Monthly Archives: August 2012

I Don’t Wanna Grow Up / John Moore

 

 

Orange County Hardcore
Scenester

 

By John B. Moore

 

 

Documentaries about punk rock are nothing new.
Hell, documentaries about punk rock in Southern California
are nothing new, but there is something refreshingly original about what
one-time punk musician and current filmmaker Evan Jacobs has done with Orange County Hardcore Scenester.

 

The DIY doc (very much in keeping with the
genre it covers), is one person’s love note to the music scene he grew up with
in the early to mid ‘90s, as a band member, but more importantly a fan of. The
groups he covers through archival footage and voice-overs never really made
that big of an impact on the music world outside of the indie punk scene in Orange County,
but were important all the same. For every Green Day and Offspring that went on
to sell millions, there was a Carry Nation or Farside with a much smaller, but
likely just as rabid fan base packing the clubs and crowding the merch tables,

I

n the middle of promoting Orange County Hardcore Scenester, Jacobs spoke recently about the
movie, the scene and how Emilio Estevez helped him to discover punk rock.

 

 

 

Do you remember the first time you
heard punk rock?

I think the first exposure was the soundtrack
to Repo Man, mainly Black Flag’s “TV
Party”. It was 1985 or so and I saw that movie, then my brother got the
soundtrack, and I recall my friends and me thinking that we’d never heard a
song that was so funny. It was as if the lyrics had been written to be repeated
like lines from a movie. Then there was “Coup D’état” by the Circle Jerks which
was like nothing I had ever heard before. I remember my neighbor Ian Haas
breaking that scene down for me and showing me how they were “getting the
mosh started” by Dick Rude grabbing Emilio Estevez around the neck and
then spinning him. Following this, I got into bands like DI and TSOL through
the Suburbia soundtrack. Notice its all exposure to music via movies. I was so
inspired that I subsequently failed my seventh grade year of elementary school
(which you can learn all about in my animated film 1986-1986 available from
Amazon) and stayed away from punk rock for about two years. Then my brother
made me go see Judge and Carry Nation at the Reseda Country Club which is the start
of Orange County Hardcore Scenester.

 What made you decide to do a film about the hardcore scene in the OC?
There have been punk films about Orange
County, CA but never
one about the 1990’s hardcore scene depicted in the film. At least I don’t know
of there being one. There had been some books written and some OC bands
included, but nothing that focused on this time period, these bands, and what
happened with the scene I was involved with. I had tried to make this with two
other people, but due to schedules and whatnot that didn’t happen. So, I had
all this footage and then Radio Silence by Nathan Nedorostek and Anthony
Pappalardo came out. I saw some OC bands in that and I remember thinking,
“It is only a matter of time before somebody does something about OC
hardcore. Why not be the person to try and do it first?” If you can’t be
the best you should try and be first, right? I also felt very strongly about
telling this story. I felt that what the people involved in the 1990’s scene
(not just in OC but around the world) did was important. I wanted to shine as
much of a spotlight as I could on that. Ultimately, that is why Orange County
Hardcore Scenester was made.

Do you think you would have found this music if you grew up in some rural
area in the Midwest instead of in the center
of this scene?

I am sure if I was looking for it I would have found it. I mean hardcore is a
global thing. It was in the 1990’s, it is now, and it was before the 1990’s. If
I was making a film about it and I lived in the Midwest, I am sure that film
would reflect the Midwest scene.

 

In the documentary, you talk a
little bit about the do I or don’t I decision many punk bands faced in the mid
90’s about signing to a major. Did you have a strong stance at the time? Has it
changed at all?

My only stance was that if it was a choice between working a job you hated or
having a chance to make your living making music, it was a no brainer. At the
same time, if you could sustain yourself as a band through touring,
merchandise, record sales then you probably didn’t need to sign because a
major, unless you were gonna be a hit machine – and I think it was proven by
the bands that did sign that they were not hit machines – you would be very
disposable to a major label.
        Majors wanted charismatic front
people that were churning out radio-friendly songs. Hardcore music, by its very
nature isn’t that. Sure, you have charismatic people fronting these bands
(sometimes) but the music and the message isn’t usually something that would
play on the radio or MTV. If it does, great. The problem seemed to be that a
hardcore band could build their audience, sell 20,000 records, then suddenly
majors came calling. Well, 20,000 records is incredible as an independent band
(at least it was then)… 20,000 records to a major? Then and now that is a
paltry sum. Then add that a lot of bands that signed lost their hardcore
audience simply because some members of the hardcore scene didn’t choose to go
with that band on that leg of their journey. However, let me say this… I WANT
BANDS TO MAKE MONEY. I want their music to sustain them.

 

  At the time, or even after, have you ever found yourself having
to defend punk music?

Not really. People that are into punk are into it; they get it. They understand
that what sets it apart from something like pop music is that it isn’t about
all the bullshit that is put in our faces 24/7. This isn’t to say that I don’t
share my music. I have tried. Some people like it because it is aggressive.
Other people like it because they like the message. And a lot of people have
told me they think its shit.
        Other than that, the only other
time I have had to defend punk/hardcore has been when people try and lump it in
with neo-Nazis or something like that. I always go out of my way to separate
skinheads from Nazis, simply because I like a lot of skinhead music. I love Oi.
Punk rock/hardcore really helped shape my system of ethics and values. I
constantly make decisions based on those things.

 

 Do you still listen to hardcore? Do
you listen to any of the newer bands?

I certainly try to. Like a lot of older people, I gravitate toward the stuff
that I grew up on. However, I do try and listen to new bands as much as
possible. I am trying to turn the Facebook page for Orange County Hardcore
Scenester into a place where people can get dose of news on the film, and click
on links for new music/things I am finding. I don’t go to shows that much. That
is a bummer. I never thought that would happen. I always heard people say that
and I was like, “I’ll never stop going to shows. I’ll always be up on this
music.” Man, I wish I was. I do try and make an effort. I do still go to
shows when I can.

What are your plans for this documentary?
I plan to heavily promote Orange County Hardcore Scenester over the next year.
I want this documentary to live on. I want it to be something that people have
in their hardcore/punk film collections. I want people to be discovering this
film years from now. I constantly discover incredible documentary films via
Netflix. I am hoping people have that same experience with this film.
        There is going to be a screening
of it out in Florida at Churchill’s Pub in Miami, FL
on September 15. It is part of a
three day festival that starts on the 14th and goes to the 16th. Some of the
bands playing are from that time like A Chorus of Disapproval, Trial, Mean
Season, Damnation AD, etc. Plus a bunch of other bands from the past and
present.
        I will be doing more merchandise.
Shirts, stickers… anything I can to keep this film alive in some way. I figure
if I really saturate this thing for a year that will give it some kind of life
beyond that year. I am hoping so anyway. I want to set up more screenings of
Orange County Hardcore Scenester and do a lot more press. So… if you run a
zine, or a club, or can help me get this film out in any way, please get in
touch!

 

 

For more information on the movies check out this link: https://www.facebook.com/ochardcorescenester

 

Or to buy your copy, check out this site: http://RevHQ.com/store.revhq

 

 

J. Moore’s Blog: OC Hardcore Scenester

 

Punk up
your ass.

 

By Blurt Staff

 

Jammin’  John B. Moore
has filed the latest installment in his “I Don’t Wanna Grow Up” BLURT blog in
which all things punk come under his purview. This time out: a conversation
with filmmaker Evan Jacobs about his hardcore documentary Orange County Hardcore Scenester.

 

People that are into punk are into it; they
get it,” says Jacobs. “They understand that what sets it apart from something
like pop music is that it isn’t about all the bullshit that is put in our faces
24/7. This isn’t to say that I don’t share my music. I have tried. Some people
like it because it is aggressive. Other people like it because they like the
message. And a lot of people have told me they think its shit.

 

Go here to read Moore’s
entire interview.

 

 

Frank Ocean to Play Saturday Night Live

 

Too bad about that vinyl edition of the new album, though, kids…

By Blurt Staff

Frank Ocean will make his SNL
debut on September 15th. His debut studio album channel ORANGE was
released in July to widespread critical acclaim. Peaking at #2 on the
Billboard chart, the album has also achieved great commercial success. Frank
kicks off the 38th season of
Saturday Night Live alongside host Seth MacFarlane, who is best known for
creating the hit TV show “Family Guy.”

The Blurt Guide to CD Review Ratings

 

A Special BLURT Reprint, By Popular Demand: Or, How Numerology Saved My
Reputation as a Critic:
Too many superlatives,
not enough truth.”

 

By Bill Holmes

 

[Ed. note: Awhile back, official Blurt meta-critic Bill Holmes asked us
why we assigned starred ratings (from 1 to 10 stars; no fractions or half
stars) to the CDs we review. While our kneejerk response ran along lines of,
“Somebody eventually had to assign a one-star rating to John Mayer’s
last album
…”, in truth, we don’t know! Everyone else does it,
though, and Blurt is nothing if not all about following the crowd and never
marching to a different drummer. At any rate, Holmes spent the past month pouring
over our CD reviews (at last count, we’d published 4,056 since June of 2008),
running percentages, creating spread sheets, parsing mixed metaphors and
simplistic similes, and generally laughing himself silly, in order to come up
with a coherent guide to our ratings. You, dear readers, can now know what we
REALLY think when you spot a review on the site or in the magazine without
every bothering to read the actual review! Take it away, Brother Holmes…
]

 

 

10 – An essential classic that will transcend its era.
Think BLONDE ON BLONDE or STICKY FINGERS. You’d get in a bar
fight to defend your rating years later. (Would you really do that to defend
that 10 you gave No Doubt?). You consider getting a tattoo of the album title
on your bicep.

 

09 – Possibly the apex of an artist’s career (assuming the
artist is great – Kenny G’s best album could be a 3) and a no-brainer purchase
for fanatics of the genre. Lands on your Best of the Year list without
hesitation.

 

08 – Among the best of the artist/genre; you’d definitely
refer to this album when trying to convince someone to give the artist a shot.

 

07 – Not perfect, but the good outweighs the bad. You wish
it were better but there are enough enjoyable elements to spend your money and
feel rewarded.

 

06 – Enjoyable for fans of the genre, but average for
others. Not going to convert the skeptical but a fan will be glad you made them
aware of it.

 

05 – Average, some good but not most. You keep it but
probably only play it when you come across it in the stack. You won’t look for
it on purpose that often.

 

04 – Momentary pleasures, won’t last – not bad but not
memorable. Gathers dust.

 

03 – Bland, dull, nondescript. You’d sell it if you could
only find a sucker.

 

02 – Real problems, poor effort, lazy release. You are
pissed that you spent the money and/or wasted your time and you make a point to
tell everyone it sucks.

 

01 – Horrible. Embarrassing. Vapid. Hire a lawyer and sue
the artist for damages.

 

 

[I hate assigning numerical value to art, but rules are rules; after
having to do so for several publications I think this is a good
overall barometer even though I still screw it up on occasion. – BH
]

 

 

Mouse On Mars Announce U.S. Tour

 

Trek in support of Parastrophics. Meanwhile, new mini-album is due Nov. 2.

 

Earlier this year, German electronic pioneers Mouse on Mars
made their return via the release of new album, Parastrophics, on Monkeytown Records. Jan St. Werner and Andi Toma
will return to North America this October for their first U.S. tour in six years. In addition
to announcing the upcoming tour, Mouse on Mars is sharing the a video for the
track “They Know Your Name.” Pfadfinderei edited this from video clips of cell
biology research experiments made for the Laboratoire d’Hydrodynamique by Mouse
on Mars’ friend Charles Baroud. (“They Know Your Name” was released
last week as a limited 7″ single and download. The A-side features a
reworking of the stand out track from Parastrophics featuring Dodo Nkishi,
while the B-side hosts a remix by Machinedrum.)

 

 

 

 

 

Furthermore, come November 2nd, Mouse on Mars will release a
new mini-album, WOW. It’s billed as
an “immediate and club-oriented counterpoint to Parastrophics, with Jan St. Werner and Andi Toma aiming their
considerable technical finesse firmly in the direction of the dancefloor.” The
record also makes much use of the wretchup, an iphone app that
was invented by Mouse on Mars during preparations for their orchestral
work Paeanumnion. The band went on to use wretchup effects on Parastrophics and on stage during their
2012 album tour – now they plan to make it available via iTunes around the time
of the release of WOW. 

 

Tour Dates:

 

Sat. Sep. 8 — Bucharest,
RO @ de.kolectiv @ MNAC

Thu. Sep. 13 — Odense,
DK @ Phono Festival

Fri. Sep. 14 – Malmö, SE @ Babel

Sat. Sep. 22 — Leipzig,
DE @ Werk II @ 36..Jazztage

Fri. Sep. 28 – Stavanger,
NO @ Numusic Festival

Fri. Oct. 5 — Braga,
PT @ Semibreve Festival

Fri. Oct. 12 — Denver, CO @ Summit

Sun. Oct. 14 — Los
Angeles, CA @ El Rey

Mon. Oct 15 — San
Diego, CA @ Casbah

Tue. Oct. 16 — San
Francisco, CA @ The
Independent

Wed. Oct. 17 — Chicago,
IL @ The Mayne Stage

Thu. Oct. 18 — Detroit,
MI @ The Pike Room

Fri. Oct. 19 — Toronto,
ON @ Lee’s Palace

Sat. Oct. 20 — Montreal,
PQ @ Il Motore

Sun. Oct. 21 — Boston
MA @ TT the Bear’s

Mon. Oct. 22 – New York, NY @ Santos
Party House

Wed. Oct. 24 – Washington, DC
@ U Street

Fri. Oct. 26 — Atlanta, GA
@ Masquerade

Sat. Oct. 27 — Asheville, NC
@ Moogfest

Sat. Nov. 3 – Istanbul, TR @ Babylon

 

Get Yourself a Dan Deacon Phone App

 

 

“Wham City
Apps,” natch. No guarantees of being selected for the next dance-off, however…

 

By Blurt Staff

 

Dan Deacon
shows are renowned for the spectacle of hundreds, even thousands, of jubilant
people doing coordinated movement. It’s a sight to behold, but it’s even more
amazing to participate. Now, Dan has taken it to a whole new level with a
groundbreaking smartphone application (available now on the iTunes App Store
and Google Play) that will be used during his tour beginning tonight (dates
below).

 

 

 

 

 

 

Inspired by audience-based cell phone interactive pieces Deacon
performed over the past several years in various settings from Baltimore to Carnegie
Hall, this app aims to make the audience part of every show.With the help of
his friends Keith Lea (programmer), Patrick McMinn, Alan Resnick and Robert
O’Brien, Dan developed an application that, without the use of WiFi or
cellular data, turns
each phone into a source of synchronized light and sound depending on your
location within each venue. As Deacon puts it, “A device once thought of as a
distraction now turns each show into an ecstatic act of empowerment by turning
every concert into a collective one-of-a-kind immersive concert experience.”

 

Download the
Dan Deacon app from the iTunes App Store: (http://smarturl.it/dandeaconapp ) or from Google Play
(https://play.google.com/store/apps/details?id=com.dandeacon).
 

 

 

Tour Dates:

 

 08/29 Cleveland, OH
– Beachland Ballroom &

08/30 Columbus, OH – The Bluestone &
08/31 Indianapolis, IN – Earth House &
09/01 Chicago, IL – North Coast Music Festival *
09/02 Saint Louis, MO – Firebird &
09/03 Louisville, KY – Kentucky Museum of Arts and Crafts &
09/04 Nashville, TN – Exit In &
09/05 Huntsville, AL – Flying Monkey &
09/06 Knoxville, TN – Pilot Light &
09/07 Raleigh, NC – Hopscotch Music Festival *
09/08 Charlottesville, VA – Jefferson Theater &
10/03 Richmond, VA – Gallery 5 &
10/04 Greensboro, NC – The Blind Tiger &
10/05 Asheville, NC – Orange Peel &
10/06 Atlanta, GA – Terminal West &
10/08 Birmingham, AL – Bottletree &
10/09 New Orleans, LA – Le Maison &
10/10 Houston, TX – Fitzgerald’s &
10/11 Austin, TX – Beauty Ballroom &
10/12 Dallas, TX – Club Dada &
10/13 Norman, OK – Opolis &
10/16 Sante Fe, NM – Sol Sante Fe &
10/18 Phoenix, AZ – The Crescent Ballroom &
10/19 San Diego, CA – Irenic &
10/20 Los Angeles, CA – El Rey Theatre &
10/22 Santa Cruz, CA – The Catalyst Club &
10/23 San Francisco, CA – Great American Music Hall &
10/25 Portland, OR – Hawthorne Theater &
10/26 Vancouver, BC – Biltmore Cabaret &
10/27 Seattle,WA – Neptune &
10/29 Salt Lake City, UT – Kilby Court &
10/31 Denver,CO – Bluebird Theater &
11/02 Lawrence, KS – The Granada Theatre &
11/03 Minneapolis, MN – The Cedar &
11/05 Madison, WI – Majestic Theatre &
11/08 Detroit, MI – Magic Stick &
11/09 Toronto, ON – Lee’s Palace &
11/10 Montreal, QC – SAT &
11/11 South Burlington, VA – Higher Ground &
11/12 Portland, ME – SPACE Gallery &
11/13 Boston, MA – Paradise Rock Club &
11/14 Brooklyn, NY – Music Hall of Williamsburg &
11/15 Philadelphia, PA – Union Transfer &
11/16 New York, NY – Bowery Ballroom &
11/17 Washington, DC – 9:30 Club &
12/06 Tallahassee, FL – Club Downunder
12/09 Jacksonville, FL – Underbelly
12/10 Savannah, GA – Safe // Sound
12/11 Athens, GA – 40 Watt Club
12/13 Pensacola, FL – Handlebar
12/14 Gainesville, FL – Double Down Live
12/15 Tampa, FL – Crowbar

 

& = Dan
Deacon Ensemble w/ Height With Friends, Chester
Endersby Gwazda, Alan Resnick

* = solo set

 

 

Lee Boys Announce New LP, Tour

New studio effort
features special guests Warren Haynes, Jimmy Herring and more.

 

Family group and “sacred steel” legends The Lee Boys will
release their third studio effort, Testify, on October 23  on the Evil Teen (the label
co-owned by their good friend Warren Haynes). Testify features 11 tracks of new songs along with fan favorites
from their live show, and it’s got a slew of guest players including Haynes on
vocals and lead guitar; Jimmy Herring on lead guitar; female vocalist Gia Wyre;
Matt Slocum on organ, piano, and keyboards; Nate Worth on percussion; and
producer/engineer/mixer Matt Grondin on electric and acoustic guitar,
keyboards, backing vocals.

 

Haynes comments, “Lee Boys is high energy Gospel infused
jamming. This is the real thing!”

 

The group consists of three brothers, Alvin Lee (guitar), Derrick
Lee and Keith Lee (vocals) along with their three nephews, Roosevelt Collier
(pedal steel guitar), Alvin Cordy Jr. (7-string bass) and Earl Walker (drums).   “Sacred steel” is a type of music rooted in
Gospel, but infused with rhythm and blues, jazz, rock, funk, hip-hop, country
and African music driven by the pedal steel guitar.  In the last five years, Lee Boys has played for
more than 750,000 music fans at festivals throughout the United States, Canada,
Europe and Asia.  Their unique sound has attracted musical
artists such as Allman Bros. Band, B.B. King, Buddy Guy, Robert Plant, Robert
Randolph, Derek Trucks, Mavis Staples, Gov’t Mule, Blind Boys of Alabama, Black
Crowes, John Legend and The Roots – all of whom have performed with the Lee
Boys and/or invited them to tour with them. Heralded pedal steel guitarist
Roosevelt Collier is often seen performing with multiple bands over the course
of any given festival. 

 

 

Tour Dates:

 

Aug 31                        Da Vinci                                              Deland, Fl

Sept 1              Beachside
Tavern                                New Smyrna Beach, FL

Sept 14                        Taos Center for the Arts                                 Taos, NM

Sept 15                        Telluride
Blues Festival                                  Telluride,
CO

Sept 28                        Blue
Nile                                             New Orleans, LA

Sept 29                        Fiesta
Five Flags Seafood Festival     Pensacola, FL

Oct 4               Albino
Skunk Festival                                    Greer, SC

Oct 6               Roswell Concert Series                                   Roswell, GA

Oct 19             Funky
Biscuit                                      Baton Raton, FL

Oct 20-21        Magnolia
Music Festival                                 Live Oak, FL

Jan 20-27         Legendary
Blues Cruise                                  Ft
Lauderdale, FL

 

 

UPDATE: Young/Crazy Horse LP a Double

 

 

Album to be released in October, and already playing a slew
of the new songs in concert. Below, check out a couple of clips.

 

By Blurt Staff

 

Note: A few weeks ago we reported (see below) on the upcoming Neil Young/Crazy Horse album. Yesterday it was disclosed at Young’s official website that this new set will arrive as a two-CD set, a triple vinyl release and a “recommended” hi-fi Blu-ray disc. Videos will be included on the latter. A full tour will accompany the October release of Psychedelic Pill.

 

With Neil Young and Crazy Horse currently on tour to promote
their quirky Americana album, it
appears that the band isn’t particularly crazy about that record’s songs at
least not enough to play them in concert. Guitarist Frank Sampedro told the
press
that only “Jesus’ Chariot” has become a setlist mainstay (Sampedro:
“[The other songs] just didn’t fit in. Somehow they really sound good when
we play them together, but when we play them in a set they just didn’t fit in.
I told Neil that I thought it was a lot of fun playing them and they’re great
songs, but our soul and our hearts aren’t in them.”)

 

As a result, or possibly as already planned, the band will
be issuing yet another new NY&CH album in October, provisionally titled Psychedelic Pill, to coincide with
another leg of the live tour. That’s also the name of a new, unreleased song
the Horse has been playing in concert, and as Uncut.co.uk reports, it’s being
abetted by five other unreleased tracks that may or may not appear on the
upcoming LP: the new “Walk Like A Giant” and “Ramada Inn,” plus previously-performed
“Twisted Road” and “For The Love of Man” along with “Born in Ontario.”

 

Below, check some of ‘em out…

 

 



Watch New Live DVD From Grip Weeds

 

It’s sensibly titled Live Vibes (recently
issued by the Ground Up label) but the unhinged, late-sixties psych ambiance
will alter the senses. View the trailer below.

 

By Lee Zimmerman

Regardless of whether
one’s familiar with New Jersey’s
Grip Weeds or a novice as far as their power pop attributes are concerned, Live Vibes (Ground Up Records) provides
the perfect step by step indoctrination into the Grip Weeds’ world. It’s one in
which it’s forever 1968 and bands like the Byrds, the Who and Pink Floyd are
playing residencies at London’s UFO club and the world’s forever immersed in a
psychedelic haze.

 

An excellent
companion piece to the band’s just released live opus Speed of Live which bears 15 entirely different
selections recorded at various Garden State locations, this DVD spotlights the
band in their own home studio surroundings, which they affectionately refer to
as The House of Vibes. Ten homegrown performances — as well as four bonus
videos — provide the musical component, and with each of the live performances
shot through the gauze of psychedelic suggestion — swirling colors, trippy
effects and the likes — the band attempt to recall early pre-MTV videos when
the emphasis was placed almost entirely on lysergic content. “If our music is a
throwback, then so are we,” they proclaim in one of the interview segments that
sandwich each of the performances. Indeed, that’s easy to imagine, given their
carefully groomed rock star shags and a bottom-heavy rhythms section that owes
more than a slight debt to Keith Moon and John Entwistle’s undertow.

 

 


 

 

Their own descriptions of their sound certainly suffices (“Lots of
guitars, lots of drums and very loud,” or as one of the members suggests later,
“The Everly Brothers on acid”), and while the lengthy recitations on the band’s
origins, evolution and song theory hints at some self-indulgence, at just under
an hour, there’s no danger of losing interest by dragging on too long. “It’s
great being a Rock musician if you know where you can go with it,” they
speculate towards the conclusion, and indeed, as Live Vibes
so ably demonstrates, they remain steady as they go.