Goner Fest 8 Announced for Memphis



Featuring Alarm Clocks, Icky Boyfriends, Ty Segall,
Royal Headache, Black Sunday, Kitchen’s Floor, Deaf Wish, Brides, Straight
Arrows… more to be announced soon.


By Fred Mills


The 8th annual Goner Fest – sponsored by Goner
Records, natch – is set for Memphis
on Sept. 22 – 25, with evening shows at the Hi-Tone Café, a pair of afternoon
shows, and opening and closing events at the Goner Records store. Plans are for
more than 35 bands (the ones listed above included) over the course of the 4


Dare we even mention that Goner Fest is a the perfect
antidote for ALL THOSE OTHER FESTIVALS that have come to dominate – some might
say crush – the concertgoing season from early spring to late fall? You know,
the festivals that feature the same acts, similar setups, and needless to say,
the same herd mentality demonstrated bay the audiences? You won’t see many of
the Goner Fest bands traipsing around the countryside from festival to festival…
and you definitely won’t get the same level of rock ‘n’ roll mainline, either.


For more information: www.gonerfest.com.
Meanwhile, see below for some commentary on the bands lined up thus far,
courtesy the Goner crew.






Icky Boyfriends (San Francisco, CA)

“Can rock
still be ridiculous, and ridiculously fun, funny, personal, and mean at the
same time? Icky Boyfriends proves it can!” – Eric / Goner


The late 80’s/early 90’s San Francisco ambassadors of primitive party
music. The mere line ‘You keep on talking to me / just like the McLaughlin
Group / you’re about as interesting as Campbell’s
Soup’ still speaks volumes to me.” – WFMU 
“There’s a fine, very permeable line between
unlistenable and brilliant. Icky Boyfriends, a primitive, late-1980s/early
1990s noise rock trio out of San
Francisco, were both. They pulled it off in much the
same way that the Shaggs and Half Japanese did — not alternately, not hitting
highs and lows, but by achieving both states simultaneously. It’s hard to tell
whether bands like this are geniuses or idiots, but there is no possibility that they are mediocre.” –
Splendid Magazine 

Alarm Clocks (Parma, OH)

“The Alarm
Clocks “No Reason To Complain” is one of Goner’s top 3 holy 60s
garage tracks (along with the Modds “Leave My House” and The Keggs
“To Find Out”) and just to be able to see the band that made this
perfect slice of raw American rock n roll in 2011 is basically unimaginable.
The fact that the Alarm Clocks circa now crank out insane, uncompromising, and
tough Midwest garage punk is flat out impossible.” 
– Eric / Goner


Formed in 1965 by Parma, OH, teenagers
Mike Pierce (bass and vocals), Bruce Boehm (guitar), and Bill Schwark (drums),
the Alarm Clocks got a lot of mileage out of one 45 single, although it would
be 40 some years before they would really take advantage of it. The trio
recorded two raw slices of garage punk, “Yeah!” and “No Reason
to Complain,” live in a studio in 1966 and released it on their own Wake
Up label, and a month or so later recorded a live demo tape of their live set
at Sound Ideas Recording Studios. Nothing much came of either venture, and the
group disbanded in 1967. The single, though, took on a life of its own,
gradually filtering through the informal garage band collectors network and
becoming a highly sought-after item. Both sides of the 45 turned up on 1996’s
Back from the Grave compilation from Crypt Records, and eventually the band
members were tracked down. The A and B side of the single plus the complete
demo tape and three tracks from Boehm’s earlier band the Perceptions made up
the album Yeah!, which was released by Norton Records in 2000. Perhaps sensing
unfinished business, the Alarm Clocks re-formed in 2006 with all the original
members on board plus a new fourth member, guitarist Tom Fallon. This second
coming of the group recorded a new album in two days at Freddy Fortune’s
basement studio in Michigan
in 2006. The album appeared as The Time Has Come later in the year from Norton
Records.” – Steve Leggett, All Music Guide  

Ty Segall (San
Francisco, CA)

from the first guitar chord, the place turned into a fucking madhouse, with
wall-to-wall moshing that seldom let up during the set’s half-hour duration. ”
– Live review from Primavera Sound via Pitchfork

“This San Fran shouter
puts garage rock into overdrive… As fun as Ty’s recent albums have been, live
is where you get to really experience him in all of his manic, bouncing,
string-bending glory, not to mention enjoy his infectious humor.” – Village Voice
#1 Goner surf ‘n psycher is blowing up and for once it isn’t all hype — our
guy brings it every night. – Zac/Goner  

Royal Headache (Sydney, AUS)

 “If you haven’t heard Royal Headache yet
then we feel real sorry for you. They might be the best pop band to come out of
Sydney since
The Easybeats, or at least since The Radiators!” – Unbelievably Bad

“‘I think punk has started to make sense again,
there’s something about the immediacy of punk. In the context of music I guess
we’re going through a stage where music has become quite introverted and a bit
spineless so punk has become necessary again.’ The Queen might have become
irrelevant but punk is back.” – Interview with member Shogun via The Blackmail

Black Sunday (Memphis, TN)

An impromptu
reunion show over the holidays was a jaw-dropper – we had to talk Alicja and
the guys into an encore for the festival. – Zac/Goner


“The most
difficult thing in dealing with Alicja Trout is trying to keep up with all of
her musical projects, but it’s immensely fruitful. Black Sunday heavily takes
elements from two other bands she is/was involved in: the Lost Sounds and Mouserocket.
There’s choreographed electronic symphonies, songs that sound like ‘50s
standards set to new wave, sweet indie rock moments that launch into
Servotron-y lo-fi blasts, and far beyond. Due to the fact that I’ve been able
to track down a decent amount of what Alicja’s done (Fitts, River City
Tanlines, Clears)-and pretty much like it all-she’s fallen into the rare
category of a musical artist I’m willing to follow down paths I wouldn’t
necessarily consider… Alicja Trout seems unstoppable and I hope she keeps on
going in so many directions at once. She’s prolific, multi-talented, and
indefatigable. Great stuff.” -Todd Taylor,

Kitchen’s Floor (Brisbane, AUS)

 “…they’re straddling that rarest of
middle grounds: the exact space where Some Velvet Sidewalk, Pounding Serfs,
someone way more stripped-back and cowbell-loving than even Italians Do it
Better will allow, and The Clean meet. Except not really…. Kitchen’s Floor
get Nirvana the way no band have got Nirvana since Unwound. Um. That’s way, way
off. The comparison no way stands, the way Nirvana were so bastardised by
everything that is still going on after. You’ll be thinking they play Motley
Crue power rock now, instead of being all Olympia
and Dunedin
and… no really, you’ll have to ask Steve Fisk the secret. That man knows.” – Everett True

Deaf Wish (Melbourne, AUS)

Deaf Wish began in a soggy West Melbourne
rehearsal room in May 2007, standing around screaming and bashing through songs
with one solid philosophy: ‘go to feedback’ when things fall apart. After a
handful of rehearsals, they recorded 10 songs and played 2 shows. Then guitar
player Sarah Hardiman flew to the UK and never came back. Deaf Wish
stopped for a year whilst the album was passed around and grew a cult following
stemming from punks and spreading around the pubs and yards of Melbourne. Deaf Wish reformed with a new
member in June 2008, performing as a ramshackle unit of four suburban
no-hopers, bleeding through feedback, noise and emotional abandon.

While they are often compared to US bands like the
Wipers, Husker Du and Red Kross; Australian bands such as X and Venom P
Stinger; it is an unarguably and distinctly Melbourne suburban sound that Deaf
Wish have made their own.” – The Siren Sound

Brides (Chicago,

“The first
punk band in the 90s I heard who sounded as good as the Pagans. Great to have
’em playing live again!”- Eric / Goner


“Chicago’s last
devastating blast of the 20th century, the most revered live band (and on
record), The Brides, were at one point in the mid 90s, so intimidating, so
snide and punk-soaked perfect, that we could barely muster up the courage to
even ask them for an interview for the second issue of Horizontal Action. This
band was a savior and a demon at the same time, and once you experienced their
utterly savage squall reeking of the Viletones, Pagans, and Crime, right when
those bands were being resuscitated for the next generation to fully grasp, it
would never really let you go. Their singles on Rip Off and Sack’O Shit were
three reasons alone to move here, and as we started the magazine, the
irreplaceable sound of The Brides was most-definitely our soundtrack. Not all
bands from the 90s have aged this well, but these songs just seemed like they
were never really set in one time or place, making them such universal
favorites, and Midwest legends.” – Hozac / Horizontal Action

Straight Arrows (Sydney, AUS)

 “Straight Arrows (the raucous rock ‘n
roll Sydney band, not the HIV and Sexual Health
support service)…formed some Sydney
wastelands back in 2006. Since then the band have landed some huge support
slots including Thee Oh Sees, The Black Lips, Eddy Current Suppression Ring,
King Brothers and Deerhunter. They’ve also released some 7″s including “Can’t
Count” / “Somethin’ Happens” single and the split 7″ with French band The
Creteens, whilst also kicking around in other Sydney bands including Red
Riders, The Holy Soul and Circle Pit.” –
Tone Deaf

“They’re an alternative to alternative, and fit in
somewhere between two of our favourites: The Cramps and the Brian Jonestown
Massacre. Unlike most of those who like to test the longevity of their
instruments and vocal chords, your ears won’t bleed when you hear them; your
insides might, but you know what? They’d be proud. Think nuts crossed with
super nuts, throwing rocks at rockabilly after a hit of something psychedelic;
although, hard as we try, words can’t describe their live shows.’ –
Time Out Sydney



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