Grant's Tomb: Reviewing the New Acacia Strain

“Three people…Three people are dead…I killed them, send the police.” And so begins Death is the Only Mortal, the brand new album from hardcore stalwarts The Acacia Strain. If the introduction to the album puts you off or conjures up dark imagery in your mind, then it would be safe to label this album is a success. For the uninitiated, The Acacia Strain have been perfecting their sonic aural for nearly a decade now and this new album is by and large their best.

Two years ago TAS released Wormwood, their last for long time record label Prosthetic and have recently inked a deal with Rise Records. Where Wormwood failed on practically every level, especially coming off of 2008’s superb and ahead of the curve Continent, Death is the Only Mortal features a mix of all of their previous albums while at the same time manages to break new ground (something not all of their peers have been able to accomplish). What is immediately noticeable is the production; it’s crisp, clear and doesn’t over do the studio trickery involved on Wormwood. Sure there are a few parts where it sounds like the band hired a dj to cross fade the guitars, but for the most we get the down picked massive chuggary that TAS is known for. Also of note is the fact that the bass is, for once, far more audible than on past releases. I dare you to not bang your head during the opening moments of “Go to Sleep,” where lead vocalist Vincent “Don’t call me Vince” Bennett bellows ‘We pray for death!’ And in fact you might. This record is punishing without sounding contrived and is brutal without alienating the casual listener.

Many fans cried foul when it was announced that TAS had signed to Rise, this writer included. For a band as freaking heavy as they to sign to a flavor-of-the-week label was a head-scratching moment indeed, however guitarist DL assured fans that they would not be changing their sound to please record executives. It’s a partially true statement and not in a bad way I assure you. As stated above, there is still plenty of the heavy riffing, Vincent’s trademark bellowing nihilism, as well as drummer Kevin Boutot’s smooth and crushing work behind the skins (yeah, smooth AND crushing-listen and you’ll understand) and they still sound as pissed off as ever.

What is different this time around is the cohesion behind the record. Chalk that up to the band deciding to produce in house with guitarist DL handling the boards or possibly the excitement of being on a new record label. The results are stellar song writing and more focus on crafting a hook versus going balls out. Did I say hook? Don’t let that deter you, this isn’t your average Clear Channel fodder, nor does it sound like their label mates Asking Alexandria. Besides the better production, the album features a more Metal sound and less on the –core suffix.

See the epic album closer “House of Abandon,” at nearly seven minutes, it’s the second half of the song that shows immense growth from the band and features a lead reminiscent of Kirk Hammett. Another clear example of change is the focus on utilizing atmosphere and space. Not even a full minute and a half into “Time and Death and God,” the rhythm section takes a break and allows the guitars to do the talking, so to speak; when the band finally comes back in, the listener is bludgeoned to death by groove after thick groove of drop tuned intensity while Vincent whispers sweet nothing of despair. “The Chambered Nautilus” is sure to be a crowd pleaser, with its barn burning mid tempo groove and stop start riffing, you’ll find yourself humming this one as you fall asleep at night. Also worth mentioning is the drumming on this track, forgoing the typical blasting that most drummers in this genre find themselves using, Boutot opts for more controlled and precise hits that eventually knocks the listener in submission.



They don't look so angry...

Vocalist Vincent Bennett has always been known for his outspoken demeanor and violent lyricism, and if one isn’t careful to read between the lines its might be easy to pass him off as another misogynistic knuckle dragging meat head. But with lines such as “Stop following your dreams, they will never come true,” or my personal favorite “’Sorry’ doesn’t pay the rent,” the message is clear: there is no hope for humanity. If you were looking for a positive album to help get you through the work week, this isn’t it. Having seen the band live a couple months back and hearing such wonderful and uplifting gems such as “Swing like your girlfriend said she was pregnant” and “Nothing but hate and contempt for all man kind” you had best clear out of the way if you’re not ready to mosh in your car, living room, or at worst, work cubicle.

This album isn’t likely to convert the nonbelievers. For those who find the endless riffing and chuggary boring, you won’t want to listen. If the occasional (and might I add tasteful) breakdown makes you cringe, go elsewhere. But, if you’re down for a head bang and/or need some new tunes for working out, let this album be your guide.

…oh, one more Bennettism (let’s see if we can coin that one): “Grab life by the throat and tear out its eyes.” Yeah, if that doesn’t inspire you to wreck something, I don’t know what will.

[Death is the Only Mortal came out Oct. 9 via Rise Records]

-Written by Grant's Tomb

RARE! Samantha Interviews Michael Flek

Michael Flek was the first image I associated with the South African punk movement.  Sitting in Keith Jones’ loft near Letenske Namesti (one of the many Arts Districts in Prague) we drank port and listened to music from Ghana as well as Cote De Ivoire and reviewed materials for the Punk in Africa documentary. 

The first visual that Jones’ showed me was an album cover from a band called “Wild Youth.”

Wild Youth's "A Leopard Never Changes Her Spots" LP
 

Michael (or as I know him now as Mick) was a young punk rocker that resembled Billy Idol. It has been well over 20 years since Wild Youth made their way into the South African punk rock scene and now we can cut the bullshit and get into an interview that I wanted to be as creative and avant garde as Wild Youth was.

Wild Youth made history by opening a world up to the notions rebellion, courage and anarchy-this band made history and helped form a musical movement that continues to shape the culture and society of South African youth.  In this interview; my questions are a little more creative because I know that Michael will be receptive to them and have a blast answering them. Michael is fun and witty, he brings an energy and an ambiance to music and at the end of the day Michael Fleck makes me smile.

ST: Which South African president do you respect and why?

Nelson Mandela.   He had the conviction to spend 27 years of his life in prison because of his beliefs.  He is a highly intelligent and reasonable man who ensured that the transition period at the end of apartheid was relatively peaceful.  He bears no grudges.

ST: Who influenced the sound of Wild Youth the most?

We listened to a lot of music, and were influenced by a lot of different musicians.  Some of the influence was subliminal.  Even today I will hear a song from back in the day and recognize an influence, often unintentional.  The biggest influence on our music though was the Stooges.  One has to look at them in context.   The Stooges were not a popular band, and the amount of press on them was minimal.  There were very few pictures of them around and the pre-punk generation regarded them with derision.  I was impressed by the primal nature of their music and performance and their nihilism and sexuality.   They were wild.   Raw Power in particular, even the production which was regarded as terrible by the critics.  The lyrics and guitar on that album represented the future.   The Sex Pistols were the band that clinched the deal.  They were even more basic and low budget and made it seem possible to do it oneself.

ST: What was it like playing punk rock in South Africa when Wild Youth emerged?

At the beginning it was relatively easy but it became more difficult as the scene progressed.  The early bands and audiences had a real camaraderie and the gigs had an amazing vibe.

ST: You are living in the UK now, do you still play music? Can you describe what you are working on now?

I continually write music and do the occasional performance.  I am currently working on new recordings with the Gay Marines.

Gay Marines: From left, Michael Flek, Stephen Thompson and Franco Rogantin
(From Flek's personal collection, used with permission)

ST: If you could deliver a message to artistic/musically inclined youth today what would that message be?

Be true to yourself and don’t let other people’s opinion influence you.

ST: In your opinion how can musicians inspire and influence future generations of tomorrow?

The past will always influence the future.   The question can be interpreted in many ways.  If you mean musically, great art is often influenced by obscurities from the past found in the bargain bins or second hand shops or youtube and blended together into something new and original.  I do not think that following what is currently popular will do you much good as an artist.   A lot of money is put into corporate music and the record company wants to ensure that they get a return on their investment so no risks are taken and the production is so slick that for me there is nothing there.   Part of the problem is that today it has mostly all been done before whereas back then  it was all new and everyone was experimenting and feeding ideas off each other.  Stylistically I think musicians have a lot of influence on the youth though, but that is more fashion.

In today’s political climate it has become more risky.   Some political issues are just never mentioned in music partly because there is no simple solution.  Say the wrong thing and you could end up either being blown up or tortured or detained in some remote detention camp; take your pick depending on your stance.

ST: Describe your most memorable concert while playing with Wild Youth.

There were several. The two gigs at the Majestic Cinema are good examples.  The atmosphere was electric at both of them.   At the first one I am not sure whether they wanted to hate us or whether they felt it was the punk thing to do, but they bombarded us with fruit and vegetables from the second that we went on stage.   But we carried on playing seemingly oblivious to it all, and the atmosphere changed and they got into it.  The room had the electricity of someone like Gene Vincent playing in the rock n roll days, totally wild.  Afterwards we jumped into the van and split quick, people everywhere.  It was like a scene from Hard Days Night, total bedlam.  The next time we played there the response was incredible.   We were treated like rock stars.  We should have done more gigs like that.  What struck me was that these people, many of them poor and all treated as second class citizens in their own country were so welcoming, any aggression more playful than mean spirited, none of that Durban North suburbs aggression bullshit.



Micheal in the Ultra White Lovers in 1983
Phil Richardson is the gal in the back.
(Photo taken by Michael's wife, Susan.)

ST: Tell me a punk rock fairy tale.

Once there was a chubby little duckling and he very quiet and shy.  One day he heard this strange sound and it excited him very much.  He decided to change his life and worked very hard and gradually he turned into the silver swan and everybody loved him.  The other ducklings were not very happy and decided not to speak to him and he was all alone.  Anyway he would not give up and he persevered and years later he woke up in the big apple.
Like all good fairy tales there are several morals to this tale.

-Written by Samantha L. Thomas

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Pertinent Link:

Punk in Africa Official



 

Ok.. What REALLY Happened on Rollins' Bus

It must have been a slow week in the CityView music department because for whatever reason, they took the article I wrote about Henry Rollins and ran with it... In fact, they claim that Henry himself mentioned me in an email to them disputing the accuracy of my story.

Apparently Henry took offense to what I wrote, going as far as to tell CityView that I am a liar and a coward.

Sigh...

Here is the text itself, as printed in CityView:

Henry Rollins brought his spoken word tour to Wooly’s on Oct. 1. Rollins is an engaging speaker, and a good time was had by all who attended (uncomfortable folding chair seating aside). Some time prior to the show, local music blogger Troy Church decided to pay Rollins a visit and do a little self-promotion by handing off some swag. According to his blog, The Bigfoot Diaries, the trouble started when Church knocked on the tour bus door. From the blog:

 

“To my surprise, (Rollins) answered the door personally.

 

‘Hi Henry,’ (Church) said. ‘I have a couple gifts for you.’

 

‘Um… Are (you) affiliated with the venue in any way?’ He asked.

 

‘No.’

 

‘OK… Before we go any further let me tell you something. Never EVER fucking knock on a tour bus door, you got that? No matter what, never never never ever fucking knock. It’s an unwritten rule. You just don’t do that. Ever. Understand?’

 

‘OK. I’m sorry.’ I said. ‘I should have known better.’

 

‘I can’t emphasize enough… Never.’ He reiterated.”

 

According to the blog post, things don’t really get much better as Church offers Rollins a Bigfoot Diaries T-shirt (“Do I fucking look like I wear a 2X? Look at me man.”) and a sticker with Church’s contact info (“There is NO way I’m gonna fucking call you, man.”).

 

For his part, Rollins doesn’t remember it that way. In an email conversation, Rollins characteristically pulled no punches: “I went to his site and read (the post). It’s not nearly what happened. I didn’t use the word fuck in every sentence, nor did I have the aggressive posture that he indicates. He put an email address on the back of his sticker, and I tried to use it but it came back as wrong. He did not record the conversation, yet he makes it seem like he did. It was cheap, and also untrue, what he put on his page. His readers should understand that he is a liar and a coward.”

 

Told.

 

So yeah... Clearly, I wrote the piece as fiction to create a more dramatic effect than what actually took place. But since I was called out on it, and because CityView ran the story without contacting ME first to see if I had any rebuttal to what Henry said, I guess that I had better come clean.

 

This is what REALLY happened:

 

I knocked on the bus door and Henry answered.

 

"Um, hi Mr. Rollins," I said, "I didn't expect you to personally answer the door."

 

"No, I always do, man. I love my fans! What's up?"

 

"Oh nothing... I have a couple of t-shirts for you and a sticker too. You can put it on your bus if you want to."

 

"Oh I would love that very much," Henry answered. "Won't you please come in? I was just finishing up some knitting. I'm making a special friend a blanket for Christmas."

 

"Uh, cool." I replied. "Yeah. I'd love to."

 

Henry held the door for me as I entered his bus. A little white furry dog greeted me with a friendly wagging tail.

 

"Is that your puppy, Mr. Rollins?" I asked.

 

"Please. Call me Hank. And yes, that is my puppy. His name is Lickens. He always comes on tour with me. I have a kitten around here somewhere too. Her name is Fluffy."

 

Hank's cat, Fluffy.

 

Hank's bus was amazing. There was a table and an easy chair, and a room that slid out from the rest of the bus that supported a couch. (This is where Hank sat as he knitted, which he continued to do as we talked. The blanket he was making was vibrant and full of colors from the rainbow.)

 

"Help yourself to some tea if you want," he said as he pointed to a kettle of boiling water on the stove. "Be careful though... It's very very hot." He got up and went to his CD player. "How about some music? Like Abba?"

 

He put on Abba's Greatest Hits, and sat back down to work on his blanket. We talked about his tour, and the fact that when I last saw him do a spoken word tour in Ames several years ago he revealed that he had a mad crush on Ann Coulter (he says he still does) and how the Rollins Band song, "Low Self Opinion" was in fact written in retrospect and is 100 percent autobiographical.

 

Suddenly there was a knock on the door. It was the ol' Shave and a Haircut routine: Tap-tap-tap-tap-tap...Tap-Tap.

 

"OH, there's Glenn!" Hank exclaimed, tossing his knitting onto the couch as he got up. "That's our secret knock! I hope he brought bubble bath!"

 

I decided that this was as good a time as any to leave, and made my way out the door. As I walked out, I was surprised to see Glenn Danzig come in. I knew then that I had stayed my welcome.

 

------------------------------------------------------------------------------------------------

 

So yeah. Not as fun and exciting as the original story - the one I "made up."

 

Thank you CityView for calling me out on my lie... Oh, and for being "Alternative." Now that I've come clean, can I have my integrity back?

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Pertinent Links:

Original CityView article

Henry and Glenn Facebook Page

 

 

Samantha Interviews George Bacon of H.H.H.

Hog Hoggidy Hogg kicked off a European tour last Friday and they are now going full throttle through some of my favorite rock clubs in Eastern Europe. It is 10:13 a.m on Tuesday in South Korea and I am waiting.. It appears that’s all I do anymore is wait, wait for critiques, wait for reviews and wait for interviews.



Hog Hoggidy Hog Hoggin' it up.

Hog’s lead singer George Bacon has a series of off key interview questions I recently sent him, as George currently resides in Berlin-we are now communicating via e-mail. 

I spent some time transcribing an interview that Keith Jones had done with George Bacon for the documentary Punk In Africa back in 2010 and he delivered an exceptional interview then. Now as George takes on a new set of interview questions from me I feel that he will yet again deliver a profound eye opening interview that will open the eyes of many when it comes to South African Punk Rock and the subcultural movement at large.


ST: Name a few of your biggest inspirations.

I tend to be inspired by people who aren't necessarily well known. It is generally the little guys that stand up to the big guys, they generally go unnoticed, but it is these kinds of people that I take my inspiration from.

ST: What are your favorite books?

I'm a bit of a geek in this regard. I generally just read non-fiction books, especially biographies. The rest of my band thinks I'm odd, but history just really interests me. The last book I read was Nelson Mandela's Long Walk to Freedom.
ST: What is Hog Hoggidy Hogg currently up to?

We're currently on tour in Europe. Actually writing this from the tour van. We also busy working on releasing another album. In the writing process at moment, but we're quite excited about what we've come up with so far.

ST: Does your music have any historical influences? What are they?

I'm not 100% sure what the question actually is, but I guess everything has historical influences. The whole historical situation in South Africa had a huge impact on our lives. My desire to rebel I can almost certainly attribute to the fact that I was brought up in a conservative police state. I burnt my army call-up papers, and I was fighting the system before I was even old enough to realise what the system was or even why I was doing it. This definitely had a profound influence on my life and resulted in my burning desire to go against the grain and without that there wouldn't be Hog Hoggidy Hog.

George Bacon onstage. Photo originally used in film, Punk in Africa.
(Photo by Jacqui Van Staden. Used with permission.)

ST: How has HHH's music changed over the years?

I don't really think it has. Our albums have always been slightly eclectic. In our naiveté we started off not wanting to be labelled in any genre and just take what we liked about all different styles of music and put it into one band and I don't think we haven't really changed that outlook. We obviously have musical preferences and we have certainly been labelled a ska punk band, but we've always been more than that and I guess that's what has enabled us to still stay relatively relevant for close to 2 decades.  I guess the only real way our music has changed is that we don't really suck as much as we used to.

ST: What are you currently listening to this second?

Listening to a band called Discoballs from Czech Republic, they are the band we played with two days ago and it's the only Cd we have in the tour van.

ST: Name three of your favorite musicians within the last 60 years-why?

My band always hates when I answer this question because they know one of them is going to be Axl Rose of Guns 'n Roses. Whatever people might think of him now, when I was a kid, he was my absolute hero. In those days in South Africa, we weren't really exposed to much music that the government didn't want us to hear and for me, Axl was the guy that epitomized standing up and lifting a middle finger to society. I guess it was more what he stood for than what he did musically, but as an adolescent being brought up in an oppressive regime, this really resonated with me. Jessie Michaels of Operation Ivy is another, he's probably been my biggest influence with regards to music style. Also his lyrics are brilliant - just the right combination of poetry and social commentary and I discovered his band at a time when I myself was becoming an aspiring lyricist. The most amazing thing is that he wrote most of these lyrics when he was a 19 year old kid and I still find inspiration in them today. Last but not least, I would have to say Cliff Richard. Yes I know Elvis was way cooler, but my mother raised me on Cliff and as soon as I was old enough to speak, I was singing Cliff Richard songs. My dad was a fan of Johnny Cash so I wish I had listened to his record collection rather, but it was my mother that controlled the record player and it was Cliff that made me want to be a singer ever since I was a toddler.

As I knew he would George delivered; like all great musicians George never misses a beat when it comes to interviews, promotions, tours and producing exceptional punk rock. George’s interests retain the same quality and ideas as his music does; four words come to mind, unique, avant garde and intellectual.

-Written by Samantha L. Thomas


 

♪♪♪ Rocking the Vote: Election Selection Series ♪♪♪

In light of the presidential debates Wednesday night, we asked two rock and roll heavy weights to explain thier political views, and more specifically, why they are voting for thier respective candidates.



Tamra Lucid will be voting
for Obama

Taking the side of President Obama is Tamra Lucid, singer/bassist for Lucid Nation, the greatest rock and roll band you've never heard of. This DIY band hails from Los Angeles and has made a living promoting themselves from the ground up. Even though Lucid Nation was listed in 100 Bands You Need to Know by Alternative Press in 2002, and have hit #1 on the New Music Weekly college radio chart, they avoid corporate music like the plague and continue to make great music when seemingly nobody is watching. Their lineup reeks of legend...

Musicians include Patty Schemel of Hole, Warhol superstar Holly Woodlawn, Greta Brinkman of Moby's live band, L7 and Blondie, Jody Bleyle of Hazel and Team Dresch, Jean and Dave of Mecca Normal, Tia Sprocket of Luscious Jackson and Ministry, Ken Schalk of Candiria, Rob Cournoyer of Raging Slab and Sound of a Blue Heart, Steve Moriarty of The Gits, and Larry Schemel of Midnight Movies. (From the band's FB page)

Tamra Lucid discusses with us why she will be voting for a Democratic ticket in November.

What is the main reason you are voting for Obama?

While I think both parties are the good cop bad cop wings of Monsanto-Goldman Sach-Brawndo Inc. I can't be under the same tent as people who want to force any pregnant rape and incest survivor to bear the child of the man who attacked her. I realize not all GOP supporters hold such an extreme view, and some are even pro-choice, but if you're in the same tent with people who are passionate about that point of view, I can't vote for you.

What do you think that four years of Romney would bring to America?

I don't think four years of Romney will be all that dramatically different than four years of Obama. The fanatics empowered by a GOP victory would make life harder for women and the poor, and they would hold back progress on renewable energy, and other 21st century necessities while clinging to their 20th century dogmas and fuels. But they're already doing that in Congress.

What part of the Republican platform displeases you the most?

Most of the GOP platform is written as if to piss me off specifically.

What part of the Democratic platform do you like the most?

The platform doesn't mean balls. These fuckers say all the right things but when push comes to shove they usually wind up on their ass in front of some snickering Republican. If they really believe in the climate crisis, if they really care about how horrendous our schools are, if they really understand how important it is to end pot prohibition and clean up prisons for profit and the insanity of the drug war, if they really want women to have equal rights and opportunity, if they really believe women are smart enough to make our own decisions about our bodies, they have to stand up and confront the skeptics and the liars with cold hard facts. Most of them just play it safe and spend most of their time milking donors for more campaign money.

Are you voting more FOR Obama or more AGAINST Romney?

I think I already answered that question. I believe the most important thing America can do right now is get the money out of politics. Until we clean that mess up nothing will really change.

Ross the Boss will be voting for Romney

Taking the side of the Republican party is none other than Ross The Boss Friedman, guitar wizard who helped form Manowar, The Dictators, and more recently, the Manitoba Band. He has been featured in countless guitar magazines, is internationally respected as one of the world greats, and even had his guitar work featured in a MLB commercial for last year's All-Star game. He is an outspoken Republican, and makes no qualms why he will be marking a right wing ticket when he votes.

What is the main reason you are voting for Romney?

We have to have a person in the White House that has business experience . Knowledge of what it takes to create real jobs and wealth.

What do you think that four more years of Obama would bring to America?

Four more years of Obama in my opinion will fundamentally transform this country into the euro-socialist model that Obama admirers . Except all those countries are totally bankrupt and gone down the drain in economic failure.

What part of the Republican platform appeals to you the most?

I basically support the whole platform. Lower taxes, increased economic freedoms , create the atmosphere for for new business and jobs, jobs, jobs.  Less government involvement . Stop downsizing our military. Get folks off the government dole and back to working again. Cut our national debt!

What part of the Democratic platform displeases you the most?

The Democrat party has been co-opted by the far-left. It's led by the most liberal left-wing POTUS that's ever been. JFK is turning over in his grave knowing what has become of his party.

Are you voting more FOR Romney or more AGAINST Obama?

I'm voting for Romney/Ryan because I approve of the platform and against Obama to defeat their radical failing vision of the USA.

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Lucid Nation Official

Lucid Nation Facebook

Manowar Official

The Dictators Official

 

In Which I Get Lectured by Henry Rollins...

I just got lectured by Henry Rollins.

He is performing his spoken word tour tonight in Des Moines at Wooly's and his bus was parked outside the Locust Tap on East 5th. On this tour he is hitting each of the 50 state capitals to talk about Capitalism as a build up to the presidential election on November 6th. I thought it would be a nice gesture to give him a Bigfoot Diaries t-shirt, so I drove down, parked the car and knocked on his bus.

Poster in which Henry signed.

To my surprise, he answered the door personally.

"Hi Henry," I said. "I have a couple gifts for you."

"Um... Are affiliated with the venue in any way?" He asked.

"No."

"Ok... Before we go any further let me tell you something. Never EVER fucking knock on a tour bus door, you got that? No matter what, never never never ever fucking knock. It's an unwritten rule. You just don't do that. Ever. Understand?"

"Ok. I'm sorry." I said. "I should have known better."

"I can't emphasize enough... Never." He reiterated.

"Seriously. I am sorry."

"Ok... Whatcha got?" He asked.

"I have two tshirts here" I said. "One is red and one is orange. Both are 2X."

Rollins gave me a stern look. "Do I fucking look like I wear a 2X? Look at me man."

"Well," I said. "You seem bigger on TV... Sorry. They WILL shrink."

"What is it?"

"It's a rock and roll website I run... It's not for profit, something I do for fun." I explained.

(I think Henry smiled)

"Anyway," I continued. "I have a red shirt or an orange one... I would like you to have one. Do you have a choice?"

"I'll take the orange."

"I have a sticker also, with my info written on the back of it. The website, my name, my email, my phone number..."

"There is NO way I'm gonna fucking call you, man."  Henry said, shaking his head.

"That's cool, at least you have it. I want you to have it."

(Awkward pause.)

"Could I get a picture?" I asked.

Henry: (Big sigh.)

"Please?"

(Picture taken.)

Henry Rollins probably wanting to kick my ass.

"Thanks Henry," I said. "I appreciate it and I'm sorry."

"No problem."

I reached out to shake his hand, which he accepted.

"Sorry to bother you." I said. "I hope you have a good time in Des Moines."

He didn't kick my ass.

Just another day in Des Moines....

 

Best Effin' Email Ever

I eagerly bought Andy Shernoff's new EP, "Don't Fade Away" last night and found this wonderful email in my inbox this morning:


Thanks for your order with CD Baby!

USPS

(1) Andy Shernoff: Don't Fade Away

Your CD has been gently taken from our CD Baby shelves with sterilized contamination-free gloves and placed onto a satin pillow.

A team of 50 employees inspected your CD and polished it to make sure it was in the best possible condition before mailing. Our world-renowned packing specialist lit a local artisan candle and a hush fell over the crowd as he put your CD into the finest gold-lined box that money can buy.

We all had a wonderful celebration afterwards and the whole party marched down the street to the post office where the entire town of Portland waved "Bon Voyage!" to your package, on its way to you, in our private CD Baby jet on this day, September 26, 2012.

We hope you had a wonderful time shopping at CD Baby. In commemoration, we have placed your picture on our wall as "Customer of the Year." We're all exhausted but can't wait for you to come back to CDBABY.COM!!

Thank you, thank you, thank you!

Sigh...

We miss you already. We'll be right here at http://cdbaby.com/, patiently awaiting your return.
--
CD Baby

The little store with the best new independent music.
http://cdbaby.com cdbaby@cdbaby.com (503)595-3000

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Pertinent Link:

Andy Shernoff Official

 

Mr.Clean Reviews Dagger's Self Titled Album

I grew up in the mid 1990s listening to 80’s metal when it was considered un-cool. I have no regrets fighting for Judas Priest and Iron Maiden when everyone thought Third Eye Blind, 311, and Chumbawamba(I’m dating myself, I know) were far superior to my metal bands. Dagger from Tempe, Arizona released a self-titled release that combines elements of straight up 80’s and early 90’s metal, but with also a hint of glam. Usually you hear bands that pick the heavy over the glam side in metal, but Dagger is one of those hybrid bands. I get to be a tough critic on Dagger’s self-titled album because I’m a seasoned metalhead and study all styles and subcategories of metal.

Dagger Stagger Records 2009

The opening track “Why Not” is my least favorite track on the album. This is a good album to listen to, don’t get me wrong, but I cannot stand “cadenzas” in the beginning or ending of albums. A “cadenza” is an explosion of notes that are improvised for intros or outros of songs. They are overused in southern rock and are a lame excuse for music passages; they just kill time.

This album does build though. I really like Howie Macreno’s mid-range Geoff Tate-influenced vocal style. In fact, his vocals help narrow down the style for Dagger. For this caliber of music, guitar solos are expected and do exist. You don’t hear a total “wank-fest” on guitar, which a lot of listeners don’t want on their albums. These solos are unique and tasteful. I wish the drumming was more dynamic because a lot metalheads want tasteful grooves. Instead, they are simple and on time—which gets the job done.

As the album progresses on, you can hear influences by Skid Row, Jackyl, Metal Church, Vicious Rumors, some Anthrax, and maybe Savatage—minus the keyboard work. The vocals scream Queensrÿche, but once you listen to the songs over and over it feels like there is some 80’s thrash influence in the vocals as well. I’m happy that there are background vocals in the choruses that remind you of Accept and Queensrÿche big choruses. The albums cohesiveness on songs is a bit questionable, but mainly because of going from straight up metal to glam style guitar riffing.



Drummer John Harper pummels the skins at this year's Rocklahoma
(Photo by Bigfoot Diaries)

A metalhead like me would recommend Dagger’s “Dagger” album to metal fans who are open minded and can appreciate all styles of metal. It would be a hard sale to metal fans who are stuck on one type of metal or just don’t care for the hair metal/glam metal to begin with. Dagger is a band that I could see doing extremely well in the Midwest for representing metal that isn’t heard on today’s commercial radio. I really do enjoy this album, even with my higher standards, and do hope for follow up album that blows the first one out of the water. I recommend this album to metal fans who remember bands like Banshee and Artch for their heavy metal/glam crossover music.

-Written by Mr. Clean

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Pertinent Links:

Dagger Official

Dagger Facebook


 

The Bigfoot Diaries Round Table Question # 1

In a brand-new segment we will gather the staff here at the Bigfoot headquarters once a month or so, and ask them to answer one particular question concerning what we deem (un)popular culture. The idea of this segment is to allow the reader to get a better view of who we are - the writers, the artists, and the technicians who make this site possible. Also, it's just kind of fun to get everybody in the same proverbial room if you will. Thanks to Grant's Tomb for producing this great idea!

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Our first topic of discussion concerns television shows such as American Idol, The Voice, America's Got Talent, etc.The question: Are these shows good or bad for the music industry?


Turtle Boy: No. Well I don't know cuz I don't watch 'em. American Idol has a pretty catchy theme song. And the dude from The Voice is always wearing Misfits/Danzig shirts so that's cool. That's my 2 cents.

Mr. Clean: I feel shows like The Voice and American Idol are searching for the latest pop star cash cow, and not unique vocalists. In the years of these shows being on the air, never have I once heard a powerful male/female vocalist blow me away with their vocal talent. Most honorable singers from the 1920's through late 1990's got their success by their hard work, hard practice, and decent connections--not by American Idol contests. If I turned on any local pop music radio station in Des Moines, I'm bound to hear mediocre but highly produced songs that status quo finds catchy. This isn't real music, it's a waste of three and a half minutes until the next waste of time. I miss vocalists and pop stars like Michael Jackson, Prince, and Madonna being on the radio or on television for their latest albums. There is so much crap on the radio that hogs up time for a better artist's song. What's really bad is even in rock music, there hasn't been up and coming artists with albums worth buying. This is why I'm glad internet radio is taking over. As for The Voice and American Idol... they should have stopped at American Bandstand and Star Search.

 

Samantha L. Thomas: I think these people are hungry for 5 seconds of fame and they will do anything to get it. American idol, the voice blah blah talent show garbage is polluting the music scene and killing peoples ear drums for good music. I haven't seen either of these shows in years and doubt I'll be trying to look them up any time soon. I think if people want to get into the business they need to work their way up, create their own sound and fuck the standard quo of what is "good" at the moment.

Cveckian: On the whole, such shows do not provide sustainable careers past the season a particular act is a part of, nor is it really their responsibility to do so. The ones who do well are often called back in future seasons, for a gig here and there, and that is about the extent of it. Most of the people I have talked to about reality talent shows (and I will admit that number is quite small) have confessed to watching it for the inevitable train wrecks that occur when someone completely lacking any talent whatever gets annihilated by the judges. We as a society love to tear down people more than we do enlightening them and the media feeds that self-righteous hunger of ours on a regular basis. I personally think this is acceptable punishment for attempting to getting that golden ticket early in life and sometimes does lead to some impressive talent being discovered from time to time. I cannot blame the contestants for trying either. In most cases, not only are they subjected to the ire of their peers, but they have to put it all out there for the masses. Not just a bar full of people mind you, but literally millions of people worldwide. Most people crumble under that kind of pressure, so when a Carrie Underwood gets up on a stage of that magnitude and sings her pretty little heart out, I have nothing but respect for her... Despite my disdain for most things Country. Sustainability is where the wheat gets separated from the chaff and that is more on the artist than anyone else... As it should be.

 

 

Bob Patton: Shows such as America's Got Talent, The Voice, and American Idol --- especially in the early part of each season --- are good for discovering vocal talents that otherwise may never be revealed.  Granted, 98 percent of the time, those vocal talents are best suited for sterilizing farm animals, but still...

Shep: Well, where these things seem to have the most impact is in the television industry. In the sense that lots of people watch this stuff and in generates big money in advertising. A lot of the girls at work are always talking about these shows so whatever, it seems to be working; which I don't understand because it's a lot more fun watching The Munsters or The Flintstones. In regards to whether it's good for the "music industry", yeah probably. They have gotten a small hand full of bankable stars like Carrie Underwood, and to maybe lesser degrees Kelly Clarkson and Jennifer Hudson. These shows also help propagate what seems to be the corporate mission of the music biz, to reduce everything to the equivalent of vanilla ice cream. Boring, bland, and unexciting music, but put it on t.v. and have celebrities tell people it's great and the masses will lap it up like pigs at the trough.

 

T. Church: It's funny. I never really gave this question much thought. But then again, why would I? I have never timed my evening so that I was sure not to miss one of these shows, and when I did see them, usually as the result at being in the wrong place at the wrong time, I was utterly bored. That being said, I suppose it is good for the music industry from a corporate standpoint because obviously these shows are popular and draw in truckloads of advertising dollars. But it's not good for the music industry in terms of it force feeding more "mainstream" down our throats. The last thing I want to see is some pretty boy butchering "Beast of Burden." At some point, it becomes more about the money than it does the music, and that's when it gets ugly. More so, it seems to me that these shows are about the judges more than they are the contestants, so there's your X-factor... It's a parade of clashing egos that frankly, make the shows redundant, boring and over-hyped. And in that aspect, it's not good for the music industry either. That being the case, I offer a compromise: Give me a talent show where you have Andy Shernoff sitting at the judges table next to Dee Snider and Wayne Kramer... I'd set the Tivo to that.

 

Grant's Tomb: It may be somewhat of a loaded question, especially given my penchant for bashing all things corporate music related, but (and I emphasize the but), there is something to be said for artists-I use the term loosely-like Kelly Clarkson, Carrie Underwood, Chris Daughtery, and Taylor Swift who have been able to use the success gained from said "talent shows" and move on to greater success. We all know the Grammys are a joke, but consider the amount of records the individuals above have sold. Does quantity equal quality? Obviously not, but on the same token you simply cannot discount their fans. Sure most are mindless/brainless zombies clutching to any trend mass media and pop culture is (and always will be) willing to crank out. Do these shows lead to sustainable careers? Yes, for as long as producers and record companies are willing to shell out the cash to promote them (and as long as these "artists" are turning a profit). With all of that said, these shows promote soul-less, flavor of the week style pop garbage that can be taken out with the trash on a weekly basis. Remember Clay Aiken? I didn't think so.

 

Would love to know, what do you think?

 

Bob Patton: Reality... No Television Required

Drawn exclusively for The Bigfoot Diaries
(Click to enlarge)

 

The South African Punk Movement

The following is the first article submitted by Samantha L. Thomas. Her passion for world travel is perhaps only matched by her love of punk rock. In this initial post, she covers the underground punk rock scene in South Africa, and in particular, the band Hog Hoggidy Hog. -Ed.


Discovering South African Punk Rock from the Heart of the Czech Republic

Two years ago South African Punk rock was uncharted territory for me. To be blunt I never even knew the movement existed until Keith Jones Punk in Africa happened. It was summer 2010, I was 24 and I had just returned to Prague for a four week internship.  Little did I know where this would take me, now here I am writing about a genre of music that has attached itself tightly to my blood cells. In the weeks to come I hope to expose all of you to the sounds, faces and ideas that revolve around a musical subculture that remains unknown to the majority of the western world.

So what does South African punk rock sound like? Who creates it? Why should people in the Western world embrace it?  With the help of artists, documentary makers and South African punk rock bands themselves, these questions will not only be answered, they shall be explored.

Hog Hoggidy Hog is a South African punk band that has heavy elements of early SKA and heavy guitar riffs with lyrics that undeniably South African; singing about issues such as Apartheid, human rights, social injustices and life in South Africa amidst the political shifts of the late 1980s and early 1990s.  South African punk rock is fast, heavy, loud. Passionate-musical movements like these are dying quickly around the world, nevertheless Hog Hoggidy Hog keeps them flowing and doesn’t miss a beat. From heavy brass and high tempo drum beats H.H.H has it all. Keeping true to the concept of “punk” the music is intense and rebellious, with each song carrying similar rhythms and tempos while lyrics being diverse and profound. Hog Hoggidy Hog’s lyrics are poetry placed on high doses of speed.

In their most recent works the listener can hear hints of reggae tone and heavy metal; the combination of these very different sounds has set HHH apart from the rest. While South African punk cannot be compared to British or early American punk rock, the sounds resonate emotion, defiance, rebellion and everything that GREAT punk rock is. To rebel, to resist and to Fuck The Man.  With storytelling lyrics and heavy horn HHH has a sound and authenticity that cannot be purchased-the stories in which HHH tells are first accounts of life in South Africa during some extremely challenging times.  HHH’s earlier music delivers freedom to a young subculture that wanted to defy and lacked opportunity to do so. Among the many South African Punk bands, HHH has guided and paved the way for many musicians to follow their artistic dreams and defy the common nomenclature of what “good music” is.

-Written by Samantha L. Thomas

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Pertinent Links:

Hog Hoggidy Hog Official

Hog Hoggity Hog Facebook

 

Our Newest Staff Member: Samantha L. Thomas

The newest addition to the staff is Samantha L. Thomas.

Samantha L. Thomas is a restless native of Des, Moines Iowa; she currently teaches art in South Korea and holds a BA from Drake University.  Prior to moving to South Korea, Thomas studied in Czech Republic and England.  Her newest project is Nepal Arts Therapy and she has a Boston terrier named Bulgogi.  Thomas is addicted to punk rock, Carlo Rossi, acrylic paint and photography.

 

The Bigfoot Diaries To Go Viral (We Wish!)

We get by with a little help from out friends. Or so it's been said.

On Friday Shep and I will be guests on the Fallon Forum, a grass roots webcast that covers all things not fair and balanced in the political world. Somehow, despite everything that is currently happening in the political spectre, Mr. Fallon has found time to talk to us.

We will discuss music of course, from a national and local level. We will offer unpopular opinions and make general asses out of ourselves. We will tell you why corporate radio sucks. We will take your calls and give away a t-shirt or two. We will tell you why you should immediately seek out albums by The Dictators and Howling Wolf.

So, join us in conversation live, Friday, online from 12:40-1:00 pm on the Fallon Forum website. Call in at 515-244-0077 (local) or toll free (855) 244-0077 if you are standing at a payphone in California. Video and audio podcasts will be available, too.

Ed's show runs Monday through Friday from noon til 1:00.

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Pertinent Links:

Fallon Forum Website

Fallon Forum on Twitter

Fallon Forum on Facebook


 

The Lords of Altamont - The Altamont Sin

The Altamont Sin (Gearhead Records)

Another blast from the past here, but at least it's from this century and considering what a dinosaur I am when it comes to musical taste, it might as well be hot off the presses. This album is pure destructo garage mayhem. All out, greasy, slag heap punk played at full throttle by these L.A. neanderthals. The Stoogian riffs, the junkyard metallic thud, and the reckless abandon make this a definite go to record for your next wild party.

The band has ex-members of The Bomboras and the Fuzztones among others; and if that's not enough to send you to Amazon or Ebay, or better yet your closest record store; then how about the fact that none other than Micheal Davis (R.I.P.) is the bass guitar player. If the pedigree of the MC5 and Destroy All Monsters doesn't impress ya then you've listened to one too many Dave Matthews Band albums.

I mean it's an election year and that means that the thing that you really need is something that will allow you to ignore the entire thing. Face it, all the guys and gals running for office (and even the ones that aren't) are so embarrassing and pathetic that they aren't even worth laughing at anymore. So get yourself some Lords of Altamont, burn your voter registration, start your own outlaw motorcycle gang, and live free.

 

Bob Dylan: Des Moines, Iowa 8/22/12

There was evolution in the air.

Bob Dylan has endured a lifetime of change, drifting in and out of the public's conscience with his whimsical lyrics and his ever changing progressions of music.

Like the ocean tides his songs have ebbed and flowed throughout his illustrious career, often to a point where an audience might deem them unrecognizable. While he might be singing the lyrics to "Tangled Up In Blue," the song he and his band are playing might sound nothing like the original version, or any other version that one might be used to. Many of the songs in his touring rotation have this effect; they have simply been tweaked to a point where, essentially they are entirely a new song altogether. They have become an alternate reality to their original versions - a shell to their former selves.

Photo by Sarah Cartwright

This is good or bad depending on who you talk to. Personally, I love the changes. If you are a stickler for perfection in terms of pitch, arrangement and tone, then a Bob Dylan concert is probably not for you.

Wednesday night his Never Ending Tour came through Des Moines and played to an estimated audience of 6500 people at the Wells Fargo Arena. The crowd was mired in silence throughout most of the night, although excitement seemed to get more rampant as the night progressed.

Aesthetically, it was an appreciative bunch, but it was hard to tell if they were getting the product that they had expected. I get the feeling that most enjoyed the "newer" version of his songs, but some didn't. He seemed to hold Love and Theft close to his heart, as he performed more songs off of this album than any other. Because it wasn't one of his greatest albums in a commercial sense, the choice of these songs might have cast a spell of stillness over the crowd.

Bob's voice has never been sharper, at least to these ears. His words pierced through the speakers like laser beams, while the music behind him delicately swirled throughout the arena. He has arrived at a point in his career where the lyrics he sings have the element of being half sung and half spoken. But nonetheless, his voice is still strong, and it undoubtedly contains that Dylanesque component that we have come to expect.

On both sides of the stage were large smoke machines that sent out occasional puffs, and within the lights, eerie shadows formed over the band as they played throughout the night. Dylan's band, like his music, has also undergone changes throughout his career. On this night he was anchored by Charlie Sexton who has played guitar with Bob on several tours, long time bassist Tony Garnier, and the multi-talented Donnie Herron who played the banjo and fiddle on occasion, but predominately the keyboards and steel guitar. Dylan also played electric piano, which created a crispier sound than did the Wurlitzer pump organ he played on the Fall leg of the tour last year.

The Iowa Events Center became a marketplace of dreams and riddles as he effortlessly made his way through his set list, and at times he incorporated different stylings into the mix. For instance, "Twiddle Dee and Twiddle Dum" had a fun and jazzy Ragtime beat to it, and on this night, "Simple Twist of Fate" was performed in a multitude of half steps. The latter was one of the songs that, if the listener was not aware of the words, could have gotten lost in translation. "Ballad of a Thin Man," of course had a strong element of Blues wrapped around it.

Dylan played a very busy version of "All Along the Watchtower" which made me think of local singer Jimmy Enos. In a strange musical illusion, Sexton's fuzzy guitar chops mixed with strange light patterns from above the stage, resembled the conditions of a psychological windstorm. I felt a cold breeze as the music swirled around my ears, much like the sensation I get when Stuttrin' Jimmy plays "Westward Winds" with the Goosebumps. It only lasted a second or two, but I did get that flash of excitement as it occurred.

Music is indeed a powerful force, as anyone who has experienced these mysteriums can tell you.

Photo by Cveckian (Click to enlarge)

Overall, it was a great concert. Seeing Bob Dylan is a prize in itself, but knowing that he is out there giving everything he's got each and every night at 71 years old puts a big smile on my face. Ultimately time is running out for many of our heroes... This sad fact should make any fan appreciate the essence of who Bob Dylan really is, and what his legacy means to the world of music.

When it comes to living musical icons, Mr. Dylan showed why he stands heads and shoulders above everybody else.

Set List:

Leopard Skin Pill Box Hat
Man in the Long Black Coat
Things Have Changed
Tangled Up In Blue
Tweedle Dee and Tweedle Dum
Sugar Baby
Summer Days
Visions of Johanna
High Water (For Charlie Patton)
Simple Twist of Fate
Highway 61 Revisited
Can't Wait
Thunder on the Mountain
Ballad of a Thin Man
Like a Rolling Stone

Encore:

All Along the Watchtower
Blowing in the Wind

 

Briar Patch to Come Back to Life this Weekend

One of Iowa's most beloved music destinations will bring it's stage to life again this weekend after taking a 24 month hiatus. The Briar Patch in Bevington, Iowa will host the two day event this Friday and Saturday. It will have a home-grown feel to it as it will showcase some of the brightest musical talent from around the state. Further enhancing is the fact that once again music lovers will have a magical place to gather and share the vibe, away from the steel wheels of the city.

The Hill Benders play at the Briar Patch Bluegrass Festival in 2010
(Photo by the Bigfoot Diaries)

For ten strong years the Briar Patch provided an intimate setting for central Iowa music lovers. Located directly on the border of Warren and Madison counties in Bevington, the Patch sits in an unlikely spot for a venue built and based upon traditional music values.

Up until the mid '80s it wasn't unusual for a concert venue to hold two or three nights of music in a row, while allowing camping on it's premises. People were prone to travel from city to city to follow such bands as the Grateful Dead, Ozric Tentacles, and Moe. Venues would set up to accommodate these die-hards, and massive parking lots were quickly converted into small camp villages.

Bonaroo, Summer Camp, and Coachella are a few that still hold events based off these old traditions. While the Briar Patch provides music on a much smaller scale, it still embeds the philosophy imagined by these larger stages... Come in, set up a campsite, have a good time, and most of all, enjoy the music.

Dead Larry on a luminated stage at the Patch in 2010
(Photo by Shelly Adelmund, click to enlarge)

"I'm looking forward to playing Briar Patch again," said Rich Cantrell, keyboardist for Cirrus Minor, who will be headlining Saturday night's show. "Some of the bands in the line up are guys we have played with before, but its been a while, so it will be cool to hang and share the stage again. The people that come out are great, passionate and supportive music lovers which makes for a great night of jammin'. Can't wait!"

The complete lineup is as follows:

Friday:

Dave Zollo and the Body Electric  (11 PM - 2 AM)
The Highroller Express  (9 PM - 10:30 PM)
The Dark Royals  (7 PM - 8:30 PM)

Saturday:

Cirrus Minor  (11 PM - 2 AM)
Aquamarine Dream Machine  (9 PM - 10:30 PM)
Mighty Shady  (7 PM - 8:30 PM)
Public Property (4:30 PM - 6 PM)

The High Crest will play between sets on Saturday.

For Kat Darling and the High Crest, this will be the first time for them to play the Patch.

"It was great to be asked," she notes. "It is one of the coolest outdoor music festivals we have locally, and it's shaping up to be a big one. It takes a lot of commitment by the organizer, the bands and the fans to make this happen."

She is correct. If you are one of the thousands who have experienced the enchantment that this place offers, then you have seen first hand the hard work that owner Bob Rice puts into each of his shows. The Patch is a beautiful and rare place where live music meets the forested skyline and strangers don't exist. It's about as real a concert experience that one can have at a small music venue in and around the Des Moines area.

Justin Kurtz of Aquamarine Dream Machine at the Briar Patch in 2010
(Photo by Sarah Cartwright, used with permission)

On August 7th Bob celebrated his 10th year as the proprietor of the Briar Patch. It was a huge event, with the biggest local bands on the roster: Mooseknuckle, Mr. Baber's Neighbors: The Solar String Band, Floodplane, Truth B Told and Thankful Dirt as the headliner.

Apparently the night before, a couple of self-serving knuckle draggers sold some dope to some informants who were sent undercover from the local drug task force. Deeming Bob responsible, they swarmed in the next morning and raided his quiet little cabin in the woods. He figured he had nothing to fear, he didn't have any drugs on him, and he certainly wasn't responsible for the bad choices of others...

Boy, he was wrong.

Inside a purse of a female overnight guest, the police found a small amount of marijuana. She didn't claim responsibility for it, and for the cops that was enough evidence to take Bob to jail. The bail was set ridiculously high, in an obvious attempt by the Madison County authorities to keep Bob held without a chance of release. He was given a drug test, which he passed. He had no trace of any illegal substances in his body, and yet the prosecutor was determined to make Bob the example that Madison County is tough on drugs. He sat in jail for several months.

To make a long story short, Bob eventually got out of jail, paid his fines and is now working on a clean slate. Rather than rehash the events that led to the Patch's demise during the summer of 2010, Bob would instead like to push forward and work at rebuilding the traditions that were unexpectedly put on hold. He is re-energized and excited that once again, he is able to live his dream.

Gates open at 6:00 PM on Friday. The cost is $20 per person per day includes which includes camping. You can get a 2-day pass for $30. A wristband will be given at entry, and based on it's color you will be permitted to one or both nights of music. Leaving and coming back is permissible, assuming that the two-night wristband is always intact.

The rules are the same as they have been since day one.

You must be 18 to attend and 21 to drink alcohol. Everybody is expected to behave within the law and those who do not will be asked to leave. This is a BYOB event with no glass bottles allowed. Fires will be permitted assuming there isn't a burn ban in effect. A professional security staff will be in place to monitor the event.

"Basically we expect people to use their best judgement," said Bob. "That's not to say that people can't have fun. The security and expectations will be no different here than they are at any of the other music venues in town."

Having fun is the easy part. The Briar Patch has so much tradition and lore to build from that it's likely to forget that the layoff of 2011 ever happened. And now is a great time to start.


...Show me something built to last or something built to try. -Grateful Dead
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Pertinent link:

Briar Patch on Facebook