REAX #35

NEED CASH? WE PAY CASH FOR YOUR OLD

CDs • DVDs • GAMES

over 40 convenient locations in Southern & Central Florida

go to fye.com for a store near you © 2009 Trans World Entertainment. We reserve the right to refuse Used DVDs, CDs or Games not found in our database. All trades are subject to stores manager’s approval. All Used products are priced on an individual basis based on condition and supply and demand. No dealers please. Promotion items not accepted. Quantities are not limited. A State Driver’s License, State I.D. and other valid photo I.D. is required for the each person trading the used products. Trade-in offers are not valid online. Not responsible for typographical errors. Void where prohibited by law. T0904-83

40

% off

any one used dvd or cd

Expires 4/30/09. Must present coupon. One transaction per visit, not to include video game hardware or software, electronics, sale items, CD singles, gift cards, tickets, or special orders. Not valid with any other offer or on prior purchases. Photocopies or other mechanical reproductions of this coupon will not be accepted. NEW REGISTER INSTRUCTIONS: 1. Scan item 2. Press F3 - Modify Price menu 3. Press F2 - Item % Discount 4. Highlight TWEC Coupon %. Enter discount amount 40. 5. Enter Coupon Code RXAP

06

CONTENTS ISSUE 35

GUILTY SOUNDCHECK

Publisher Joel Cook jcook@reaxmusic.com

Sales Associates Emily LaDuca emily@reaxmusic.com

BEHIND THE LENS

Queen Finnie Cook finniec@reaxmusic.com

Shawn Kyle shawn@reaxmusic.com

08 10

INTRODUCTION

PHOTOGRAPHY / CONTRIBUTORS

SEE SOMETHING SAY SOMETHING 11 12 13 14 16

DEAR GLOFFY YOUR BAND BLOWS ARTBEAT STEP BY STEP RECORD STORE DAY

Illustration Noah Deledda noah.deledda@gmail.com

NEW ROMAN TIMES BAJOFONDO FUNKGHOST CLOUD CULT

Photography Tony Landa landa@reaxmusic.com

REAX INTERVIEWS 24 26 28 30 32

SILVERSUN PICKUPS TORCHE THE RIVERBOAT GAMBLERS RYAN CABRERA CHRIS WOLLARD

SOAPBOX 34 36 38 39 42 43

UPCOMING RELEASES PRODUCT PLACEMENT BOOK REVIEW / DVD REVIEW MUSIC REVIEWS VIDEO GAME REVIEW HANDS ON w/ SHAWN KYLE

YOU ARE HERE

Art Director Mike Delach delach@cookwaremedia.com Head Writer Michael Rabinowitz miker@reaxmusic.com

SOUNDBITES 18 19 20 22

Editor Scott Harrell scott@reaxmusic.com

A LOCAL GUIDE

TAMPA 44 HOTSPOTS 45 ARTIST SPOTLIGHT 46 ALBUM SPOT / EVENT SPOTLIGHT 47 TAMPA BAY EVENTS ORLANDO 52 HOTSPOTS 53 RETAIL / ALBUM SPOTLIGHTS 54 ORLANDO EVENTS

General Manager Marshall Dickson marshall@reaxmusic.com Circulation Manager Scott Jenson scottj@reaxmusic.com Intern Andrew Pellegrino

Chris Anderson (Orlando) chris.anderson @reaxmusic.com Brad Register (Orlando) brad@reaxmusic.com Ryan McLaughlin (G-ville) ryanm@reaxmusic.com Contributors Timothy Asher Joe D’Acunto Mike DeLancett Brandon Dunlap Jason Ferguson Chris Gaughan Jeremy Gloff Jack Gregory Justine Griffin Robert J. Hilson Colin Kincaid Joel Mora Ryan Patrick Hooper Cole Porterhouse Matt Powell John Prinzo Susie Orr Lance Robson Trevor Roppolo Evan Tokarz Nick Truden Susie Ulrey Amy Vanschaik Carrie Waite Jessica Whittington

Cover Photo: Courtesy of Ink Tank PR

REAX Music Magazine P.O. Box 5809 Tampa, FL 33675 Phone: 813.247.6975 www.reaxmusic.com www.myspace.com/reax Reax Magazine is published monthly and is available through Florida businesses, music venues, restaurants, independent record stores, outdoor boxes, and F.Y.E. stores. Reax is also available nationally at over 160 record stores. Go to reaxmusic.com for a full list.

GAINESVILLE 56 HOTSPOTS 57 SPOTLIGHTS 58 GAINESVILLE EVENTS JACKSONVILLE 60 HOTSPOTS / SPOTLIGHTS 61 NORTHEAST FLA EVENTS

PAGE 6 • REAX MUSIC MAGAZINE • APRIL 2009

Advertisers warrant and represent the descriptions of their products advertised are true in all respects. Reax Magazine assumes no responsibility for claims made by advertisers. All letters and their contents sent to Reax Magazine become the sole property of Cookware Media, LLC. Use or duplication of material used in this publication is prohibited without approved written consent from Cookware Media, LLC.

08

SOUNDCHECK INTRODUCTION ISSUE 35

S

o the few of us who could tear ourselves away from the desks and the phones for a couple of days (basically, everybody but the incredibly hard-working sales team, promo dude Scott J. and our fearless leader Jolay) booked flights and fueled up vehicles and dragged our still-recovering-from-Harvest of Hope asses out to South by Southwest.

Whether you’re working, networking or just taking in the bands, SXSW can be a pretty hectic proposition - there’s a hell of a lot of scrambling from place to place, frantically changing plans when a venue is full or the line is too long or another surprise event is announced, and general headless-chicken amok-running. I packed about as much of that crap as I could into my first day there, then decided I’d rest my old bones the second day by helping and hanging out at the Tampa band-heavy party we were cosponsoring with New Granada Records at downtown Austin’s wonderful Gingerman Pub. It was quite possibly the best decision PAGE 8 • REAX MUSIC MAGAZINE • APRIL 2009

I could’ve made. The beer was finely crafted, the shade was refreshing, and the bands - friends Rec Center, King of Spain, Zillionaire and Hankshaw, plus former Orlando residents New Roman Times and a bizarre spur-of-the-moment reunion set by ‘80s U.K. cult alt-rock group That Petrol Emotion - were all killer. Sure, I missed a lot of other great bands, and was constantly in danger of being shit on by the pigeons.

But I also got to see a great example of what it means to be part of a real musical community. Here we were, 1000 miles from home and in the midst of what can get to be a seriously impersonal shmoozefest, and it was just like we were throwing a killer gig at the New World. We brought the hometown vibe with us, we were greeted by a surprising number of familiar faces, and we added a bunch of new members to our extended family.

And that’s what a scene is all about, right?

- Scott Harrell

813-250-0208 920 W. KENNEDY BLVD. TAMPA

86-&)'%

'SPSV 7%032

APRIL 2009 • REAX MUSIC MAGAZINE • PAGE 9

10

BEHIND THE LENS ISSUE 35

CONTRIBUTORS

MATT POWELL SEND FEEDBACK TO REAX@REAXMUSIC.COM

Matt wants you to know that statistically you are more likely to be killed by a physics teacher than by a shark or a bolt of lightning. Fair warning kids.

EVAN TOKARZ Evan Tokarz is a journalism student at USF who likes to meet new people and learn what they are passionate about. He likes this quote from Waking Life: “I don’t want to be an ant. You know? I mean, it’s like we go through life with our antennas bouncing off one another, continuously on ant autopilot, with nothing really human required of us. Stop. Go. Walk here. Drive there. All action basically for survival.

All communication simply to keep this ant colony buzzing along in an efficient, polite manner. ‘Here’s your change.’ ‘Paper or plastic?’ ‘Credit or debit?’ ‘You want ketchup with that?’ I don’t want a straw. I want real human moments. I want to see you. I want you to see me.”

NICK TRUDEN My theme song is “Ms. Jackson” from OutKast. In my opinion, Kostritzer is the best beer ever made. I live vicariously through Anthony Bourdain. In between graphic design, losing Tupperware, and the perpetual search for the perfect Chicken Korma, I write about music. My bi-weekly column can be found at 5songsinarow.blogspot.com.

JESSICA WHITTINGTON Works at the Jacksonville Public Library dealing with crazy patrons. Enjoys record shopping, getting lost in antique stores, and thrifting.

Weird obsession with suicide pacts between lovers.

Avid reader. Mirror gazer.

01. Jenson commandeers the Reax booth at HOH 02. Brian Posehn at Red Fang! 03. Ben Nichols of Lucero, begging for a new Reax t-shirt! 04. Decemberists at SXSW 05. Keith Ulrey, not disgruntled and loving Tampa music (in Austin!) 06. Propagandhi at Harvest of Hope 07. Jimmie Walker: “I love Reax THIS MUCH!” 08. Ryan King of Red Bull fame at HoH 09. Tori Amos at SXSW 10. Favorite Reax street-teamer Jarrett, armed and dangerous 11. Kool Keith at Harvest of Hope 12. All the way from Tel Aviv ... Monotonix (at HoH) 13. King of Spain at the New Granada “No-fficial” SXSW Showcase 14. Valient Thorr at Harvest of Hope 15. Black Lips, Tampa

PAGE 10 • REAX MUSIC MAGAZINE • APRIL 2009

WANNA CONTRIBUTE?

LET US KNOW! REAX@REAXMUSIC.COM

DEAR GLOFFY SEE SOMETHING...

ISSUE 35

11

Words: Jeremy Gloff Photo: Joel Cook

DEAR GLOFFY, My friends and I were cruising

Craigslist as a joke and we stumbled upon my brother, who is apparently escorting. Seeing my own brother naked wasn’t at the top of my list of things I was in the mood to do that day. So should I confront him?

Signed, Concerned in Largo

DEAR LARGO, Don’t we always want our brothers

and sisters to be doctors and lawyers? I suppose if you stretch it, your brother could be “playing doctor” while working at the “firm.”

Joking aside, you have a right to be concerned about your brother.

Escorting is not only illegal but also dangerous. My advice column is certainly not the forum to debate how one should be allowed to use his or her own body, but it is without question that your concerns are justified.

Perhaps it would be best to approach your brother with concern and empathy, but not with judgment. Don’t ask “how could you,” just ask “why.” Perhaps the answer he gives will help you to understand your brother more. At best, he may open up to you, ask you for help, or explain his actions in a way that will at least make you more comfortable with what he is doing. At worst, he might justify his job choice by adapting the epic 1986 Bonnie Tyler cut “Loving You’s A Dirty Job (But Somebody’s Got To Do It)” as his theme song. I hope Bonnie Tyler used condoms.

DEAR GLOFFY, We have THAT ONE friend and

I don’t know what to do about it.

You know the one - the one who NEVER brings food to pot luck dinners! My friends don’t seem to mind much but it drives me crazy.

She hasn’t cooked one time and

we’ve been doing pot lucks for about four years within my group of friends. She could at least bring some paper towels sometime! I feel I can’t really say anything because none of my other friends really care, and I’ll just end up looking like a finicky asshole. Hmm? Signed, She’s Eating My Ravioli

DEAR RAVIOLI, Your friend is a douche. And your

friends are enabling her suckiness.

If you confront the girl you will look like a jerk. If you get your other friends worked up over the situation then you will look like a troublemaker. How about this: keep going to the parties but stop bringing stuff!!! See how long it takes before people notice! Don’t bring anything but a healthy appetite baby. If it was Jeremy Gloff going to that party, I’d bring my favorite song about food of all time - Yvonne Elliman’s “Casserole Me Over” from her 1975 Food of Love album. Of course you and I both know Yvonne wasn’t REALLY singing about food, was she?

Whipped cream, anyone?

Write to Dear Gloffy at deargloffy@gmail.com or just follow the link at jeremygloff.com

APRIL 2009 • REAX MUSIC MAGAZINE • PAGE 11

12

SEE SOMETHING... YOUR BAND BLOWS ISSUE 35

SEETHER:

THEY’VE GOT SUCKING COVERED I really didn’t want to write this column.

I

’ve been avoiding tackling a band so obviously terrible as Seether for the entire run of my writing YBB, because: A) there’s no challenge to it - I could just post up tabs and lyrics to all of their material and anyone with half a brain and/or musical skill will see what a joke they are - and B) they aren’t getting significant enough positive buzz to warrant a backlash - there’s really no press. Where Seether is concerned, it would appear that the only ones who “get” what they’re doing, and want to see it succeed, are record company execs, radio program directors, and the hordes of semi-goth mall kids that still think bands like Disturbed and Slipknot are speaking to their lack of self-esteem and stunted musical taste.

All of this really turns me off of spending the time writing about a band when it’s not really necessary. Seether’s fans are a joke, their music is akin to the audio equivalent of generic vanilla ice cream (you know, the stuff that’s $1.50 a gallon) and the only reason that they continue to thrive is thanks to a bunch of backward-thinking promoters and mass-media gatekeepers.

But the other day, something happened that brought forth the rage of my entire limbic system. Driving through Miami with a dead iPod and no CDs and looking for something to listen to, I happened to hit the scan button on the FM radio. I’d hoped that maybe I could land on some oasis of obscure salsa in the desert of Latin smooth jazz that dominates the airwaves in the area, but instead I ended up sitting on an Active Rock-formatted channel after hearing the last verse of Kings of Leon’s “Use Somebody.”

After suffering through a couple of tunes by forgettable acts, the DJ announced a “new” song by Seether called “Careless Whisper.” Something deep inside of me twinged; I started rapidly cycling through the five stages of grief: 1. Denial and Isolation: “They wouldn’t, would they? Am I the only one who thinks this isn’t possible?”

2. Anger: “Who the fuck covers a Wham! song? Someone is getting stabbed in the eye!!!”

3. Bargaining: “Please tell me this isn’t a cover, and they just stole the title ...

PLEASE!!!”

4. Depression: “Oh my God, this is really happening. F my L.” 5. Acceptance: “They did it. I don’t know why, but they actually did it.”

The song, of course, was a word-for-word and basically note-for-note cover of the

PAGE 12 • REAX MUSIC MAGAZINE • APRIL 2009

aforementioned Wham! song from 1984.

A worldwide hit at the time, “Careless Whisper” was a ballad of love lost due to some unmentioned betrayal (most likely a hummer received from a stranger in a park bathroom, knowing George Michael’s penchant for semi-anonymous public encounters) that results in the inability to dance again. Appropriate subject matter for a time during which the world was still recovering from the disco era and New Wave backlash that followed it, but without relevance to today’s current music culture. Given that, a sloppy nu-metal rehash seems even more odd. The only possible justification for releasing such a wobbly attempt at a cover is that perhaps Shaun Morgan is finally lamenting the loss of former girlfriend Amy Lee (of Evanescence fame), and has decided to express his despair by remaking a ballad written by a forgettable homoerotic ‘80s act. Wow, I’m sure Amy is touched at this very moment. Touched by the fact that Shaun is definitely back on the booze, because from this humble journalist’s perspective it would take copious amounts of alcohol to think that covering this song was a good idea. Brain damage amounts. So much booze that the guy sifting through the trash in downtown St. Petersburg pouring the remnants of tossed beer cans into a dirty Styrofoam cup so he can get his drink on would probably say, “Shaun, you really need to slow down, you’re ruining your life.”

At this point, what’s done is done. The song is receiving heavy radio play and I’m sure that there are several thousand kids running around in bondage pants and black eye makeup playing this moldy piece of ear trash over and over and thinking about that girl or guy that they shared a moment head-banging with at the last Ozzfest. Unfortunately, it’s too late to stop this crap from being disseminated, but hopefully it will disappear as quickly as Limp Bizkit’s cover of “Behind Blue Eyes” (anyone remember that?), and will have a similar effect on Seether’s career: turning a gradual decline into a nosedive of epic proportions.

ARTBEAT SEE SOMETHING SAY SOMETHING ISSUE 35

13

Words & Photos: Brandon Dunlap

THIS DUDE IS THE ORIGINAL LIVE GUERILLA SCREENPRINTER; HE’S BEEN DOING HIS THING FOR MANY, MANY YEARS. HE’S VERY INVOLVED IN THE MUSIC SCENE DOWN IN SOUTH FLORIDA, AND HE’S BEEN FLOWN ALL AROUND TO DO LIVE PRINTING. HE WORKED FOR MAGS SWINDLE AND SCION, AND HAS BEEN IN JUXTAPOZ A FEW TIMES.

U

rban Outfitters wanted to carry

his shit, and he said only if he could do all the printing himself. He does everything by hand - no automatic press.

7,500 shirts in less than a week (a good automatic can turn out maybe 150-200 multi-colored Ts in an hour if everything goes well). This past year at Art Basel, he got invited to be a part of one of the biggest art events in Miami, and turned it down because a corporate bank was a sponsor.

Instead, he made a screenprinting set-up right outside the front doors of the opening, and did D.I.Y.-style printing on the street.

FACTION ON FACTION ON HIS INVOLVEMENT IN MUSIC: “I am not really involved in music. [But] I

have been influenced greatly by it. I grew up going to hardcore and punk shows and was not only influenced by the music, but the atmosphere and the language of the movement. Essentially I attribute my learning how to screenprint to that movement. I was inspired by the energy and determination demonstrated by the network of individuals that made or took part in the punk and hardcore music scene.

I taught myself how to screenprint, and made some shirts and patches. Then, nearly a decade ago, I started making my own images and artwork and printing on any surface I could find. Recently, I collaborated with Sweat Records and made some shirts for the locally owned independent music store.”

people print live. Everyone has their own take on things, their own styles and purpose. I started printing live as a resistance to mass production, and a live exhibit of that resistance. I print live to erase a barrier that exists between production and consumption, and to take part in that interactive experience in different environments. During Art Basel 2008 in Miami, I took a cart and loaded it with my printing supplies, pushed it around the streets and printed live at various locations. The live installation was called RAW. This installation was a comment on control and multinational corporate involvement within the arts.”

ON LIVE PRINTING:

“These new works consist of silkscreen prints of original images collaged together with abstractions made from the insides of

“I have seen other people or groups of

ON HIS NEW WORKS:

security envelopes that I have been saving for a couple of years as they come in the mail. The use of ripped security envelopes is a use of irony and metaphor that speaks a more subtle language than the bold images that have a loud and strong tone.”

ON HIS INFLUENCES: “Print - Anything from Noam Chomsky and J.D. Salinger, to Fyodor Dostoevsky, to Al Burian or Sam McPheeters.

“Music - Too many to list. I’m currently listening to Fucked-Up, Dag Nasty, The Sea & Cake, Colin Meloy, Torche, Crystal Castles, and Men’s Recovery Project. I also recently saw Bad Brains and Propagandhi.”

For more info and examples of Rocky Grimes’ work, check out

PRINTDAMAGED.COM

APRIL 2009 • REAX MUSIC MAGAZINE • PAGE 13

14

SAY SOMETHING... STEP BY STEP ISSUE 35

STEP

BY STEP

F

irst and foremost, let’s get this out of the way: Smoking is disgusting and potentially lethal and we should all quit. This column is NOT about encouraging folks to smoke.

Having said that, a lot of us do smoke; we’re weak-willed or subconsciously suicidal or pathetically impressionable or possessed of a bottomed-out selfesteem or whatever, but there it is. And cigarette prices are going through the roof. The rates we used to complain about paying whenever we went to New York or Chicago are the rates we’re paying now in our hometowns, and I don’t even want to know what you metropolitan black-lungers have to, aherm, cough up for a deck of smokes these days.

My advice? Give it up. But since, like me, most smokers aren’t quite ready to go cold turkey, they might want to look at rolling their own coffin nails. It’s cheaper (for the time being), I’ve found it helps me to actually smoke less (you’re not as likely to have that last fag before bedtime if you know you’re gonna have to work for it), and as far as it being worse for you due to the lack of a filter, well, it’s all poison, now, ain’t it? Plus, it makes for an easy conversational “in” if somebody at the bar wants to meet you.

Here’s how to make the switch.

Decide on a brand. If you’re pinching every penny and your tastebuds are so tar-burned that flavor means nothing, then bargain-basement brands like Bugler and Top will save you some serious beer fundage. Drum was the hipster loose smoke of choice in the ‘90s, and it’s back; the flavor is smooth enough, but I personally find it a little too moist. American Spirit also sells its tobacco in pouches and tins, and is a little drier. Right in the middle is Bali Shag, which offers a couple of different blends and smokes at least as smooth as a filtered cigarette. Avoid the fancy riffs and shags available by weight unless you want to smell like somebody’s pervy Daddy - most of ‘em are solely the province of pipe smokers.

Choose a portable containment device. Metal cigarette cases look really cool, but you’ve gotta roll a bunch of smokes in advance. Pouches allow you to twist one up whenever the urge PAGE 14 • REAX MUSIC MAGAZINE • APRIL 2009

strikes, but your unsmoked tobacco will quickly dry out, and depending on the style, people might be tempted to ask you what it was like growing up during the Great Depression, or if you’re some kind of cowboy-hippie hybrid.

Learn how to roll. Old-school potheads won’t have any problem, but if you’ve never done The Twist before, you’ll want to practice in private for a while, because seriously, nothing looks lamer than whipping out your gear in public and proceeding to make something that looks like a hyperextended index finger with too many rings on it wrapped in wet toilet paper. It’s tough to teach somebody how to roll unless you’re sitting with ‘em and actually doing it, so just remember: too much pressure is worse than not enough - you don’t want to try to make your fingers meet through the paper and tobacco, but rather guide it into a cyndrical shape through a light touch and repeated back-and-forth rolling - and if you concentrate on the middle, the ends will fall in line.

Re-learn how to smoke. Habitually holding a home-rolled smoke between your first two fingers leads to stained digits. Get used to playing with the damn thing, and alternating grips. And if your lips are wet, the paper will stick to ‘em - the potential for the old fingerslide to knuckle-burn is especially high when you’re slamming bevvies. Also, you will occasionally end up with tobacco on your tongue; spitting is unseemly in mixed company, but you’ll learn to inconspicuously rid yourself of stragglers.

Hey, nobody said saving money while simultaneously nurturing a filthy, filthy habit that makes you feel like you can handle anything would be easy.

And, naturally ...

Bring extra. People always want you to roll ‘em a smoke of their own, and with cigarette prices continuing to rise, they’ll be more and more likely to hit up somebody who apparently didn’t pay as much for their own addiction. Of course, if this is too great a length to go to in order to smoke on the cheap, you can always do what every other jackass does - quit buying your own and mooch off of folks who can still afford their own cancer sticks.

APRIL 2009 • REAX MUSIC MAGAZINE • PAGE 15

16

SEE SOMETHING SAY SOMETHING RECORD STORE DAY ISSUE 35

RECORD STORE DAY Words: Evan Tokarz

“YES, YES, I KNOW. IT’S EASIER TO DOWNLOAD MUSIC, AND PROBABLY CHEAPER. BUT WHAT’S PLAYING ON YOUR FAVOURITE DOWNLOAD STORE WHEN YOU WALK INTO IT? NOTHING, THAT’S WHAT. WHO ARE YOU GOING TO MEET IN THERE? NOBODY … WHO’S GOING TO TELL YOU TO STOP LISTENING TO THAT AND START LISTENING TO THIS? GO AHEAD AND SAVE YOURSELF A COUPLE OF QUID. THE SAVING WILL COST YOU A CAREER, A SET OF COOL FRIENDS, MUSICAL TASTE AND, EVENTUALLY, YOUR SOUL. RECORD STORES CAN’T SAVE YOUR LIFE. BUT THEY CAN GIVE YOU A BETTER ONE.” - NICK HORNBY, AUTHOR OF THE BOOK HIGH FIDELITY

O

n April 18, 2009, more than 700 independent record stores across the U.S. will celebrate Record Store Day, an annual celebration of independent record retailers.

Park Ave. CDs is one of 21 Florida independent record stores participating in the holiday. The store has been serving the Orlando area for more than 20 years.

Sandy Bitman, the owner of Park Ave., participated in the event last year. He says that the idea came out of Free Comic Book Store Day. “Some [record store] owners thought that since the idea worked so well with comic book stores, maybe a similar idea would work for record stores,” says Bitman.

away,” Bitman says.

Among other activities, this year Bitman plans to have a food drive to help Second Harvest Food Bank, a nonprofit organization that collects and distributes donated food to counties in Central Florida.

Customers will get a discount off their store purchase if they bring in non-perishables.

Another independent record store participating is Vinyl Fever, a member of the Tampa Independent Business Alliance.

Vinyl Fever’s website describes what they will do on the day: “live music, celeb DJs, special, limited releases, swag, and PBR!”

Record Store Day at Park Ave. CDs was a definite success in 2008, with three or four times the amount of customers as on a normal day.

In addition, Vinyl Fever will have pizza from Delosa’s Pizza and Austin-by-way-ofOrlando act New Roman Times. The store also will put onto the shelves records from a newly acquired 3,500-piece collection, as well as selling special CD releases, limited vinyl releases, and other promotional products made exclusively for the day.

“It went great, [because] we had a lot of great labels and a lot of free stuff to give

Lee Wolfson, president and CEO for Vinyl Fever, says he feels that Record Store Day

PAGE 16 • REAX MUSIC MAgAzInE • APRIL 2009

is meaningful: “The day is important because it allows people to be aware of their local merchants and how local merchants help to define where they live.”

Wolfson says that record stores promote a more social atmosphere among fans than Internet downloading. He uses as an example the fact that Vinyl Fever workers know some of the regular customers so well that they are able to assist them better than a chain or big-box store.

“The people who frequent our kinds of stores are, generally speaking, more of music aficionados - people for whom music is a very important part of life,” he explains.

“And that’s also the case for us, so there’s a certain common ground that you don’t really get when you’re downloading files off your computer by yourself.”

Wolfson adds that Vinyl Fever fulfills a special face-to-face need within the Tampa Bay music community: “Some customers come in so much that we know their taste, we know what they like, and we know what to turn them on to.”

A FEW SPECIAL ITEMS OFFERED

BY THE AFOREMENTIONED RETAILERS: PARK AVE. CDS:

The Smiths 7”, Sonic Youth/Beck 7” split, Bruce Springsteen 7”, Guided by Voices LP with three bonus tracks.

VINYL FEVER:

7” of Bob Dylan live at Bonnaroo, Flaming Lips/ Black Keys 7” split, 7” of live Tom Waits, Modest Mouse 7” with two new tracks.

FOR A FULL LIST OF RECORD STORE DAY PROMOTIONAL ITEMS, RELEASES:

visit http://larryfire.wordpress.com/2009/03/ 24/record-store-day-special-releases-list/

Northeast Florida music fans can stop by Jacksonville Beach’s CD CONNECTION for a full day of eclectic live performances including Timecat, Robert Rutenberg, Z Slim & The Flowboys, Honeychamber, Telepathik Friend and more. The store is located at 1908 S. Third St. St. Pete’s DADDY KOOL RECORDS (657 Central Ave.) will be hosting an in-store signing with with Psychopathic Records horror hip-hoppers Twiztid at 3 p.m.

thxmgmt

www.thxmgmtlive.com

upcomingevents THURSDAY APRIL 16 2009

* Josh Kelley & Ryan Cabrera Tim Brantley & Brandon Whyde 9pm | $20 ADV/$24 DOS | 18&Up

@ Crowbar

SATURDAY APRIL 25 2009

* Whiskey & Co.

Will Quinlan & The Diviners, Matt Butcher + John Gold and The Old Souls 9pm | $7 | 21&Up

@ New World Brewery

SATURDAY APRIL 25 2009

* Gliss

Mogul Street Reserve & Special Guests TBA 9pm | $7 | 18&Up

@ Crowbar

WEDNESDAY APRIL 29 2009

* The Tape Delay

GreyMarket & Special Guests 9pm | $7 | 18&Up

@ Backbooth

FRIDAY MAY 1 2009

* XOXO

Geri X, Blair Crimmons & The Hookers, relondondo & Special Guests TBA 9pm | $7 | 18&Up

@ Crowbar

SATURDAY MAY 9 2009

* The Royal

Proud Iron Lion & Special Guests TBA 9pm | $6 | 21&Up

@ New World Brewery

THURSDAY JUNE 11 2009

* Pontiak

Headress & Special Guests 9pm | $7 | 18&Up

@ Crowbar

every wednesday Da Cypher Hosted By Aych Open Mic, Live Performances & MC Battles 10pm | $5 | 18&Up

@ Crowbar

every thursday Thursday Live 9pm | $5/10 | 18&Up

@ Peabody’s

15333 Amberly Dr. - Tampa - 813.972.1725

website & pre-sale tickets: thxmgmtlive.com • myspace: myspace.com/thxmgmtlive twitter: twitter.com/thxmgmt • booking: joe@thxmgmtlive.com

18

SOUNDBITES ISSUE 35

it’s … better. The sophomore effort’s moody, danceable tracks are both more grounded in straightforward structures and unabashedly accessible melodies, and more interestingly accessorized by alternately subtle and commanding synth and guitar effects. Stylish and substantial, they’re simultaneously more strippeddown and more freaked out, yet in a more cohesive and less heavy-handed manner.

“We’d been writing songs, and they’d been changing a bit,” Fluri says. “It was never a thought-out thing, like ‘we should do this.’”

In addition to their own evolving skills and Thurmond’s fresh perspective on structures, Owens and Fluri also credit the kind of maturation that results in less of a need on the part of the individual musicians to prove themselves, as well as the simple fact that three of them have been playing together, off and on, for eight years.

NEW ROMAN TIMES ARCHITECTS IN SOUND

Words: Scott Harrell Photo: Courtesy New Roman Times

THERE ARE A LOT OF REASONS WHY MUSICIANS DECIDE TO PACK UP AND LEAVE THEIR HOMETOWN FOR SOMEWHERE NEW. AN OPPORTUNITY FOR WIDER EXPOSURE. A CHANCE TO BUILD A NEW FANBASE IN A HIPPER TOWN. A HUNGER FOR NEW INSPIRATION. AN AMBITION TO “TAKE THINGS TO THE NEXT LEVEL,” WHETHER THE NEXT LEVEL IS A RECORD DEAL OR JUST THE TOOLS AND EXPERIENCES TO BUILD ON SONGWRITING SKILLS.

I

n the case of alt-rock act New

Roman Times, whose members relocated two years ago to music Mecca Austin from the Orlando scene where they cut their teeth, it seems that pretty much all of the above apply.

“We just needed a change,” says singerguitarist Daniel Owens, unwinding after a dynamic set on the boisterously active front

porch of Austin’s homey Ginger Man Pub. “Orlando, for music, it’s just a pretty small place. There are so many great people there that made it so cool for us to live there -” “And Tampa, too,” chimes in bassist Josie Fluri. “Tampa was like our second home.”

“But there’s just so much more going

PAGE 18 • REAX MUSIC MAgAzInE • APRIL 2009

“The importance of space in the music [has become] central, it’s almost a fifth instrument for us,” says Fluri. “There’s no showboating. We could do this crazy drum fill or solo, but we’re just playing for the song, not for ourselves. All of the egos are out of the way.” on here, as far as music goes,” Owens continues. “It makes you really focus, and work on your craft. Coming to a place like this, it’s like New York, L.A. or Seattle. You can’t half-ass it, and still have people come to your shows.”

When Owens, Fluri and drummer Mike Allen arrived in “the live music capital of the world,” they were short a fourth; while awaiting the arrival of the final piece of the puzzle, they threw themselves into writing the follow-up to International Affairs, the sinewy, throbbing, slightly retro debut that brought New Roman Times to the attention of the national indie scene. New guitarist and synth player Harris Thurmond arrived around the same time as something of a breakthrough in the group’s process - a new tune so solid and rife with potential it would serve as a sort of thematic blueprint for the clutch of songs that came after.

“When Harris came in, he brought this sort of more structured element - he’s got a really good ear for [arrangements], and it was just, wow,” recalls Owens. “When I brought the new song in to practice, he just said, ‘this is a great song, as is. That’s it.’

And the feeling was just, ‘now we’re on to something, we’ve got a foothold, now let’s work from here. This is something we all agree is really good, something we all feel passionate about, the way it feels.’”

That song is the title track on New Roman Times’ new full-length, On The Sleeve, their first for Tampa-based New Granada Records. On The Sleeve is obviously the work of the same songwriting minds that conceived International Affairs, but

“Instead of having a lot of fluff, you just work on the writing,” Owens agrees. “You want to make it really good, it’s all for the betterment of the song.”

And, of course, their new environment has played a role: “I definitely think so,” says Owens. “I think we’ve gotten much more focused.”

“We rehearse a lot more,” adds Fluri.

Now that On The Sleeve is finished, the band is looking forward to returning to Florida for a couple of celebratory CD release shows in its old stomping grounds, and whatever comes after. Having been so immersed in the making of the album, they’re not quite sure what that may be just yet, but they’re sure that, like the move to Austin and the leap in creative satisfaction it inspired, it will be another significant step forward.

“The cool thing about what’s happening now is, it’s so … new,” Owens muses. “New record, new recognition living here. There’s no telling what’s going to happen. We don’t want to close the door on any possibilities.”

New Roman Times will return to Florida for shows at Orlando’s BackBooth April 17 (with Dark Romantics and History), and Ybor City’s New World Brewery April 18 (with Zillionaire and History).

MYSPACE.COM/ NEWROMANTIMES

SOUNDBITES ISSUE 35

19

and Elvis Costello among its contributors.

“We have a dream list [of potential collaborators], and some of the people just want to do something with us, for example Lagrima Rios, this wonderful 82-year-old woman that I met on another project,” says Santoalalla. “So it’s a combination, people that want to work with us, and the dream list.”

Santoalalla himself is used to the role of multicultural musical ambassador. One of the most prolific and visible proponents of the seemingly always-burgeoning rock en Espanol movement, he’s known for his production work with everyone from daring Mexico City mad scientists Cafe Tacuba to insanely popular Colombian singersongwriter Juanes. He doesn’t see himself as a crusader for contemporary Latin music, however; for him, it’s more a case of passion, inspiration and posterity than spokesmanship.

“I don’t think responsibility is the word,” he says. “I saw a lot of bands coming out of South America that had more artistic power than some of the bands coming out of the States. So I’ve been an advocate of alternative Latin music because I think it brings something different to the table. And one of my goals has been to try and make a record with those artists that will stand on a par with any of the great records done by Anglo bands.”

BAJOFONDO ACROSS THE RIVER

Words: Colin Kincaid Photo: Alex Vanhee

AS AMERICANS, WE SOMETIMES THINK OF MUSIC FROM OTHER PARTS OF THE GLOBE IN PRETTY GENERAL TERMS. INDIAN MUSIC. CUBAN MUSIC. AFRICAN MUSIC.

T

rue world-music fans know

that these are gross oversimplifications. After all, do we think of American music as just that? Of course not. We know about the Seatlle sound. Motown records. Miami bass. Texas swing. East and West Coast rap. As many different styles as there are regions for them to come from.

In the spirit of showing that the rest of the world is no different - that hometown scenes and regional sounds are a global phenomenon - Bajofondo brings the rhythmic traditions of a certain South American delta into the 21st century.

“It’s a band made up of Argentinians and Uruguayans, so we live on both sides of the Rio de la Plata,” says Bajofondo founder Gustavo Santoalalla. “In that area,

there are certain styles of music that have thrived. Obviously, the most known is the tango, but that universe has other rhythms to it, like candombe and milonga. These are typical, typical rhythms from that part of the world, and what we like to do with the group is play contemporary music from that part of the world ... what we want to do is music that truly represents who we are, and where we came from.”

up in midtown Manhattan, but didn’t grow up on the freaking moon, either.

Bajofondo uses everything from classically indigenous instrumentation to state-of-theart technology to blend these native beats and sounds with more familiar fare, drawing on everything from ‘60s rock to present-day hip-hop and electronic music to create an eclectic whole all its own. It’s a sensual yet thoroughly modern mix that reflects the musical appetites and awarenesses of a group of musicians who didn’t exactly grow

Since its eponymous debut full-length appeared in ‘02, the group’s globetrotting vibe has attracted a slew of admiring peers from all over the map. In addition to Argentine rock legend Gustavo Cerati and the final recorded vocal performance of Uruguyan tango goddess Lagrima Rios (who died in 2006), Bajofondo’s ‘07 release Mar Dulce - the “sweet sea” - also features the universally recognized Nelly Furtado

“We’re also listening to U2 and Chemical Brothers and the Beatles, and all that makes us who we are,” Santoalalla reasons. “I guess the identity part of what we do is more translated in the basic rhythms and music, but we’re also a combination of many things.”

So he’s very conscious of Bajofondo’s status as representatives of the Rio de la Plata region, but at the same time excited to introduce the group to new audiences on its own terms, as a unique act that has those roots, yes, but also brings an original overall style to the table. As a resident of Los Angeles, he sees the irony in the fact that Bajofondo has done much more touring pretty much everywhere outside the United States, and hopes that the band’s current American tour will lay the groundwork for the kind of respect it, and these emerging Latin sounds in general, have garnered elsewhere.

“We’ve been around Europe four times, England, Spain, Italy, Germany, Belgium - we’re very big in Greece,” he says. “And I’ve seen it in Asia too, everybody connects to the music. I’ve lived here for so many years, and I’ve always wanted to do a comprehensive [U.S.] tour. And if we kickstart that relationship on this tour, that’s all I could hope for, sowing the seeds for the future.”

Bajofondo is on tour in America throughout April.

MYSPACE.COM/ BAJOFONDOMARDULCE

20

SOUNDBITES ISSUE 35

internationally revered songstress Erykah Badu; to branch out into acting and writing columns for outlets like tampabayhiphop. com; to start his own label, Grand Extravagant Entertainment; to court success on his own terms.

But confidence is hardly ever enough, unless you’re content to be the next fleeting 15-minute club thing, or just the bragging face to somebody else’s music. And Funk’s got the talent, too - an ear for beats that split the difference between the backpack set and the mainstream, along with a smoothly fluid vocal delivery that serves as a crisp, refreshing antidote to the gruff gangsterism, soundalike borrowed hooks and superficial dance-floor dreck that characterize so much Florida hip-hop.

“People’s ears are trained for certain sounds,” Funk diplomatically allows. “I’m not knocking it, but of course it’s an uphill battle. People are inundated with watereddown music, it’s a challenge to open ‘em up to something new. Especially with the Florida boom, the Miami sound, the drug dealer, the club goer. There’s plenty of room on the middle ground, but I’ve always tried to make music that wasn’t being done by anybody else.”

“The Way I Rock My Clothes,” the first single from Funkghost’s forthcoming sophomore full-length Dirty But Sophisticated, perfectly exemplifies that CD’s dichotomous title. Calling to mind a bit of Kanye, only with firmer underground roots and less passive-aggressive megalomania, “The Way I Rock My Clothes” is both smart and fun, accessible and original, quirky and possessed Words: Colin Kincaid of an irresistibly melodic Photo: Courtesy of Funkghost vocal hook. It’s got biting cred and an ass-shaking groove, but is also the CONFIDENCE. IN HIP-HOP, THAT SHIT IS MANDATORY. AND NOT JUST A LITTLE BIT OF HEY-I’M-PRETTYkind of idiosyncratic GOOD-AT-THIS CONFIDENCE; RAP ARTISTS NEED TO KNOW THEY CAN HANG, NOT JUST SUSPECT IT. thing fans of recent (YEAH, EVEN THOSE FAUX-GEEKY COLLEGIATE NERDCORE GUYS HAVE IT - THAT KIND OF SMIRKY AW-SHUCKS envelope-pushing peers SELF-DEPRECATION CAN ONLY COME FROM A PRETTY STABLE EGO.) like Pharrell, Lupe Fiasco and the aforementioned he enigmatic Tampa MC/ a national spotlight to the city,” he says. beers on a Tuesday night. His relatively Luis Vuitton Don will take to immediately, producer/industry jack-of“Maybe I should have left, especially back rare live performances are events meant and Funk is confident those names have all-trades Funkghost has to make an impact, to punctuate and make in the ‘90s when we were younger and been at the forefront of a rennaissance of confidence. And it’s completely things were kicking off, but ... I want to good on the potential implied by the mix thoughtful, individual hip-hop that makes warranted - in the past, Funk has been a achieve something here, I didn’t want to run tracks and the percolating buzz, rather than room for his own inimitable style. member of such consistently bar-raising away. And the time we’re living in now, it’s a remind himself and others that he’s still local acts as Black Saturday and Tap, little easier to reach out globally from your actually doing stuff.

“I think it’s definitely coming back,” he says.

Ghost & Phobia, and he’s been an inhome city.”

“Things run in cycles. Hopefully, we’ll get demand collaborator and studio Svengali “I love performing, I just don’t like doing it that artful approach to music back in the for years. His belief in his own talents has Funk’s confidence also keeps him from for free, you know?” says the artist with a popular eyesight.” guided his ever-rising profile on the regional making one of the most common mistakes laugh. “Especially the shows I do now, I put and national scenes. It’s helped him make of the obscure artist - playing anywhere, so much into it, the lights, the show - it’s Dirty But Sophisticated is slated for a June decisions like staying in his hometown, more than just an MC and a DJ. It costs anytime, for next to nothing, in an attempt release. “The Way I Rock My Clothes” and when others less secure in their gifts might money.” to “keep the name out there.” He knows Funkghost’s debut album Ultra-Boogie be worried about breaking big from such a his genre, knows that an up-and-coming Highlife are now available through online comparatively obscure location. urban artist makes his or her bones on the It’s that kind of confidence that’s led outlets such as iTunes and Amazon.com. radio and the mix-CD scene and online Funk to work with artists as diverse as “I’ve always had an enduring want to bring and through word of mouth, not playing for Central Florida indie-rap hero Laws and FUNKGHOST.COM

FUNKGHOST CONFIDENCE MAN

T

PAGE 20 • REAX MUSIC MAgAzInE • APRIL 2009

22

SOUNDBITES ISSUE 35

FIVE WAYS

TO BE BRIGHT

GREEN

with CRAIG MINOWA

PURCHASE GREEN ENERGY!

“Everyone feeds off the main power grid, and everyone has the responsibility to choose green methods of refilling the portion of the grid they drain. Many power companies offer this feature. For example, you can pay a little extra each month to have your power generated from wind turbines. It won’t cost you more than the cost of a few beers each month.”

BUY LOCAL!

“If we want to become less dependent on oil, we need to start depending more on the goods and services provided by our local communities. It’s great for the environment, and it’s great for the local economy.”

BRIGHT GREEN ISOLATION

Words: Ryan Patrick Hooper Photo: Courtesy of Stunt Company Media

CLOUD CULT CRAFT A BRAND OF POP MUSIC YOU MIGHT STUMBLE ACROSS WHILE WANDERING ABOUT IN THE WOODS. NOT THE TYPE OF LEFTOVER, PUZZLE-PIECE CARVINGS THAT ARE REPERCUSSIONS OF SUBURBAN LANDSCAPES, BUT RATHER THE EXPANSIVE FORESTS OF NORTHERN MINNESOTA. IMAGINE YOURSELF LOOSE AND LOST, A SMALL BACKPACK HANGING ON TO YOUR SHOULDERS, STICKY WITH SWEAT AND HOLDING A FEW ESSENTIAL ITEMS - A TATTERED SLEEPING BAG, A FADING FLASHLIGHT AND A FEW GRANOLA BARS THAT SCORCH RATHER THAN SATISFY.

Y

ou’ve convinced yourself

that someone is looking for you and that you are not walking in circles, but these are whimsical wishes and hopes. In the distance, hallucinated lights swirl through the branches of birch trees, directing you towards a mineral symphony that smothers you with haunting overtures, cryptic yet personal lyrics and a dynamic range of organic musical elements that wrap around each other until your fingernails are packed tightly with dirt and you tire of digging through the rich earth tones and layers sprouting through the soil like thousands of melodic sunflowers - uncharacteristic in this neck of the woods. This is Cloud Cult’s indie magic, and after several miles of climbing and searching, you’re standing outside of Craig Minowa’s organic “hobby farm.”

“There have been times when I’ve gone weeks on the farm without leaving,” says Minowa, the musical mastermind behind Cloud Cult, just moments after explaining that after 60 hours a week in his basement studio, it’s beginning to smell an awful lot like his own body odor. “You know, I don’t mind it. In fact, I thrive on it. It’s been a while since I’ve done that, but I still like going several days, at least, without leaving. The best writing comes during those times, and I find the most peace. The

deer and occasional pack of coyotes keep us plenty company.”

Minowa runs his small-acreage farm with his wife, Connie, raising a collection of chickens and growing their own food. The entire compound is warmed and cooled by sustainable geothermal energy, and the couple purchase wind power to supply their electrical needs.

“Life is easier when you are more selfsufficient and when you know where your food is coming from,” explains Minowa.

“There’s no escape from advertising in the city. The marketing machine is designed to brainwash people. I began to realize that no matter how I tried to convince myself, the truth was that I was being controlled on many levels by that marketing machine.

Fashion changes faster than the seasons.

Self-image is paramount. I’m just not suited for the pace of it all, the emotions, the flood of information - billboards, ads on the sides of buses, ads over bathroom urinals, ads on clothes, on the radio, in the doctor’s office, in the schools. It’s unending. On the farm, we don’t even choose to have TV, because we can’t stand being told what we’re lacking and what we need to buy. Truthfully, it makes touring very, very difficult. The world here is incredibly different from the world we are in when we play big cities night after night. The people are great and there

PAGE 22 • REAX MUSIC MAgAzInE • APRIL 2009

is a lot of love, but I get overwhelmed by the overload of human controlled sensory input.”

On top of the isolated inspiration, the farm also serves as headquarters for Earthology Records, a non-profit record label that has put out all of Cloud Cult’s releases since ’97.

On the group’s latest release, Feel Good Ghosts (Tea-Partying Through Tornados), Minowa and his collective of musicians strike a more upbeat chord than on past releases. While the lyrics seem to continue to address the tragic loss of his only child in ’02, there is almost a hip-hop sensibility to particular sing-song deliveries throughout - blue-suede beats, heavy hooks that hint at past efforts but keep Cloud Cult moving forward - but Minowa is quick to drown any facets of urban influence on the latest release.

“When I’m in the country, it’s easier to let my self-image disappear and let the music write what it wants to write,” says Minowa.

“I get inspired by stars, lightning bugs and the sound of frogs. I like wide-open spaces and the smell of earth. The music reflects all of that.”

Recently, rumors have circulated that Feel Good Ghosts … will be the last release

CUT BACK ON YOUR MEAT CONSUMPTION!

“A new study shows that due to the vast amount of greenhouse gases generated in producing and processing meats, cutting back your meat consumption by just one-third, for the average American, is equivalent in CO2 reduction to selling your car and buying a Prius.”

GET ACTIVE!

“The new administration is very open to public input. Obama promised positive change. We need to take advantage of the current progressive force in Washington and make sure our politicians know we support a new green economy. Our federal government has never been as primed for it as it is now.”

STAY OPTIMISTIC!

“Optimism is as contagious as pessimism.

The only way to bring about positive change is with positive energy.”

under the Cloud Cult moniker. When asked about such reports, Minowa simply uses his green thumb to get rid of the weeds growing over the truth.

“Feel Good Ghosts … is a natural progression in the storyline all the albums are following,” explains Minowa. “As for it being the last album, that’s not an option.

I’ll write albums till I’m in the ground. I may not perform live for the rest of my life, but I’ll always be writing.”

Cloud Cult’s new documentary No One Said It Would Be Easy comes out on DVD April 21. The band is on tour in the U.S. through May.

MYSPACE.COM/CLOUDCULT

REAX INTERVIEWS was easier to push it further, play things that were a little more challenging.

REAX: It seems like [vocalist/guitarist] Brian [Aubert] is much more confident and ambitious as a singer this time around.

NM: Definitely. I was there the whole time he was doing vocals, and I definitely noticed how much further he was able to stretch his voice. He’s a little more comfortable in his skin, he was able to do things he might not have been ready for on Carnavas. But again, after touring for so long, his voice had a chance to develop, singing every day.

REAX: Carnavas had a very Los Angeles vibe, in the sense that it conveyed this dichotomy of sunny celebration and a darker underbelly. It seems like Swoon takes that even further.

NM: It extended both ways. We were able to have slower songs on this album, and in doing that, it made us want to push it harder at some points.

SILVERSUN FUZZ AND BUZZ

PICKUPS Words: Colin Kincaid • Photo: Courtesy Ink Tank PR

LOS ANGELES’ SILVERSUN PICKUPS BROUGHT THE THOUGHTFULLY TEXTURED LAYERS AND FUZZED-OUT NOISE OF THE SHOEGAZE SCENE INTO AN EDGY, ALTERNATELY SUNNY AND SHADOWY NEW PERSPECTIVE WITH 2006’S CARNAVAS, THEN FIRMLY ESTABLISHED THEMSELVES AS EDGE-OF-THEMAINSTREAM FAVORITES VIA TWO SOLID YEARS OF ROAD SHOWS (NOT TO MENTION AN UBIQUITOUS VOLKSWAGEN AD).

N

ow they’re back with the envelope-pushing and allaround excellent follow-up, Swoon. As the group gears up for the annual Coachella festival with daily rehearsals at home in California, bassist and singer Nikki Monninger spoke to REAX about the new album, and how the Pickups’ ever-increasing profile has affected her lifestyle.

REAX: Did all the attention that Carnavas garnered add an extra layer of pressure when you started working on Swoon?

NIKKI MONNINGER: I think we were just in our own little band bubble. The nice thing about when we went into the studio, we had only taken a month off after being basically on tour for two years. We didn’t hear from the label or management for six months, they let us do what we needed to do. And we really worked - we figured if we were gonna make an album, we’d do

something we were proud of, not just make another record just because it was time.

REAX: How did spending pretty much two years straight on the road alter your perspective on being in a band, and the relationships you have outside the band?

NM: It’s hard to maintain relationships when you’re gone every day, but I still have a boyfriend, we’ve been together for a long time, it’s hard but we keep in touch every day. It’s a sacrifice on both parts, because they’re the ones sitting at home and you’re the one traveling around the world and seeing all these places. I try to maintain my friendships and relationships, keep in contact with everyone so when I come back it doesn’t feel weird, like I’m an alien or something, because they’ve been living their lives at home for that time. The guys would make fun of me because I was on the phone all the time, but it was important to me.

PAGE 24 • REAX MUSIC MAgAzInE • APRIL 2009

REAX: Swoon strikes me as a much more diverse affair. Did you feel like you had to respond to some of the tags and descriptions that people laid on you for the first album, like “shoegaze”?

NM: No. I don’t think that had any influence at all. Like I said, we were in our own little band bubble, and out to make a record that we were proud of, and that we’d want to hear and play every night on tour, so we just went from there, from how we were feeling. The outside world didn’t really affect what was happening, as far as pressure.

REAX: How about in other ways? Did your experiences since the last record, on tour and out in the world, have any impact on the band’s songwriting?

NM: Yeah, I think so. As far as playing every night for almost two years, hopefully we all got a little better at our instruments, so when we went back into the studio, it

REAX: In places, it’s definitely a bit heavier, moodier and grittier.

NM: I would agree with that. [Laughs] REAX: Do you worry how the fans that loved Carnavas will react to this more diverse album?

NM: From our EP [‘05’s Pikul] to Carnavas, there’s definitely some growth, and for fans that have been there from the beginning, they can see the growth. To me, it seems like a natural progression, and hopefully to others that have been with us for a while.

REAX: Now that the album’s finished, do you plan on approaching the touring any differently than you guys did last time?

NM: It’ll be a little easier this time, because [the CD is] coming out basically the same day in Europe and America. Before, it was like a progression where it was out for a year here, and a year later it came out in England, then later in Australia. They’re organizing it a little better, all at once. Who knows if we’ll have to tour more or less, but it’s a little more tightly organized this time.

REAX: Do you want to be out as long this time?

NM: I think it’s great for a little while, but I love being home too, you know? Some things are better in small doses. [Laughs] It’s hard to say it’s not fun, I love going to museums and playing and having those opportunities, I love being a sightseer, but yeah, it has its plusses and minuses. You work with it. But we’re basically going to be touring for a good while.

Swoon comes out April 14 on Dangerbird Records; Silversun Pickups appear at Coachella on Friday, April 17.

MYSPACE.COM/ SILVERSUNPICKUPS

APRIL 2009 • REAX MUSIC Magazine • PAGE 25

REAX INTERVIEWS

TORCHE TORCHE’S STEVE BROOKS: A POETIC APPROACH TO BEING BRUTAL

Words: Ryan Patrick Hooper • Photo: Lauren Roero

TORCHE IS A HEROIC NOSEBLEED CASCADING THROUGH YOUR VERSION OF A REAL MAN’S MOUSTACHE AND STAINING YOUR THIN LIPS BRIGHT RED.

T

orche’s grandiose, melodic

brutality are school bells ringing your cafeteria lunch to an end, sending you back to class with milk spilt across your shirt and the elementary bully laughing as you stomp past. Torche’s Helmet-brand core sound and authoritative vocals are watching your car break down in a bad stretch of town; hundreds of curious, bloodthirsty eyes peering through shattered windows, watching your every move and measuring the thickness of your wallet and fight.

Torche is losing your job at the factory; drinking too much and saying all the wrong things to all the right people; wearing a halo while committing a crime. And while all of this is happening, Torche’s Steve Brooks is stuck in Miami traffic on his way to kicking off Torche’s massive two-month tour in Gainesville.

“I fucking hate driving and talking on the phone, you fucker!” yells Brooks, lead guitarist and singer for Miami’s Torche, his hands on the wheel of a large touring van while a severe addiction to road rage lingers within. And in the same breath, “In with anger, out with love” - his therapeutic pledge to playing aggressive music, but leaving such aggression on the stage when the houselights fade, the crowd dwindles away and only the heavy drinkers are left

straddling the bar. “I don’t like to let out anger. I try to have fun doing what I love to do, but you’ve got to pace yourself especially when you do what you love every night.”

Since 2004, the members of Torche have been pacing themselves as they’ve worked their way through the canals of the sludge metal kingdom, touring with the likes of Mogwai and Jesu and releasing a duo of well-received full-lengths (as well as a couple of EPs) - the monumental 2005 self-titled debut, followed eventually by the “thunder pop” insanity of last year’s Meanderthal. With both albums heavy in nature and form, melodic in tone and execution - smothered in distortion, yet beautified with reverb and progressive via stoner hooks - one could argue that Torche’s signature blend of elements stems from being born in a town too far south to enjoy regular touring acts, and a scene too diverse and divided to cultivate a cohesive collection of like-minded musicians.

“With the environment down here, I’d be playing tropical music or dance music,” quips Brooks. “The only thing about me being from Miami and the sound that we have is that there is not that many bands from down here, and your influences come from all over the place instead of the local

PAGE 26 • REAX MUSIC MAgAzInE • APRIL 2009

music. The people [of Miami] are more cultured and from different countries, so there is not much of a scene at all.”

Meanwhile, the road rage rages on - “God damn, motherfucker! No one in Miami knows how to drive!”

Shortly after recording Torche’s latest release, the Healer / Across The Shields EP, Brooks and the band (rounded out

by Shitstorm drummer Rick Smith and bassist Jonathan Nuñez) were faced with a different kind of frustration when former lead guitarist, Juan Montoya, parted ways with the group. According to Brooks, though, the dent left in Torche by Montoya’s departure was minimal.

“I’m not going to talk bad about Juan,” begins Brooks, “but myself, [Smith] and [Nuñez] would write so well together … even without [Montoya] being there. It hasn’t changed much at all. We’re a threepiece now, so we’re trying to make the most out of not having that extra member there.”

the next couple of years, we’ll get to talk again,” explains Brooks, quickly adding, “but you never know, man. I mean, there isn’t bad blood, but between the rest of us and [Montoya], we just weren’t on the same page. He’s a great guitar player, a great songwriter … and I can’t wait to hear what he’s coming up with, but we just can’t be in a band with him, you know? It just makes things a lot more difficult than they should have been.”

Technically, Brooks claims that Torche’s nuclear assault of a live show remains intact. And, as the band works on new material for a third album (some of which was written while the three-piece version of Torche was recording a song for a split with Boris being released this summer), Brooks and the boys are learning to be more patient with the songwriting process.

“I haven’t played solos since I was 16 years old, and I’m 35 now,” laughs Brooks. “It’s challenging for me, but if anything, it’s just pushing me to be a better guitar player.

Now, I have to do two jobs in one. We’re spending more time writing, and thinking a little bit more about what we’re writing than we ever did before … [while] trying to perfect it as a three-piece. If Rush can do it, we can do it!”

And with Brooks’ victorious claim to Rush’s throne arrives another blast of angry energy: “God damn it, Rick! Hold my fucking drink, will you? That motherfucker just cut me off!”

Regardless of Montoya’s impact, Brooks’ bitter tone and quick delivery hint at some potential bad blood flowing through the newly truncated veins of Torche.

Torche in Florida: April 24 - The Social, Orlando April 25 - The Culture Room, Ft. Lauderdale April 26 - State Theatre, St. Petersburg

“It’s kind of raw right now, but hopefully in

MYSPACE.COM/TORCHE

REAX INTERVIEWS

THE RIVERBOAT

GAMBLERS

YEAH, THAT BAND YOU’VE SEEN OFF AND ON MAKING THE ACTS THEY OPEN UP FOR LOOK SILLY BY COMPARISON? THEY’RE CALLED THE RIVERBOAT GAMBLERS, AND THEY’RE FROM TEXAS. THE GENTLEMEN ARE ACES IN THE STUDIO, AS WELL, AND THEIR NEW ALBUM UNDERNEATH THE OWL IS ABOUT THE TIGHTEST MIX OF ROCK, PUNK AND FUN TO COME ALONG SINCE THE SUPERSUCKERS DEMANDED THAT YOU BUY ‘EM A BEER.

W

e talked to Gamblers guitarist/chief misinformation officer Fadi El-Assad about conspiracy theories, mixing it up and how his band is so consistently amazing on the road.

REAX: Are you guys all Austinites now?

FADI EL-ASSAD: We are. We’ve been down here, the band has been sort of relocated for about five years.

REAX: But you got started in Denton, right?

FE: Yeah. It’s a little college town just north of Dallas that had a heyday in the ‘90s with a house show scene.

REAX: So what’s up with the album title?

FE: It’s sort of a cryptic, dark-imagery homage to a lot of symbolism behind secret societies, oppressive secret power, The Illuminati, The Masons, and governmental

PAGE 28 • REAX MUSIC MAgAzInE • APRIL 2009

figures. It’s also a direct allusion to the Frost Bank Tower here in Austin, which is built to resemble an owl. It ties into a figure named Alex Jones, a local radio show host who presents what people commonly call conspiracy theories.

REAX: You guys always have the best song titles. It makes me envision you sitting around the practice space, one-upping each other and cracking each other up. Is that the case?

FE: With our song titles? Which ones?

What are you thinking of specifically?

REAX: Well, stuff like “Biz Hearts Sluts” from the last album ...

FE: Well, I’ll tell ya, specifically “Biz Loves Sluts,” we did crack up at it, but it wasn’t us. We’ve got a good friend from high school - remember book covers, that shit you put on your school books and drew on?

BALANCE & TALENTS Words: Scott Harrell Photo: Courtesy of Volcom Ent.

His nickname was Biz, he got called that because when he was 12 he was selling weed, taking care of business, and on his book cover he had this giant thing that said “Biz Hearts Sluts.” Like, in junior high!

And it made a perfect allusion to the music industry, those people in it who whore out for anything.

REAX: It seems like the song arrangements are a little more strippeddown and straightforward this time around.

FE: Really? I guess so. I don’t know how to respond, really. We just kind of went in with a lot more focus, the last one was sort of us putting together - one, we didn’t have a set band last time around, we were using a friend who played in another band. The songs weren’t as fully written, they weren’t as formed, thought out. And this time, we didn’t have the luxury of eight weeks in an apartment, we had five weeks literally living

in ths studio. It was good for the sake of focus, and bad for the sake of comfort and emotional stability.

REAX: A lot of the songs, like “Keep Me From Drinkin’,” have a classic, High School Confidential feel, then there’s really different stuff like “Robots May Break Your Heart.” Were you listening to anything in particular when you were crafting these tunes?

FE: Everything, really. Here’s the weird thing - I don’t have an iPod or a laptop, so I didn’t listen to anything the whole time.

Well, that’s not true, I listened to Zeke and Minor Threat.

I don’t think ... this time around we weren’t

Gamblers as one of those bands that just puts out records to tide fans over until the next show, but this record more than any of the others has the feel that you’re pretty serious about crafting and putting out the best sounding album you can.

FE: I think to us, they’re equal in the sense that they’re both important. But they’re so different. When we’re on tour, we’re not thinking about the little nuances, how they’re gonna translate live, we’re just thinking about going out there and busting ass on the road, playing as well as we can for however long. It’s a really visceral, primal, emotional outburst of all those things. In the studio, it’s very intellectual.

I hate to use that word, but it is, you think about every little thing. You dissect.

“IF I SOUND THE SAME SIX YEARS FROM NOW, I’M GONNA FUCKIN’ SHOOT MYSELF. IT’S ALWAYS GONNA CHANGE, AT LEAST A BIT.” drawing literally or specifically on our favorite bands or genres. ‘Here’s a bunch of songs, let’s cut a record.’ No pretense, we’re not trying to make a concept record or trying to fit a square peg into a round hole. Whatever we liked, we did.

REAX: Who’s that singing lead on ‘Sleepless’?

FE: Um, That’s Mike [Wiebe, lead singer].

REAX: Really? He sounds so different.

FE: Yeah, he does sound a bit different in the first verse.

REAX: I just assumed it was you or somebody.

FE: I had one lead part I was singing when we were rehearsing, but we couldn’t nail it.

For some reason, my vocal wasn’t going right, so I got cut. I got cut! So we had Todd [Congelliere] from Toys That Kill and Underground Railroad to Candyland come in, and it turned out really well. As long as I get my ASCAP money, I don’t give a fuck!

No, it worked out better anyway.

REAX: Do you guys make a conscious effort to do a different album each time?

FE: It’s not really conscious to the extent that we write the songs a certain way, we just don’t get our songs from wherever.

We’re writing, and we’re like, ‘let’s try to write it this way.’ But we’re not trying to make every song or CD sound different.

We’re in a different place. People want to compare this record to Something to Crow About, and that was six years ago, you know? If I sound the same six years from now, I’m gonna fuckin’ shoot myself.

It’s always gonna change, at least a bit.

We’re in a position where, apart from the producer, we have complete artistic freedom, so we just make it sound the way we want, and I would consider us very lucky in that respect.

REAX: I’ve always thought of the

Thery’re really different, but I love doing both. I love being in the studio.

REAX: I know a lot of musicians, especially guys in punk rock, that hate it.

They hate the pressure, and doing exactly that, dissecting every little detail of the music.

FE: Well, I love it. There’s something about when you get into the studio, this idea - it’s like when you’re a little kid, and your parents don’t believe you have this friend that they can’t see. It doesn’t manifest itself in reality until you get into the studio. It’s inarticulate, there’s not cup to hold the water in, you know?

REAX: What’s the secret to putting on consistently great live sets? Do you pace yourselves on the road, or is it all out all the time?

FE: Uh, I don’t know. There’s no secret.

My bass player’s here. Rob, what’s the secret to us blasting out our sets?

ROB: gumble futz snark bong [unintelligible]

FE: Yeah, that’s a good point.

REAX: I didn’t hear him.

FE: Well, I’m gonna tell ya. You start off on tour, going balls out, you never learn your lesson, it’s the same every time. But after a week, you remember you have to pace yourself, you’re getting a little older. But you still go for it. You nurse your wounds a little bit, and you go for it.

Underneath The Owl is out now.

The Riverboat Gamblers play Tampa’s Orpheum April 9, Orlando’s The Social April 10, and Lady St. Johns Riverboat in Jacksonville April 11.

MYSPACE.COM/ THERIVERBOATGAMBLERS APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 29

REAX INTERVIEWS

RYAN CABRERA REDEFINED

Words: Scott Harrell • Photo: Courtesy of Papa Joe Records

WE KNOW WHAT YOU’RE THINKING. RYAN CABRERA? THE ERSTWHILE TEEN-ROCK CONTENDER LINKED TO ASHLEE SIMPSON AND HER CREEPY, JESSICA’S-BUSTTOUTING MANAGER DAD? IN REAX?

W

ell, yeah. But cut the

kid (and us) some slack.

Unsatisfied by the rigidity and oversight that comes with trying to fit the Next Young Thing mold, Cabrera went indie for last year’s Moon Under Water, and damned if the thing doesn’t boast some better-than-decent tunes; it seems like following his own muse rather than the Teen Heartthrob Summer Camp synopsis agrees with young Mister Cabrera.

REAX: Moon Under Water comes off a little like a “growth-in-process” album for you. Did you make a conscious effort to step out of your safety zone?

RYAN CABRERA: You know what?

It wasn’t really a conscious effort. The way you put it is kind of true, but it just happened on its own. The only thing I try to make myself do is keep growing as far as writing better and better songs. And also more life experience, that’s what it boils down to as far as where an album is going to go. It’s just about writing what’s real and true. And the only way I really got to do that was to put it out independently.

REAX: Do you feel like you have had influences and ideas all along that you weren’t really able to showcase until this record?

RC: Well, kinda ... [long pause, then laughs] ... yeah. When I was writing before, it was obviously a very looked-over project

PAGE 30 • REAX MUSIC MAgAzInE • APRIL 2009

- everything you did had to be turned in and approved, they give you their notes.

Which was great, obviously they know what they’re doing, but I wanted to put out at least one album where I could do everything I wanted to do.

REAX: How has leaving the sort of majorlabel conveyor belt changed your life as an artist?

RC: It’s a lot more work, that’s for sure.

You’re basically putting a lot more pressure and work on yourself, but at the end of the day, you have to be happy with what you’re putting out there. It’s gotta be real or there’s no point in doing it, at least for me.

REAX: Yeah, I was gonna say, it must be freeing, but there must also be a lot more pressure.

RC: A lot more pressure, obviously. Just financially - I put all my money into it, just to make the project happen. But I made the

money making music, and I’m gonna spend it making music. That’s how I look at it.

REAX: A lot of people don’t know that you paid a lot of dues when you were younger, playing clubs in Texas. What’s it like to get back to more intimate venues?

RC: Dude, that’s my favorite. Honestly, it’s the best, this tour, these are the best places to play. [The crowd is] part of the show, you’re almost onstage with us, you’re really there. And we’re doing a really cool singersongwriter thing, Josh Kelley and I are playing together onstage, he’s playing my songs with me and I’m playing mine with him. It’s gonna be really different. Small clubs are home, I think that’s where we do the best. Obviously, it’s crazy and fun to do those huge arena and amphitheatre shows, it’s a rush to be in front of that many people, but it’s not as intimate.

REAX: So what’s next for you after this tour?

RC: Right now, I just started writing again.

I’d taken some time off, because I really wasn’t ready to write, but just in the last couple of weeks I’m into it again, and it’s taken a different direction. It’ll be interesting to see what comes out of it this time.

The Josh Kelley/Ryan Cabrera tour hits Gainesville’s Common Grounds April 15, and Ybor Ciy’s Crowbar April 16.

MYSPACE.COM/ RYANCABRERA

APRIL 2009 • REAX MUSIC Magazine • PAGE 31

REAX INTERVIEWS

“I’d do four or five, and on the sixth one, I’d be like, ‘I don’t even want to re-record that,’” Wollard says. “I just kind of very slowly made the decision of, ‘let’s just keep doing this the way we’re doing it now, because somehow, it’s working.’”

When asked if some of the Ship Thieves material has been sitting around for a while, he laughs and calls a few of the tunes “fuckin’ ancient.” He’s been working on some of them since around the time he began thinking of doing a record on his own, four years ago; others are considerably more recent additions to the Wollard canon. Like other aspects of the CD’s process, the selection of tunes depended largely on what was good, and just hanging around, from little instrumental snippets he wrote to help hone his fingerpicking technique to stacks of jotted lyrics. The ten tracks that made the cut were culled from a list of more than 20.

CHRIS WOLLARD WITH A LITTLE HELP FROM HIS FRIENDS

Words: Scott Harrell • Photo: Owen Ela

CHRIS WOLLARD IS NO STRANGER TO SIDE PROJECTS, ONE-OFFS AND GENERALLY GETTING TOGETHER TO MAKE SOME MUSIC WITH HIS FRIENDS WHENEVER THE SONGS AND THE MOOD HAVE STRUCK HIM. THOUGH BEST KNOWN AS A GUITARIST AND SINGER FOR BELOVED GAINESVILLE PUNK/ POSTHARDCORE ACT HOT WATER MUSIC AND MORE RECENT ROCK UNIT THE DRAFT, WOLLARD’S RESUME IS THICKLY PADDED WITH OTHER INTERESTING DIVERSIONS LIKE THE BLACKTOP CADENCE, RUMBLESEAT AND CRO(W)S.

W

hile some might

consider the musician’s first proper solo album a different animal entirely, Wollard doesn’t, really.

“I don’t know, I just have a lot of fun writing simple, nice songs, just sitting around the house with my friends, that’s my favorite thing to do. I was just trying to see if we could make anything worth listening to.”

“There’s been a lot of times in my life when I felt similar to how I feel now, the whole reason for doing the record,” he says. “Any time you’re gonna do a side project or start a new band, it’s gonna be somewhat because you feel something lacking. There’s something you wanna explore that you’re not really able to. You’re always looking for that freedom that you don’t have, artistically. Even though you’re playing punk rock and it’s supposed to be all about freedom, people do expect a certain thing from you after so many years.

Chris Wollard & The Ship Thieves is certainly worth listening to, a compelling collection of moody, meditative, almost countrified tunes interspersed with some catchy, straight-up rock. Those that only know Wollard from Hot Water might find this often spare and acoustic guitar-driven set a bit surprising, but fans of his various other sidelines won’t be jarred, and the raw, earnest delivery that defines his style remains blessedly intact; the CD may be more Twin/Tone than Dischord, but it’s unarguably well-crafted and compelling.

PAGE 32 • REAX MUSIC MAgAzInE • APRIL 2009

The chain of events that led to The Ship Thieves is a tangled one, but generally boils down to Wollard hanging out and jamming with his friends and peers. When he began thinking of doing a solo record, he began recording catch-as-catch-can demos with pals like engingeers/multiinstrumentalists Ben Lovett and Addison Burns at their studios in Los Angeles and Gainesville, respectively. Wollard says he didn’t hold a single band rehearsal before or during the sessions; whoever was around was invited to learn a couple of chord progressions and contribute.

The no-pressure atmosphere of the jams eventually began to result in tracks too good to be considered mere preproduction.

Once the album was finished, Wollard turned his attention to putting together a live band. And once again, things just fell into place - Lovett and Burns threw in, as did Hot Water Music and Draft drummer George Rebelo. (Bassist Derron Nuhfer of Gunmoll, Cutman and Less Than Jake notoriety has also joined the band on stage.) Due to everybody’s various commitments, The Ship Thieves won’t be undertaking the sort of rigorous monthson-end touring that characterized Hot Water’s heyday. Wollard says the group will be hitting the road here in the States and abroad beginning a little closer to summer, just not for half a year at a time which suits him, and the sort of laid-back atmosphere that’s surrounded this whole undertaking since the beginning, just fine.

“That’s the goal,” he says. “I’m just hoping to be in the studio a lot more, I want to be putting out more records. I feel that if you spend all your time on the road, going out for a year and then going out again for six months, when you go home and try to write, you’re just exhausted. I’m just looking for a little more balance.”

He’s already got two more releases, a split seven-inch with Valdosta’s unimpeachable Ninja Gun and another all-Ship Thieves vinyl single, slated for the coming months, but beyond that, he’s not sure what’s going to happen. It’s a methodology, after all, that seems to work.

“I don’t know what the fuck I’m doing with this band,” says Wollard with a laugh. “I’m just making it up as I go along. Luckily, I have some really good friends to get my back.”

Chris Wollard & The Ship Thieves is out now on No Idea Records.

MYSPACE.COM/SHIPTHIEVES

APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 33

34

SOAPBOX UPCOMING RELEASES ISSUE 35

UPCOMING RELEASES ARTIST

ARTIST Risto Sun City Girls Wooden Shjips

Abstract Rude Antony and the Johnsons Arcade Fire Bats For Lashes Bob Mould Bricolage Buraka Som Sistema Chain and The Gang Circus Devils Coathangers Comet Gain Crystal Antlers Dan Zimmerman Doves Eulogies Gliss Harvestman HEALTH I Was A King It Hugs Back Joker’s Daughter Juan Maclean Junior Boys Kevin Blechdom Lady Sovereign Lil Wayne Mia Doi Todd Micachu & The Shapes Neil Young Pele Pontiak Qemists Richard Swift Spokes Storsveit Nix Noltes Superchunk Telekinesis The Veils Venetian Snares Youth Group

Sähköhäiriöön Napoleon & Josephine Dos

Fonal Abduction Holy Mountain

LABEL

APRIL 18 RECORD STORE DAY!

WWW.RECORDSTOREDAY.COM FOR MORE INFO!

APRIL 21

APRIL 07

PAW TRACKS

LABEL

APRIL 14 CONTINUED

ALBUM

BLACK DICE REPO

ALBUM

CAMERA OBSCURA MY MAUDLIN CAREER

THE THERMALS NOW WE CAN SEE

4AD

PTERODACTYL WORLDWIND JAGJAGUWAR

KILL ROCK STARS

Rejuvenation Epilepsy is Dancing 7” Miroir Noir DVD Two Suns Life and Times Bricolage Black Diamond Down With Liberty… Up With Chains Gringo Scramble Broken Record Players Tentacles Cosmic Patriot Kingdom of Rust Here Anonymous Devotion Implosion In A Dark Tongue Die Slow 7” I Was A King Inside Your Guitar The Last Laugh Future Will Come Begone Dull Care Gentlemania Jigsaw Rebirth Morning Music (with Andres Renteria) Jewellry Fork in the Road A Scuttled Bender In A Watery Closet Maker Join The Q The Atlantic Ocean People Like People Like You Royal Family-Divorce Leaves in the Gutter EP Telekinesis Sun Gangs Filth The Night Is Ours

Rhymesayers Secretly Canadian Merge Astralwerks Granaray Rcords Slumberland Fabric K Happy Jack Suicide Squeeze WYRupture?

Touch & Go Sounds Familyre Astralwerks Dangerbird Ryko / Cordless Neurot Lovepump United Control Group 4AD Team-Love DFA Domino Sonig Midget Records Cash Money City Zen Rough Trade Warner Bros.

Polyvinyl Thrill Jockey Ninja Tune Secretly Canadian Counter FatCat Merge Merge Rough Trade Planet Mu Ivy League

Art Brut Black Math Horseman Booker T Brakes Brakes Brakes Björk Cloud Cult Cryptacize Dirty Projectors Eddi Reader The Horrors Jane’s Addiction King Khan & The Shrines Okkervil River Polly Scattergood Still Flyin’ Super Furry Animals Willie Isz

Art Brut Vs. Satan Wyllt Potato Hole Touchdown Voltaic No One Said It Would Be Easy Myhomania Byond Uquafina Love Is The Way Primary Colours Cabinet of Curiousities Box Set What Is?!

Pop Lie EP Polly Scattergood Never Gonna Touch The Ground Dark Days/ Light Years Georgiavania

Downtown Tee Pee AntiFat Cat Atlantic Rebel Group Asthmatic Kitty Domino Rough Trade Rough Trade Rhino TVT Records Jagjaguwar Mute Ernest Jennings XL Recordings Lex

APRIL 28

BOB DYLAN TOGETHER

THROUGH LIFE COLUMBIA

Japandroids Lovers Thee Oh Sees Wilco Witch Hunt

Post-Nothing I Am the West Help Ashes of American Flags DVD Burning Bridges To Nowhere

DIAMOND WATCH WRISTS ICE CAPPED AT BOTH ENDS WARP

Unfamiliar Able Heart In The Red Nonesuch Alternative Virus

MAY 05

ISIS WAVERING RADIANT IPECAC

THE VASELINES ENTER THE VASELINES SUB POP

APRIL 14

PREFUSE 73 EVERYTHING SHE

TOUCHED TURNED AMPEXIAN WARP

Bill Callahan The Boy Least Likely To Crippled Black Phoenix The Datsuns Death Cab For Cutie Dntel Grand Duchy In Flagranti The Jesus Lizard Life On Earth!

Metric Papercuts Pomegranates

SILVERSUN PICKUPS SWOON DANGERBIRD

Sometimes I Wish We Were an Eagle The Law of the Playground 200 Tons of Bad Luck Headstunts Open Door EP Early Works For Me If It Works For You Petits Fours Brash & Vulgar Inch A Space Water Loop Fantasies You Can Have What You Want Everybody Come Outside

PAGE 34 • REAX MUSIC MAgAzInE • APRIL 2009

Drag City (+1) Records Cargo Records Cooking Vinyl Atlantic Phthalo Cooking Vinyl Codek Records Touch & Go Sub. Sounds Metric Music Int. Gnomonsong Lujo

Bobby Beausoleil Akron/Family Conor Oberst and the Mystic Valley Band Crocodiles Deastro Deradoorian Double Dagger Fischerspooner Fleet Foxes Jon Hopkins Jon Mueller Kiila Kiki Mastodon Mika Miko Our Brother The Native Peaches Pink Mountaintops St. Vincent Tara Jane O’Neil

Orkustra Set Em Wild, Set Em Free

Mexican Summer Dead Oceans

Outer South Summer of Hate Moondagger Minde Raft EP More Entertainment Mykonos b/w False Knight on the Road 7” Insides Physical Changes Tuota Tuota Kaiku Crack The Skye (vinyl) We Be Xuxa Sacred Psalms I Feel Cream Outside Love Actor A Ways Away

Merge Fat Possum Ghostly Int. Lovepump United Thrill Jockey FS Studios Sub Pop Domino Table of Elements Fonal Bpitch Control Reprise PPM FatCat XL Recordings Jagjaguwar 4AD K

36

SOAPBOX PRODUCT PLACEMENT ISSUE 35

PRODUCT PLACEMENT FUTURAMA - INTO THE WILD GREEN YONDER DVD The final direct-to-DVD feature in the long, culty, uneven post-TV life of one of the most criminally underrated animated shows ever. Family Guy gets a second coming, and continues to just reference things we like to remember that we know. American Dad is still going strong, despite the fact that it’s just Family Guy with a German fish playing Brian and an alien named Roger playing Stewie. Not that those shows aren’t funny sometimes, but Futurama is still ahead of its time in its ability to both worship and satirize sci-fi, and Wild Green Yonder smokes some of the previous features to earn a place among the series’ best episodes.

$18.99, AMAZON.COM

CLASSIC NES CONTROLLER KEY BOX

It’s pretty close to the original antijoystick’s size, five inches by two inches by half an inch. It’s guaranteed to spark a conversation with the stranger on either side of you at the cool bar, so long as that person is over 30. AND, you can put anything in it you choose, so long as it’s, uh, smaller than five inches by two inches by half an inch. But not drugs, because kitschy crap like this simply screams THIS IS WHERE I PUT MY DRUGS. Mints that vaguely resemble drugs, though, would be hilarious.

$3 ETSY.COM

P-HOOK BOOKMARKS

For those of you who still read books on, you know, paper, or those of you with an insane magazine collection to which you’re constantly referring back, these things are perfection. Always know not only what you’ve been reading, but where you were last in any given publication. (Use ‘em to mark Product Placement in your back issues of REAX as the next holiday season approaches, for instance.) The set comes with 12 P-Hooks - three each of four pop-out-of-your-bookshelf colors.

$7 Running a bunch of GALLIEN-KRUEGER 10-inch speakers in your bass rig, and looking for a little more bowel-shaking throb to balance out your attack? Here’s an easy and comparatively inexpensive option, courtesy of G-K. The Neo112-II is a redesigned take on the classic 1X12” cab, made lighter and more compact but still delivering plenty of midrange and low end. Plus, it looks, you know, all clean but still tough and angry and stuff.

BLACKINKBOSTON.COM

1X12” 300 WATT BASS CABINET

$349, GUITARCENTER.COM

JAPANESE MINI-THEREMIN

Oh hell yes. If you don’t know, a theremin is this very cool “instrument” that turns the motion of the player’s hands within the electric field it creates into sounds. It makes an ethereal sound that’s been heard on everything from Pet Sounds to a thousand ‘50s monster B-movies. And, just as a bonus, it’s also annoying as hell when just being played crazily by itself at a party, with no accompaniment. This Japanese version by Gakken is not only reasonably priced, but very compact and portable - the damn thing runs on batteries!

$144, JAPANTRENDSHOP.COM

PAGE 36 • REAX MUSIC MAgAzInE • APRIL 2009

PRODUCT PLACEMENT SOAPBOX ISSUE 35

SOUND ADVICE WAVEFORM BRACELET

Technically, these cool one-of-akind bracelets - made of graphical representations of your recorded voice - are The Sound Advice Project’s way for you to keep anti-drug messages with your kids. Record yourself saying “remember to make the right decision” or “there’s a reason they call it dope, son,” and it’ll always be with ‘em. But you could probably slide a nice message to your significant other (“I’ll always love you no matter what”) or favorite clubby hipster (“Oxys were never cool, Rupert”) through the process.

$18, THESOUNDADVICEPROJECT.COM

37

JANE’S ADDICTION BOX SET

Once upon a time, the music on FM radio sucked. Then a bunch of original, arty, drug-addled bands rose up from the ghetto of college rock and made things beautiful for a little while. Chief among them was Jane’s Addiction, an act instrumental in bringing ambitious guitar music to the attention of the masses. Now, the music on FM radio sucks again. But until the next cabal of tweaked visionaries ushers in a new era in respectable mainstream fare, we’ve got A Cabinet of Curiosities, the definitive JA box set. Unreleased versions and home videos abound on this collection of three CDs and one DVD. That footage of Perkins eating fruit even though he hates it is probably on there somewhere. Available April 21.

$61.49 AMAZON.COM

CHEESEBURGER VACUUM

GHOSTBUSTERS MEETS PAC-MAN T If it’s at all possible to be more ‘80s reverent, we aren’t even sure we want to know how.

And we’re not being even a little ironic here. ?

Ghostbusters?

Untouchable, even given the fact that a third installment is in the works and will likely destroy the legacy. Pac-Man? As pre-teens, we tried to figure out how to drill a hole in a quarter and tie it to a string so we could play forever forever, man.

OK, so maybe a t-shirt picturing an iconic pose from Miami Vice with Chewbacca as Tubbs might be a teensy bit cooler. But only maybe.

$19.95, GLENNZ.COM

Here at REAX, some people tend to leave crumbs all over other people’s desks (and the floor) during hurried, hunched-around-a-monitor lunch meetings, and some people allow themselves to be driven nuts by the sight of such crumbs, and the visions of vermin that such crumbs apparently inspire. (Monkey’s one of some people, and Joel’s the other.)

What we need is an army of these cute little desktop vacuums, sucking up bits of taco salad shell and tabouleh on a round-the-clock basis. Until they become self-aware, and organize, and devour us all in a bloody and ironic climax blatantly lifted from about a dozen episodes of The Twilight Zone.

$20 FREDFLARE.COM

BUTTER PUMP

Some people are just physiologically incapable of spreading butter on anything without turning the whole thing into a holey, clumpy, soggy, unappealing mess. They don’t want to wait for the butter to thaw a little more, because they’re American, and they don’t want to put it in the microwave, because they’ll put it in for too long, and end up with a nice bowl of fat ‘n’ oil soup.

These people we’re talking about, they need this ... thing, which turns sticks of butter into thin ribbons of deliciousness. Plus, it appears to have measurements on it, meaning they’ll finally figure out exactly how much heart attack-in-a-block they’re putting on that bagel.

$14.95, AMAZON.COM

APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 37

38

SOAPBOX BOOK REVIEW / DVD REVIEW ISSUE 35

BOOK REVIEW

DVD REVIEW

BY CHRISTOPHER MOORE

UNRATED

FOOL

“This is a bawdy tale. Herein you will find gratuitous shagging, murder, spanking, maiming, treason, and heretofore unexplored heights of vulgarity and profanity, as well as nontraditional grammar, split infinitives, and the odd wank. If that sort of thing bothers you, then gentle reader pass by, for we endeavor only to entertain, not to offend. That said, if that’s the sort of thing you think you might enjoy, then you have happened upon the perfect story!”

And thus begins Fool, the 11th novel from Christopher Moore (or 11.5, as one of his books, The Stupidest Angel, has a Version 2.0 edition out). This time, Moore, a writer of ‘absurdist fiction’ best known for his laugh-out-loud reimagining of the life of Jesus in Lamb: The Gospel According to Biff, Christ’s Childhood Pal, goes for a retelling of William Shakespeare’s King Lear.

It’s almost inevitable that some uptight prig will take umbrage with this book; the argument being that messing with The Bard’s immortal prose is an affront to literature. But turning a tragedy into a comedy has been handled deftly before (Tom Stoppard’s Rosencrantz and Guildenstern Are Dead springs to mind), and let’s be honest: sacred cows make the best burgers.

While prior knowledge of King Lear isn’t required, here’s the condensed version: King Lear wishes to divide his kingdom amongst his three daughters. All the princesses have to do is profess their undying love in the most flowery, ass-kissing way they can - the bigger the butt-licking, bigger the piece of the pie. Two daughters verbally toss the king’s salad, but the youngest plays no part in it and is promptly exiled to France.

An abundance of conniving, betrayal and death follow.

Like the aforementioned Rosencrantz and Guildenstern,

Moore takes a minor character (in this case the court jester, whom the author has christened Pocket) and casts him as the hero. However, unlike Stoppard’s work, Pocket is not a simple witness, but rather the puppeteer. Since the fool was allowed to speak truth to power, Pocket flits amongst his betters, stirring intrigue, suppressing others, and attempting to start a war in an effort to get his favorite princess back. And, of course, keep his neck out of the hangman’s noose. He also gets away with some of the most creative, lewd and profanity-laden insults laid to paper.

Perhaps the most impressive part is how Moore manages to show his reverence for both Shakespeare and the English language itself. This isn’t a mockery; the admiration for the work is apparent, as is the time spent converting Ye Olde English into something modern while holding the flavor of Shakespeare’s work. By spending time in England learning the slang and the colloquialisms of the British Isles, Fool doesn’t feel forced or out of place; the language of Lear is simply upgraded enough that its meaning is easily grasped.

Moore is also kind enough to include footnotes, as we Americans might not understand everything. Some of them might even be true.

Arguably, Fool could be Moore’s best work, but it is certainly his most adventurous. He’s managed to take something thoroughly depressing and create laughter where tears had formerly flowed. This is no small feat in and of itself, and the care with which he reshapes a classic leads one to believe there may have been a spirit or two assisting him.

Because there’s always a bloody ghost.

(WILLIAM MORROW) - Timothy Asher

PAGE 38 • REAX MUSIC MAgAzInE • APRIL 2009

NOFX: BACKSTAGE PASSPORT

A

couple of years ago, Fat Mike and the rest of the NOFX guys decided they wanted to do a year-long tour hitting as many countries that they hadn’t visited before as they could, just because they were all getting older and weren’t sure how much longer they’d be able to jaunt around the globe for months on end. And in an occurrence of synergistic genius, music channel Fuse came aboard to air the filmed footage. The result was Backstage Passport, a short series of eight episodes that offered what was undoubtedly the most unrehearsed, unadorned and (often) unintentionally hilarious behind-thescenes look at life on the road ever broadcast. On any channel. Ever.

Now, Fat has released the whole shebang on a two-DVD set. Disc One consists solely of the produced Backstage Passport episodes, bleeped profanity and all. And that’s fine; what aired was brilliant, and brilliantly candid. Shady South American promoters promising nonexistent shows and getting the crew held hostage by Peruvian riot squads. S&M clubs and drunken businessmen beating the crap out of each other on the street in Japan.

NOFX becoming the first punk band to ever play mainland China - in history - only to get stiffed on a sold-out show due to “counterfeit tickets.” Getting likewise scammed in Southeast Asia. Snorting enigmatic green drugs in Singapore, where mere possession can be punishable by death, and freaking out. Being spit on by “fans” in Israel, and escalating the incident into a brawl with young military toughs.

And, of course, tons and tons of footage of band manager Kent getting uproariously, tensionrelievingly hammered.

More than anything, the installments play out like any underground band’s first or second D.I.Y. tour, only blown

up to span the planet, and with the problems and payoffs likewise increased in scale. Yeah, NOFX is the biggest truly independent band in the world, and they find fans everywhere they go. But anybody who’s had a gig in Tucson canceled at the last minute on a Tuesday night after two shows that didn’t pay dick can’t help but relate when the band gets shut down in Lima - and can’t help but feel joy when Fat Mike plays a quick acoustic set for the several hundred fans that show up at the hotel the morning after an incompetent promoter cheated them out of the show. And the disc of extras - including several cringe-inducing confrontations with the aforementioned scam artists, and even more drunk-ass Kent - just serves as icing on the cake.

Backstage Passport knows the viewers already have all the records, and doesn’t waste time documenting the live show of a band that’s already been there and done that. There’s very little performance footage, except for scenes in which something crazy happens, like stage manager Limo’s fight with the Israelis or when Fat Mike accidentally breaks his bass on guitarist Melvin’s face. But by showing where they hadn’t been and what they hadn’t done before, warts and all, the DVD gives fans a new piece of (and new insight into) NOFX, and entertains on a level rarely achieved by proper home video releases since the days of Pantera’s VHS shenanigans.

(FAT WRECK CHORDS) - Cole Porterhouse

MUSIC REVIEWS SOAPBOX ISSUE 35

39

I>C< 8:A:7G6G: 9 6N

ABRAHAM LINCOLN THOMAS JEFFERSON BILL CLINTON

G:8DG9 HIDG: 9

RICHARD NIXON GEORGE W. BUSH

NEKO CASE

MIDDLE CYCLONE Look, Iâ&#x20AC;&#x2122;m not gonna lie. Middle Cyclone bears a conspicuous sonic resemblance to Fox Confessor Brings The Flood, which bears a conspicuous sonic resemblance to Blacklisted. Yes, American ex-pat/Canadian resident Neko Case has a sound. Itâ&#x20AC;&#x2122;s whiskey and honey, free-associative Beat innovation and familiar front-porch strum, and itâ&#x20AC;&#x2122;s goddamned perfect, so why dick around with it too much? Middle Cyclone actually does stretch Caseâ&#x20AC;&#x2122;s creative legs a little; the vaguely New Wave-esque touches to opener â&#x20AC;&#x153;This Tornado Loves Youâ&#x20AC;? are new, and the chorus to taut, sultry shufďŹ&#x201A;e â&#x20AC;&#x153;Red Tideâ&#x20AC;? might be the most overtly pop-informed thing this talented singer-songwriter has ever done. Elsewhere, the CD is possibly both subtler (â&#x20AC;&#x153;The Next Time You Say Forever,â&#x20AC;? â&#x20AC;&#x153;Vengeance Is Sleeping,â&#x20AC;? the title track) and more expansive (â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m An Animal,â&#x20AC;? â&#x20AC;&#x153;People Got A Lotta Nerveâ&#x20AC;?); thereâ&#x20AC;&#x2122;s even a cabaretesque standout in â&#x20AC;&#x153;Donâ&#x20AC;&#x2122;t Forget Me.â&#x20AC;? But itâ&#x20AC;&#x2122;s all slathered in that evocative voice and those interesting lyrical / arrangement choices, and itâ&#x20AC;&#x2122;s all just as good as youâ&#x20AC;&#x2122;ve come to expect.

(ANTI-) - Colin Kincaid

SAY HI

OOHS & AAHS If thereâ&#x20AC;&#x2122;s any debate as to why Seattle bands wear ďŹ&#x201A;annel, Say Hi settles it with this batch of glacial pop songs. Dude, itâ&#x20AC;&#x2122;s cold out. Probably has something to do with the darkness, of which Oohs & Aahs gives off plenty. Downbeat synth-rock for saddos and sappy suckers, this groove-inclined Death Cab-devoted collection avoids daylight like the Space-Needled city from which it hails. But dejected tunes arenâ&#x20AC;&#x2122;t a kiss of death. Nirvana, anyone? Speaking of, â&#x20AC;&#x153;Oh Oh Oh Oh Oh Oh Oh Ohâ&#x20AC;? justiďŹ es its multiple ohs with a hooky acoustic shufďŹ&#x201A;e straight out of Cobainâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Polly.â&#x20AC;? Just as ďŹ&#x201A;eetfootedly danceable and absurdly punctuated, â&#x20AC;&#x153;One, Two â&#x20AC;Ś Oneâ&#x20AC;? sneakily retools TV On The Radioâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Wolf Like Meâ&#x20AC;? into a toe-tapping, could-be blogosphere slayer. More typical, though, â&#x20AC;&#x153;November Was White, December Was Grey,â&#x20AC;? carves out a cranky skater-boy vibe with acoustic plucking and the occasional electric riff. Eric Elbogen sings, â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ll feel better when the winterâ&#x20AC;&#x2122;s gone,â&#x20AC;? but this hold-yourhead-up chorus only gives you the feeling that the groundhogâ&#x20AC;&#x2122;s gonna see his shadow.

Button up.

(BARSUK) - Robert J. Hilson

0?A8; ' ! (

FELICE BROTHERS

YONDER IS THE CLOCK The Felice Brothers are usually compared to Dylan and The Band, thanks both to lead brother Ianâ&#x20AC;&#x2122;s scratchy, atonal crooning, and their literary style; both are crucial elements to Yonder is the Clock.

The ďŹ rst track, â&#x20AC;&#x153;The Day of The Big Surprise,â&#x20AC;? sets the stage perfectly, letting listeners know that throughout its highs and lows, this will be a record about loss. But rather than settling into a maudlin rut, they alternate the slow, moody tunes with foot-stompers like favorite â&#x20AC;&#x153;Run Chicken Run,â&#x20AC;? which offer guaranteed smiles. The stompers almost steal the show with their infectious energy, whip-smart allegorical narratives, and great sounds (accordion, drums, ďŹ ddle, supporting vocals, and a touch of brass), but two slower story-songs near the end of the record, â&#x20AC;&#x153;Boy from Lawrence Countyâ&#x20AC;? and â&#x20AC;&#x153;Cooperstown,â&#x20AC;? simply devastate with just the sort of writing that gets you compared to Bob Dylan. The CD isnâ&#x20AC;&#x2122;t perfect; track nine, â&#x20AC;&#x153;All When We Were Young,â&#x20AC;? is so bad I canâ&#x20AC;&#x2122;t believe itâ&#x20AC;&#x2122;s on the same record. But skip that one, and this album is as wicked, witty, and satisfying as an Avett Brothers release, but with its own dark energy that is uniquely the Felice Brothers.

(TEAM LOVE) - Matt Powell

â&#x2DC;&#x2026;

;>CB >5

HE:8>6A! A>B>I:9 :9>I>DC , Kâ&#x2DC;&#x2026;>CNA 6C9 89H HL6< DJI I=: N>C"N6C< 5>A B0;4

â&#x2DC;&#x2026;

â&#x2DC;&#x2026;

A>K: BJH>8 L>I= 6JHI>C H 8:A:7G>IN 9?h â&#x2DC;&#x2026;

C:L GDB6C I>B:H E67HI 7AJ: G>77DC

2DAC8B A>BB C0<?0 CA81D=4

â&#x2DC;&#x2026;

â&#x2DC;&#x2026;

# 74=34AB>= 1;E3 B>DC7 C0<?0 ""%!(

' " !'( '"(( E8=H;54E4AC0<?0 2><

MSTRKRFT

FIST OF GOD DFA 1979â&#x20AC;&#x2122;s Jesse F. Keeler has always been good at making hefty, gritty electronic tunes that never quite tip over into industrial.

MSTRKRFT, his side project with producer Al-P, smooths out DFAâ&#x20AC;&#x2122;s roughest edges without sacriďŹ cing energy or weight, then adds both more overt melodies and robotic madness. The duoâ&#x20AC;&#x2122;s second original full-length veers oddly and excitingly into urban and even R&B-reminiscent styles, and the results are often aces - check â&#x20AC;&#x153;It Ainâ&#x20AC;&#x2122;t Love,â&#x20AC;? the E40-featuring â&#x20AC;&#x153;Click Click,â&#x20AC;? â&#x20AC;&#x153;So Deepâ&#x20AC;? and the standout â&#x20AC;&#x153;Heartbreaker,â&#x20AC;? whose John Legend vocal lends the track a surprising soulfulness.

There are a couple of letdowns; the title track is simple and redundant to the point of banality, and Ghostface Killah vehicle â&#x20AC;&#x153;Word Upâ&#x20AC;? wastes some great production on the MCs repetitive, phoned-in vulgarity. Overall, though, this is a superior collection of pumped-up, dirty tech jams.

(DIM MAK / DOWNTOWN) - Scott Harrell

APRIL 2009 â&#x20AC;˘ REAX MUSIC MAgAzInE â&#x20AC;˘ PAGE 39

40

SOAPBOX MUSIC REVIEWS ISSUE 35

GRIZZLY BEAR VECKATIMEST

Indie rock has reached a bit of a quandary lately; too many bands are riding the coattails of their contemporaries.

Artists that have been able to properly step up and offer something fresh and original are few and far between. There have been some close calls, but they lacked the focus needed to ensnare the attention of the present-day music critic.

Our savior comes in the form of four men from Brooklyn under the moniker Grizzly Bear.

When their second album Yellow House was released in 2006 there was an immediate uproar of praise and approval - it was a masterpiece of experimental acoustic rock providing the texture and cohesion originally thought to only exist in the landscape of electronic genres. Everyone wanted more.

Fast forward to 2009; Grizzly Bear have garnered enough attention to tour with bigname bands like Radiohead and perform on an array of late-night talk shows. They have also completed their follow-up to Yellow House, Veckatimest, named after a small island off the coast of Massachusetts. As per usual, the band fails to disappoint and offers us yet another brilliant album. GB kept their word about Veckatimest being livelier and more uplifting than its predecessor with the poppy opening number “Southern Point” and the psychedelic jazziness of “About Face.”

Fans will still recognize their usual supine tempos and dreamy sway in the songs “Ready, Able” and “Hold Still,” though, while “Dory,” with its bubbly vocals by band member Daniel Rossen (also of the band Department Of Eagles), solidifies the idea that maybe these guys are obsessed with writing songs about the ocean (See also: “Deep Blue Sea” and “Deep Sea Diver” from the recently released Dark Was The Night compilation and first album Horn Of Plenty, respectively).

As Isaac Hayes was to soul in the ‘70s, and Nirvana was to rock in the ‘90s, Grizzly Bear is to indie in the present day. But what does the term indie mean nowadays? It has become an amalgamation of so many different styles and genres that it’s hard to keep track of what is what. There’s honestly no need to anymore.

Music addicts will feast on whatever sounds good no matter what plate it’s presented on, and right now they dine on Grizzly Bear.

(WARP) - Nick Truden

SHOLI SHOLI

Recorded everywhere from a proper studio to friends’ bedrooms, Sholi’s debut CD softens the sharper edges of fractured Chicago-style art rock with subtler arrangements that blend free jazz-esque meters with maudlin melody. Even the noisy climaxes are tempered by mood and

a selection of sounds largely eschewing overdriven guitars in favor of less familiar layers. Things get momentarily derailed during some of the more obtuse passages in six-minute centerpiece “Spy In The House Of Memories,” but this is by and large an original, pleasant and surprisingly digestible collection of envelope-pushing modern-rock experimentation.

(QUARTERSTICK) - Scott Harrell

SIN FANG BOUS CLANGOUR

Stealing the best melodies from early Roxy Music and later Elliott Smith, alongside dense rhythms inspired by field recordings of Ethiopians celebrating a day’s bountiful haul of fresh fish, this kid from Iceland is making incredible music. It sparkles.

Banjos and xylophones, ghostly whoops and piano glissandos, warbles and woodpeckers and wind, embellished with Gregorian moans and low violin strains; freak-folk would be an easy classification, yet a concentrated effort on intertwining a multitude of opposing sounds electric and acoustic build technicolor terrains of remarkably catchy tunes about destroying memory, nausea, and canceling vacations. Electronic pops and glitches simulate the fragmentation when spellbound in such disorienting dreamscapes; it would be misconstrued as gimmick if not used so sparsely throughout. I’m convinced this is one of the best new records of the year.

(MORR RECORDS) - Shawn Goldberg

ROGER JOSEPH MANNING, JR.

CATNIP DYNAMITE If you know about Manning - from his roles in Jellyfish and Imperial Drag, from his participation in The Moog Cookbook, from his work on everything from the Lost in Translation soundtrack to Beck’s Mutations and Blink-182’s Enema of The State - at all, then you know he’s about two things: keyboard wizardry and big, ambitious, ‘70s-informed pop melodies. And that’s what his second solo full-length is all about, in spades. Fans of Queen and ELO (as well as everything Manning has been involved with in the past) have a lot to be stoked about in the album’s huge dynamics, miles-deep production, soaring vocals and stylistic side streets. Those who like concision, simple structures and revved-up guitars, however, might tune out by the time the harpsichord intro to the overdone “The Turnstile at Heaven’s Gate.” Which is a shame, because Catnip’s most stripped-down (and some of its finest) moments - perfect pop-rock single “Living in The End Time,” the honky-tonk cabaret of “Drive Thru Girl” - arrive toward the end of the party.

(PONY CANYON) - Colin Kincaid

PAGE 40 • REAX MUSIC MAgAzInE • APRIL 2009

MILLIONS

GATHER SCATTER While doing research on this record, it became very clear that I do not know metal. Every single review I could find loved Millions, putting them in comparison with Black Flag, Helmet, Akimbo, Light Yourself On Fire, and King Crimson. They talked about how Millions guitarist/vocalist and Seventh Rule Recordings boss Scott Flaste should be praised for putting out consistent, quality metal. And, to an extent, those reviews are correct. Gather Scatter is a brutal record, chock full of aggro and bleeding-ears intensity.

It also sounds disjointed, with constantly changing tempos and a lack of a cohesive vein to follow. Opening track “Lest The Professor Catches Fire” could easily turn listeners off, but bear with it; the rest of Gather Scatter gets moderately better. “View From A Sinking Ship” has a driving beat and the possibility of greatness, but the guitars clang in and sound out of tune at times. Halfway in and kicking through “Getting The Last Word” we finally see what Millions is capable of solid, albeit slightly disorienting, metal.

(SEVENTH RULE) - Timothy Asher

JOHN VANDERSLICE ROMANIAN NAMES

John Vanderslice is a poster child for indie can-do. As a recording/producer wunderkind, he has helmed several notable releases at his all-analog studio Tiny Telephone in San Francisco (Death Cab, Okkervil River and Spoon to name a few). And in his spare time he still manages to create literate, thoughtful, delicately layered songs of his own. His trademark tired warble is winning and accessible, and the warm, lo-fi tone of his records makes me want to appreciate that eight-track recorder in the other room that’s collecting dust. Vanderslice is a musician’s musician - he possesses the technical know-how to tweak a knob or two behind a soundboard and make magical things happen, and craft tuneful, mellow songs that are easy to swallow. That’s a winning combination.

(BARSUK) - Susie Ulrey

METRIC

FANTASIES Metric has finally returned to the front lines of the music scene with their anticipated fourth studio album, Fantasies. At first listen, I was a bit skeptical, but it’s to be expected - with so many bands changing their sound, it’s getting harder to enjoy their

newer albums. Metric comes close to doing it right, though. Fantasies is smoother and more delicate sounding than previous efforts like Old World Underground, Where Are You Now and Live It Out. Gone are the days of the heavy synth-laden melodies, which is why the typical Metric fan may have an aversion to it after the first few listens. Give it a chance, though; eventually, the music and theme of the album start to make a bit more sense, and songs like “Sick Muse” and “Gold Guns Girls” still make you want to get up and dance, which is, of course, what all Metric fans want out of an album from them.

(METRIC) - Nick Truden

MV & EE

DRONE TRAILER With not as much drone as promised by the title, this is more like a remembrance of grunge past. Kinds of songs on this album: the inebriated guitar slips from one chord to the other, slightly off-kilter from the drunken accompaniment of the other instruments as it grows into a distorted mess and tangle of feedback, only to disappear and be left alone with a solitary soothing organ that was in the background the entire time, and the slow train-track harmonica with forlorn Neil Young acoustic guitar that forces you into a contemplative temperament. They’re solid, enjoyable tracks that capture ego, make me forget about bills, and are probably a perfect soundtrack to watching evening rain on a back porch. But it still feels like the interludes of acid twang and ambient billows of sitar offer little more than a relaxed simmer between songs they wrote on tour, resonating with inside jokes transformed into absurdist lyrics.

(DICRISTINA) - Shawn Goldberg

PEELANDER-Z

P-POP-HIGH SCHOOL There are probably a lot of people for whom the idea of a Japanese comic book-themed poppunk band of kitsched out musicians who claim to be aliens with primary colors for names holds an almost endless appeal - ironic or otherwise. But I’m willing to bet that there are many more people for whom the concept holds a chuckle, rolled eyes, and the subsequent desire to talk or think about something else. To be fair, the NYC trio’s fifth (!) album is engaging enough the first time around, and even funny in places. Songs like “Let’s Go! Karaoke Party!”, and the utterly Ramones-obsessed “Ninja-High Schooool” are tight, solid and punchy. So why wed them to a cheeseball premise fraught with tired trends and stereotypical race cliches? Did you know that Japanese pop culture is crazy? It is!

But an entire CD (much less a musical career) endlessly reiterating that fact is just a novelty, and not a particularly absorbing one.

(EAT RICE) - Colin Kincaid

MUSIC REVIEWS SOAPBOX ISSUE 35

LAMB OF GOD WRATH

Damn. After just a few songs from Wrath, Lamb of God’s seventh album, I think I’m already bruising.

LoG is carrying the hardcore/death/ thrash metal mantle with pride and little burden. Listening to this CD makes me feel like I’ve been grabbed by the shoulders, head-butted, spun around, kicked in the ass and sent flying onto the Gravitron ride at my local church carnival.

The music is visceral, dirty, evil rawk; it will grab your insides, tie them in a knot and put them back inside-out. That’s what makes it so badass. Mega props to all the members of the band for their muscle-bound musical chops, but especially to vocalist Randy Blythe for succeeding in raking his vocal chords across hot coals and broken glass since 1995.

(EPIC) - Susie Ulrey

USELESS ID

THE LOST BROKEN BONES Israel maybe isn’t the first place one thinks of to find a punk band, but there you go - make assumptions and look like an idiot.

Useless ID have been cranking out albums since 2004, and the professionalism and musicianship truly shines through in The Lost Broken Bones. Sure, part of it might be because uber-producer Bill Stevenson of Ft. Collins’ Blasting Room was involved, but it’s the core of this record that matters - it’s unabashedly melodic pop-punk. Unlike all the other little snowflakes on the Warped Tour, this feels more like a band crafted and brewed in a small, sweaty bar ($80 Haircuts and studded belts need not apply). Killer hooks are mixed with catchy melodies that make the ubiquitous sing-along easy to get into.

While on Suburban Home, this band will fit right in with any band in the Fat Wreck Chords catalog. The Lost Broken Bones is polished, sparkly and, given the time, will sit at the peripheral of your consciousness - the kind of tunes that you find yourself humming without even noticing.

(SUBURBAN HOME) - Timothy Asher

LISSY TRULLIE

SELF-TAUGHT LEARNER Give this girl some credit. It takes balls to turn your back on the modeling industry to pursue a career reviving the joyfully adolescent spirit of bands like the Modern Lovers.

Think of the potential landmines - hipster critics hate wannabes and good looks, mainstream critics discount “model-turned”

41

anything, and everybody else just wants to know if the chick with the boyish voice and short hair is pulling some kind of Crying Game gag. Given the potential pitfalls, Self-Taught Learner plays like a handbook in anticipation.

Step 1: Throw the hipsters a bone with a rocking cover of Hot Chip’s “Ready for the Floor” and a should-be Yeah Yeah Yeahs cut, “She Said.” Take that, Pitchfork! Step 2: Play throwback rock ‘n’ roll so simple and fun that, um, even a model could do it. Step 3: Get a picture of your no-doubt-about-it backside on the CD cover. And in heels for good measure (note: to be fair, “boyish” is a bit of a stretch - she works the Kim Gordon/Jonathan Richman middle ground). Taken together, it’s a well-crafted lesson in covering the bases from an artist who, as advertised, proves a quick study.

(AMERICAN MYTH) - Robert J. Hilson

SUPERDRAG

INDUSTRY GIANTS Jon Davis returns with the original Superdrag lineup (not heard since 1998’s Head Trip In Every Key) with Industry Giants, released on the ‘drag’s own own label. After a couple of albums, the group splintered and Davis found Jesus. Seriously; in 2005, he put out an undeniably excellent solo album full of gospel-tinged rock.

Throughout all of his various reincarnations, one thing remains: Davis’ solid songwriting and ear for no-frills, honest pop/rock. Track One comes out of the gate whoopin’ and hollerin’ - “Slow To Anger” is snarling, raucous and loud, the perfect way to kick the album off. Not that this disc is a perfect showcase of songs; they’re good, don’t get me wrong. But first and foremost, it’s just awesome that this band is back together. I can’t wait for more.

(SUPERDRAG SOUND LABORATORIES) - Susie Ulrey

VOX JAGUARS

THE VOX JAGUARS From the bands Myspace: “we are wild, 2 of us are in college and 2 of us are seniors in high school, playing from our souls, and pouring our energy out like a lightning bolt.” While I’d love to use the pretentious smack-down card, it’s accurate. The Vox Jaguars play with equal parts Mission of Burma and The Fall mixed in with modern contemporaries The Strokes and White Stripes (expect, unlike the aforementioned Stripes, the Vox Jaguars’ drummer can actually play). Despite the young age of some members, the band is frighteningly adept at a style usually dominated by older, jaded hipsters (if you forget about the Vines, which, of course, everyone has). So, let’s get to the ubiquitous catch phrases: Vox Jaguars are rocking a stripped-down, low-fi, raw, garage band sound and they are damn good at it.

(ANODYNE) - Timothy Asher

www.mojotampa.com | 813.971.9717

2558 E. Fowler Ave., Tampa

Located next toLopez: theDespair University Mall, in the Omar Rodriguez same plaza as Chipotle Mexican Grill & Quiznos (Willie Anderson Recordings)

No words, no melodies. Warning! Forty minutes of pure k-hole inducing myspace.com/mojobooksandmusic drone from the guitarist and main creative force of Mars Volta. For context to the stinging paranoia and alienation, each of the ten tracks are named after a different Rainer Fassbinder film. What am I listening to? the birth of a nebula? the expiration of a supernova?

Ornette Coleman: Twins (Atlantic Records) (from Allmusic.com) 1959 and 1960 sessions with the all star cast of Don Cherry, Scott LaFaro, Billy Higgins, Eric Dolphy, Freddie Hubbard, Charlie Haden, and Ed Blackwell. A wild roller coaster ride mixing meters, tempos, and dynamics in a blender in an unforgettable display of sheer virtuosity.

Faust: Patchwork (Staubgold Records) Faust member Hans Joachim Irmler and Staubgold label manager Markus Detmer compiled unreleased Faust recordings from 1971 to 2002, covering the legendary Wümme Years (1971-1973) and the time at Virgin’s Manor studios (1974-1975) as well as their new start in the early 80s and recent years. Compiled as a collage, similar to the Faust Tapes, creeping in among the bits and pieces are familiar tunes in less familiar forms Beach Boys: Pet Sounds (Capital Records) The sounds inside Brian Wilson’s skull are now considered auditory mana.

Giving credence to Theremin solos, released in 1966, what was assembled inside a dark Los Angeles studio translated sunshine into intricate vocal harmonies and plush arrangements, still bringing tears and sniffles to your grandma, or even a cynical crusty stooge, forty years later.

The Fireman: Electric Arguments (One Little Indian Records) Although each of its thirteen tracks were written and recorded in a single day over the course of last year, it’s been ten years since the last collaboration between ex-Beatle Sir Paul McCartney and electronic producer Youth. The more random moments, sprawling and enigmatic and eccentric, repose the distinct songwriting temperament in an experimental and rough hewn niche.

www.mojotampa.com | 813.971.9717

2558 E. Fowler Ave., Tampa

Located next to the University Mall, in the same plaza as Chipotle Mexican Grill & Quiznos

myspace.com/mojobooksandmusic

APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 41

42

SOAPBOX VIDEO GAME REVIEW ISSUE 35

GAME REVIEW H.A.W.X.

A LITTLE OFF TARGET

I

remember when a game with Tom Clancy’s name on the box meant really good things. Rainbow Six, Splinter Cell, and Ghost Recon were all topnotch favorites on the original Xbox. Lately though, titles brandishing the military-fiction novelist’s name have been … lacking, to say the least. So, trying to put my recent Clancy disappointments behind me, I picked up Ubisoft’s newest IP (intellectual property), H.A.W.X. H.A.W.X. takes place, like most Clancy titles, in the near future. This time, though, you’ve traded in your small arms for a pair of wings and a bunch of missiles. The campaign centers on David Crenshaw, a top U.S. Air Force pilot in the High Altitude Warfare Experimental Squadron (H.A.W.X., get it?). After only a few missions, the H.A.W.X. program shuts down, and Crenshaw elects to join Artemis Global Security. And like all good PMCs (private military corporations), Artemis only fights for the highest bidder - no matter how dodgy. It’s obviously a recipe for disaster; Artemis soon finds itself at odds with the good ‘ol US of A, and Crenshaw gets stuck in the middle of the conflict. Now this may all sound exciting enough, but truth is, it’s pretty weak. The story unfolds only through boring mission briefings and distracting in-flight picture-in-picture directives from your superiors. It’s sad, really, that a storydriven brand like Tom Clancy - the same brand that created Patriot Games, Clear and Present Danger and The Hunt for Red October - could have such a lame narrative.

Bad acronym and story aside, H.A.W.X.’s gameplay scores it some serious points.

Responsive controls mean that pulling

off high-G maneuvers never get old, and blasting the hell out of everything is undeniably satisfying. It’s all a treat to look at, too. Great graphics and sound compliment the over 50 real-life planes you can pilot over real-world locales like Chicago or Cape Canaveral. And the game’s engine hardly ever misfires - even when there are multiple bogeys targeting you and flurries of missiles are buzzing by your jet. The missions do, however, lack a lot of creativity. They’re still fun to play - and playing Goose to your buddy’s Maverick over Xbox Live is a dream come true - I just would have liked to see a little more variety.

Adding to my list of grumbles is the fact that the game’s multiplayer seems incomplete. Shipped with only one lonely mode, H.A.W.X. won’t keep anyone except the super-elite coming back for very long.

I would be surprised if sometime really soon Ubisoft didn’t try to steal $10 from our wallets for new modes that should have been included in the game to begin with.

H.A.W.X. is, overall, a good game that occasionally even shows the potential for being great. It just misses too many opportunities to come highly recommended.

With a short and relatively easy campaign and a lackluster story, you never feel too immersed in the experience. So, with better flight games out there … cough, Ace Combat 6, cough … the only reason to pick up H.A.W.X. is if you’ve recently lost that lovin’ feeling … but it probably won’t bring it back.

REVIEWED ON XBOX 360 - Trevor Roppolo

PAGE 42 • REAX MUSIC MAgAzInE • APRIL 2009

HANDS ON PRODUCT REVIEW SOAPBOX ISSUE 35

43

If you don’t have earplugs to block out the music & chatter in the tour van or noise at the after party so you can sleep, something to block the light out so you can zone out, and a cheap inflatable neck pillow to make sure that when you wake up you can still move your neck, you are going to hate life after the first couple days on the road.

It is hard for even good bands to get accepted and have a showcase for the official South by Southwest conference and festival, and I could go on and on about how monetized and commercialized the festival is now, with sponsors’ emblems choking up everything, and about how expensive a “wristband” for the “official” festival is (up to $180 for the wristband that still won’t guarantee you entry into the show that you want to see if the show is at capacity), but I won’t ... oh wait, I did. This is not “another dude from a band having sour grapes about not getting accepted to play.” This dude’s band did get accepted, but that doesn’t mean that I can’t point out the wrongs going on there. Even with the festival’s recent gilded Midas obsessions, SXSW is STILL the BIGGEST and MOST IMPORTANT industryoriented music showcase/conference in the country. Every up-and-comer is there.

And if you’re a serious fan of music, you are there as well.

You don’t have to be “offically” accepted to play parties and unofficial shows, and if you’re there to see the shows, you don’t have to pay for a wristband at all. There are so many opportunities and so many free shows to go see (some with free drink and food); if you’re resourceful, you can have a full schedule with ease. This month’s Hands On details things that YOU WILL NEED to get about easily on a tour or road trip to SXSW. Enjoy, and see you there, hung over on Shiner Bock, in 2010! www.SXSW.com

For under $200 this GPS device is a godsend.

Never get lost, never run out of gas because you don’t know where the next town or station is, and be able to find gourmet BBQ stands even in the sticks of Texas. Even Neal Cassady would have owned one if technology had permitted.

www.merchgirl.com • www.hearos.com

Spoetzle has been brewing for 100 years and for their anniversary they produce one of the best beers ever brewed in Texas. Get it if you can, it goes down smooth, has a pretty copper color, and will help you get to sleep after a six-pack. www.shiner.com

This often rednecktruckstop-abused over the counter pill can help you breathe after all the cigarette smoke, Texas dust, and pollen, and keep you awake and alert for the drive home. Read the label and notice that abusing this legal herbal medicine has also been associated with stroke, seizures, heart attack and death. Oh, and it can also make you become a suicidal psychotic if you’re a teenager. But it saved my life on this last trip when I couldn’t breathe at all. www.primatene.com

www.garmin.com I know it makes you seem like an asshole, but everyone needs a business card at a festival. www.cookwaremedia.com This Superfood bar contains no processed sugar, salt, corn syrup, hydrogenated oil, synthetic sweeteners, preservatives, or genetically modified foods of any kind. Buy a box before you hit the road to guarantee that you will have at least one healthy thing in your system per day to keep you going. www.greensplus.com

EMAIL SHAWN WITH THINGS TO DO AND ABUSE AT SHAWN@REAXMUSIC.COM

APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 43

44

YOU ARE HERE ISSUE 35

A GUIDE TO TAMPA BAY

HOTSPOTS: VENUES/BARS ARTPOOL A unique take on the gallery space that

JANNUS LANDING Consistently voted one of the best places

includes a boutique along with regular shows and events with which the entire community can get involved.

919 1st Ave. N., St. Petersburg artpoolrules.com

in the Bay area to see a show, it’s an open-air concert hall housed within an historic city block.

16 2nd St. N., St. Petersburg jannuslandingconcerts.com

THE BRASS MUG Where just about every band in town cut

KELLY’S PUB A comparatively new hangout that helps

its teeth, this North Tampa strip-mall bar is near USF, and specializes in punk and metal.

1441 E. Fletcher Ave. #101, Tampa myspace.com/brassmug

CROWBAR A live room with excellent sound and a

fully stocked beer garden stand out amid Ybor’s dance clubs and hipster retail, attracting everything from well-known touring indie-rock acts to local metal legends.

1812 N. 17th St., Ybor crowbarlive.com

CZAR Home to some of the best parties of

2008, CZAR’s three rooms of goodness have a lot to offer music and vodka lovers alike. PULP on Friday night is a must, see hipsters dance the night away in style. Don’t forget the ice shots!

1420 E. 70th Ave., Tampa czarybor.com

EMERALD BAR Cross the bay to St. Pete and visit the

local music scene’s favorite dive, where original art adorns the walls and any sort of band or DJ imaginable might take the non-stage.

550 Central Ave., St. Petersburg myspace.com/emeraldbar

FUMA BELLA The smallest bar in America, so it

has been said by the locals. Friendly bartenders that know how to make a damn good drink. This place is perfect for a small group who wants to sit and chat, or someone traveling solo who wants to meet some legitimately cool Tampa folk.

1318 E Eighth Ave., Tampa 813-248-6130

THE GARAGE Formerly heavy on the metal and

industrial, this medium-sized venue is gaining new respect amid the scene for everything from movie nights to a wider variety of shows and its Skateboard Industry Night parties.

662 Central Ave., St. Petersburg myspace.com/garagepromotions

GASPAR’S GROTTO Gaspar’s is for the everyday pirate

looking for a good time. You can find live music, food, and tons of booty.

1805 E. 7th Ave., Tampa gasparsgrotto.com

legendary Tampa bar The Hub keep downtown Tampa happening after dark.

206 N. Morgan St., Tampa myspace.com/kellyspubtampa

NEW WORLD BREWERY A killer beer selection and eclectic,

culture-friendly musical slate make this Ybor City bar-and-patio a local-scene favorite.

1313 E. 8th Ave., Ybor myspace.com/newworldbrewery

ORPHEUM A long-running favorite for national and

local indie shows, as well as hipster-filled dance nights.

1902 Ave. Republica De Cuba, Ybor 813-248-9500

HOTSPOTS: RETAIL ALL PRO PERCUSSION Everything from wood blocks to the new

Roland V-Drum electric kits, without the annoying 8th-graders butchering Avenged Sevenfold over in the guitar section.

10101 E. Adamo Dr., Tampa 813-341-DRUM allpropercussion.com

THE DISC EXCHANGE Open 25 Years. BUY-SELL-TRADE

CDS-VINYL-MEMORABILIA Lots of NEW and USED ALL STYLES OF MUSIC from PUNK to GOSPEL 6712 Central Ave. St.Pete FL Mon-Fri 11 a.m. - 7:30 p.m.

Sat 11 a.m. - 6 p.m.

MOJO BOOKS & MUSIC This place has it all when it comes to music retail. Used CDs and Vinyl of course, but don’t forget about the huge selection of used books. Located in the heart of USF country. Hit it up son.

2558 E. Fowler Ave., Tampa 813-971-9717 mojotampa.com

SEMINOLE MUSIC & SOUND Another one of the few music-gear

independents still in operation. And they’ve been at it for 25 years.

10720 74th Ave. N., Suite F, Seminole 727-391-3892 seminolemusic.com

STEVIE B’S TOTAL GUITAR Let’s just say they know their shit, from vintage instruments to the latest tech.

650 Central Ave., St. Petersburg 727-822-3304 30111 U.S. HWY 19 N., Clearwater 727-785-9106

VINYL FEVER Again, there are plenty of great indie record/ CD shops in the area, but Vinyl Fever has been the gold standard for years.

4110 Henderson Blvd., Tampa 813-289-8399 vinylfevertampa.com

THE PEGASUS LOUNGE Another close-to-USF live-music watering hole that often caters to heavier sounds.

10008 N. 30th St., Tampa pegasusniteclub.com

RESERVOIR BAR The Finest Hole-in-the-Wall in Town!

1518 E. 7th Ave., Ybor resbar.com

THE RITZ The venue formerly known as The

Masquerade (and before that, er, The Ritz) is back in action. Live music is only part of what’s going on there these days.

1503 Seventh Ave., Ybor theritzybor.com

HOTSPOTS: LIFESTYLE RED LETTER 1 BENTLEY SALON RedLetter1 is a flash-free, 100% custom Redken-authorized, forward-thinking salon that emphasizes education for aspiring stylists.

3228 W. Kennedy Blvd., Tampa 813-877-9801 myspace.com/bentleysalon

CANOE ESCAPE, INC. Not really feeling all of the hustle and

and alt-country bands, you can catch acts as disparate as Shooter Jennings and The Hush Sound in this converted movie palace.

687 Central Ave., St. Petersburg statetheatreconcerts.com

bustle? Forget about traffic and drunk football fans for a moment and think about canoeing or kayaking down the Hillsborough River - but you need to reserve your spot early so call in advance. Oh, and yes you will see alligators. Have fun kids!

9335 E. Fowler Ave., Thonotosassa 813-986-2067 canoeescape.com

TRANSITIONS ART GALLERY It’s the SPoT’s edgy, all-ages-friendly

FLYING FISH BIKES A full-service shop for both recreational and

exhibition/performance space.

4215 E. Columbus Dr., Tampa transitionsartgallery.com

serious riders.

2409 S. MacDill Ave., Tampa 813-839-0410

UPTOWN BAR Amiable little dive that features an

MAD PADDLERS KAYAK & SURF SHOP Equipment and lessons for beginners and

THE STATE THEATRE A longtime tour stop for rising punk, rock

always-eclectic lineup of local shows, from DJs to hardcore.

658 Central Ave., St. Petersburg 727-463-0567

PAGE 44 • REAX MUSIC MAgAzInE • APRIL 2009

die-hards alike.

8808 Rocky Creek Dr., Tampa 813-243-5737 ospreybay.com

tattoo studio and art gallery located in historic Ybor City. Tattoos are currently made by Lucky Mathews, Jeff Srsic, Angelo Nales and Phil Holt. Hours are noon to 7, Tuesday through Saturday...other hours available by appointment only.

1818 N 15th Street. Ybor City 813-241-2435

SKATEPARK OF TAMPA The legendary home of the Tampa Pro and Am comps.

4215 E. Columbus Dr., Tampa 813-621-6793 skateparkoftampa.com

TRIBECA COLOR SALON Keeping Tampa beautiful, one head at a time.

920 W Kennedy Blvd 813.250.0208 www.tribecasalon.com

WATTS TUBE AUDIO Musicians, stereo hobbyists and do-it-

yourself amplifier builders will all find something interesting.

2323 Dr. Martin Luther King Jr. St. N., St. Petersburg wattstubeaudio.com

A GUIDE TO TAMPA BAY YOU ARE HERE ISSUE 35

45

ARTIST SPOTLIGHT

SELECT START

AN INTERVIEW WITH GUITARIST JASON POLO

Words: Evan Tokarz

REAX: How is tour life?

Jason Polo: Tour life is living out of a van with two coolers: one for Red Bull, soda, and water, the other for Easy Mac, ramen, chow mein. Everything that’s microwaveable. We’ve never stayed in a hotel, though. We stay at fans’ houses we’re just like, “Hey! We’re Select Start from Tampa, Florida, we need a place to stay!” and someone will say, “Stay with us!

We’ll bake you cookies!” And now I’m a diabetic. [Laughs]

REAX: How would you describe the band’s sound?

JP: It’s not so much synth-rock any more, it’s more power-rock with synthesizer. It’s a bit of a harder sound than some people expect from us in our live shows. We’ve been influenced by Motion City Soundtrack, Weezer, Ozma. I’m into old Starting Line.

It’s more of a scene music; we’re talking about what’s going on right now.

REAX: What do you talk about?

JP: We talk about long-distance relationships, online romances, and how girls get too wasted at parties, all the fun stuff. [Laughs] A lot of songs are about the Internet, [the album’s] called <3, so we’re staying up to date with the times.

REAX: What is the role that social networking sites like MySpace play?

JP: It allows for free streaming music and allows fans to comment, and we comment back personally from one of our pages. It also allows our music to be heard for free, along with other websites like PureVolume.

REAX: How did you manage to get to be the #1 artist on PureVolume?

JP: As soon as our record dropped, we released all the tracks for free on

PureVolume. We get a lot of people from the Internet at our shows; we have at least 20 kids that will come to every show.

We also have three albums available on iTunes.

REAX: What kind of guitar do you use?

JP: I’m currently playing a Jay Turner, which is like a Wal-Mart guitar. It’s so shitty.

[Laughs] It’s got stock hardware all over it, and tuning pegs that are bent in half.

But with this Fender deal we’re getting two Road Worn Telecasters and a bass. We pay them the price of a bass and we get two guitars to be sponsored by them. All we have to do is just put them on our MySpace page.

REAX: Do you have a favorite venue in Florida?

JP: I’ve been everywhere; it’s kind of hard to narrow it down to just Florida. We’ve played Orpheum, Brass Mug, Skatepark of Tampa. Personally, I like Brass Mug. REAX: So, are you looking for a label?

JP: We’re currently unsigned, although we are shopping around. We do have some options. I haven’t personally looked at any contracts.

REAX: Do you have any message you would like to give REAX readers?

JP: I have all this power! [Laughs] Basically, all I have to say is please come out to live shows. Also, [drummer] Pat needs a drum set.

Select Start just finished a tour playing Florida Hot Topic stores, and is on tour across the eastern U.S.

MYSPACE.COM/SELECTSTART APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 45

46

YOU ARE HERE A GUIDE TO TAMPA BAY ISSUE 35

HOTSPOTS: EATS AGUILA SANDWICH SHOP We’re not gonna get into any beefs by calling it the best Cuban sandwich in town - but it might be the best Cuban sandwich in town.

3200 W. Hillsborough Ave., Tampa 813-876-4022

BURRITO BOARDER Healthy burritos, fish tacos and other Cali-Mex fusionables with a skaterfriendly vibe.

17 3rd St. North, St. Petersburg 727-209-0202

CAPPY’S PIZZA Arguably the best pizza on either side of

the bay. Casual, and as cheap as a lot of the delivery chains to boot.

4910 N. Florida Ave., Tampa 813-238-1516 3200 W. Bay to Bay Blvd., Tampa 813-835-0785 2900 1st Ave. N., St. Petersburg 727-321-3020

DAVE’S Where the St. Pete scene meets the

morning after for big, cheap breakfasts.

Cash only.

2339 Dr. Martin Luther King Jr. St. N., St. Petersburg 727-895-6057

GLOBE COFFEE LOUNGE Shows, local art, coffee and some of

proprietor JoEllen’s famous recipes for healthy entrees and tasty desserts.

532 First Ave. N., St. Petersburg 727-898-5282

GRASSROOT ORGANIC Reviewers call its vegan- and vegetarianfriendly menu “creative” and “tasty.”

2702 N. Florida Ave., Tampa 813-221-7668

LA CREPERIA CAFE A menu that boasts perfect options for

breakfast, lunch or dinner. Best known for their extensive list of crepes of which you may want to consider something on the sweet side with nutella and a rich cup of european coffee. Bonjour!

1729 E. 7th Ave., Ybor 813-248-9700

MELLOW MUSHROOM One of the most heavily praised pizza

chains in existence anywhere. And did we mention the plethora of awesome beers?

11955 Sheldon Road, Tampa 813-926-3600 10959 Causeway Blvd., Brandon 813-685-1122

ELWeird, TACONAZO (TACO BUS) mostly lunch-only hours, but

NICKO’S The last classic steel-exterior diner in the

FRANKIES Started in Connecticut in 1933, these

SMOKE BARBECUE AND GRILL Some of the best ribs in Tampa and the

indisputably awesome cheap and authentic eats.

913 E. Hillsborough Ave., Tampa 813-232-5889

are some pretty swell cheeseburgers and dogs - think old fashioned fast food.

Some of the fried delectables include onion rings, sweet potato fries and fried cauliflower or broccoli.

909 W. Kennedy Blvd., Tampa (813) 425-3647

quirky/vintage fashions, particularly for the ladies.

4336 4th St. N., St. Petersburg 727-528-9490

TALES OF LUST & LONGING (BAAMO RECORDS)

The Bay Area Arts & Music Organization’s second theme-based compilation of local tuneage is predictably heavy on the sounds and acts it and community radio station WMNF 88.5 have long favored (alt-country, folk, Ronny Elliott, The Beauvilles, etc.). Having said that, however, it’s also a top-notch collection of both artists and material. In addition to the expected great stuff by the likes of Have Gun, Will Travel (the as-yet unreleased “Land of the Living”), Rebekah Pulley (“Dirty,” likewise) and the aforementioned Elliott (a wonderful, witty duet with Pulley titled “Lust Never Sleeps”) and ‘villes (“Snow,” from last year’s Whispering Sin), there’s a ton of other good stuff. Rocking surprises come in the form of Palantine’s “Dead Wreck,” the unimpeachable Military Junior highlight “Unconventional,” the title track from new fulllength Something That Needs Nothing by Giddy-Up, Helicopter!, and “1955,” by Roppongi’s Ace. On the folk end, Annie Fuller contributes the wonderful “Too Late for Me,” and the underrated Rich Whiteley straddles folk and Americana via the aptly named “Sunny Delight.”

Along the way, Ted Lukas, Sons of Hippies, Experimental Pilot, The Ditchflowers, Mike Baluja and our own Jeremy Gloff all turn in quality stuff. - Scott Harrell

EVENT SPOTLIGHT

side dishes to along with ‘em. Do not leave without trying the mac ‘n’ cheese.

901 W. Platt St., Tampa 813-254-7070

SHORT ATTENTION SPAN THEATER SUNSHINE THRIFT You can generally always find something

cool here, even when the other thrifts in the area are picked clean.

4304 S. Dale Mabry Hwy., Tampa 813-831-4377

SQUARESVILLE URBAN OUTFITTERS A longtime local favorite for vintage clothes, You know the deal. not to mention kitschy home furnishings.

508 S. Howard Ave., Tampa 813-259-9944

VARIOUS ARTISTS

area, with the classic eclectic breakfast, lunch and dinner menu to match 4603 N. Florida Ave., Tampa 813-234-9301

HOTSPOTS: WEARABLES IFThis&hipONLY IF St. Pete boutique has some cool/

ALBUM SPOTLIGHT

1600 E. 8th Ave., Centro Ybor, Ybor 813-242-8472 urbanoutfitters.com

PAGE 46 • REAX MUSIC MAgAzInE • APRIL 2009

W

hat is it about the Tampa Bay

area and film festivals? We’ve got tons of good ones from Tampa to Sarasota, more than you’d think for a community this size.

Now, the folks responsible for the Canvas art shows are stepping up and adding another killer flick-fest to the list with the Motion Film Festival, which debuts the first weekend of May at Channelside. Motion focuses the spotlight on short films, with three categories - dramatic, animated and documentary. All of the works will be less than 25 minutes, catering to your unbelievably brief attention span, and the showcasing filmmakers will have a shot

at awards packages with a value of over three grand, including a viewers’ choice prize determined by the audience. So far, Motion has received more than 80 submissions from nine countries, making it an impressive little shindig right out of the box. Best of all, the folks behind the fest are determined to keep ticket prices low; it’s looking like you’re gonna get to check out several hours worth of new eye candy for under a fiver.

The Motion Film Festival takes place May 1 and 2 at Tampa’s Channelside IMAX. For more information, check out

MOTION813.COM

A GUIDE TO TAMPA BAY YOU ARE HERE ISSUE 35

TAMPA BAY EVENTS FRI APRIL 03 Ben Folds, Jukebox The Ghost Ritz Theatre, Ybor City Cost: $29.50/31.50 Time: 7:30 p.m.

Captain Buzzkill, Sugarsuite, Kore, On Carlton Row Pegasus Lounge, Tampa Time: 9 p.m.

Earth Bombs Mars Kelly’s Pub, Tampa Time: 9 p.m.

Jimmie’s Chicken Shack Crowbar, Ybor City Late Nite Glory, Better in Black And White, Jacob Izrael, Johnny Naylor, Jesus Suns, Stereosix, Maybe Foreign, Cedar Road, A Few Days Wasted Orpheum, Ybor City Cost: $9/10 Time: 6 p.m.

Mantic Ritual The Garage, St. Petersburg Time: 9 p.m.

Nervous Turkey Ringside Café, St. Petersburg Time: 9 p.m.

Not Tonight Josephine, A Deeper Down, No Coma, New Violation State Theatre, St. Petersburg Cost: $10 Time: 7 p.m.

The Zou, Bang Bang Boom, The Pauses New World Brewery, Ybor City Cost: $7 Time: 9 p.m.

SAT APRIL 04 Bill “The Sauce Boss” Wharton Skipper’s Smokehouse, Tampa Cost: $10/13 Time: 5 p.m.

Coliseum, Young Livers, Virgins, Flying Snakes, Fatal, Big Rats, Learn Nothing Transitions Art Gallery, Tampa Cost: $8 Time: 8 p.m.

Driving The Fall, Gated Community, Simone, Stranded Pegasus Lounge, Tampa Time: 9 p.m.

FLA Ska Festival XI Feat. Magadog, The Duppies, Tribal Style, The Brentford Sound, Johnny Cakes & T.H.F.O.T.A., The Long Johns Crowbar, Ybor City Cost: $7 Time: 8 p.m.

Joe Popp, John McNicholas, Martin Rice, Scott Harrell, Hugh Williams, Will Quinlan, + More Globe Coffee Lounge, St. Petersburg Time: 9 p.m.

Nikki Talley Sacred Grounds, Tampa Cost: FREE Time: 9 p.m.

REAX Space Grand Opening!

“Menagerie” - Artwork by Eleanor Grosch Reax Space, Ybor City Cost: FREE! Time: 6 p.m.

Salt The Wound, Woe The Tyrant, The Agonist, Fall To Prey, Weight Of The World, The Divine Process, Estaban Was Eaten Brass Mug, Tampa Cost: $10 Time: 7 p.m.

Stereomud, Initial Doubt, Burn Season, Global Decay, Seven Years, Consinity, Anereta State Theatre, St. Petersburg Cost: $12 Time: 7 p.m.

Ted Lukas Kelly’s Pub, Tampa Time: 9 p.m.

SUN APRIL 05 Beanstalk, John Wesley, Joe Popp, My Little Trotsky, Maggie Council Skipper’s Smokehouse, Tampa Cost: $10 Time: 5 p.m.

Maraschino, Eleuritheria Pegasus Lounge, Tampa Time: 9 p.m.

Unwed Sailor, Pielos (EARLY SHOW) New World Brewery, Ybor City Time: 7 p.m.

MON APRIL 06 Flight of the Conchords Tampa Bay Performing Arts Center, Tampa Cost: $38.50 Time: 7:30 p.m.

The Anchor Tour Feat. The Wedding, We As Human, Thoroughfare, Don’t Wake Aislin, Old Man Shattered Orpheum, Ybor City Cost: $12/14 Time: 6:30 p.m.

TUE APRIL 07 Cedric Burnside & Lightnin’ Malcolm Skipper’s Smokehouse, Tampa Cost: $7/10 Time: 5 p.m.

Lady GaGa, White Tie Affair, Chester French, Cinema Bizarre Ritz Theatre, Ybor City Cost: $21/23 Time: 7 p.m.

SAT APRIL 11 BAAMO CD Release Party Feat. Rebekah Pulley & The Reluctant Prophets, Rich Whiteley, Have Gun, Will Travel, Experimental Pilot, The Beauvilles, Sons of Hippies, Anne Fuler, Ronny Elliott, The Ditchflowers, Ted Lukas, Jeremy Gloff, Military Junior, + More New World Brewery, Ybor City Cost: $10 Time: 5 p.m.

Forgiving Silence, FKR Pegasus Lounge, Tampa Time: 9 p.m.

Malevolent Creation, Kalakai, Blood by Dawn, Unkempt, Ovids Withering, Ares State Theatre, St. Petersburg Cost: $12/15 Time: 7 p.m.

Midnight Bowlers League, Cadillac Bombers Skipper’s Smokehouse, Tampa Cost: $10 Time: 8 p.m.

New Found Glory, Bayside, Set Your Goals, Shai Hulud Jannus Landing, St. Petersburg Cost: $17.50 Time: 6 p.m.

Red Car Wire, Vega Under Fire, The Years Gone By, City Lights, We Still Dream, Claiborne, First Crush Kid Transitions Art Gallery, Tampa Cost: $12 Time: 6 p.m.

WED APRIL 08

Rise of Saturn, Drew Street Mary, Ascending to Avalon, Stalling Dawn Gasoline Alley, Clearwater Cost: $5 Time: 8 p.m.

Mischief Brew, Crow’s Foot, Unholy War Transitions Art Gallery, Tampa Cost: $6 Time: 7 p.m.

Weszt, Mr. Bella, Uncrowned Crowbar, Ybor City Time: 9 p.m.

THU APRIL 09

SUN APRIL 12

Down With Paul Riser & The Renegade Thugs, Roadside Pegasus Lounge, Tampa Time: 9 p.m.

Insect Joy, Child Abuse, Flexxehawk Kelly’s Pub, Tampa Cost: $5 Time: 9 p.m.

Full Moon Event!

Feat. D’Visitors The Hub, Downtown Tampa Cost: FREE! Time: 10:30 p.m.

Los Hijos De Ishmael, Acho Brother Skipper’s Smokehouse, Tampa Cost: $5/10 Time: 5 p.m.

Riverboat Gamblers, Fake Problems Orpheum, Ybor City Cost: $10/12 Time: 6:30 p.m.

Mogul Street Reserve, Soft Targets, Relo New World Brewery, Ybor City Cost: $7 Time: 9 p.m.

The Retrofrets, Sugaroot, WhiteOwls Transitions Art Gallery, Tampa Cost: $6 Time: 7 p.m.

FRI APRIL 10 98ROCKFEST Feat. Disturbed, Staind, Chevelle, Static-X, Saliva, Hollywood Undead St. Pete Times Forum, Tampa Cost: $32.75-77.75 Time: 6:30 p.m.

Better In Black And White, Falling Awake Pegasus Lounge, Tampa Time: 9 p.m.

Dickey Betts & Great Southern, In Memory of GJA State Theatre, St. Petersburg Cost: $23/27 Time: 7 p.m.

Love As Laughter, Arbouretum, Flexxehawk New World Brewery, Ybor City Cost: $8 Time: 9 p.m.

Madina Lake Orpheum, Ybor City Cost: $10 Time: 7 p.m.

Matt Woods Kelly’s Pub, Tampa Time: 9 p.m.

Ratatat, Tussle, Despot Ritz Theatre, Ybor City Cost: $18/21 Time: 8 p.m.

Saffire The Uppity Blues Women, Julie Black Skipper’s Smokehouse, Tampa Cost: $13/18 Time: 8 p.m.

47

Pickford Sundries New World Brewery, Ybor City Cost: FREE Time: 8 p.m.

Real Life, Low-Key, The Illness, DFK, Luv-Lea, On Duh Grind Ent, Yung Mindz Orpheum, Ybor City Cost: $9/10 Time: 6 p.m.

Retrofrets, Chambara Pegasus Lounge, Tampa Time: 9 p.m.

TUE APRIL 14 New Thrill Parade, Insect Joy, Blast & The Detergents New World Brewery, Ybor City Cost: $5 Time: 9 p.m.

The Bamboozle Roadshow Feat. We The Kings, Forever The Sickest Kids, The Cab, Never Shout Never, Mercy Mercedes Jannus Landing, St. Petersburg Cost: $16.50 Time: 6 p.m.

WED APRIL 15 Darryl Hall & John Oates Ruth Eckerd Hall, Clearwater Cost: $49.50-79.50 Time: 8 p.m.

New World Brewery’s 14th Annniversary Party Feat. Nervous Turkey New World Brewery, Ybor City Cost: FREE

THU APRIL 16 Josh Kelley, Ryan Cabrera, Tim Brantley, Brandon Whyde Crowbar, Ybor City Cost: $20/24 Time: 9 p.m.

Tim Walker, Better In Black And White Pegasus Lounge, Tampa Time: 9 p.m.

APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 47

48

YOU ARE HERE A GUIDE TO TAMPA BAY ISSUE 35

TAMPA BAY EVENTS FRI APRIL 17 A Skylit Drive, Dance Gavin Dance, Attack Attack, In Fear And Faith, Lower Definition Orpheum, Ybor City Cost: $12 Time: 6:30 p.m.

Nervous Turkey Stoney’s Lounge, Tampa The Deadly Fists of Kung Fu, Nessie, The Sheaks New World Brewery, Tampa Cost: $6 Time: 9 p.m.

Seal Mahaffey Theater, St. Petersburg Cost: $55-75 There for Tomorrow, Amely Orpheum, Ybor City Cost: $10 Time: 5 p.m.

MON APRIL 20 Beep Beep, The Show Is The Rainbow, DJ Mini Horse New World Brewery, Ybor City Cost: $7 Time: 9 p.m.

The Growing Groove, Roadside Pegasus Lounge, Tampa Time: 9 p.m.

Green Sunshine, Burning Tree Pegasus Lounge, Tampa Time: 9 p.m.

The Waybacks, Wildlife Refugees Skipper’s Smokehouse, Tampa Cost: $7/10 Time: 8 p.m.

The Maine, Family Force Five, 3OH!3, Hit The Lights, A Rocket to the Moon State Theatre, St. Petersburg Cost: $17 Time: 6 p.m.

Tom Jones Ruth Eckerd Hall, Clearwater Cost: $39-100 Time: 8 p.m.

SAT APRIL 18 Chewapalooza Feat. Virgins, Watson, Porch Fire, Proud American, Arm The Poor Uptown Bar, St. Petersburg Cost: $6 Time: 9 p.m.

David Sedaris Tampa Bay Performing Arts Center, Tampa Cost: $38.50 Time: 8 p.m.

Look Mexico, Clock Hands Strangle Crowbar, Ybor City Time: 9 p.m.

Marion Crane, Murdok, The Dood, Apocalyptic Prophecy Pegasus Lounge, Tampa Time: 9 p.m.

New Roman Times (IN STORE) Vinyl Fever, Tampa Cost: FREE Time: 4 p.m.

New Roman Times, Zillionaire, History New World Brewery, Ybor City Cost: $7 Time: 9 p.m.

One Year Anniversary ART pARTy ARTpool, St. Petersburg Cost: $10 Time: 8 p.m.

Tampa Bay Dream Team Presents Homegrown Hip-Hop State Theatre, St. Petersburg Cost: $16 Time: 7 p.m.

The Deadly Fists of Kung Fu, Nessie, The Semis Emerald Bar, St. Petersburg Cost: $3 Time: 9 p.m.

Tides of Man, Rise of Science, Dear Dakota Orpheum, Ybor City Twiztid (IN STORE - SIGNING) Daddy Kool Records, St. Petersburg Cost: FREE Time: 3 p.m.

Unkempt, End of the Rope, Paris Is Burning, Rise 2 Brutality, Burn Theory, Synapse Defect, DustUp Gasoline Alley, Largo Time: 6 p.m.

WMNF Presents A Tribute to The Cure Feat. Acho Brother, Boon, Deeper Shade of Soul, HuDost, Poetry ‘N’ Lotion, Rancid Polecats, Sarge & The Aeromen, The Shakes Society, + More Skipper’s Smokehouse, Tampa Cost: $12/15 Time: 6 p.m.

SUN APRIL 19 Alchemy Fest IV Feat. Thomas Wynn & The Believers, The Sheaks, Sons of Hippies, + More Skipper’s Smokehouse, Tampa Cost: $8 Time: 2 p.m.

A.M.F. Hair Show & After Party Ritz Theatre, Ybor City Time: 9 p.m.

TUE APRIL 21 Dennis Leary Ruth Eckerd Hall, Clearwater Cost: $56-126 Time: 7:30 p.m.

Mae, Barcelona, Person L, Tokyo Orpheum, Ybor City Cost: $15 Time: 7 p.m.

WED APRIL 22 Farewell, And Then There Were None, Red Car Wire, Vice on Victory, The Arrival Orpheum, Ybor City Cost: $10/12 Time: 6:30 p.m.

Fleetwood Mac St. Pete Times Forum, Tampa Cost: $49.50-149.50 Time: 8 p.m.

Joe Cocker Ruth Eckerd Hall, Clearwater Cost: $50-85 Time: 8 p.m.

THU APRIL 23 Bobby Lee Rodgers Feat. Shak Nasti Crowbar, Ybor City Time: 8 p.m.

Cold, Killer And The Star, The Drama Club, The Dood, Sobriety State Theatre, St. Petersburg Cost: $15/17 Time: 7 p.m.

D.T. Womack, Infinite Groove Orchestra Pegasus Lounge, Tampa Time: 9 p.m.

Woodsboss (former Weary Boys) New World Brewery, Ybor City Time: 9 p.m.

FRI APRIL 24 Bird Street Players, Kaleigh Baker, + More New World Brewery, Ybor City Time: 9 p.m.

Dead Confederate, Summerbirds In The Cellar, The Beauvilles Crowbar, Ybor City Cost: $9 Time: 9 p.m.

HED(pe), Dirtball, Mower, DGEF State Theatre, St. Petersburg Cost: $16 Time: 7 p.m.

Pickford Sundries, Friends of Fil Kelly’s Pub, Tampa Time: 9 p.m.

Roger Chamieh: New Work Three04 Gallery, Tampa Time: 7 p.m.

Sing It Loud, The Summer Set, Artist Vs. Poet, The Friday Night Boys, The Morning Light Orpheum, Ybor City Cost: $10/12 Time: 6:30 p.m.

Th’ Legendary Shack Shakers, Nervous Turkey The Garage, St. Petersburg Time: 9 p.m.

PAGE 48 • REAX MUSIC MAgAzInE • APRIL 2009

The Longjohns, Bastard Suns, Elysium, The Ambassy Pegasus Lounge, Tampa Time: 9 p.m.

SAT APRIL 25 Gliss, The Takeover UK Crowbar, Ybor City Time: 9 p.m.

Halcyon, Someday Souvenir Skipper’s Smokehouse, Tampa Cost; $12 Time: 8 p.m.

Jimmy Buffett Ford Amphitheatre, Tampa Cost: $30-130 Time: 8 p.m.

Murdok, Situation Mine, Male Order Brides, Thrown Alive State Theatre, St. Petersburg Cost: $12 Time: 7 p.m.

REO Speedwagon, Night Ranger Ruth Eckerd Hall, Clearwater Cost: $49.75-85 Time: 7:30 p.m.

Roadside, The Growing Groove, Hostile Hippies Pegasus Lounge, Tampa Time: 9 p.m.

The Redliners, Tailgunner Joe & The Earls of Slander, Whiskey Romance Kelly’s Pub, Tampa Time: 9 p.m.

Whiskey & Co., Will Quinlan & The Diviners, Matt Butcher, John Gold & The Old Souls New World Brewery, Ybor City Cost: $7 Time: 9 p.m.

SUN APRIL 26 DREDG, Torche, Judgement Day, Monument to Masses State Theatre, St. Petersburg Cost: $15 Time: 7 p.m.

Herb’s Hip-Hop Show Pegasus Lounge, Tampa Time: 9 p.m.

Peelander-Z, Silas, Party Time, Orpheum, Ybor City Steve Kimock & Crazy Engine Skipper’s Smokehouse, Tampa Cost: $20/25 Time: 5 p.m.

MON APRIL 27 James Taylor Ruth Eckerd Hall, Clearwater Time: 8 p.m.

TUE APRIL 28 Big Business, Tweak Bird Crowbar, Ybor City Cost: $10/12 Time: 9 p.m.

WED APRIL 29 Ray La Montagne, Jessica Lea Mayfield Tampa Theatre, Tampa Cost: $28/38 Time: 8 p.m.

Sleepytime Gorilla, Museum State Theatre, St. Petersburg Cost: $15 Time: 7 p.m.

THU APRIL 30 Al Torchia & The Tattered Saints, The Junkyard Kings, The Wasted Years Crowbar, Ybor City Time: 8 p.m.

Better In Black And White, Green Sunshine Pegasus Lounge, Tampa Time: 9 p.m.

Car Crash Effect, Neolith, Born of a Snake, I Dream of Zombie, Fossor Silenti, Forget The Hearse, Apocalyptic Prophecy Orpheum, Ybor City

APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 49

PAGE 50 • REAX MUSIC MAGAZINE • APRIL 2009

52

YOU ARE HERE ISSUE 35

AND FL A GUIDE TO ORLANDO CENTRAL

HOTSPOTS: VENUES/BARS THE AKA LOUNGE A nightlife chameleon, where hip-hop, funk DJs and ‘80s nights rage alongside local-band lineups.

68 East Pine St., Orlando myspace.com/akalounge

BACKBOOTH Great room and beer selection, a favorite scene hangout with an eclectic lineup of local and touring acts.

37 West Pine St., Orlando backbooth.com

BAR-B-Q BAR Not really a venue, per se, but it’s a great bar and it’s jammed between The Social and the Independent, so you’re gonna end up taking your business out in the old-school photo booth at some point.

64 N. Orange Ave., Orlando

BLACK BOX COLLECTIVE It’s like a community center for cool kids, activists, anarchists and free thinkers live music, workshops, art shows, etc.

630 W. Central Blvd., Orlando myspace.com/theblackboxcollective

CLUB FIRESTONE It’s actually a converted Firestone

building. Great club, heavy on DJ/dance stuff but hosts trendy-cool touring bands as well.

578 North Orange Ave., Orlando clubfirestone.com

THE DUNGEON Often unknown to out-of-towners, this

warehouse space caters to the extreme metal underground.

6440 North Orange Blossom Trail, Orlando myspace.com/dungeonorlando

HARD ROCK LIVE Big, stylish room where you’ll see up-andcoming nationals for the last time before

they hit arenas opening for someone even bigger, and the area’s top-drawing regional acts.

6050 Universal Blvd., Orlando hardrock.com

HOUSE OF BLUES Lots of perennially cool nationals and big local draws.

1490 East Buena Vista Dr., Orlando hob.com

INDEPENDENT BAR All sorts of hipsterific DJ and dance

nights - Wave Pop Wednesdays seem to be a particular favorite - and occasional shows in the downtown space that used to house Barbarella.

70 N. Orange Ave., Orlando independentbar.com

THE PLAZA THEATRE An eclectic community venue that’s been consistently ramping up its cool-show quotient over the last year.

435 N. Bumby Ave., Orlando theplazatheatre.com

THE SOCIAL Pretty much Orlando’s default live indierock room, but they do more, too.

54 North Orange Ave., Orlando thesocial.org

REDLIGHT REDLIGHT

The favored killer-beer purveyor is now open at its new location.

745 Bennett Rd., Winter Park myspace.com/theredlightredlight

WILL’S PUB One of O-Town’s favorite venues/hang-

outs. The new location opened up back in November, and is already making up for lost time. Good beer, good friends and good entertainment are the house rules.

1040 N. Mills Ave., Orlando 407-898-5070 myspace.com/willspub

HOTSPOTS: WEARABLES DEJA VU VINTAGE CLOTHING Deja Vu Vintage Clothing

Specializes in vintage looks.

1825 North Orange Ave., Orlando 407-898-3609

HIPKAT This boutique carries some hard-to-find

brands, and wholeheartedly supports local music. Check their Myspace page for deals and discounts.

Orlando Fashion Square Mall 3201 E. Colonial Dr., Orlando 407-897-7035

PINK HEART BOUTIQUE Recently featured in Lucky Magazine, this

shop offers scads of accessories as well as image consulting.

4825 New Broad St., Orlando 407-228-6013

STATIC Rock ‘n’ roll fashion covering pretty much every inch of the territory that implies.

240 N. Orlando Ave., Winter Park 407-478-1083 myspace.com/staticwinterpark

PAGE 52 • REAX MUSIC MAgAzInE • APRIL 2009

HOTSPOTS: RETAIL DISCOUNT MUSIC CENTER DMC continues to hold off the big-box

PARK AVE. CDS They support the local scene, promote

EAST WEST RECORDS This business originally opened in Winter

ROCK ‘N’ ROLL HEAVEN Your place for vinyl - the round kind that

music-store chains, maybe because it’s so big its damn self.

3301 Gardenia Ave., Orlando 407-423-4171 discountmusic.com

Park in 1971, and continues to be a destination spot for collectors and casual music fans alike.

4895 South Orange Ave., Orlando 407-859-8991

IKEA Yes, those of us over on the west coast

are dying of jealousy. Cheap, neat-looking furniture and a food court? It’s worth it just for the walk-around.

4092 Eastgate Dr., Orlando ikea-usa.com

shows and even host in-stores.

2916 Corrine Dr., Orlando 407-447-PARK UCF Student Union, Orlando 407-282-1616 parkavecds.com

makes noises.

1814 North Orange Ave., Orlando 407-896-1952 rock-n-rollheaven.com

ÜBERBOT An awesome collectible-design shop - art,

figures, designer toys, basically Cool Geek Utopia.

480 N. Orlando Ave., Winter Park 407-788-UBER uberbotonline.com

HOTSPOTS: LIFESTYLE BOOM-ART

BY ROGERS STUDIO Custom pop illustrations that are

simultaneously modern and nostalgic; yes, they’ll paint anything - a chair, a door, a bench, whatever.

1821 North Orange Ave., Orlando 407-895-0280 rainfall.com/crafts/boom-art/

COVERT SKATE SHOP Great selection, dedicated staff and the

occasional crazy community-conscious event make this five-year-old skate shop a favorite hangout.

2428 East Robinson St., Orlando 407-228-0804 covertskate.com

DEVOTION TATTOOS They’ve got a love for the whole history

and culture of tattooing; old-school photos and hand-painted flash by world-renowned artists are on display. Word has it Devotion is tough to beat when it comes to classic American and Asian body art.

1010 N. Mills Ave., Orlando 407-894-7888 devotiontattoos.com

DRUMS2GO Everything percussion, and indie to boot.

204 S. Semoran Blvd., Orlando 407-306-0611 drums2go.com

FULL SAIL ACADEMY Probably still best known as the place to get schooled in sound/engineering/recording, but Full Sail also offers intensive degree programs in everything from Entertainment

Business to Game Development.

3300 University Blvd., Winter Park 407-679-6333 fullsail.com

INTERNATIONAL FOOD CLUB A multi-lingual staff can help you peruse

foods, spices & teas from around the world.

4300 L B McLeod Rd., Orlando

GALACTIC G SKATE SHOP This downtown skate shop has been

around for nearly 12 years, and boasts one of the biggest inventories of gear and peripherals around.

334 E. Harvard St., Orlando myspace.com/galacticg

REDEFINE A combination art gallery/clothing boutique that’s a new part of the emerging arts district in downtown Orlando.

213 N. Magnolia Ave., Orlando www.myspace.com/redefineboutique

RON JON SURF SHOP Sure, the original location long ago

graduated from surf touchstone to tourist trap. But at least you know where to get stuff to send to your friends back home.

5160 International Dr., Orlando ronjons.com

VANS SKATEPARK A sick concrete bowl, along with all

the vert, mini-ramps and street-course obstacles you’d expect.

5220 International Dr., Orlando 407-351-3881 vans.com/vans/skateparks

A GUIDE TO ORLANDO & CENTRAL FLORIDA YOU ARE HERE ISSUE 35

RETAIL SPOTLIGHT

53

HOTSPOTS: EATS AUSTIN’S ORGANICS Organic Fairtrade beans, a surprising

array of light and/or vegetarian-friendly fare, and regular nighttime entertainment.

929 W. Fairbanks Ave., Winter Park 407-975-3364

ETHOS VEGAN KITCHEN Orlando Weekly’s Best Vegan Restaurant of ‘08 sports an insanely deep menu, including pizza and brunch offerings.

1235 N. Orange Ave., Orlando 407-228-3899

FALAFEL CAFÉ Inexpensive Mediterranean radness.

12140 Collegiate Way, Orlando 407-382-6600

JAX 5TH AVE. DELI & ALE Most older patrons are here for the beer,

but the sandwiches are hard to beat, too.

3400 Edgewater Dr., Orlando

LAZY MOON PIZZA Pizza by the slice. Beer. Cheap combos of beer and pizza by the slice.

12269 University Blvd., Orlando 407-658-2396

TASTE Healthy, fusion-y California-style tapas

and sometimes live music in College Pk. 717 W. Smith St., Orlando 407-835-0646

WHOLE FOODS Foodies, be warned: You cannot hope to

go into this socially and environmentally conscious grocery store and not walk around for hours with drool hanging from the corners of your mouth, wishing you had more money and refridgerator space.

8003 Turkey Lake Road, Orlando 407-355-7100 1989 Aloma Ave., Winter Park 407-673-8788 wholefoodsmarket.com

ALBUM SPOTLIGHT HOW DARE YOU COMFORT ROAD (FAIL SAFE RECORDS)

These Orlando hooligans have pretty much mastered the art of balancing the Gainesville sound’s rowdier, more gravelly punk ‘n’ roll elements with both a catchier, more inherently melodic pop-punk influence and more sophisticated arrangements. It ain’t terribly original, but it’s rock-solid, energetic and anthemic, and it’s got that intangible tautness that inspires gut-emotion compulsion. Little things pop up with repeated listens that set ‘em apart from the pack a bit, and they step out of the barreling punk-rock safety zone with balls and beauty for the slowed-up closer “No Remains.” This is a disc that’s immediately satisfying, but reveals added-value elements with repeated listens. - Cole Porterhouse

ONE-OF-A-KIND PLUMAGE

N

ot your typical boutique in the heart of Thornton Park, Mother Falcon offers customizable clothing (all American Apparel), supplying hundreds of graphics and fonts to choose from and ensuring your new duds say what you mean. Of course, you can also bring your own design; just show up, wait ten minutes and wear that shit to your favorite dance night. Watches by Nooka and hard-to-find sneakers are also dying to complete your

ensemble. Mother Falcon humbly reserves the right to refuse service to anyone requesting “mustache rides” t-shirts.

Mother Falcon Clothing is located at 888 E. Washington St. in Orlando.

Their phone number is 407-423-3060.

MYSPACE.COM/ MOTHERFALCONCLOTHING

ALBUM SPOTLIGHT THOMAS WYNN & THE BELIEVERS

THE REASON (SELF RELEASED)

Sometimes an unsigned band has trouble representing itself accurately on recorded product, because of budget constraints, inexperience or a million other factors. Not so with veteran singer-songwriter Thomas Wynn, who enlisted the help of gifted friends/peers Justin Beckler and Tony Battaglia in realizing his vision of the Believers. The result is a nearly perfect eight-song set of solid, soulful southern rock-tinged fare that goes down like an ice-cold beer at the height of Florida summer. These tunes are tight, mature and emotionally resonant, particularly back-to-back mid-CD standouts “It’s All Right” and “Don’t Give Up.” A little more variety in tempo - one more real rave-up, one more down-and-out ballad - would’ve pushed The Reason over the top, but it’s a superlative effort as is. - Colin Kincaid

APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 53

54

YOU ARE HERE A GUIDE TO ORLANDO & CENTRAL FLORIDA ISSUE 35

ORLANDO EVENTS FRI APRIL 03

THU APRIL 09

An Evening With Chicago Hard Rock Live, Orlando Cost: $66-$101 Time: 8:00 p.m.

Brantley Gilbert, Jess Franklin The Social, Orlando Cost: $7adv/$10dos Time: 8:00 p.m.

Dose of Reality, Inner Youth Central Station, Orlando Cost: $5-$7 Time: 5:00 p.m.

Ryan Winford, Gerald Perez, Hannah & the Halfway House, Andy Matchett Backbooth, Orlando Cost: $5adv/$6dos

In Violent Times, Crisis in Hollywood, Victims of Circumstance, Oh Romeo!

The Social, Orlando Cost: $5adv/$7dos Time: 8:30 p.m.

Painted Ladies, Big Jeff Special Wills Pub, Orlando Cost: $5 Time: 9:00 p.m.

The Dealers, Lost Time Accident Copper Rocket Pub, Orlando Cost: $5 Time: 9:00 p.m.

The Legendary JCs, Guest Backbooth, Orlando Cost: $8adv/$10dos Time: 7:00 p.m.

SAT APRIL 04 Daddy Yankee House of Blues, Orlando Cost: $52.00-$88.00 Time: 7:00 p.m.

In Memory of Cameron G. Holt, Cider, Donovan, Catch a Thief, Willtown The Social, Orlando Cost: $10 Time: 8:00 p.m.

Life’s Own Villain, One Fall Away, Trouble on Two Fronts, Cure The Corrupt Central Station, Orlando Cost: $5-$7 Time: 5:00 p.m.

Rogue Fi, Bop Gun, Dish, The Mud Flappers Backbooth, Orlando Cost: $6 Time: 7:00 p.m.

SUN APRIL 05 Cheech & Chong Hard Rock Live, Orlando Cost: $39.50 - $59.50 Time: 7:00 p.m.

Vegan Butcher, Bad Actor, Devolve Wills Pub, Orlando Cost: $5 Time: 9:00 p.m.

Zoso: A Tribute to Led Zeppelin House of Blues, Orlando Cost: $12.00-$15.00 Time: 7:30 p.m.

FRI APRIL 10 Bill Maher Hard Rock Live, Orlando Cost: $55-$75 Time: 8:00 p.m.

Down for the Count, Love it or Leave It, Something to Yield, Southern State Heartbreak Central Station, Orlando Cost: $5-$7 Time: 5:00 p.m.

Gorillafight, Gargamel, Forever Silenced, Scorned Backbooth, Orlando Cost: $7 Time: 7:00 p.m.

La Otracina, Guests Wills Pub, Orlando Cost: $5 Time: 9:00 p.m.

Mumpsy, The Magpies, The Dealers, Soft Targets The Social, Orlando Cost: $5 Time: 9:00 p.m.

New Found Glory, Bayside, Set Your Goals House of Blues, Orlando Cost: $18.25 - $21.25 Time: 6:30 p.m.

Riverboat Gamblers Fake Problems, The Attack The Social, Orlando Cost: $10adv/$12dos Time: 5:00 p.m.

Maria Taylor, Whispertown 2000 The Social, Orlando Cost:$8adv/$10dos Time: 8:00 p.m.

Shak Nasti, The Kevin Maines Band Copper Rocket, Orlando Cost: $5 Time: 9:00 p.m.

The Shoreline, Vega Under Fire, Trace the Day, Camerae, Terra Terra Terra Backbooth, Orlando Cost: $8adv/$10dos Time: 7:00 p.m.

SAT APRIL 11

MON APRIL 06 Cloud Conquers City CD Release, Barry Rigby, The Woodwork, Maitland The Social, Orlando Cost: $8 Time: 7:00 p.m.

Junior Bruce, Dead Commuter, Old Scratch, Confused Little Girl Wills Pub, Orlando Cost: $7 Time: 9:00 p.m.

Lady Gaga, White Tie Affair, Chester French (SOLD OUT) House of Blues, Orlando Cost: $18.25adv/$21.25dos Time: 7:00 p.m.

TUE APRIL 07 A Seat Next to Karma, Made of Hemp, What Passes For Winter, Marcello Backbooth, Orlando Cost: $10 Time: 7:00 p.m.

Shinedown, Number One Contender House of Blues, Orlando Cost: $20.25 - $56.50 Time: 8:30 p.m.

Swamburger’s Birthday Bash The Social, Orlando Cost: $3 Time: 10:00 p.m.

WED APRIL 08 The Juke Joint Duo feat. Cedric Burnside & Lightning Malcolm The Social, Orlando Cost: $8 Time: 8:00 p.m.

Appleseed Cast, An Horse, The Pauses Backbooth, Orlando Cost: $10 Time: 7:00 p.m.

Disturbed Amway Arena, Orlando Time: 8:00 p.m.

Future on Films in Space, Franchise, Villanova Junction, Dr. Moonstein Wills Pub, Orlando Cost: $5 Time: 9:00 p.m.

Ratatat, Tussle House of Blues, Orlando Cost: $17adv/$20dos Time: 8:00 p.m.

The Prostectic Age, Diminished Faith, Silver Field, Count Your Passengers Central Station, Orlando Cost: $5-$7 Time: 5:00 p.m.

SUN APRIL 12 Faith Assembly, Sunday Night Vinyl, DJ Rob Blak Backbooth, Orlando Cost: $3 Time: 8:00 p.m.

Kingsbury, Arbouretum, Love as Laughter Wills Pub, Orlando Cost: $6adv/$7dos Time: 9:00 p.m.

Rookie of the Year, School Boy Humor, Jet Lag Gemini, Kierman McMullan, In Passing The Social, Orlando Cost: $10adv/$12dos Time: 5:00 p.m.

PAGE 54 • REAX MUSIC MAgAzInE • APRIL 2009

MON APRIL 13 Widespread Panic House of Blues, Orlando Cost: $40.25 - $43.25 Time: 6:30 p.m.

TUE APRIL 14 A Cover Story, Rouse, Mindrise, Great Deceivers, The Year Ends In Arson Backbooth, Orlando Cost: $10 Time: 7:00 p.m.

Widespread Panic House of Blues, Orlando Cost: $40.25 - $43.25 Time: 6:30 p.m.

WED APRIL 15 Dish, LadyFair The Social, Orlando Cost: $8 Time: 8:00 p.m.

Poverty Branch, Parachute Musical, An Introduction to Sunshine, Guest Backbooth, Orlando Cost: $6 Time: 8:00 p.m.

Widespread Panic House of Blues, Orlando Cost: $40.25 - $43.25 Time: 6:30 p.m.

THU APRIL 16 Awestruck, The Royal, Manhattan Roar, Between City Streets Backbooth, Orlando Cost: $6adv/$8dos Time: 9:00 p.m.

Inkwell CD Release Party Feat. Pop Culture Clash, Adeste Backbooth, Orlando Cost: $5 Time: 8:00 p.m.

The Goods, guests The Social, Orlando Cost: $8adv/$10dos Time: 7:00 p.m.

Tom Jones Hard Rock Live, Orlando Cost: $45 - $100 Time: 8:00 p.m.

MON APRIL 20 Fleetwood Mac Amway Arena, Orlando Time: 8:00 p.m.

Garland Green, Z-Slim & The Flo Boys, Justice, Case Closed, Sef One Central Station, Orlando Cost: $5 Time: 9:00 p.m.

The Makeshift Gentlemen, The Black Rabbits The Social, Orlando Cost: $8adv/$10dos Time: 8:00 p.m.

TUE APRIL 21 Goodnight Loving, Guests Wills Pub, Orlando Cost: $5 Time: 9:00 p.m.

WED APRIL 22

Klob, Bughead Wills Pub, Orlando Cost: $5 Time: 9:00 p.m.

Mae, Person L, Barcelona, Tokyo The Social, Orlando Cost: $13adv/$15dos Time: 6:30 p.m.

Twiztid, Boondox, Prozac, Potluck The Social, Orlando Cost: $18adv/$20dos Time: 7:00 p.m.

Mario Matteoli, Woodsboss Copper Rocket, Orlando Cost: $5 Time: 9:00 p.m.

We The Kings, Forever the Sickest Kids, The Cab, Never Shout Never, Mercy Mercedes House of Blues, Orlando Cost: $15.75 - $18.75 Time: 6:00 p.m.

FRI APRIL 17 New Roman Times CD Release Feat. History, The Dark Romantics Backbooth, Orlando Cost: $7 Time: 8:00 p.m.

Peter Baldwin & Bop Gun, Winham Group, Brownstudy, I am the Host The Social, Orlando Cost: $7 Time: 9:00 p.m.

Teague Stefan, Guests Copper Rocket, Orlando Cost: $5 Time: 9:00 p.m.

SAT APRIL 18 3OH!3, The Maine, Family Force 5, Hit The Lights, A Rocket to the Moon House of Blues, Orlando Cost: $13.25 Time: 6:00 p.m.

A Skylit Drive, Dance Gavin Dance, Attack Attack, In Fear and Faith, I See Stars Backbooth, Orlando Cost: $12adv/$14dos Time: 6:30 p.m.

Classic Albums Live: Led Zeppelin’s “Physical Graffiti” Hard Rock Live, Orlando Cost: $20-$30 Time: 8:30 p.m.

Redmouth, The Hex Tremors Wills Pub, Orlando Cost: $5 Time: 9:00 p.m.

The Legend Like You, As Light Comes In, Amberly Park Central Station, Orlando Cost: $5-$7 Thomas Wynn & the Believers, Hoots & Hellmouth, Lauris Vidal The Social, Orlando Cost: $8 Time: 9:00 p.m.

SUN APRIL 19 Beep Beep The Show is the Rainbow, Guest Wills Pub, Orlando Cost: $8 Time: 8:00 p.m.

THU APRIL 23 Blue October, Longwave House of Blues, Orlando Cost: $28.25 - $51.25 Time: 7:00 p.m.

Electric Six, The Living Things The Social, Orlando Cost: $12adv/$14dos Time: 8:00 p.m.

Hydrosonic (LATE SHOW) Backbooth, Orlando Cost: $5 Time: 10:00 p.m.

Sing it Loud, The Morning Light, Friday Night Boys, Artist Vs Poet, The Summer Set (EARLY SHOW) Backbooth, Orlando Cost: $10adv/$12dos Time: 5:30 p.m.

FRI APRIL 24 7 Months Later, Seconds Remain, White Rose Parade Central Station, Orlando Cost: $5-$7 DREDG, Torche, From Monument to Masses The Social, Orlando Cost: $15adv/$17dos Time: 9:00 p.m.

George Clinton & the Parliament Funkadelic House of Blues, Orlando Cost: $23.25 - $62.50 Time: 8:00 p.m.

Reo Speedwagon Hard Rock Live, Orlando Cost: $37-$52 Time: 8:00 p.m.

Traverser, Mr. Bella, Lost in Chaos, Black in the Mind Backbooth, Orlando Cost: $6adv/$8dos Time: 8:00 p.m.

SAT APRIL 25 311, Chevelle, Static X, Candlebox, (hed) p.e., Cold, All That Remains, Pop Evil Tinker Field, Orlando Cost: $35-$125 Time: 1:00 p.m. PM Dead Confederate, Future on Films in Space, Stranger Family Band,The Beauvilles The Social, Orlando Cost: $10 Time: 8:00 p.m.

A GUIDE TO ORLANDO YOU ARE HERE ISSUE 35

55

ORLANDO EVENTS Passafire, Alex Baugh & the Crazy Carls, Guest Backbooth, Orlando Cost: $10 Time: 7:00 p.m.

The Punching Contest, Khann, Watch Me Disappear Wills Pub, Orlando Cost: $5 Time: 9:00 p.m.

SUN APRIL 26 Gorilla Battle of the Bands Backbooth, Orlando Cost: $10 Time: 7:00 p.m.

White Trash Bash Wills Pub, Orlando Cost: $5 Time: 9:00 p.m.

MON APRIL 27 Cross Canadian Ragweed, Guests The Social, Orlando Cost: $15 Time: 7:30 p.m.

TUE APRIL 28 Sleepytime Gorilla Museum, Guests The Social, Orlando Cost: $12 Time: 6:30 p.m.

WED APRIL 29 Cursive, Man Man The Social, Orlando Cost: $16adv/$18dos Time: 7:00 p.m.

The Independents, Guests Wills Pub, Orlando Cost: $8 Time: 9:00 p.m.

THU APRIL 30 Brooke Waggoner, Guests Backbooth, Orlando Cost: $5 Time: 9:00 p.m.

Cursive, Man Man The Social, Orlando Cost: $16adv/$18dos Time: 7:00 p.m.

Pepper, Pennywise, The Expendables House of Blues, Orlando Cost: $28.25 Time: 7:00 p.m.

XOXO, Only Thieves, Ugly Eyes, Relondondo Wills Pub, Orlando Cost: $5 Time: 9:00 p.m.

FRI MAY 01 Big Business, Tweak Bird, Sole The Social, Orlando Cost: $10 Time: 9:30 p.m.

Open Windows, Bop Gun, Nasta, Amy White Backbooth, Orlando Cost: $7 Time: 7:00 p.m.

The Birthday Massacre, I Am Ghost, Dommin The Social, Orlando Cost: $12 Time: 4:30 p.m.

UB40 House of Blues, Orlando Cost: $32.25 - $80.50 Time: 7:30 p.m.

APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 55

56

YOU ARE HERE ISSUE 35

A GUIDE TO GAINESVILLE

HOTSPOTS: VENUES/BARS 1982 All-ages friendly live-music hangout.

COMMON GROUNDS G-ville’s premier punk/indie-rock club.

919 W. University Ave., Gainesville myspace.com/1982_bar

210 S.W. 2nd Ave., Ste. A, G-ville commongroundslive.com

THE ATLANTIC Cozy, eclectic bar and performance

THE KICKSTAND This altruistic endeavor - more formally

space that usually does live music four nights a week.

15 N. Main St., Gainesville myspace.com/atlanticnights

BACKSTAGE LOUNGE Formerly Eddie C’s, the Backstage

known as The Gainesville Community Bicycle Project - promotes responsible bicycle use and ownership when not hosting the shows that help raise operating funds.

722 S. Main St., Gainesville thekickstand.org

caters to more mainstream rock and alt-rock tastes than some of the area’s more indie-centric nightspots.

1315 S. Main St., Gainesville myspace.com/backstagelounge

805 W. University Ave., Gainesville 352-372-4890

BODYTECH TATTOO One of Gainesville’s biggest and most

MOTHER EARTH MARKET Organic groceries, holistic supplements,

FREERIDE SURF SHOP Named after the classic wave flick.

MODERN AGE TOBACCO & GIFT SHOP Your one-stop shop for things with dancing

community-conscious body-art enterprises for a decade.

306 W. University Ave., Gainesville 352-376-4090 bodytechtattoo.com

420 N.W. 13th St., Gainesville freeridesurfshop.com

and a schedule of events and lectures held right on the premises.

521 N.W. 13th St., Gainesville 352-378-5244

teddy bears on them.

1035 N.W. 76th Blvd., Gainesville 352-332-5100

HOTSPOTS: EATS

HOTSPOTS: RETAIL RECYCLED BIKES Rent and roll.

HOTSPOTS: LIFESTYLE

HEAR AGAIN CDS AND DVDS The sign says “Gainesville’s largest home of music and movies,” and that is correct.

818 W. University Ave., Gainesville 352-373-1800

DRAGONFLY SUSHI Award-winning sushi. Their website

MAUDE’S CLASSIC CAFE Opinions vary wildly, but if you want

ELWeINDIO think yelp.com commenter Kasey S.

REGGAE SHACK Yup, just what you’d expect - everything

alone looks good enough to eat.

201 SE 2nd Ave., Gainesville 352-371-3359 dragonflysushi.com

says all that needs to be said about this G-ville standby: “Burritos are good, food is cheap, sauce is a must.”

407 NW 13th St., Gainesville 352-377-5828

FLACO’S CUBAN BAKERY More of a diner than bakery. Popular with vegetarians, and drunk folks who really want a meaty sandwich after hitting the bars.

200 W. University Ave., Gainesville 352-371-2000

LEONARDO’S 706 This meeting-and-eating spot is well

known for its gourmet pizzas and Sunday brunch.

706 W. University Ave., Gainesville (352) 378-2001 leonardos706.com

to see/overhear what the hippies and hipsters in town are wearing/doing, this is the place.

101 S.E. 2nd Pl., Gainesville 352-336-9646

from jerk chicken and beef patties to curry, Caribbean salads and hell-yes passion fruit smoothies.

619 W. University Ave., Gainesville 352-377-5464

SAIGON LEGEND Casual atmosphere, fairly cheap Asian food. People rave about their pho, a Vietnamese soup/staple.

1228 W. University Ave., Gainesville 352-374-0934

THE TOP It’s been called the best restaurant in

town. Folks are critical of the service, but the full bar seems to help. Another hot brunch spot, as well.

30 N. Main St., Gainesville 352-337-1188

HOTSPOTS: WEARABLES AMERICAN APPAREL Derf. Aside from the newly opened

Orlando store, Gainesville is the only place in Florida north of the Miami area to get all the stuff you’ve seen on all the cool kids lately.

15 S.W. 1st Ave., Gainesville 352-372-2262 americanapparel.net

GOODWILL INDUSTRIES The thrifts in most college towns are

usually pretty picked over, but this is FL unintentionally ironic t-shirt heaven.

3520 S.W. 34th St., Gainesville 352-376-9041

PAGE 56 • REAX MUSIC MAgAzInE • APRIL 2009

PERSONA VINTAGE CLOTHING & COSTUMES This joint has a reputation for great

threads and kitschy or unusual gifts.

201 S.E. 2nd Pl., Gainesville 352-372-0455

WOLFGANG A more upscale place that carries the

kinds of designers not usually found outside of bigger cities.

1127 W. University Ave., Gainesville 352-505-8123

A GUIDE TO GAINESVILLE YOU ARE HERE ISSUE 35

ARTIST SPOTLIGHT

57

EVENT SPOTLIGHT

GRABASS CHARLESTONS Performing The HOMEvan Fundraiser April 26, 2009 @ Common Grounds

GREENLAND IS MELTING

Words & Photo: Joel Mora

B

efore Gainesville band

Greenland is Melting gives me a demonstration of their live sound, I notice something reminiscent of a Pollock painting on Karl Seltzer’s banjo. In reality, these spatters are bloodstains from Seltzer’s fingers that result from playing his banjo like a guitar. The sound complements the bluegrass/folk style of the band, but the technique adds a punk vibe to heighten the energy.

The band requires such energy to make up for a missing element that most bands can’t do without - a drummer.

“I don’t think I need a drummer,” says guitarist Shaun Pereira. “I don’t want a drummer to do anything fantastic. It’s hard to find a drummer and be like ‘I really just want you to do this. It’s great that you can do 50 fills, but I just want you to hold a beat.’ For some reason it seems unfair to the drummer.”

The band started out as four-piece with a more folk-rock sound, but with the exit of the drummer Seltzer picked up the banjo full-time. He and his bandmembers replaced the drummer with a 1940s suitcase they transformed into a bass drum.

During the performance, bassist Will Dueease plays his bass and stomps on the suitcase drum with the power of a genetically engineered rabbit. When playing 16th notes, he seems to lose his mind.

“We just put a mic inside and it sounds sick,” says Dueease. “It was done out of necessity. It was like ‘We don’t have room to store a kick drum. We don’t have money

to buy a kick drum.’”

“However,” Pereira interjects, “we had a suitcase and a kick pedal.”

“Usually foot stomping and suitcase is enough,” adds Seltzer.

Although the energy adds some punk, the vocals emphasize it. With most folk and bluegrass bands you won’t see the red face, sweat, and vein-popping that occurs to Pereira as the band faces each other and performs.

“The articulation of the vocals comes from a folk-punk background but it comes with a three-part harmony, so it comes with elements of bluegrass,” says Dueease.

Their sound has taken them far as South Carolina. They are in the process of recording an album and heading on a tour that will take them to Maryland. The majority of their shows are out-of-town.

The road seems to be where they are most comfortable. Record deals, fame and fortune don’t seem to be on their minds.

“Right now [the music] takes us on the road a lot, and I’m fine with that,” says Seltzer.

“Playing sheds and backyards and stuff and just meeting different people, that’s good enough for me.”

Dueease adds, “I don’t see how it can get any worse.”

Greenland Is Melting plays Gainesville’s Kickstand April 10.

MYSPACE.COM/ GREENLANDISMELTING

THERE ARE ACTUALLY FOLKS LESS FORTUNATE THAN

LOCAL MUSICIANS

I

n 2002, a small handful of

community activists founded HOMEvan, a grassroots project whose aim was and is to provide what help and comfort it can to the Gainesville area’s poor and homeless. The group’s volunteers head out twice a week to deliver food, clothing, hygiene products, and whatever else they’ve got to give - not too mention a little understanding companionship - to those less fortunate in the region.

A while back, some conscientious local musicians and scenesters took note of HOMEvan’s efforts, and donated their time and talents to a compilation CD whose sales proceeds went to helping the organization in its goals. It went so well that another installment of HOMEvan: A Gainesville Music Benefit for the Homeless was produced, and will be publicized by a series of CD release party fundraisers

going down this month as well as May and June.

The schedule: Sunday, April 5 - The Duppies, Chupaskabra, The Damn Wrights, Battle!, Lars Din @ Common Grounds Sunday, April 26 - Grabass Charlestons, Liquid Limbs, Spanish Gamble, Crash Pad @ Common Grounds Saturday, May 23 - Averkiou, CYNE, Scum of the Earth, Cassette, No More @ The Atlantic Saturday, June 20 - TBA The musicians have gone above and beyond; now it’s time for all the local fans and socially conscious citizens out there to just show up.

For more information:

GAINESVILLEBANDS.COM

ALBUM SPOTLIGHT TOWERS OF HANOI

PARANOIA FOR THE NEW YEAR (BARRACUDA SOUND)

After a scratchy garage-rock intro, this Gainesville quartet faux-rewinds and kicks into some full-volume rock that updates that Nuggets sound with a punky edge and soulful female vocals. At first, Towers of Hanoi come off a bit like a beefier, more eclectic Gossip, but there’s a lot more going on here than copping that act’s retro-R&B-punk, from angular post-punk riffs to gnashing barre-chord assaults, and overall Paranoia is much more firmly rooted in that thick-fast-rock lineage that stretches from The MC5 through contemporary acts like New Bomb Turks. Intricate guitar lines break up the barrage nicely, as do some great male vocals, but it’s lead singer Rachel’s pipes that really fill out the solid songwriting and lend the group a distinct personality. Absolutely great, gritty stuff. - Cole Porterhouse

APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 57

58

YOU ARE HERE A GUIDE TO GAINESVILLE ISSUE 35

GAINESVILLE EVENTS FRI APRIL 03 A Benefit for Finnegan Garity Feat. Grabass Charlestons, Whiskey & Co., Children’s Children Common Grounds, Gainesville Time: 9 p.m.

Harvest of Hope Benefit Feat. Made of Hemp, Validus The Atlantic, Gainesville Time: 10 p.m.

Light Yourself on Fire, Hot Graves, Millions The Kickstand, Gainesville Cost: $5 Time: 9 p.m.

The Northernness, Plaxico via Mexico, Maida Vale, Chelsea Carnes (Dirty Fist) 1982, Gainesville Time: 9 p.m.

SAT APRIL 04 Assassinate The Scientist, Aleutian Low, Onslaught Dynamo, TransFM 1982, Gainesville Time: 9 p.m.

Juniper Spring, Caimans, Bird Street Players, Christie Lenee Market Street Pub, Gainesville Time: 9 p.m.

Maria Taylor, Whispertown 2000 Common Grounds, Gainesville Cost: $8 Time: 9 p.m.

Quadrophones, The JeanMarie, Savages The Atlantic, Gainesville Time: 9:30 p.m.

Toy Grenades, Mom’s Attic, Bryan Malpass Backstage Lounge, Gainesville Time: 10 p.m.

SUN APRIL 05 The Besties, Waylon Thorton & Heavy Hands, The Pladitudes, The Invisible Dolphin Wayward Council, Gainesville Coliseum, Liquid Limbs, Young Livers, Cutman, Virgins The Atlantic, Gainesville Time: 6 p.m.

Home Van Benefit Feat. The Duppies, Chupaskabra, The Damn Wrights, Battle Common Grounds, Gainesville Cost: $5 Time: 5 p.m.

We Shot The Moon, The Fold, Love Always, Camryn 1982, Gainesville Time: 6 p.m.

Mischief Brew, Douglas Shields & The X Factors 1982, Gainesville Time: 9 p.m.

FRI APRIL 10 Averkiou, So Pastel, Julie Karr Common Grounds, Gainesville Cost: $6 Time: 9 p.m.

Deserter, Cellgraft, Five Suns, Nervous Breakdown, Unholy War Wayward Council, Gainesville Cost: $5-7 Donation Time: 10 p.m.

Ninja Gun, Mike Hale, Devon Stuart, The Ones to Blame, Coffee Project The Atlantic, Gainesville Time: 9:30 There for Tomorrow, Dear Dakota, Allie Wetzel 1982, Gainesville Time: 7 p.m.

Whiplash (Metallica Tribute), None Like Us, Ghost of Gloria Backstage Lounge, Gainesville Time: 10 p.m.

SAT APRIL 11 Against Me!, Off with Their Heads, Spanish Gamble (SOLD OUT) Common Grounds, Gainesville Cost: $10 Time: 7 p.m.

Funkatron, Funks Inc., Jeremy Richard Market Street Pub, Gainesville Cost: $6 Time: 9 p.m.

Local Traffic, Youth in Asia, Killing Delilah Backstage Lounge, Gainesville Time: 10 p.m.

Oh No! & The Tiger Pit, Oh Sanders, The Jameses The Atlantic, Gainesville Time: 9:30 p.m.

The Manor, The Rooze 1982, Gainesville Time: 9 p.m.

MON APRIL 13 Feed The Bears, Stages and Stereos, The Sophomore Attempt, Without Hatred 1982, Gainesville Time: 8 p.m.

La Otracina, The Future Now, Nomenclature, Tanks in Series The Kickstand, Gainesville

MON APRIL 06

TUE APRIL 14

Born Empty, Temporary Taboo, Black Star Casino Backstage Lounge, Gainesville Time: 9 p.m.

Red Car Wire, The Years Gone By, City Lights, Eric Throne 1982, Gainesville Time: 8 p.m.

DJ Dog Dick, Ironing, Narwhalz, Sewn Leather Wayward Council, Gainesville Time: 10 p.m.

WED APRIL 15

WED APRIL 08

Josh Kelley & Ryan Cabrera, Tim Brantley, Brandon Whyde Common Grounds, Gainesville Cost: $12 Time: 8 p.m.

The Banner Year, Call It Conflict, Roadside Music Backstage Lounge, Gainesville Time: 9 p.m.

Synapse Defect, Under The Bridge, Forever From Now Backstage Lounge, Gainesville Time: 9 p.m.

Little High Little Low, Lindsey Mills, Rio de la Muerta Civic Media Center, Gainesville Cost: $5 Donation Time: 9 p.m.

THU APRIL 16

THU APRIL 09

Colourslide Common Grounds, Gainesville Cost: FREE Time: 8 p.m.

Backline Rush, Antique Scream Backstage Lounge, Gainesville Time: 9 p.m.

Manifested Demise, Unknown Avenger, Chaotic Theorem Backstage Lounge, Gainesville Time: 9 p.m.

Diocious, Greenhouse Lounge Common Grounds, Gainesville Cost: $6 Time: 9 p.m.

Moonshine Trio 1982, Gainesville Time: 9 p.m.

PAGE 58 • REAX MUSIC MAgAzInE • APRIL 2009

FRI APRIL 24 FRI APRIL 17 C. Scott & Munkeez Strikin’ Matchiz, Ampersand, Lolita, Nue Breed 1982, Gainesville Time: 9 p.m.

How Dare You, Anchor Arms, Gatorface, Hometeam, Last Resolve The Atlantic, Gainesville Time: 9:30 p.m.

Tony Smotherman, Long Strange Day Dose of Reality Backstage Lounge, Gainesville Time: 10 p.m.

Umoja Orchestra Common Grounds, Gainesville Cost: $5/6 Time: 9 p.m.

SAT APRIL 18 4:20 Fest Feat. Mindrise, Boss Lady & The Company Common Grounds, Gainesville Cost: $6 Time: 9 p.m.

A to Z, Lemon Hill, Awestruck 1982, Gainesville Time: 9 p.m.

Blue Chips, D.P., Nu Breed, Bean$ The Atlantic, Gainesville Time: 9:30 p.m.

Other Voices Brophy’s Irish Pub, Gainesville Time: 10 p.m.

Pellets on Target, Wait Wait, Weapons of Fate Backstage Lounge, Gainesville Time: 10 p.m.

Supervillains, Scuff’d Shoes, Alex Baugh & The Crazy Carls Market Street Pub, Gainesville Cost: $7 Time: 9 p.m.

Waylon Thorton & The Heavy Hands, Spanish Gamble, Black River Falls The Kickstand, Gainesville Cost: $5 Time: 10 p.m.

Anchor Arms Record Release Party 1982, Gainesville Time: 9 p.m.

DJ Donna ‘80s Dance Night The Atlantic, Gainesville Hard Luck Society, The Damn Wrights, Kathy Sohar Brophy’s Irish Pub, Gainesville Time: 9 p.m.

Shawn Fisher & The JGs, Crowfield, Three Minutes of Sunset Backstage Lounge, Gainesville Time: 10 p.m.

The Shoddy Beatles, King of Spain, Just A Scientist Common Grounds, Gainesville Cost: $5 Time: 9 p.m.

SAT APRIL 25 Bang Bang Boom, Pseudo-Kids, Playground Rivals The Atlantic, Gainesville Time: 9:30 p.m.

Hours Eastly, Moodhosa, The Pull Out, Split Tones Market Street Pub, Gainesville Cost: $6 Time: 9 p.m.

Sing It Loud, Morning Light, Friday Night Boys, Artist vs. Poet 1982, Gainesville Time: 7 p.m.

Suggestion Backstage Lounge, Gainesville Time: 10 p.m.

SUN APRIL 26 Home Van Benefit Feat. Grabass Charlestons, Liquid Limbs, Spanish Gamble Crash Pad Common Grounds, Gainesville Cost: $5 Time: 5 p.m.

MON APRIL 27 Shattered Symphony Backstage Lounge, Gainesville Time: 9 p.m.

SUN APRIL 19

TUE APRIL 28

Gainesville Roller Rebels First Bout!

Barbies vs Goth Feat. Whiskey & Co. Skate Station, Gainesville Cost: $8/12

Richard Lloyd (Television) & The Sufimonkey Trio 1982, Gainesville Time: 8 p.m.

TUE APRIL 21 Electric Six, The Living Things Common Grounds, Gainesville Cost: $10 Time: 9 p.m.

Shotgun Diplomacy, We Are The Union, Fireworks 1982, Gainesville Time: 8 p.m.

WED APRIL 22 Battle!, Kingdom The Kickstand, Gainesville Cost: $5 Time: 9 p.m.

Beep Beep, The Show Is The Rainbow, The Early Twenties, Elepants 1982, Gainesville Cost: $7 Contact Point, Amsden Backstage Lounge, Gainesville Time: 9 p.m.

Dinosaur Jr., Dead Confederate Common Grounds, Gainesville Cost: $20 Time: 8 p.m.

WED APRIL 29 Big Business, Tweak Bird Common Grounds, Gainesville Cost: $10 Time: 9 p.m.

Stepchain, Deado, Undone Perfection Backstage Lounge, Gainesville Time: 9 p.m.

THU APRIL 30 Sterling Y Backstage Lounge, Gainesville Time: 9 p.m.

Time: 9 p.m.

FRI MAY 01 Coming Undone, The Butterfly Theory, Sonnet to Sleep Backstage Lounge, Gainesville Cost: $5 Time: 10 p.m.

David Cook, Ryan Star Common Grounds, Gainesville Cost: $20

THU APRIL 23

Giuseppe, Liquid Limbs, Seagrapes The Atlantic, Gainesville Cost: $6/8 Time: 10 p.m.

Time: 9 p.m.

Passafire Common Grounds, Gainesville

SAT MAY 02

Temporary Taboo, The City Skyscape Backstage Lounge, Gainesville Cost: $5 Time: 9 p.m.

Funkatron, The Rooze, Blue Caimans Market Street Pub, Gainesville Cost: $6 Time: 9 p.m.

APRIL 2009 • REAX MUSIC Magazine • PAGE 59

60

YOU ARE HERE ISSUE 35

A GUIDE TO NE FLORIDA

HOTSPOTS: VENUES/BARS CLUB TSI Hipsteriffic “indie disco” and venue

SHANTY TOWN PUB Bar, live music and themed DJ nights,

FREEBIRD LIVE The area’s most well-known concert

ST. AUGUSTINE AMPHITHEATRE This large outdoor shed hosts

JACK RABBITS Another local legend of a spot geared

STEAMWORKS PUB Serving British fare by day and dance

that hosts hip-hop, touring bands, art exhibitions, and cool stuff in between.

333 East Bay St., Jacksonville clubtsi.com

venue. Lots of touring acts and bigger local stuff.

200 North 1st St., Jacksonville Beach freebirdlive.com

toward original music, with an alwayseclectic slate featuring both local and national acts.

1528 Hendricks Ave., Jacksonville jackrabbitsonline.com

EVENT SPOTLIGHT

along w/ a cool outdoor area for hangin’.

22 W. 6th St., Jacksonville myspace.com/shantytownpub

everything from new jam and indie sounds to classic country and rock.

1340 A1A South, St. Augustine staugamphitheatre.com

parties by night, this Five Points hot spot features DJ’s spinning something for everybody’s tastes.

822 Lomax St., Jacksonville

HOTSPOTS: RETAIL WEIRD WAX A new record store that opened in mid

February and offers a large vinyl selection plus free shows!

2128 Atlantic Blvd., Jacksonville 904-399-3004 myspace.com/weirdwax

ZOMBIE BIKES A bike co-op run by a group of volunteer

enthusiasts. Find unique bikes for sale or even have your perfect dream bike built out for you. Funded completely by donations.

1520 N. Main St., Jacksonville zombiecoop.blogspot.com

HOTSPOTS: LIFESTYLE NEEDFUL THINGZ Stop by for tobacco, T’s, posters, stickers, patches, incense, oils, jewelry and more.

215 W. King St. Suite 3, St. Augustine 904-829-7101 myspace.com/needful_thingz

SQUARE ONE 100% skate since 2000. Plus, they have a rad skate team.

1019 S. 3rd St., Jacksonville Beach 904-241-7667 squareonejax.com

HOTSPOTS: EATS BURRITO GALLERY So much more than a burrito joint -

seafood, salads, live music, full liquor.

21 East Adams St., Jacksonville 904-598-2922

CAFÉ ELEVEN Outstanding eats. Impressive beer/wine

selection. Extraordinary music calendar.

What else could you possibly ask for?

501 A1A Bch Blvd., St. Aug. Beach

HOTSPOTS: WEARABLES EDGE CITY A funky vibe and cutting-edge women’s fashions for more than 30 years.

1017 Park St., Jacksonville gunnel.com

WOLFGANG A stylish boutique offering affordable

name-brand fashion action for both sexes.

1038 Park St., Jacksonville myspace.com/wolfgangboutique

PAGE 60 • REAX MUSIC MAgAzInE • APRIL 2009

NOISE ORDNANCE:

JAX FREAKTRONICS

Words: Jessica Whittington

Y

ou go to a rock show in Jacksonville, and you too often see the same thing over and over: some bearded guys with their amps up too high and their guitars tuned down low, playing drone metal.

But there’s this incredible underground performance scene hiding right under everyone’s noses. Imagine it’s late at night and you’re out of clean underwear, and the only place to go besides your mom’s house is the 24-hour laundromat down the street. You pull up, grab your dirty clothes, step through the looking glass, and are hurled into an unforgettable night filled with people in brightly colored costumes, four-

track recorders everywhere, amps ringing, records playing, and the magic(k) minds who pulled this off. If you don’t immediately run for the door you’ll probably catch yourself staring blankly at the crowd of 20 and wondering who the hell gave them permission to do this, how come this isn’t going on in a nightclub, and how much LSD did these people take?

Since the early ‘90s, the experimental music scene in our city has grown unexpectedly large. People have discovered what can be created with minimal equipment and an open and twisted mind. Playing shows at Shantytown Pub, house parties or D.I.Y. venues, there

A GUIDE TO JACKSONVILLE & NORTHEAST FLORIDA YOU ARE HERE ISSUE 35

are musicians that aren’t scared to show you, even after all the speculation of witchcraft or the occult, how to put on a real performance. They’ve got Ziggy Stardust and Kevin Ayers running through their veins.

The Late Great Chris Spohn, the Magick Owl - call him what you will, but just don’t wish him the worst. With acoustic guitar in hand and a choir of friends backing him up, you might think you were teleported back to the ‘60s to watch ol’ Charlie Manson and his family perform for you. Or maybe he’ll be cloaked in a fabric dragon, weaving himself around rooms while his four-track blurts freakout sounds, making for a Chinese New Year on acid. Some people are born with tragedy in their blood; this guy claims to be one of those people, but his creative endeavors say otherwise. (myspace.com/cracktronix) Telepathik Friend started out as a collective of players, but slowly dwindled down to one lone psychedelic kid. Once a mindbending hallucinogenic trip of noise and clothed insects, he’s now a sci-fi (w)rapper with an orange monkey sidekick. He says that after he split with his girlfriend, he starting talking to himself and paired that to some old beats he made when he was 18.

Telepathik Friend books and promotes a huge amount of the shows here. Check out his blog to find out about upcoming shows – owlbeemoth.wordpress.com/. (myspace.com/telepathikfriend) Not to let the men get all the credit, Omebi, formerly of Telepathik Friend, has created a ghostly children’s book all her own. She mesmerizes audiences with her strange sad love songs as a girl who has befriended the spirit animal tricksters. To her, it’s not just about making “noise,” it’s the act of dressing up and telling a story that not everyone is going to get. The true mother of it all. Be on the lookout for shows in April and May. (myspace.com/omebi) There’s Matrix Infinity, girls who make a “no techno” krautrock improv disguised under Transformer masks; Wildflower, another group of girls who create witch folk chants using acoustic magick; Blood Mountain’s psych-blues noise folk; S.O.S, who puts on his cosmic show with the help of Cookie Monster; Chicken Jolt, mixmaster of shortwave radio and guitar sounds; Trapbomb, with its saxophone-fronted angry-noise improv; Ramsis, who uses leaf blowers and lawnmowers processed through mics and effect pedals; mindmelting rockers Industrious Mouse; and the newer National Dairy have been blowing minds with a no-wave attack.

Through the buzz of amps and delay pedals, the electronic hums of a drum machine, saxophones yelping, or organs bellowing out haunting creeps, it’s high time these folks get the attention they deserve.

NE FLA EVENTS FRI APRIL 03 The Besties Club TSI, Jacksonville Time: 9 p.m.

Chroma Landshark Cafe, Jacksonville Beach Time: 10 p.m.

The Riff Raff, Full Stop, Blood on the Dance Floor, After Play Rewind Jack Rabbits, Jacksonville Time: 8 p.m.

TUE APRIL 21 The AP Tour Feat. Family Force 5, 3OH3!, The Maine, Hit The Lights, A Rocket To The Moon Freebird Live, Jacksonville Beach Cost: $15/20 Time: 6:30 p.m.

The Fritz Landshark Cafe, Jacksonville Beach Time: 10 p.m.

WED APRIL 22

Tom Gabel, Dan Andriano Cafe Eleven, St. Augustine Cost: $10 Time: 8:30 p.m.

The Legendary Shack Shakers Jack Rabbits, Jacksonville

SAT APRIL 11

THU APRIL 23

Eclipse (Pink Floyd Tribute) Freebird Live, Jacksonville Beach Cost: $10/15 Time: 8 p.m.

Tony Smotherman Project Freebird Live, Jacksonville Beach Cost: $8/10 Time: 8 p.m.

Rusholme Ruffians (Smiths Tribute), Nightporter, T.C. 89z Landshark Cafe, Jacksonville Beach Time: 10 p.m.

SAT APRIL 04

SUN APRIL 12

Another Way of Life, None Like Us, Karma for Liars Jack Rabbits, Jacksonville Time: 8 p.m.

Cheech & Chong Florida Ttheatre, Jacksonville Cost: $41-118.50 Time: 8 p.m.

Grandpa’s Cough Medicine Landshark Cafe, Jacksonville Beach Time: 10 p.m.

SUN APRIL 05 A Benefit for Brian Hicks Feat. Tropic of Cancer, Celestials, Scott Leuthold, Shangrala, Chris Strawn, Klob, Shawn Fisher Jack Rabbits, Jacksonville Time: 6 p.m.

Chicago St. Augustine Amphitheatre, St. Augustine Cost: $43-63 Time: 8 p.m.

Dark Castle, Dead Commuter, Ol Scratch, Hollow Leg Doozers Pub, Jacksonville Time: 9 p.m.

Ivan Neville’s Dumpstaphunk Freebird Live, Jacksonville Beach Cost: $10/15 Time: 8 p.m.

MON APRIL 06 Maria Taylor, Whispertown 2000, Jack Rabbits, Jacksonville Cost: $10/13 Time: 8 p.m.

WED APRIL 08 Lisa’s Sons, Juicy Pony Jack Rabbits, Jacksonville Time: 8 p.m.

THU APRIL 09 Arbouretum, Love As Laughter, Kingsbury Cafe Eleven, St. Augustine Cost: $7 Time: 8:30 p.m.

Marcy Playground, The Picture Show, Rock & Roll Chrome, None Like Us Brewster’s Pit, Neptune Beach Time: 5 p.m.

Millions of Dead Cops, White Trash, Shithieves Jack Rabbits, Jacksonville Cost: $10/13 Time: 8 p.m.

FRI APRIL 10

61

Appleseed Cast, Republic Tigers Jack Rabbits, Jacksonville Cost: $10/15 Time: 8 p.m.

MON APRIL 13 Ninja Gun, Mike Hale, Onslaught Dynamo Jack Rabbits, Jacksonville Cost: $8/10 Time: 8 p.m.

WED APRIL 15 Red Car Wire, The Year Gone By, City Lights Jack Rabbits, Jacksonville Time: 8 p.m.

THU APRIL 16 FRI APRIL 17 Joe Cocker St. Augustine Amphitheatre, St. Augustine Cost: $35.50-53 Time: 7:30 p.m.

Electric Six, The Living Things Jack Rabbits, Jacksonville Cost: $13/15 Time: 8 p.m.

Jamie Stewart (XIU XIU) Cafe Eleven, St. Augustine Cost: $8 Time: 8:30 p.m.

Judi Chicago Club TSI, Jacksonville

SAT APRIL 25

The Bastard Suns, The Sweet Kings, The Duppies, Taj Majal Trio, Bubbly Joe, The Long Johns Brewster’s Pit, Neptune Beach Time: 3 p.m.

Cold, Killer & The Star, Drama Club Freebird Live, Jacksonville Beach Cost: $15/20 Time: 7:30 p.m.

MON APRIL 27

Dave Matthews Tribute Band Freebird Live, Jacksonville Beach Cost: $10/15 Time: 8 p.m.

Cannibal Corpse, Obscura, The Faceless Freebird Live, Jacksonville Beach Cost: $15/20 Time: 8 p.m.

Soulidium, Fall of Envy, Shattered Spine, Ghostwitch Family Band Brewster’s Pit, Neptune Beach Time: 8 p.m.

Sleepytime Gorilla Museum Jack Rabbits, Jacksonville Cost: $10/13 Time: 8 p.m.

TUE APRIL 28

Southern Fried Funk Band Landshark Cafe, Jacksonville Beach Time: 10 p.m.

The First Annual Spring Break Social Feat. The Elevated Hip-Hop Experience Rum Runners Tavern, Cocoa Beach Time: 9 p.m.

Trains Followed Us, There For Tomorrow, Mechanical Shark, Faster Faster Jack Rabbits, Jacksonville Time: 8 p.m.

SUN APRIL 19

Hall & Oates St. Augustine Amphitheatre, St. Augustine Cost: $35-95 Time: 8 p.m.

Johnathan Appleseed, The Wandas, Longfellow Street Jack Rabbits, Jacksonville Time: 8 p.m.

Killer Robots, After The Bomb Baby Club TSI, Jacksonville Time: 9 p.m.

MON APRIL 20 Left Alone, Black President, Deadly Sins Jack Rabbits, Jacksonville Cost: $10/15 Time: 8 p.m.

Dinosaur Jr., Mike Watt & The Missingmen Freebird Live, Jacksonville Beach Cost: $21 Time: 8 p.m.

SUN APRIL 26

SAT APRIL 18

Stereomud, Down Theory, Mindslip, Marion Crane, Raw & Anonymous, Mon Amour Mon Cheri Brewster’s Pit, Neptune Beach

FRI APRIL 24

The Sarah Mac Band, Johnathan Appleseed Freebird Live, Jacksonville Beach

The Bamboozle Roadshow Feat. We The Kings, Forever The Sickest Kids, The Cab, Never Shout Never, Mercy Mercedes Freebird Live, Jacksonville Beach Cost: $19/20 Time: 7 p.m.

Surfrider/SOS Summer Kickoff Party Freebird Live, Jacksonville Beach

Imperial, And Then There Were None, Red Car Wire, Vice on Victory Brewster’s Pit, Neptune Beach Time: 4 p.m.

Anchor Arms Record Release Feat. Assassinate The Scientist Landshark Cafe, Jacksonville Beach Time: 10 p.m.

Primer 55, Code Iris Brewster’s Pit, Neptune Beach Time: 8 p.m.

Karl Denson’s Tiny Universe Freebird Live, Jacksonville Beach Cost: $20 Time: 8 p.m.

hed(PE), Dirtbal, Mower, DGAF Freebird Live, Jacksonville Beach Cost: $15/20 Time: 8 p.m.

Peelander-Z Jack Rabbits, Jacksonville Cost: $8/10 Time: 8 p.m.

WED APRIL 29 Copeland, This Providence, Paper Route, Brook Waggoner Freebird Live, Jacksonville Beach Cost: $15/20 Time: 7 p.m.

THU APRIL 30 311 St. Augustine Amphitheatre, St. Augustine Cost: $33/43 time: 7:30 p.m.

FRI MAY 01 Citizen Cope Freebird Live, Jacksonville Beach Cost: $25 Time: 8 p.m.

SAT MAY 02 Diplo Club TSI, Jacksonville Time: 9 p.m.

APRIL 2009 • REAX MUSIC MAgAzInE • PAGE 61