Here is an interview with California indie-rock guys Japanese Motors for Vice v6n11. They are like a really addictive version of an even more surfier Strokes.
NOT DETROIT CITY ROCKERS
Japanese Motors Friends Don’t Wear High Heels
Japanese Motors are great. And not in maybe I’ll go check ‘em out at the bar tonight kind of great. More great in a just can’t no matter how hard you try ever get their songs out of your head kind of way. An old lady asked me to stop humming along to ‘Single Fins & Safety Pins” on the 243 the other day. They sound kind of like The Mummies playing Chantays tracks but with the taught energy of early Strokes bathed in a beautiful So-Cal glow. They are from Costa Mesa and though I have never been nor know anything about the place I can say with all confidence that it is the kind of beachside town where everything’s fine, the sun shines every day and there is always a barbeque to be at. Or at least that’s what a Japanes Motors song would have you believe. We like ‘em so much that we signed them.
Vice: Pitchfork’s market front, Insound, have labeled you "the most exciting band to emerge from Orange County since the heyday of Social Distortion and TSOL".
Alex Knost (guitar): It’s hard to judge any critic or critique. Getting just as many fans of the tunes writing good things, as we do critics writing us on or off is great. Besides, I question free press these days as a whole. Who knows who is telling who to write what.
Who do you think told me to write about you?
I don’t know. Your boss?
No, I actually just like your songs. You are on our label though so I guess maybe that might be it.
Not that I am blowing smoke up your ass ‘cos of where this interview is appearing but everyone at Vice Records and Vice in general is cool, they work their asses off and flex like no ones business. We just saw it as like this big party where everyone hangs out and socializes and has similar tastes and ideas so it was logical to go with you guys.
Talking about parties is there any truth whatsoever to all this talk of your infamous all night parties in Costa Mesa?
I don't know where that rumour came from. I like to get up early in the mornings. After being in New York and seeing how no one leaves bars ‘till like five am, I'd have to say it’s a web of rock and roll lies that they span to consume us.
Who is that girl on the cover of your record? I would like to be friends with her.
Her name is Sneakers. We would see her every night for years at local shows and bars, but none of us ever talked to her. We thought she had an attitude problem. Since no one knew her we started calling her Sneakers due to the fact she never wore heels, or pumps. Just sneakers, every night. She would be in Dunks or wino's or whatever. Then finally after meeting her and talking to her we realized she was just shy and was a total sweetheart. I took that photo of her just a week later as she was sat on the couch in our practice space drinking a beer. We are glad we are friends with her now.
Jam 69
www.myspace.com/thejapanesemotors
Japanese Motors debut album “Single Fins & Safety Pins” is available now on Vice Records
Thursday, 6 November 2008
Vice Interview: Mob Rules
Here is an interview by the best UK 'hardcore' band I have heard this year. They sound a little like all your favourite powerviolence bands rolled into one. Think Crossed Out, Infest and No Comment with bassy Noothgush bits. In other words: amazing.
NOT A POWER METAL BAND FROM GERMANY
Mob Rules Are Fuelled By Grudge
Leeds is a horrible place. Cold, grey and grim. Both of my parents worked all day every day during the week so when I was a kid I got carted off to my auntie Jane’s place near Chapel Town on the outskirts of the city for large chunks of the summer holidays every year. The drive up the M1 fills me with dread to this day. It came as little surprise to me when I discovered that the MP3’s circulating on punk forums by a band called Mob Rules were the product of the city of Leeds. Powerviolence might have originated bathed in West Coast sunshine but its unrelenting, uncompromising brutality and anger perfectly reflects just how grim and fucking depressing the North of England can be. It has helped make Mob Rules the best punk band in the UK as of right now though so maybe it’s not all bad.
Are you sure that you aren’t the German band Mob Rules hiding out in Leeds after singing one too many songs about barbarians and witches?
Conor Rickford (drums): No. (Thomas) Cambell (vocals) came up with the name. He assured us it was Greg Ginn's 7th favourite Black Sabbath record.
I can’t really make out the lyrics very well because Cambell’s voice sounds a bit like a Morris Minor stalling. What’s are you guys singing about?
Paul Steere (bass): The frustrations that arises from having to write lyrics.
Conor: We practice on a Saturday night in a lock up in the middle of Leeds. Can you imagine the refreshing impetus provided as we fight our way through the fleshy gauntlet of hen-nights resplendent in their blotchy, fake-tanned arms, Persil-white thighs and lobotomized, glazed eyes staring out from their booze-soaked, palsied faces? The fuel for our motor is topped up every weekend, right on our doorstep. Grudge is the most abundant natural resource we have.
Paul I spend a lot of time being pissed off with everyone. If I could kill people by rolling my eyes, all these guys would be dead by now. But so far I've never been seriously tempted to go for a major artery.
Why can no one find you online?
Paul: Well, we don't have a MySpace or a Facebook if that's what you mean. We don't have those things because we don't need them.
Conor: Metering our popularity online is not something I'm that keen on doing. Probably because I'm afraid of what it might do to my confidence.
Paul I'm not big into hanging out anyway. Good fucking luck to the lot of them.
This is the Drawing Issue. Are any of you artistically inclined?
Paul: Conor writes extensive lists of the money we all owe him for various things, then illustrates them with a range of different stickmen, each one signaling a different level of dissatisfaction. I've come to notice that his dissatisfaction fluctuates wildly. This betrays a fundamental weakness of character. I wouldn't vote for him.
Circle Jams
Mob Rules have no online presence. We told you that up there.
They do however have a record out on Superfi in December. It will be a 7".
NOT A POWER METAL BAND FROM GERMANY
Mob Rules Are Fuelled By Grudge
Leeds is a horrible place. Cold, grey and grim. Both of my parents worked all day every day during the week so when I was a kid I got carted off to my auntie Jane’s place near Chapel Town on the outskirts of the city for large chunks of the summer holidays every year. The drive up the M1 fills me with dread to this day. It came as little surprise to me when I discovered that the MP3’s circulating on punk forums by a band called Mob Rules were the product of the city of Leeds. Powerviolence might have originated bathed in West Coast sunshine but its unrelenting, uncompromising brutality and anger perfectly reflects just how grim and fucking depressing the North of England can be. It has helped make Mob Rules the best punk band in the UK as of right now though so maybe it’s not all bad.
Are you sure that you aren’t the German band Mob Rules hiding out in Leeds after singing one too many songs about barbarians and witches?
Conor Rickford (drums): No. (Thomas) Cambell (vocals) came up with the name. He assured us it was Greg Ginn's 7th favourite Black Sabbath record.
I can’t really make out the lyrics very well because Cambell’s voice sounds a bit like a Morris Minor stalling. What’s are you guys singing about?
Paul Steere (bass): The frustrations that arises from having to write lyrics.
Conor: We practice on a Saturday night in a lock up in the middle of Leeds. Can you imagine the refreshing impetus provided as we fight our way through the fleshy gauntlet of hen-nights resplendent in their blotchy, fake-tanned arms, Persil-white thighs and lobotomized, glazed eyes staring out from their booze-soaked, palsied faces? The fuel for our motor is topped up every weekend, right on our doorstep. Grudge is the most abundant natural resource we have.
Paul I spend a lot of time being pissed off with everyone. If I could kill people by rolling my eyes, all these guys would be dead by now. But so far I've never been seriously tempted to go for a major artery.
Why can no one find you online?
Paul: Well, we don't have a MySpace or a Facebook if that's what you mean. We don't have those things because we don't need them.
Conor: Metering our popularity online is not something I'm that keen on doing. Probably because I'm afraid of what it might do to my confidence.
Paul I'm not big into hanging out anyway. Good fucking luck to the lot of them.
This is the Drawing Issue. Are any of you artistically inclined?
Paul: Conor writes extensive lists of the money we all owe him for various things, then illustrates them with a range of different stickmen, each one signaling a different level of dissatisfaction. I've come to notice that his dissatisfaction fluctuates wildly. This betrays a fundamental weakness of character. I wouldn't vote for him.
Circle Jams
Mob Rules have no online presence. We told you that up there.
They do however have a record out on Superfi in December. It will be a 7".
Vice Interview: The Muslims
Here is an interview with the indie rock band The Muslims for Vice v6n11.
QUICKFIRE!
The Muslims Don’t Like Talking But They Do Like Shooting
The Muslims are so in demand right now that this interview almost didn’t happen. When we contacted the band for a chat they were in the middle of playing 67 shows a day at CMJ where all the A&R guys were probably sinking their fangs in at every possible free moment attempting leach that inexplicable and fleeting aura known only as “buzz” from their weary bones. Poor guys. Somehow Matty, the bands guitar player, found five minutes to rapid fire answer some IM questions. He was brief but to the point so we didn’t mind. The bands tight take on garage owes as much to the Modern Lovers or The Velvet Undergound as it does to The Flying Medallions and it’s as infectious as hell. You might not have heard or even heard of The Muslims yet. But you will. And soon.
Vice: Why are there holes in my copy of your 12”?
Matty McLoughlin (guitar): Each sleeve was shot with a .22 by an ex-New York City policeman.
So they are bullet holes?
Yes.
Are any of you actually Muslims?
None of us are religious.
On a scale of one to really fucking pissed off how much does the last question annoy you?
It doesn't bother us. It's just a stupid question.
Does San Diego have an inferiority complex about being so close to LA? Everyone is talking about that place again like it’s New York in ’77 or something
No. San Diego holds its own. LA has its own thing and it is just a bigger place. More people live there which means more bands. Simple.
You play a hell of a lot of shows. Tell us a “Get In The Van” story.
Once, while driving through Arizona we were stopped by the Border Patrol and locked in a paddy wagon as they tried to convince us we had drugs in the van. We didn’t so they let us go but the drug dog ate Dave's burrito as they searched the van. He was pissed.
How does it feel being a buzz band? Is it deafening like tinnitus or barely noticeable?
We haven’t really noticed. We've played on some good shows because of it though.
My favourite song on the record is that track “Americans” but I have this weird thing where I blank out lyrics as soon as I hear them and just remember the sound the words make but not the words. What is it about?
"Americans" is about anglophiles in the States.
This is the Drawing Issue. Whose scribbles do you admire most?
Rick Froberg is probably my favorite illustrator but an old good one is Egon Schiele. Check him out.
Jimmy Jam Jar
www.myspace.com/themuslims
The Muslims ‘Walking With Jesus’/’Parasites’ 7” on I Hate Rock N Roll Records is forthcoming.
QUICKFIRE!
The Muslims Don’t Like Talking But They Do Like Shooting
The Muslims are so in demand right now that this interview almost didn’t happen. When we contacted the band for a chat they were in the middle of playing 67 shows a day at CMJ where all the A&R guys were probably sinking their fangs in at every possible free moment attempting leach that inexplicable and fleeting aura known only as “buzz” from their weary bones. Poor guys. Somehow Matty, the bands guitar player, found five minutes to rapid fire answer some IM questions. He was brief but to the point so we didn’t mind. The bands tight take on garage owes as much to the Modern Lovers or The Velvet Undergound as it does to The Flying Medallions and it’s as infectious as hell. You might not have heard or even heard of The Muslims yet. But you will. And soon.
Vice: Why are there holes in my copy of your 12”?
Matty McLoughlin (guitar): Each sleeve was shot with a .22 by an ex-New York City policeman.
So they are bullet holes?
Yes.
Are any of you actually Muslims?
None of us are religious.
On a scale of one to really fucking pissed off how much does the last question annoy you?
It doesn't bother us. It's just a stupid question.
Does San Diego have an inferiority complex about being so close to LA? Everyone is talking about that place again like it’s New York in ’77 or something
No. San Diego holds its own. LA has its own thing and it is just a bigger place. More people live there which means more bands. Simple.
You play a hell of a lot of shows. Tell us a “Get In The Van” story.
Once, while driving through Arizona we were stopped by the Border Patrol and locked in a paddy wagon as they tried to convince us we had drugs in the van. We didn’t so they let us go but the drug dog ate Dave's burrito as they searched the van. He was pissed.
How does it feel being a buzz band? Is it deafening like tinnitus or barely noticeable?
We haven’t really noticed. We've played on some good shows because of it though.
My favourite song on the record is that track “Americans” but I have this weird thing where I blank out lyrics as soon as I hear them and just remember the sound the words make but not the words. What is it about?
"Americans" is about anglophiles in the States.
This is the Drawing Issue. Whose scribbles do you admire most?
Rick Froberg is probably my favorite illustrator but an old good one is Egon Schiele. Check him out.
Jimmy Jam Jar
www.myspace.com/themuslims
The Muslims ‘Walking With Jesus’/’Parasites’ 7” on I Hate Rock N Roll Records is forthcoming.
Wednesday, 1 October 2008
Gigwise Interview: Pivot
Here is an interview with the Australian band Pivot that I did for Gigwise.
Pivot Interview
Pivot are rare proposition: a heavily electronica influenced outfit who actually get up on stage and play real instruments, melding IDM and live bass, drums and vocals. While there is currently a surfeit of bands plying this niche Pivot’s uniqueness lies in their ability to do all of the above well. They also happen to be from Australia. And signed to Warp. Who happen know a thing or two about good electronic music.
Brothers Richard and Laurence Pike met third member Dave Miller through the tight knit Australian DIY underground scene and started playing together in 2006. Their first album (‘Makme Me Love You’, Sensory Projects, 2005) exhibited elements that their Wrap debut ‘O Soundtrack My Heart’ has not just built upon but rather erected ginormous skyscrapers of progress. Without asking anyone for planning permission.
While comparisons to bands like Hot Chip who exist in a similar demi-monde between electronic and indie convention are salient only in terms of accident rather sonic similarity a decision to move to the UK earlier this year has helped the band become one of the most exciting live acts you are likely to see this summer.
We caught up with Laurence to talk about the bands past and where they are looking to next.
How did Pivot originally come into being? As a band from Australia you kind of arrived in a lot of people in this countries consciousnesses fully formed.
Laurence: Rich and I had this mutual friend of ours who asked us to do a gig together basically. It was at this festival at the Sydney Opera House and we just kind of hit it off. In the early days we kind of had different members but it was done under the banner of ‘Pivot’ with Rich and I as the core. We knew Dave from round and about and we wanted him as part of our team. Once we had asked him to join the band in the sense that people consider it now was formed. This was all around 2000 I guess.
What were your influences at that early stage?
Well, we all kind of come from slightly different angles, which I think makes it a little more interesting. Dave comes from this minimal techno background so he was always turning us on to that kind of stuff where as Rich and I come from having played instruments our whole life and listened to rock music. Rich and I were also already familiar with a lot of the soundtrack stuff from the 70s and I think Dave had to check lots of that stuff out and catch up. Just being in London the last few years with the pop music that we hadn’t really been exposed to in Australia was interesting as well.
How does London compare to Sydney?
They are so different. There is so much going on in London. That’s why we moved. It was a no brainer really. Sydney’s a funny place, it’s good in parts but quite scattered. It can be a bit difficult to progress artistically and the big obstacle is friends. Just a lack of people to work with. There’s also really fucked up licensing laws in Sydney. It stops the sort of people with ideas that unfortunately don’t have the mega bucks that you actually need to get the license but people really try and the last few years there’s been a lot more DIY. Even then though it’s such a ridiculously regulated process. There’s so much red tape and bullshit that parties get cut down before they can even get started. We just thought: rather than release an album nobody’s heard of, come here a few months in advance and work really hard, and try and establish some sort of profile so once the record’s out we aren’t starting at square one. There is a lot of music here and as with any scene you need to earn respect and pay your dues which is hopefully what we have been doing.
There is a marked evolution in your sound between the first record and ‘O Soundtrack My Heart’. What contributed to this change?
The first record was a bigger band. It lacked it’s own sound and was probably too ambient at times. It also had some jazzier tunes to it, which I didn’t really feel and they probably came from the old keyboard player. He just kind of disappeared. We kind of trimmed the fat I guess and got into using the samplers. That’s been our main focus for gigs. We do a lot of live sampling and stuff like that, which can change the course and texture of the songs when their live which is really important I think. Because we don’t want people to come to the gigs and think they’ll get the CD or the same shit every time. We expect from ourselves what we would expect from a gig if we were attending.
Having been playing live so intensively has the live element began to influence the production.
Undoubtedly. It already is. We’ve been working on new stuff and firstly, we’ve been doing it together in the same room which is different from how we made the last album because Dave was in London a lot of times and it was a lot of sending each other files and stuff and now it’s only the three of us. The process is more interactive with the organic element of using technology, and that’s exciting because you don’t know where it’s going to go.
Can you already discern a shift in sound for the future?
Because we don’t really know where it’s going it is kind of exciting. It’s like with the live sampling: when you’ve got someone on stage that’s solely dedicated to making sounds live there’s a lot you can do with that. We’re just trying to chill out and be good, you know. The last couple of gigs Dave’s been getting into sampling things and doing lots of strange future beat things with it on his mini table. I think probably towards the end of the year we probably try and play the new material rather than just play the album.
How did the Warp connection come about?
It just sort of happened quite naturally. It’s weird because they’re a big influence on us. We’ve listened to their tunes for years, since high school. It’s strange, if you would have said to me ten years ago you’d put a record out with Warp I would have told you to fuck off, but when it happened it was like, oh it makes sense, because their the label who want to put out the kind of music we care about. We basically made the record we wanted to and thought we’re really happy with this and they were happy to put it out. It was all a happy coincidence!
Pivot Interview
Pivot are rare proposition: a heavily electronica influenced outfit who actually get up on stage and play real instruments, melding IDM and live bass, drums and vocals. While there is currently a surfeit of bands plying this niche Pivot’s uniqueness lies in their ability to do all of the above well. They also happen to be from Australia. And signed to Warp. Who happen know a thing or two about good electronic music.
Brothers Richard and Laurence Pike met third member Dave Miller through the tight knit Australian DIY underground scene and started playing together in 2006. Their first album (‘Makme Me Love You’, Sensory Projects, 2005) exhibited elements that their Wrap debut ‘O Soundtrack My Heart’ has not just built upon but rather erected ginormous skyscrapers of progress. Without asking anyone for planning permission.
While comparisons to bands like Hot Chip who exist in a similar demi-monde between electronic and indie convention are salient only in terms of accident rather sonic similarity a decision to move to the UK earlier this year has helped the band become one of the most exciting live acts you are likely to see this summer.
We caught up with Laurence to talk about the bands past and where they are looking to next.
How did Pivot originally come into being? As a band from Australia you kind of arrived in a lot of people in this countries consciousnesses fully formed.
Laurence: Rich and I had this mutual friend of ours who asked us to do a gig together basically. It was at this festival at the Sydney Opera House and we just kind of hit it off. In the early days we kind of had different members but it was done under the banner of ‘Pivot’ with Rich and I as the core. We knew Dave from round and about and we wanted him as part of our team. Once we had asked him to join the band in the sense that people consider it now was formed. This was all around 2000 I guess.
What were your influences at that early stage?
Well, we all kind of come from slightly different angles, which I think makes it a little more interesting. Dave comes from this minimal techno background so he was always turning us on to that kind of stuff where as Rich and I come from having played instruments our whole life and listened to rock music. Rich and I were also already familiar with a lot of the soundtrack stuff from the 70s and I think Dave had to check lots of that stuff out and catch up. Just being in London the last few years with the pop music that we hadn’t really been exposed to in Australia was interesting as well.
How does London compare to Sydney?
They are so different. There is so much going on in London. That’s why we moved. It was a no brainer really. Sydney’s a funny place, it’s good in parts but quite scattered. It can be a bit difficult to progress artistically and the big obstacle is friends. Just a lack of people to work with. There’s also really fucked up licensing laws in Sydney. It stops the sort of people with ideas that unfortunately don’t have the mega bucks that you actually need to get the license but people really try and the last few years there’s been a lot more DIY. Even then though it’s such a ridiculously regulated process. There’s so much red tape and bullshit that parties get cut down before they can even get started. We just thought: rather than release an album nobody’s heard of, come here a few months in advance and work really hard, and try and establish some sort of profile so once the record’s out we aren’t starting at square one. There is a lot of music here and as with any scene you need to earn respect and pay your dues which is hopefully what we have been doing.
There is a marked evolution in your sound between the first record and ‘O Soundtrack My Heart’. What contributed to this change?
The first record was a bigger band. It lacked it’s own sound and was probably too ambient at times. It also had some jazzier tunes to it, which I didn’t really feel and they probably came from the old keyboard player. He just kind of disappeared. We kind of trimmed the fat I guess and got into using the samplers. That’s been our main focus for gigs. We do a lot of live sampling and stuff like that, which can change the course and texture of the songs when their live which is really important I think. Because we don’t want people to come to the gigs and think they’ll get the CD or the same shit every time. We expect from ourselves what we would expect from a gig if we were attending.
Having been playing live so intensively has the live element began to influence the production.
Undoubtedly. It already is. We’ve been working on new stuff and firstly, we’ve been doing it together in the same room which is different from how we made the last album because Dave was in London a lot of times and it was a lot of sending each other files and stuff and now it’s only the three of us. The process is more interactive with the organic element of using technology, and that’s exciting because you don’t know where it’s going to go.
Can you already discern a shift in sound for the future?
Because we don’t really know where it’s going it is kind of exciting. It’s like with the live sampling: when you’ve got someone on stage that’s solely dedicated to making sounds live there’s a lot you can do with that. We’re just trying to chill out and be good, you know. The last couple of gigs Dave’s been getting into sampling things and doing lots of strange future beat things with it on his mini table. I think probably towards the end of the year we probably try and play the new material rather than just play the album.
How did the Warp connection come about?
It just sort of happened quite naturally. It’s weird because they’re a big influence on us. We’ve listened to their tunes for years, since high school. It’s strange, if you would have said to me ten years ago you’d put a record out with Warp I would have told you to fuck off, but when it happened it was like, oh it makes sense, because their the label who want to put out the kind of music we care about. We basically made the record we wanted to and thought we’re really happy with this and they were happy to put it out. It was all a happy coincidence!
Ben Rayner Bio
Here is a bio I wrote for Ben Rayner's upcoming collection of shots of dogs that he meets while he is walking around London. Ben's photos are always amazing and his work ethic is incredible. He is also one of the nicest, kindest and genuine people I know. Love ya buddy.
Ben Rayner Bio
The first time I met Rayner was at a Vice party where he was taking shots of people looking bored. He was wearing the best DRI T Shirt I have ever seen. I was already a little gone so I told him so. He was already a lot gone and claims to not really remember the conversation. He does remember the party being “pretty real” though.
Soon after that we did our first job together. I had to interview a bunch of shitty indie bands for an advertorial while Ben took all the shots. I imagined it would take all day. Ben told me that we would do all seven in “like an hour or something and then go have a pint”. He was right.
I have never previously and probably never will work with a photographer as immediately and infectiously spontaneous as Rayner. Just hanging out with him makes you step up your game. You do everything twice and fast and twice as well because if you don’t he’ll be off on the next job and you’ll be left holding your dick.
As well as being really good at smoking lots of cigarettes, drinking rum and coke and winning thousands of pounds at roulette every four and half minutes Rayner is never further than a pocket away from his Yashica or Contax. His snapshot style always somehow manages to project the amount of fun he is having on whatever he shoots. This whole book consists of shots of dogs and he even manages to make them look as though they are about to go for a party. “Hello Buddy!”
Now that I’ve sucked your dick for a hundred words can I have that DRI T Shirt?
Ben Rayner Bio
The first time I met Rayner was at a Vice party where he was taking shots of people looking bored. He was wearing the best DRI T Shirt I have ever seen. I was already a little gone so I told him so. He was already a lot gone and claims to not really remember the conversation. He does remember the party being “pretty real” though.
Soon after that we did our first job together. I had to interview a bunch of shitty indie bands for an advertorial while Ben took all the shots. I imagined it would take all day. Ben told me that we would do all seven in “like an hour or something and then go have a pint”. He was right.
I have never previously and probably never will work with a photographer as immediately and infectiously spontaneous as Rayner. Just hanging out with him makes you step up your game. You do everything twice and fast and twice as well because if you don’t he’ll be off on the next job and you’ll be left holding your dick.
As well as being really good at smoking lots of cigarettes, drinking rum and coke and winning thousands of pounds at roulette every four and half minutes Rayner is never further than a pocket away from his Yashica or Contax. His snapshot style always somehow manages to project the amount of fun he is having on whatever he shoots. This whole book consists of shots of dogs and he even manages to make them look as though they are about to go for a party. “Hello Buddy!”
Now that I’ve sucked your dick for a hundred words can I have that DRI T Shirt?
Psychopedia Feature: Damian Abraham's Record Collection
Here is an interview I did with Damian Abraham from Fucked Up about records. I really like records so this was fun.
LONGING FOR THE PURITY OF OBSCURITY
Fucked Up’s Damian Abraham likes punk rock records more than you.
Damian Abraham is possibly the most instantly recognizable figure in hardcore punk music today. Whether you have seen Fucked Up play in the flesh or have simply witnessed their vital live performances through still photos or video it is the image of Damian’s well endowed frame, drenched in sweat, blood, saliva, beer and (more than likely) even more blood, that tends to remain as the flickering reminder of Fucked Up seared upon the retinas and subconscious of the musically aware.
Through his role as mouthpiece for Fucked Up’s wholly idiosyncratic and uncompromising synergy of traditional hardcore anger, speed and force with restless socio-political polemic, mythical thematic exploration and progressive song structure, Damian has become the focal point of a band that has always been much more than just a band.
Fucked Up are a movement, a band to believe in that have always threatened to convert listeners from every margin that recognize in their music, ethical outlook and modus operandi something well beyond void carbon copy and generic reproduction. Fucked recently signed to ‘major’ indie Matador in a worldwide deal that makes this threat an ever growing reality.
An important part of the bands self-mythology and one of their most defining characteristics has been a wildly sprawling vinyl output. As far as they stray from the confines of perceived notions of punk ‘normality’ the bands adherence to the 7” record and a boggling mass of variants thereof is perhaps their only concession to hardcore conventionality.
It is no surprise then to discover that the whole band are vinyl obsessive. Damian aka ‘Pink Eyes’ is the groups self confessed crowned record nerd. We caught up with Damian to ask how much round bits of wax that go in circles really mean to him.
Psychopedia: How old were you when you bought your first record?
Damian Abraham: I would have been would have been three or four. It was the Madness "Our House" 7". I fell in love with that song because it was on the radio and TV back then. I can’t remember the exact store I got it in but I guess I would have bought it somewhere with my dad. He was pretty dialed into the new wave stuff back then. He even went and saw the Viletones a few times.
How old were you when you realized that you were a ‘record collector’ as opposed to someone who just bought and listened to records?
I would have been about 17. I was a late bloomer. I didn't get ‘real’ about it until I was 19 though. That was when I started trading and digging. I can remember going to a friends house and he was flipping a bunch of punk singles to focus more on reggae and jazz and I bought a ton of stuff off him and just thought to myself: "Well this is my life now."
Can you remember what the first ‘punk’ record you ever bought was?
I think it would have been a Swingin' Utters ‘Nothing To Rely On’ 7"
What a record! What came first for you: punk obsession or record obsession? The two seem to go hand in hand. There aren’t many punk fans out there that don’t have a hefty 7” collection.
Punk was first. I bought records about a year or two after but it was more for ‘the music’ then. I swiftly became pretty obsessed though and you are definitely right: the two go hand in hand. I think it’s because punk, by its very nature, is outsider music that appeals to marginal personalities. These types of personalities often tend to be hoarders. If it wasn't punk I'm sure I would be collecting Star Wars toys or something else nerdy. I mean, as well as records I collect old ‘zones, tapes, fliers, the odd t-shirt. Basically: anything punk related.
What is your favorite format?
The 7”. Simply because it is the format best suited to punk.
And what is your favorite ‘punk record?
h100 – ‘Dismantle’ 7"
A lot of collectors go straight for their rarest or most valuable as their favorite record but I know that you have rarer stuff than that.
Yeah. I have a DRI test press of the ‘Violent Pacification’ 7" that has the wrong band on the b-side and the Integrity acetate. Or the acetates of the first Teenage Head 7" and LP. All that stuff is pretty hard to get hold of.
What have been your biggest bargain finds?
My wife gave me a copy of The Subhumans ‘Death To The Sickoids’ 7". I’d wanted that forever but I didn't really find that so maybe we can’t count it. I once found a copy of the Action 12" with the sleeve as they were putting it in the window-display of a store and bought it for a quarter. It was a bit of a mythical record to me and to find it like that made my day. I have been lucky enough to have been given some amazing records by friends over the years but I couldn't count those as bargains. I would say the Project X single for a few bucks or the Integrity 10" on pink with the alt sleeve for $10 are my biggest scoops.
On the flipside have you ever had to sell chunks of your collection in hard times?
I have sold stuff but always to buy other stuff. I guess it is more like reinvesting.
Let’s do a few more nerdy questions. Which single record do you own the most variants of?
I want to one day have all the various version of the Confront 7". I'm one away now and I have six already on the h100 7". I'm a huge loser.
No you aren’t. You’re my hero. Which single record that you do not own do you wish that you did?
The Fix ‘Vengeance’ 7" It is such a mythical record but apart from that most of the stuff that I want now is just cool records I didn't know about. Not so much heavy hitters. I long for the purity of obscurity.
How do you maintain some kind of order?
In terms of the punk stuff it’s divided by country and Cleveland gets its own section. It’s alphabetical within country though.
As someone who still digs in crates what are your feelings towards eBay as a forum for record exchange and collecting?
I mean I don't use it anymore but that is only because I enjoyed it too much at one point. I think it has leveled the playing field and forced collectors to step up their game up.
Finally: do you have a favorite ‘non-punk’ record?
‘Phantom Of The Paradise’ Soundtrack.
LONGING FOR THE PURITY OF OBSCURITY
Fucked Up’s Damian Abraham likes punk rock records more than you.
Damian Abraham is possibly the most instantly recognizable figure in hardcore punk music today. Whether you have seen Fucked Up play in the flesh or have simply witnessed their vital live performances through still photos or video it is the image of Damian’s well endowed frame, drenched in sweat, blood, saliva, beer and (more than likely) even more blood, that tends to remain as the flickering reminder of Fucked Up seared upon the retinas and subconscious of the musically aware.
Through his role as mouthpiece for Fucked Up’s wholly idiosyncratic and uncompromising synergy of traditional hardcore anger, speed and force with restless socio-political polemic, mythical thematic exploration and progressive song structure, Damian has become the focal point of a band that has always been much more than just a band.
Fucked Up are a movement, a band to believe in that have always threatened to convert listeners from every margin that recognize in their music, ethical outlook and modus operandi something well beyond void carbon copy and generic reproduction. Fucked recently signed to ‘major’ indie Matador in a worldwide deal that makes this threat an ever growing reality.
An important part of the bands self-mythology and one of their most defining characteristics has been a wildly sprawling vinyl output. As far as they stray from the confines of perceived notions of punk ‘normality’ the bands adherence to the 7” record and a boggling mass of variants thereof is perhaps their only concession to hardcore conventionality.
It is no surprise then to discover that the whole band are vinyl obsessive. Damian aka ‘Pink Eyes’ is the groups self confessed crowned record nerd. We caught up with Damian to ask how much round bits of wax that go in circles really mean to him.
Psychopedia: How old were you when you bought your first record?
Damian Abraham: I would have been would have been three or four. It was the Madness "Our House" 7". I fell in love with that song because it was on the radio and TV back then. I can’t remember the exact store I got it in but I guess I would have bought it somewhere with my dad. He was pretty dialed into the new wave stuff back then. He even went and saw the Viletones a few times.
How old were you when you realized that you were a ‘record collector’ as opposed to someone who just bought and listened to records?
I would have been about 17. I was a late bloomer. I didn't get ‘real’ about it until I was 19 though. That was when I started trading and digging. I can remember going to a friends house and he was flipping a bunch of punk singles to focus more on reggae and jazz and I bought a ton of stuff off him and just thought to myself: "Well this is my life now."
Can you remember what the first ‘punk’ record you ever bought was?
I think it would have been a Swingin' Utters ‘Nothing To Rely On’ 7"
What a record! What came first for you: punk obsession or record obsession? The two seem to go hand in hand. There aren’t many punk fans out there that don’t have a hefty 7” collection.
Punk was first. I bought records about a year or two after but it was more for ‘the music’ then. I swiftly became pretty obsessed though and you are definitely right: the two go hand in hand. I think it’s because punk, by its very nature, is outsider music that appeals to marginal personalities. These types of personalities often tend to be hoarders. If it wasn't punk I'm sure I would be collecting Star Wars toys or something else nerdy. I mean, as well as records I collect old ‘zones, tapes, fliers, the odd t-shirt. Basically: anything punk related.
What is your favorite format?
The 7”. Simply because it is the format best suited to punk.
And what is your favorite ‘punk record?
h100 – ‘Dismantle’ 7"
A lot of collectors go straight for their rarest or most valuable as their favorite record but I know that you have rarer stuff than that.
Yeah. I have a DRI test press of the ‘Violent Pacification’ 7" that has the wrong band on the b-side and the Integrity acetate. Or the acetates of the first Teenage Head 7" and LP. All that stuff is pretty hard to get hold of.
What have been your biggest bargain finds?
My wife gave me a copy of The Subhumans ‘Death To The Sickoids’ 7". I’d wanted that forever but I didn't really find that so maybe we can’t count it. I once found a copy of the Action 12" with the sleeve as they were putting it in the window-display of a store and bought it for a quarter. It was a bit of a mythical record to me and to find it like that made my day. I have been lucky enough to have been given some amazing records by friends over the years but I couldn't count those as bargains. I would say the Project X single for a few bucks or the Integrity 10" on pink with the alt sleeve for $10 are my biggest scoops.
On the flipside have you ever had to sell chunks of your collection in hard times?
I have sold stuff but always to buy other stuff. I guess it is more like reinvesting.
Let’s do a few more nerdy questions. Which single record do you own the most variants of?
I want to one day have all the various version of the Confront 7". I'm one away now and I have six already on the h100 7". I'm a huge loser.
No you aren’t. You’re my hero. Which single record that you do not own do you wish that you did?
The Fix ‘Vengeance’ 7" It is such a mythical record but apart from that most of the stuff that I want now is just cool records I didn't know about. Not so much heavy hitters. I long for the purity of obscurity.
How do you maintain some kind of order?
In terms of the punk stuff it’s divided by country and Cleveland gets its own section. It’s alphabetical within country though.
As someone who still digs in crates what are your feelings towards eBay as a forum for record exchange and collecting?
I mean I don't use it anymore but that is only because I enjoyed it too much at one point. I think it has leveled the playing field and forced collectors to step up their game up.
Finally: do you have a favorite ‘non-punk’ record?
‘Phantom Of The Paradise’ Soundtrack.
September Forkasts
Three 'Forkasts' For Pitchforkmedia.com
The Big Pink Forkast
The Big Pink are Londoners Robbie Furze (ex-Panic DHH, Alec Empire) and Milo Cordell (founder and owner of Merok Records). The long time friends realized that the music they had been tinkering with in Robbie’s basement was yielding something too special not to tell anyone about.
While all song writing and creative control remains in Milo and Robbie’s hands, in order to play live The Big Pink called on friends to help transfer their music from studio to stage. The band’s rapidly growing reputation as a live act in London has been enhanced by on stage collaboration with guests such as Daniel O’Sullivan (Guapo, Sunn O)), Aethenor), Jo Apps (Planet Mu), Jo Robertson (Ben Chasny, Sunburned Hand Of The Man, Martin Creed, Byron Coley) and Al O’Connell (Engineer: Mystery Jets, Paul Epworth).
The Big Pink’s sound is an encompassing swathe of deftly manipulated static and feedback that acts as both catalyst and backdrop to sequenced and live percussive patterns and layered, entwined vocal, guitar and key melodies.
The stately, building feedback, drone and trebly crescendo of ‘Crystal Visions’ are entirely characteristic of The Big Pink. The track nods to such sonic reference points as the shoegaze of My Bloody Valentine or Spiritualized’s tender adventures in distortion but the track’s chiming chorus and melodic nuance allow it a fragile beauty of it’s very own.
‘Crystal Visions’ will be available as one side of a 7” limited to 500 copies on independent label House Anxiety Records released at the end of September.
Heartbreak ForkastGraffiti Island Forkast
Graffiti Island are three twentysomethings from East London who were all so bored of what was being played at the shows they were attending they decided they may as well start playing some music they actually liked.
Whether by influence or coincidence it remains unclear but Graffiti Island’s stripped back, pared down, lo fi, redolent of early K Records innocence or Flying Nun fuzz has found itself common currency among like minded London bands such as Pens (http://www.myspace.com/penspenspenis), Male Bonding (http://www.myspace.com/malebonding) and Teeth (http://www.myspace.com/teethdance ).
Guitarist Conan Roberts may or may not have played bass guitar in Brighton thrash punk heroes Abandon Ship (http://www.myspace.com/abandonship), drummer Cherise Payne may or may not work for tasteful London based indie record label XL and vocalist Pete Donaldson may or may not look after Rankin’s kids (he definitely does co-run the excellent Voodoo Village blog though which can be found at http://voodoovillage.co.uk/) but they are certainly one of the few truly interesting bands playing in London right now.
Having already supported acts including Les Savy Fav, Apache Beat and Rings during their short existence the band are set to release their debut 7” on London-based vinyl only label House Anxiety Records.
The A Side of that 7”, ‘Headhunters’, is typical of Graffiti Island’s simple, lo fi and rhythm section heavy sound. Sped along by propulsive drums and a nagging, rhythmic guitar line the song features Pete’s deadpan delivery which slips in and out of spoken word on recurring lyrical touchstones including getting lost in the jungle and coveting things like shrunken head earrings. Wait ‘till you hear the one about the Wolf Guy…
http://www.myspace.com/graffitiisland
‘We’re Back’ is the debut single by London based italo-disco duo Heartbreak. While London’s recent italo resurgence has been lead by DJ’s playing out classic sides at nights like Cocadisco (http://www.facebook.com/group.php?gid=17834115290&refurl=http%3A%2F%2Fwww.facebook.com%2Fs.php%3Fn%3D-1%26k%3D200000010%26init%3Ds%253Agroup%26q%3Dcocadisco), Horsemeat Disco (http://www.myspace.com/horsemeatdiscolondon) and Disco Bloodbath (http://www.myspace.com/discobloodbathdisco) the resurgence has lacked an act that can convey the live element so integral to some of italo’s defining moments. You need only look to greats such as Kano (http://www.youtube.com/watch?v=eML6_RZao-w) to realize that Heartbreak might just be the act that the movement needs to truly move from reverence to contemporary innovation and relevance.
Londoner Ali Renault’s informed synths and programming and expatriate Argentinean Sebastian Muravchik’s sincere vocal delivery and live performance elevate the duo from pastiche or tribute to one of the most exciting things you currently pay money to see live anywhere right now. Recent shows have seen stage invasions (http://www.youtube.com/watch?v=3YSn8d4u7cY), general adulation and quite possibly a few tears (unconfirmed).
The Moroder lost in Rimini ‘85 synth stabs of ‘We’re Back’are layered with Renault’s trademark metallic menace which has led some to brand Heartbreak’s sound ‘metalo’. While this might be almost as ridiculous a term as ‘grindie’ it’s not a million miles off. The band does after all list Obituary in their top MySpace friends.
Heartbreak’s first album ‘Lies’ is due on Lex in late September.
http://www.myspace.com/heartbreak1
Graffiti Island Forkast
Graffiti Island are three twentysomethings from East London who were all so bored of what was being played at the shows they were attending they decided they may as well start playing some music they actually liked.
Whether by influence or coincidence it remains unclear but Graffiti Island’s stripped back, pared down, lo fi, redolent of early K Records innocence or Flying Nun fuzz has found itself common currency among like minded London bands such as Pens (http://www.myspace.com/penspenspenis), Male Bonding (http://www.myspace.com/malebonding) and Teeth (http://www.myspace.com/teethdance ).
Guitarist Conan Roberts may or may not have played bass guitar in Brighton thrash punk heroes Abandon Ship (http://www.myspace.com/abandonship), drummer Cherise Payne may or may not work for tasteful London based indie record label XL and vocalist Pete Donaldson may or may not look after Rankin’s kids (he definitely does co-run the excellent Voodoo Village blog though which can be found at http://voodoovillage.co.uk/) but they are certainly one of the few truly interesting bands playing in London right now.
Having already supported acts including Les Savy Fav, Apache Beat and Rings during their short existence the band are set to release their debut 7” on London-based vinyl only label House Anxiety Records.
The A Side of that 7”, ‘Headhunters’, is typical of Graffiti Island’s simple, lo fi and rhythm section heavy sound. Sped along by propulsive drums and a nagging, rhythmic guitar line the song features Pete’s deadpan delivery which slips in and out of spoken word on recurring lyrical touchstones including getting lost in the jungle and coveting things like shrunken head earrings. Wait ‘till you hear the one about the Wolf Guy…
http://www.myspace.com/graffitiisland
The Big Pink Forkast
The Big Pink are Londoners Robbie Furze (ex-Panic DHH, Alec Empire) and Milo Cordell (founder and owner of Merok Records). The long time friends realized that the music they had been tinkering with in Robbie’s basement was yielding something too special not to tell anyone about.
While all song writing and creative control remains in Milo and Robbie’s hands, in order to play live The Big Pink called on friends to help transfer their music from studio to stage. The band’s rapidly growing reputation as a live act in London has been enhanced by on stage collaboration with guests such as Daniel O’Sullivan (Guapo, Sunn O)), Aethenor), Jo Apps (Planet Mu), Jo Robertson (Ben Chasny, Sunburned Hand Of The Man, Martin Creed, Byron Coley) and Al O’Connell (Engineer: Mystery Jets, Paul Epworth).
The Big Pink’s sound is an encompassing swathe of deftly manipulated static and feedback that acts as both catalyst and backdrop to sequenced and live percussive patterns and layered, entwined vocal, guitar and key melodies.
The stately, building feedback, drone and trebly crescendo of ‘Crystal Visions’ are entirely characteristic of The Big Pink. The track nods to such sonic reference points as the shoegaze of My Bloody Valentine or Spiritualized’s tender adventures in distortion but the track’s chiming chorus and melodic nuance allow it a fragile beauty of it’s very own.
‘Crystal Visions’ will be available as one side of a 7” limited to 500 copies on independent label House Anxiety Records released at the end of September.
Heartbreak ForkastGraffiti Island Forkast
Graffiti Island are three twentysomethings from East London who were all so bored of what was being played at the shows they were attending they decided they may as well start playing some music they actually liked.
Whether by influence or coincidence it remains unclear but Graffiti Island’s stripped back, pared down, lo fi, redolent of early K Records innocence or Flying Nun fuzz has found itself common currency among like minded London bands such as Pens (http://www.myspace.com/penspenspenis), Male Bonding (http://www.myspace.com/malebonding) and Teeth (http://www.myspace.com/teethdance ).
Guitarist Conan Roberts may or may not have played bass guitar in Brighton thrash punk heroes Abandon Ship (http://www.myspace.com/abandonship), drummer Cherise Payne may or may not work for tasteful London based indie record label XL and vocalist Pete Donaldson may or may not look after Rankin’s kids (he definitely does co-run the excellent Voodoo Village blog though which can be found at http://voodoovillage.co.uk/) but they are certainly one of the few truly interesting bands playing in London right now.
Having already supported acts including Les Savy Fav, Apache Beat and Rings during their short existence the band are set to release their debut 7” on London-based vinyl only label House Anxiety Records.
The A Side of that 7”, ‘Headhunters’, is typical of Graffiti Island’s simple, lo fi and rhythm section heavy sound. Sped along by propulsive drums and a nagging, rhythmic guitar line the song features Pete’s deadpan delivery which slips in and out of spoken word on recurring lyrical touchstones including getting lost in the jungle and coveting things like shrunken head earrings. Wait ‘till you hear the one about the Wolf Guy…
http://www.myspace.com/graffitiisland
‘We’re Back’ is the debut single by London based italo-disco duo Heartbreak. While London’s recent italo resurgence has been lead by DJ’s playing out classic sides at nights like Cocadisco (http://www.facebook.com/group.php?gid=17834115290&refurl=http%3A%2F%2Fwww.facebook.com%2Fs.php%3Fn%3D-1%26k%3D200000010%26init%3Ds%253Agroup%26q%3Dcocadisco), Horsemeat Disco (http://www.myspace.com/horsemeatdiscolondon) and Disco Bloodbath (http://www.myspace.com/discobloodbathdisco) the resurgence has lacked an act that can convey the live element so integral to some of italo’s defining moments. You need only look to greats such as Kano (http://www.youtube.com/watch?v=eML6_RZao-w) to realize that Heartbreak might just be the act that the movement needs to truly move from reverence to contemporary innovation and relevance.
Londoner Ali Renault’s informed synths and programming and expatriate Argentinean Sebastian Muravchik’s sincere vocal delivery and live performance elevate the duo from pastiche or tribute to one of the most exciting things you currently pay money to see live anywhere right now. Recent shows have seen stage invasions (http://www.youtube.com/watch?v=3YSn8d4u7cY), general adulation and quite possibly a few tears (unconfirmed).
The Moroder lost in Rimini ‘85 synth stabs of ‘We’re Back’are layered with Renault’s trademark metallic menace which has led some to brand Heartbreak’s sound ‘metalo’. While this might be almost as ridiculous a term as ‘grindie’ it’s not a million miles off. The band does after all list Obituary in their top MySpace friends.
Heartbreak’s first album ‘Lies’ is due on Lex in late September.
http://www.myspace.com/heartbreak1
Graffiti Island Forkast
Graffiti Island are three twentysomethings from East London who were all so bored of what was being played at the shows they were attending they decided they may as well start playing some music they actually liked.
Whether by influence or coincidence it remains unclear but Graffiti Island’s stripped back, pared down, lo fi, redolent of early K Records innocence or Flying Nun fuzz has found itself common currency among like minded London bands such as Pens (http://www.myspace.com/penspenspenis), Male Bonding (http://www.myspace.com/malebonding) and Teeth (http://www.myspace.com/teethdance ).
Guitarist Conan Roberts may or may not have played bass guitar in Brighton thrash punk heroes Abandon Ship (http://www.myspace.com/abandonship), drummer Cherise Payne may or may not work for tasteful London based indie record label XL and vocalist Pete Donaldson may or may not look after Rankin’s kids (he definitely does co-run the excellent Voodoo Village blog though which can be found at http://voodoovillage.co.uk/) but they are certainly one of the few truly interesting bands playing in London right now.
Having already supported acts including Les Savy Fav, Apache Beat and Rings during their short existence the band are set to release their debut 7” on London-based vinyl only label House Anxiety Records.
The A Side of that 7”, ‘Headhunters’, is typical of Graffiti Island’s simple, lo fi and rhythm section heavy sound. Sped along by propulsive drums and a nagging, rhythmic guitar line the song features Pete’s deadpan delivery which slips in and out of spoken word on recurring lyrical touchstones including getting lost in the jungle and coveting things like shrunken head earrings. Wait ‘till you hear the one about the Wolf Guy…
http://www.myspace.com/graffitiisland
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