. Spencer Yeh (collaboration)-Cincinnati
John Wiese/C. Spencer Yeh (collaboration)-New York/Atlanta
Alvars Orkester-Organic Woodtrip (in handmade wooden box 174/200)
I grabbed a neat little book of Warhol stuff from the Museum of Modern Art too.
So Jeb and I have both been out of town (separately). While we were gone, Tim re-recorded his drum tracks for the new Moutheater record. This puts us a little bit behind schedule because Jeb will have to re-record his bass tracks but I think it'll be for the better. We're doing bass and guitar on Monday and Tuesday.
Monday, July 12, 2010
Sunday, July 11, 2010
Thursday, July 8, 2010
Wednesday, July 7, 2010
Saturday, June 26, 2010
2. I went down to NC to see The Bastard Noise a few nights ago and they were incredible. Catch them on this tour if you can. You will not be dissapointed.
3. I made a Swans mix for a few friends who were asking for one. Here is the track listing:
1. I Crawled (from Young God)
2. Sex, God, Sex (from Children Of God)
3. Half Life (from Cop)
4. Coward (from Holy Money)
5. Weakling (from Filth)
6. Cop (from Cop)
7. In The Eyes Of Nature (from Love Of Life)
8. Failure (from White Light From The Mouth Of Infinity)
9. Trust Me (from Children Of God)
10. Empathy (from Soundtracks For The Blind)
11. Real Love (from Children Of God)
12. Helpless Child (from Swans Are Dead *live version of the song – originally on Soundtracks For The Blind*)
13. Killing For Company (from The Great Annihilator)
14. Why Are We Alive? (from Various Failures *alternate version of the song – originally on White Light From The Mouth Of Infinity*)
15. I Crawled (from Swans Are Dead *live Jarboe version of the song – originally on Young God*)
4. This is something I posted in another blog in response to a podcast on the relevance of analog media in the digital age. I'm posting it here to help keep my thoughts together:
I finally got a chance to sit down and listen to this. I think having a physical medium is important for many of the same reasons you've stated. I think the internet has made things too easy. It's made more people take art and music less seriously and view it as a casual interest rather than something that they need to put lots of time and energy into.
I collect music on all formats. Vinyl, cassettes, cd's, whatever. I consider myself a music collector rather than a record collector. For me, having the physical representation of the artist's vision and having to take the time hunt it down somewhere is what's important. Not whether it's a cd or record.
One thing that I hate about this recent popularity in vinyl culture is the myths that it's founded on. There's a whole lot of people repeating bumper sticker style slogans about vinyl that don't have a fucking clue what they're talking about. The whole thing about vinyl recordings somehow being better drives me insane because if you own a recording on vinyl that came out in the last 10 years, there's a 99% chance that it has touched digital at some point. Whether it be during recording, mixing, mastering, or at the plant. The idea that all of these records that are coming out right now are somehow more "pure" if you buy the vinyl is nuts. It was converted to digital at some point during it's process of ending up on wax if it's anything that has come out recently. So how is listening to something that is the equivalent of playing a cd into a record making machine any better than just listening to a cd. It's digital in either case?
Vinyl is cool, and I love records but they don't sound "better". They sound different, and you can like that difference all day long but they are, in the grand scheme of what you're hearing, an inferior version of the recording. The closest thing you can get to what the band heard coming out of the moniters at the mixing desk is gonna be a cd, as uncool as some people might think that is.
Steve Albini has an interesting take on this. He believes that analog is important because it's more permanent, not because of any of the warm, fuzzy reasons that most people claim to like analog. Audio computer files have to be constantly updated. A reel or record does not. We'll always know how to play a record. There's no wires for it to get lost in. It's physically engraved on that record.
For me, the idea of losing the physical medium all together is what's scarey. Vinyl vs CD doesn't matter because like you said, one day people are gonna sit around getting nostalgic about cdr demos haha. Whether it be a cd or a tape or a record, the important thing is the process of obtaining and learning in a way that takes time and energy rather than a click on the mouse pad.
Tuesday, June 15, 2010
There's talk of a coinciding t-shirt.
The artwork for both will be done soon.
Monday, June 14, 2010
Sunday, June 13, 2010
Saturday, June 12, 2010
Sometimes I debate whether to make these posts or not because it's not like they combine to make a definiteve list of my overall music consumption or anything. For example I don't make a post every time I get a new cassette or cd in the mail. I guess these posts are more just when I have a significant find, or when I take a trip where I hit multiple record stores, etc.
Anyway, the list:
-Black Leather Jesus-Trocar (/100)
-Cold Cave/Prurient (Collaboration)-Stars Explode
-Burning Star Core (feat./ Robert Beatty of Hair Police)-West Coast Spring Tour 2004 (85/300)
-Aaron Dilloway/Carlos Giffoni (Split)-Live At No Fun Fest 2007 (/350)
-John Wiese-Circle Snare
-Snake Apartment/Landed (Split)-(Untitled)
-Bastard Noise-The R.A. Sessions
-Carlos Giffoni-Adult Life
-Bastard Noise (feat./ John Wiese)-Decent To Mimas
-The Body Lovers/The Body Haters (Double Disc Re-issue)-(Untitled)
-Tortured Hooker-An Offender's M.O. Can Change. Static And Rigid Remains The Signature.
Sunday, May 30, 2010
Thursday, May 27, 2010
I think my real need for this sort of aesthetic in my life stems from my overall hatred of the general watering down and over-saturation of everything that means anything (something I touched on two entries ago). I don't need a bunch of extra baggage watering down the things that are important to me. I don't need 500 effects units (or any effects units at all when it comes to Moutheater) watering down my ideas and what I want to express on a record or during a performance, for example. There are those rare gem-like artists out there that can somehow create masterful work with a billion different options and tools at their fingertips but in my mind those are few and far between. For the most part you end up with some over-saturated, over-worked, contrived piece of garbage by some asshole who didn't have any real thoughts in the first place.
For me, it's much more interesting to see what someone can create with almost nothing. I think that's what separates the real artists from the fakes, the men from the boys if you will. I wanna see how your fucking mind works, inside and out. Are you a true creative mind or are you hiding behind a bunch of shit that in the grand scheme of what creativity should mean, is totally obsolete.
When you strip away all of the meaningless non-essentials, the posers quickly fall to the side of the road.
Sunday, May 23, 2010
Sunday, May 9, 2010
The first conversation started as the result of someone posting a link to a preview of a movie called "To Have And To Hold" which is a documentary about vinyl culture:
Me: Gonna check this out when it hits Netflix/The Naro. My only real problem with movies and books like this is that they tend to get presented in a way (as this appears to) that feeds into this culture of people that don't really have any real interest in preservation or underground music culture. They just buy records because a movie made it look "cool".
Friend: I agree with that mentality except- isn't that better for music overall? (When it's facing death) Maybe those posers will learn in time to become real contributors.
Me: I definitely see the side of it where maybe if 1,000 people get into it because of a movie or something then maybe 4 or 5 of them will actually stick with it. But I also have a "glass half empty" sort of outlook on this. False culture (or whatever) just sort of feeds more of the same. For instance, saying that this current "hipster" movement thing that's going on is good for underground music because it's better than nothing and/or maybe a few of them will get a clue doesn't really appeal to me because overall it's bad for underground music culture. Sure a few kids might end up getting it "right" but there's gonna be a lot more that don't. All of the idiots running around crucifying independent culture and all of it's ideals so that they can have a fun Saturday night (as innocent as that might seem to some) are really dragging it through the mud right now and over-saturating it with bullshit.
Friend: I pretty much agree. Although I'm generally more 'half full' and don't subscribe to the 'exclusivity' mentality, watered down opinions on stuff people halfway care about doesn't really do anything for anyone.
Me: I literally talk about this stuff with Ryan and a few others for hours on end haha. I feel like "exclusivity" (or any variety of other words) is what keeps independent culture potent. I feel like a large portion of punk is really watered down right now and truthfully it's because a "hey everyone, come on in" attitude has allowed a lot of people that don't really have their heads in the game and are sort of half assing everything to trample all over it and take whatever tidbits they're comfortable with. They just want an easy "cool" factor without all of the hard work. And really, with this sort of culture you're either in or you're out. Weekend warrior status=might as well not be involved at all, in my book. I'm a grouchy bastard though.
Friend: That's one thing that I actually totally agree with, when it comes to punk and hardcore. The hardcore tourism blows.
Me: Well and that's why a lot of people half jokingly say that the internet is ruining underground culture. It's made every detail of information available to everyone to manipulate however they see fit and it's also created this culture of people that don't do anything but somehow feel that they have something valid to contribute because they're on a messageboard. People no longer feel like they have to go to shows, books shows, play in bands, put records out, etc to be an active member of the underground. They can just hop on the internet.
The second conversation started as the result of a friend posting a link to a blog entry he had written about why punk and hardcore seem so watered down right now:
Me: Underground culture has become too open and allowed too many people that don't have their heads in the game (so to speak) in. In my opinion, this sort of thing waters the culture down as a whole. Underground culture isn't meant to be a casual interest in my opinion and that's how a lot people are treating it. "One foot out of the tub."="Why are you even involved?" as far as I'm concerned. If you wanna do this then great but make it your life, not a hobby for when the game isn't on. Exclusivity (from the mainstream in particular) is what keeps underground culture potent and meaningful.
The internet is also a huge factor in the laziness of current underground culture. It's bred this entire sect of people that no longer feel like they have to put records out, play in bands, go to shows, book shows, or be involved in any tangible way to feel that they're a part. They can just download a few records, read Wikipedia, and post about it on a messageboard.
Friend: Nice. I'm glad you chimed in on this. I think I understand your point but I want to make sure. Could you be a little more specific with the "make it your life" part? For example...do you mean that they need to play in bands and try and make it their job? Or do you mean they need to invest in it and care about it as more than a trite hobby? Or do you mean something completely different?
Me: I mean you need to invest in it and make it a huge part of your life. There are a lot of people that want the "coolness" of underground culture without all of the hard work. I don't think it's ok to come in and just take the little tidbits that you're comfortable with. It's all or nothing, you're either in or you're out. There's no inbetween. All of the weekend warriors are slowly watering down and destroying all of the hard work that so many have put into this over the years. It'll be left meaningless just like the mainstream if this is allowed to continue without anyone calling "bullshit".
Sunday, May 2, 2010
Sunday, April 18, 2010
Over on the right hand side of this page there are links to the Swim Harder Cassettes site and the Debris Amour myspace where you can pre-order and hear tracks.
Wednesday, April 14, 2010
Tuesday, April 13, 2010
Friday, April 9, 2010
Thursday, April 8, 2010
Something from one of my notebooks and that I've posted elsewhere but that I think needs to be posted here as well:
Thursday, April 1, 2010
Wednesday, March 31, 2010
Legendary Texas noise musician Richard Ramirez (under his Werewolf Jerusalem moniker) is joined by Houston's (formerly Japan's) Forced Orgasm for some hell raising walls of harsh noise. c40. Large fold out collage insert by A. Aircraft. Limited to 50 copies.
Order and hear an excerpt at: www.swimhardercassettes.com
Friday, March 26, 2010
I hesitated for a moment so I could clear my thoughts and really come up with the best answer and then quickly blurted out "record collecting". Now when I say "record collecting" what I really mean is "music collecting". I collect music on all formats.
While playing/creating music was the first thing that popped in my head, while it is an absolute essential action in my daily life, and while it actually is more important to my entire being than collecting music is, it also brings a great deal of turmoil to my life. I can't say that making music is a 100% enjoyable and satisfying thing. It often leaves me feeling empty, unsatisfied, drained, confused, hurt, frustrated, etc. While it is an extremely enjoyable and satisfying thing in my life as well, all of those painful feelings are also a very real part of the art I create and the processes I use to create it. Therefore I could never feel entirely comfortable saying that making music is the most enjoyable and satisfying thing in my life. The fact that I can't say that something like making music, a thing that makes up such a huge part of who I am, is the most enjoyable and satisfying thing in my life is in turn actually kind of frustrating and confusing. Thus, the cycle continues.
For me, music collecting is relaxing, exhilarating, and somehow cathartic. It's much easier to find the concept of perfection (for lack of a better word) in someone elses work than it is to find it in your own.
My own work seems to make me feel uneasy. It always seems to feel incomplete or unfinished to me, or just leaves me with this nagging feeling that there was something I could have done differently to make it better than it is. There's always a degree of never feeling completely filfilled with the art that you create though, that's sort of the eternal struggle of being an artist and why a true artist in any medium always feels the need to keep pushing themselves.
It really is heartbreaking because you want your work to feel "perfect" like the work of others that you hold in such high regard. The reality though, is that if you took that list of "perfect" albums that you hold up so high and went to talk to the artists that created each of them, they'd tell you a million things that were wrong with it and give you a million reasons why it is most definitely not a "perfect" album.
(Just to clarify, when I use the word "perfect" I don't in any way mean it in reference to something being necessarily technically proficient or polished sounding or flawless. I mean it in that way where everything sort of magically falls into place and even the crude guitar mistakes and random noises fit in beautifully. That sort of feeling that can never be recreated because it is just "perfect". Something being played well and recorded well can obviously be a factor in this but it cannot be the only factor.)
Tuesday, March 23, 2010
This is something Mike from Thrashed posted on a messageboard today:
I'm not going to go into any detail, but as you all know things did not work out as I had planned, and spent a shitload of money in the process. I'll handle any specific questions anyone has via e-mail, which will be responded to in a timely manner.
Based on my current situation and a few external factors, I am OFFICIALLY postponing the Moutheater vinyl. This does not mean I am cancelling the project, but officially putting it on the backburner for a few months while I take care of some of the said details. I will be refunding all pre-order money over the next few weeks as I round up the money. And Matt: the t-shirts were never printed for lack of demand - your refund will reflect that.
I can't apologize enough for this entire situation. I have released a few things for Moutheater and consider them to be my favorite band in heavy music right now. I have felt privileged and honored to be such a tight knit "4th member" of their band and it disgsusts my to see how I treated the situation.
I hope to have the vinyl out sometime this summer.
and in regards to the Heathens LP: I'm straightening a few things out, talking with a new pressing plant and pre-orders should be up by the end of the week.
I have recently been put into a situation which will allow me MUCH more time to handle all of this business, so I am fully confident that everything will be running smoothly from here on out.
Thanks for your patience,
please e-mail me at firstname.lastname@example.org or email@example.com for any other questions"
Sunday, March 21, 2010
-Forced Orgasm/Werewolf Jerusalem collabortive cassettes are almost done. Pre-orders ship April 2nd.
-Debris Amour, Sensible Nectar, Plasmic Formations, Teeth Collection, N. Ceparski @ Charm City in Baltimore, MD on April 2nd.
-Recording new Debris Amour material on April 5th and 6th (This material will be going on a c40 that'll be out sometime this spring/summer on SHC).
Sunday, March 14, 2010
Friday, March 12, 2010
If you and your weekend-warrior approach to art and underground culture are offended by the fact that others choose to take this extremely seriously and spend countless hours, days, months, and years dwelling over the things that they create and consume, that they make this the entirety of their lives and aren't afraid to show it, then I have a recommendation for you. Drop out, kick your feet up, put on the game, check out that new radio single, hop on whatever ironic trend is currently reigning supreme, and leave us the fuck alone.
As far as the mainstream goes, the figurative dog shit that passes for substance has piled up so high that it's not even worth discussing why a person with an all-in approach to mainstream culture would be offended and feel the need to display disaffection. So I wont.
Sunday, March 7, 2010
Legendary Texas noise musician Richard Ramirez (under his Werewolf Jerusalem moniker) is joined by Houston's (formerly Japan's) Forced Orgasm for some hell raising walls of harsh noise. c40. Large fold out collage insert by A. Aircraft. Limited to 50 copies.
Pre-order and hear an excerpt at http://www.swimhardercassettes.com
Ships April 2nd.
Saturday, March 6, 2010
Debris Amour has a ton of shows coming up (both in town and out of town). Check the myspace for all of the details on those. I'll also be in the studio in the beginning of April to record the next Debris Amour release. If all goes according to plan it'll be a c40 on Swim Harder Cassettes, out sometime in the spring or summer around the same time as the Moutheater/Debris Amour split.
The next upcoming Swim Harder Cassettes release is a collaborative c40 by Forced Orgasm and Werewolf Jerusalem. Those should be up for pre-order soon.
Sunday, February 21, 2010
Wednesday, February 17, 2010
Saturday, February 6, 2010
*Edit* This has been cancelled due to the weather preventing all of the out of town artists from getting here. *Edit*
Friday, February 5, 2010
Monday, February 1, 2010
We fully support him and wish him well. Brett is someone who's bands I'd been going to see since I was youngster. It meant a lot to me to get to play with him and I'm really glad that we got the opportunity to do so. Best dude. Hands down.
With that being said, we are in the process of finding a new bass player. We are trying someone out as we speak. I decided to come up with a Moutheater Mix to accompany the trying out process. This is the mix I created and that I feel like represents the band to the fullest. I feel like you could throw this mix in a bowl, stir it, bake it and pull a Moutheater album out of the oven. It probably wouldn't be as good as any of the albums that these songs are off of but hey...
-The Melvins-Night Goat
-His Hero Is Gone-…And We Burn
-His Hero Is Gone-Raindance
-His Hero Is Gone-Stacks
-Tad-Just Bought The Farm
-Nirvana-I Hate Myself And I Want To Die
-Nirvana-Milk It (Live)
-Scratch Acid-Lay Screaming
-The Jesus Lizard-Slave Ship
Saturday, January 23, 2010
Monday, January 18, 2010
Sunday, January 10, 2010
Saturday, January 9, 2010
Sunday, January 3, 2010
Circle Of Ouroborus-Old Ghosts
Aaron Dilloway/C. Spencer Yeh-The Squid
Shift-Creation And Space
Macronympha-Sex And Death
Raspberry Bulbs-Finally Burst...
Infinite Space Infinite Stars-The Khabs Is In The Khu
The Endless Blockade-Primitive
Toil-Lullabies For Insects
Bastard Noise/Golem Gross-Universe Of Dishonor
Genocide Organ-Live In Japan 2003/2007