an interview with the pine from 2001

October 14th, 2009

i just found this interview that i did almost a decade ago. the pine were the band that made me start sncl! good for them…

 

the Pine are 4 guys from Bakersfield, California, playing some fantastic melodic rock music that you can call emo if you want to get all fussy over semantics. these interview questions were mailed to the band about 5 seconds before they set out on their first ever tour, after i had promised Roger i would get them too him much quicker than that. now they are back, and we have the answers. thanks very much to all four members of the band for taking their time to answer these, it’s appreciated.

 


1) who is in the band and where are you all from? what’s the scene like around there?

roger – my name is roger king. i sing and play guitar. born and raised in bakersfield, ca.

kurt – i’m kurt king, and i was born and raised in bakersfield ca. i rarely go to shows but i do know that there’s a place called jerrys pizza which the majority of bands play and go to and there’s one record store.

bill – my name is bill and i play bass. i’m from bakersfield california. the scene from where i’m from covers the more pop side of music like weezer and kiddie punk bands.

andrew – my name is andrew winton; i play drums and i’m from bakersfield, ca. well the only thing i can say about the scene around here is that i’m really not into it.

2) is the Pine the first band that any of you have been in that has had a record out? how long has the band been together, give us a little history on the whole thing…

andrew – no, i was in a local band a few years back called crosswalk. we had a split with another local band called the acrylics. after high school i played in a few bands; soul system blackout/viral index, icarus line, which had demo tapes and then a band called the criminals and i did a cdep with them. i started playing with the pine in november 2000. we played our first show on june 6th of 2001 and have been playing out ever since.

bill – yeah pretty much i’ve been in other jams but nothing this big. well, i’ve been in the band for about 2 months now so i really cant elaborate on how long the band has been together or the history.

roger – i was in a punk band my sophomore year in high school called fletcher. we did a 7″ and played a lot of shows around town. it was fun. the pine started 4 years ago with me on drums and singing, kurt on guitar, and josh yates on bass. we played for a while, and recorded a demo on a 4 track. later on i moved to guitar and got andrew to play drums. then josh left and we got bill on bass.

kurt – yes for me it is.

3) do you guys enjoy the DIY side of the music? one thing that i’ve always appreciated in the bands that played emo a few years back, and those that are influenced by those bands now, is that they seem to have a tremendous DIY ethic (hand made packaging, no colour vinyl, releasing records on their own labels), whilst the bands that play the more indie influenced style of music that the majority of people now call ‘emo’ seem to get everything handed to them on a plate, with publicists and street teams and everything. what are your thoughts?

kurt – well, i guess there’s always been a respect towards anyone who does anything them selves in any type of category in life. i think a band doing it themselves is a fun experience in life and it makes yourself like what your doing even more.

roger – i love the diy side of music.

bill – i feel a lot better about doing this whole thing our selves, the only people we really can count on is our selves. having other people helping the band with the record and booking the shows isn’t guaranteed to be done when and how you want it to be done. DIY is great but if the opportunity comes where you have someone that guarantees that they will have something done to help the band out, like making the covers for your record or booking shows the way you want it and they live in town and you know the person, go for it, a little help doesn’t hurt its the total strangers that you want to look out for. well the bands that get every thing handed to them can’t say anything about knowing how it is to book a tour or making there own merchandise, they don’t have the pleasure to tell a person: “hey i made that shirt your wearing”. Ii’s sickening to see bands that don’t make it on there own and see them on stage acting like they worked to get where they are and they made there own publicity.

andrew – i think the diy aspect of this music is great. obviously the pine is into it. we put out our 7″, make our own shirts, plus roger books most of our shows including the tour we justwent on. as a band we just got tired of waiting for someone to put out a record for us so we just did it ourselves. i have a lot of respect for bands that put out their own records. instead of just sitting around complaining about no one putting out stuff for them, they do something about it. i think ‘emo’ for sometime now has been crossing over into the mainstream world. mostly the fashion right now but the bands that people label as emo like jimmy eat world or get up kids are definitely seeing more support from bigger labels, publicists, management teams and what not but i think that kind of cross over, big label support is inevitable. look at how punk rock has changed over the years.

4) you get compared to Evergreen a lot, musically, vocally, even your name hints at similarities! obviously Evergreen was a great band, but does the constant comparison get annoying?

Bill – no, its a great compliment to get compared to Evergreen, i can understand how it would get annoying if a band was compared to a really terrible band.

Andrew – at first it kinda bugged me just because i was afraid that we would get pegged as an evergreen rip off band but i don’t think that that is the case anymore. sure there are some similarities but you can say the same about a lot of other bands and their influences. i think we have a pretty unique sound and i would rather be compared to evergreen than a lot of other bands. i’m quite happy with the way we sound.

Roger – i don’t mind the comparison at all. when i first started writing songs for this band i myself was like”hmmm, this has an evergreen feel to it. rad!!!” i love evergreen. i’ve been listening to them since my junior year in high school and i still listen constantly today.i’m 22 now so that’s………..a long time. for the record, i never sat down with the band and said” we really need to try and sound like evergreen”, it just kinda developed on its own. i’m stoked right now.this is what i’ve always wanted to play. what’s funny is that some people are like” you guys have an evergreen feel” and then some people are like” they don’t sound like evergreen, they sound like lync.” we’ve been compared to other bands too. lets see….the hated, husker du, lync, early dinosaur jr,…i think that’s it. in my opinion we do sound like earlier evergreen stuff. like the split with still life, and the emergency broadcast comp with that song “forced feed ed”. that song is so rad. i’m not out to reach a new groundbreaking level in music or anything, i’m just writing and playing songs that i love.

Kurt – it’s official that one band(especially after so much has been done) is going to sound similar to another or a few others and that goes for any band it seems like,and as far as the evergreen comparison goes i can see it through the strainy type of vocals and the open guitar chords i guess.

5) so the Pine is off on tour for the first time, how are you getting around? is it a rusty old van like everyone else has, or did the extravagant sales of the first 7″ mean you can hire limousines? (just kidding)

Andrew – kurt and roger’s dad hooked us up with the van. it handled the road well. but we had a couple of blow outs which was kind of scary but other than that the van was great to us.

Kurt – i’m happy to say my father purchased us an ‘89 astro van, in my opinion its beautiful and i think my father was the coolest ever for getting for it us, and we didn’t rent limousines……………..WE BOUGHT THEM!

6) what’s been the best moment of the tour so far? (presuming you answer this when you’re on it!) stayed in any crazy places? played any bizarre small town venues? encountered any odd people? played with any cool bands?

Roger – arroyo seco from portland. awesome. we want to do a split 7″ with them in the future. smerf from kzsu was a nice guy. i don’t know, all the people that set up the shows and let us stay at their houses were really cool for doing that. we got hit by a bird on the freeway….we played live on kzsu without any sleep……a guitar head fell and landed directly on the back of my head. that felt kinda nice……the tire blow outs…………lost my guitar because i was trying to find us a place to stay for that night(some guy flaked on us so that kind of threw off my senses )…..i’m sure there’s more.

Kurt – i would have to say the best moment was honestly the whole 2 weeks. i felt very blessed. standard cool places. cool venues. i met some of the kindest people and i had no idea there were so much drunks in this world. the coolest band was in portland, i think Roger remembers their name they were so awesome and were so nice to let us hang out and stay at their place for three days.

Bill – i would have to say the best moment of the tour was in spokane washington, there was a lot of people and we made a lot of money. well i would have to say richland was the craziest place we stayed out until like 3 o’clock in the morning with staircase eating at Denny’s before that we played a show at this guy hang out place that claimed to be a record store. In SF we encountered some bizarre people, but there is really no place with 0 weird people. I really liked playing with staircase, arroyo seco and the new brutalism. they were all awesome

Andrew – portland was awesome. we met some great people there (thanks ty, luke, and ben). spokane was also really cool we played the last show at this place called the post haus. richland , wa was really weird, one of the guys doing the show was really wasted and going crazy. roger has some cool video footage of it. some of the bands i was into were: arroyo seco, self inheritance, staircase, teen cthulhu, iron lung, and the new brutalism.

7) lyrically your first 7″ tends to cover the more personal side of things, do you find it easy to come up with things to write about? and then to get up on stage and sing about these things in front of other people?

Kurt – Roger does all the lyrics,and may i add they are beautiful ones indeed.

Roger – what’s weird about the lyrics i write is that when i first write them i have no clue what they mean. but later on they always make sense and connect with something i’m really going through. i don’t really like explaining what they exactly mean because they are always so personal. i dont have any problem singing in front of other people when we play because usually people cant hear me too well,and even when they can i’m sure they cant make out what i’m babbling about.

8) i understand your LP will be due out soon on Kordova Milk Bar records (correct me if i am wrong!), how did that come about? what will the vinyl version be like?

Kurt – i guess Roger just traded some pine 7″s for some records from Kordova and i received a call from a guy from that label saying he’d love to do an lp. it’s going to look very basic and 8 songs that i am happy to rock out to anytime.

Roger – silk screened covers (maybe,it depends on who releases it) , nice big insert, very basic. 8 songs. 5 newly already recorded and 3 from the same recording session as the 7″. we’re really happy with the way it sounds. we have a cdr version of it with cover, insert and all available right now. i really hope we find someone to release it soon. maybe we can find a couple of labels to help do a split release. as for kordova milk bar records…..no comment.

9) what do you get out of being in the band? what makes you put your heart and soul into it, and go off on tour for what your average person in the world would see as little return… can you explain this side of things?

Roger – i put everything i have into this band. i’ve always wanted to have a band that i cared this deeply for. i try as hard as i can.

Bill – just being able to be playing music with good friends. the fact i’m playing music that has meaning to everyone. the average person i think just has to try touring for them selves.

Andrew – i’ve just always wanted to play music with good people and have fun. i’ve always just wanted to inspire people the way other bands have inspired me.

Kurt – all i can say is i love this band ssssooooo much. i’ve been in it since i was 14 years young and i can improvise stuff, i can use all the delay i want, I can make all the noises i want and it will fit beautifully. it keeps me alive it’s what i look forward to and it will always make me happy. so take what i said and multiply it by 1 million and that will come close to my feelings.

10) is there any significance behind the band name at all? does it represent something or was it just because you decided it was a good name?

Kurt – Roger got it from one of my favorite movies “Blood in Blood out” it was a gangster movie, they hung out at a big pine tree and I dig the ways Roger picked it because it represents their innocence and purity.

Roger – i got the name “the pine” from my favorite gangbanger movie “blood in blood out”. the pine was a tree that the LA gangsters hung out at when they were younger. they always said “lets go to el pino…the pine ese’”. towards the end of the movie they went there separate ways but they always went back to the pine to remember their childhood. i liked how the pine represented there togetherness and unity, but it also represented how things will always change and that there is nothing we can do to change that. i guess all in all it is a symbol of life.

11) what do you think of the 80’s revival with this whole chic for old video games or indie bands that sound like Depeche Mode or something? is it fun, or do you think a bit forced?

Bill – i think its getting a little too trendy its turning in to a fad, i think these bands should just be original and leave the 80’s alone so it stays as a great period in history.

Roger – I’m not sure about all that stuff. the last fad i noticed in the whole music scene was tight high water pants and that’s been going on for a long time.

Kurt – i don’t listen to much music so i didn’t know that was happening, but whatever floats your boat man.

Andrew – . i like some of the bands that might have that kind of 80’s feel to them, such as the faint or sunshine. i dig old video games just as much as the next person but i really don’t get too rapped up in them.

12) this is a traditional penultimate question that we always used to have in our zines interviews, when the website had a different look and theme (weather & transport). so, what is your favourite crazy weather condition? and what would be your perfect way to travel to a show?

Bill – my favorite weather condition is really cold and rainy, its too miserable to travel in 100 degree heat. cold with an over cast to a show but not raining its a little too dangerous, i think.

Andrew – i’m not too big of a fan of rain or snow, but i would rather have it cold than hot.

Roger – i like rain and fog. for shows i don’t care as long as we’re not stuck in LA traffic.

Kurt – i love those traditional questions, i really love that rainy dark during the day weather because i love to wear jackets. i’m into the way we traveled on this tour.

13) and that’s all! i hope you have a great tour and some fun times and that nothing goes wrong. thanks for taking your time to do this. is there anything you want to add? contacts? info, etcetera…?

Kurt – these were nice questions thank you for making them up for us.

Andrew – thanks to the rest of the pine for a great first tour, my girlfriend LACEY, and all the amazing people we met on tour…..

Bill – well, thanks for having us and i think all the info and contacts anyone needs you got from roger if anyone has any comments or questions just e-mail roger. thanks.

Roger – well, thanks andy! thanks for having us. thanks to everyone that helped on the tour.

Pennines / Teenage Cool Kids / Algernon Cadwallader – Cambridge Portland Arms, October 8 2009

October 12th, 2009

it’s been a while since i visited the Portland Arms. my tattered memory suggests that the previous occasion was possibly 10 years ago, when bluetip played. and cortina. cortina was a band featuring guys from bluetip. they played indie / emo, like christie front drive or something. sadly, there is no demo that i am aware of. if you are aware of it, please send it to me.

anyway, on to more recent events. i really like the Portland Arms, even though it seemed perilously small, or perhaps because of that. it’s cosy, has a nice bar and good beer. after sampling a little of the latter, we made our way into the back room where norwich loocals boys, Pennines, set about opening up and impressing everyone. yes yes, Pennines, stray a little close to American Football’s formula at times, it’s all pleasant guitar twiddling and nice songs – but they do this so much better than their many contemporaries by actually having some song writing smarts and crafting good tunes instead of just widdling away techinically. maybe it’s because they are norwich lads and therefore i have a sympathetic soft spot for them, but i think there is more to it than that. Pennines are good. they also got my hopes up momentarily by playing the first few notes of A Picture Postcard. i quizzed them on this later and it turns out that it wouldn’t take too much prompting for them to play an entire Promise Ring covers set. they’re just lacking a Davey. better get to work on my lisp.

couldn't you take the second bus home?

couldn't you take the second bus home?

after Pennines was the main attraction for me, the mighty Teenage Cool Kids. belying their cringe inducing monicker, these guys have cranked out two fine LPs already. the first is a youthful, joyful romp – the kind of album that can only be made as a debut. bereft of pretension or a desire to be hip, it simply ropes together the best elements of 90s indie rock, and then uses it as a bungie. this summer’s follow up somehow improved on the formula, showing off a band fully in control, and moulding the clear influences into something very special indeed. would they manage to do this live? would they ever. the gig tonight was one of the most enjoyable i have witnessed in the past few years. they romped through every song i wanted to hear, including the one with the awesome promise ring bass riff off Queer Salutations, you know the one i mean. each song careered off after the previous finished, it could only have been better if we’d all been wedged in the band’s hometown basement with sweat dripping off the pipes. at times i felt like i was the only fool who was really getting into it, but what the heck. TCK were brilliant, exceeded my expectations and had me grinning like a child. one guy in the band even wore a sinaloa shirt. ace.

not teenage, not cool, not kids

not teenage, not cool, not kids

 after all that was algernon cadwallader. algernon cadwallader do not click with me. i think i am probably a bit old, but pretty much everyone else present tonight was hog wild for them. to me, they sound like a mish mash of some bands i really like, but without doing anything remotely interesting with the sound. i am also a little jaded to see that if a band is influenced by late 90s midwest emo, they stop at cap’n jazz and american football. that is a depressingly small amount of influence to take from the most furtile period of indie rock. anyway, i skipped a bit on algernon. i mooched at the bar with Mike to discuss Dillinger 4 and Mike’s forthcoming appearance in the NME. i mooched at the back to discuss the Promise Ring with Jem, and i mooched outside to post pointless messages on the internet via my phone. algernon cadwallader simply was not for me. it’s all a bit dudemo, young guys hi-fiving and back slapping and twiddling their guitars. i don’t get it.

and on that less than upbeat note, i call this entry to an end. i did really enjoy my evening, good people, two great bands and a good venue. i hope it is less than 10 years before i set foot in this place again.

the Strange Boys / the Get Up Kids / Dinosaur Jr.

August 29th, 2009

Now that’d be a crazy lineup and a half wouldn’t it? Instead it was a 3 day booze fueled jaunt by myself and long time Collective-Zine forum denizen, Victor Lazaro, taking in the sites and sounds of London and Cambridge. Things were to begin and the rickety little den that is the Windmill in Brixton. I had not been here since around 1999 or so, the fateful day that I met Chris Bress for the first time, saw Alkatraz, and scored a bunch of cool emo sevens for not a huge out-lay. This time around, mostly we hung around outside waiting for the Strange Boys to start. The support bands failed to capture the attention and the names of both have long since departed my brain. Instead me, Vic, Alex Deller and James Deller hung around outside like grumpy 30 somethings do, talking about the olden days, although James later told Alex that listening to us talk about records was like listening to people speaking in code. Regardless of our anti-social nerdery, we made our way inside to check out Texan foetuses, the Strange Boys. This beguiling foursome have a combined age of 9, yet play music that sounds like it should come from the instruments of hoary old bluesmen. The only hint on record that these guys are youthful are the slacked jawed vocals of pure youth. The rhythms and guitars however are classic ye olde time American, and this band played for around 40 minutes, not even coming close to outstaying their welcome. There was barely a word uttered, and no hint of an encore (I wish more bands dispensed with an encore, don’t tease us), and they cranked it. Very few hipsters in attendance either, though a couple of oafs elbowed their way to the front near the end, presumably to be seen or something. We all rather enjoyed the Strange Boys, and you should ensure you pick up their LP on In the Red post haste.

the boys are not that strange

the boys are not that strange

The next day saw me and Victor wander around London in the heat, sleep in Hyde Park, wind up in Camden, leave our bags at a scummy hostel that charged us a mere tenner for a nights sleep.

Abu Ghraib

Abu Ghraib

Then it was on to Camden, to try and find a pub that did not want upwards of four pounds for a pint. Duly successful, we had the nutritionally satisfying dinner of “a plate of nachos”, before we hit up the Camden Electric Ballroom to witness the mother fucking Get Up Kids. What were we thinking? I have detested this band since the 10″, and Vic is not much more tolerant than I. Nevertheless, things looked up when they opened with the impetuous “Coming Clean”, maybe things would be OK after all. Sadly, it was a false dawn. Although they treated us to a solid rendition of “Woodson” that I was happy to air guitar stupidly to, and try and sing a long to the bits I remembered, it was like watching a Get Up Kids covers band. It was a complete farce. At one bit they even made everyone cheer for the bloody keyboard player. To me this was the gravest insult, once that dude joined the band it was all down hill. Me and Vic retreated to the smoking area. I have asthma. That’s how bad the Get Up Kids were. I probably took 5 years off my life to avoid seeing them play a few shitty songs. At some point they played a dub song. A fucking dub song! We returned to yell out of tune at “Don’t Hate Me” and some kid walked past me and said to his pal ”That’s Andy Malcolm, I used  to buy records off that guy”. He was gone before I had a chance to stop him. Very odd. The Get Up Kids struggled on to the end, playing a couple of dire covers (how bad is it that a band on a reunion tour plays 2 covers, yet only 2 songs off their best LP?), and it was embarrassing. Not nearly as the site of me drunkenly singing along to “Is This Thing On?” with Vic and no-one else at the Camden Barfly later, one bright, requested spot amidst a torrent of Fall Out Boy and MTVmo smashes. We were later to return to the Camden Inn and pass out, but not before laughing at some girl in the cooridor, who was trying to get to the toilet. I am not sure why were laughing at her. She did not look that impressed by us.

After that shocking evening, I woke up at 8am and left to wander Camden and shake off the fuzz of too many lagers. A lucozade later and Vic stirred, we were off to Cambridge, feeling a little worse for wear. Vic encountered a naked 50 year old man in the showers, and was feeling a touch off colour. “Good morning!” was the nudists pleasant greeting, but Victor was not in such high spirits. I shunned the showers, and waited to see what erstwhile friend of the C, Toby Canham-James had to offer in the way of hot water and no naked 50 year old guys. It proved the correct decision. So, off to the Junction in Cambridge, a venue I had not visisted since I saw the Wildhearts in 97 or something. Again we turned our nose up at the support and arrived at 8.45, just in time to see a few roadies tuning up guitars. At approximately 9.15pm, the old bastards that make up Dinosaur Jr sauntered on stage. And proceeded to blow us away. It was 75 minutes of pure belligerence. My ears may no longer be ringing but the frequency range is certainly diminshed. The band pummeled us into submission. Barlow pounded bass, and Jay sleepily played towering solos. They were having a whale of a time. Many old hits and new classics from the two excellent recent LPs. This was as good a band as I have seen in years, the sound was perfect, the set was great, and the music was untouchable. Thank you Dinosaur Jr, after the inexcrable performance of the once mighty Get Up Kids, you have shown that it is possible to grow old and fat and not forget how to be any good. A beautiful evening, I didn’t stop grinning.

Jay Mascis: "Ok"

Jay Mascis: "Ok"

Thanks to all the bastards involved in making this a brilliant three days! Except for the Get Up Kids. Screw you guys.

Tombs Interview

July 21st, 2009
Tombs L-R: Mike Hill (g/v), Andrew Hernandez (d), Carson Daniel James (b)

Tombs L-R: Mike Hill (g/v), Andrew Hernandez (d), Carson Daniel James (b) - Photo by Jimmy Hubbard

Mike Hill is probably one of the most hardcore people on the planet. A fierce work ethic that has seen him serve time in the excellent techy hardcore band Anodyne through to myriad other projects has eventually led to what appears to be the most cohesive unit in terms of playing and sound. Tombs sound like no-one else at the moment; a transcendent wall of sound mired in doom and gloom. Mike was kind enough to write me back with some answers to some questions. Enjoy!

Can you give a rundown / timeline as to your activities post the dissolution of Anodyne and the formation of Tombs?

After Anodyne broke up, I did a band with Jamie Getz (Lickgoldensky, Gods and Queens). This actually overlapped with the final months of Anodyne’s existence; we rehearsed in the same room and it was great, I was playing pretty much six or seven days a week between both bands. When Anodyne disbanded, I focused on the Getz collaboration as a more full-time gig. We actually toyed with the idea of calling the band Gods and Queens but eventually settled on Versoma; our first choice for a name “Matamoros” had some alleged white power overtones. I always thought Matamoros was a bordertown in Mexico.

Versoma released an ep on Robotic Empire, did a tour with Red Sparowes, played some dates with Isis and fizzled out due to lack of interest. Jamie and I wanted to do different things so it didn’t really make sense to continue. I also managed to alienate our rhythm section during our CMJ showcase so the band was more of less broken up anyway.

I moved directly into working on material for the band that would ultimately become Tombs. At that point, it was me and the original drummer, Justin Ennis kicking around ideas and experimenting. Some of the material was culled from ideas that I was working on for Versoma so much of the first EP has a kind of “shoegazey” vibe.

There have been some lineup changes over the last couple of years. Justin was ejected from the band and Domenic Seitia, our original bassist formed A Storm of Light with Josh Graham. The current lineup of Tombs is solid. We all have similar work ethics and everyone is civilized.

When comparing the sound of Defeatist with Tombs, one could construe that you wanted to do something more epic and song-based whereas the other two just wanted to strip things down and grind it out. Would this be about right? Were there other factors not to do with musical differences that contributed to the eventual split of Anodyne?

It’s solely a musical thing. I love both of those guys and we remain close friends. Defeatist and Tombs have shared many bills and I think that they’re one of the more interesting bands working in the grindcore medium thiese days. I wish they would play more.

I think the primary departure was that those guys wanted to do something more extreme and stripped down. At this stage of the game, I want to create bigger productions using more layers and more diverse instruments.

Was it a conscious effort on your part to try something different? How would you personally describe the sound to someone who had never heard you? How would you “sell” it to a potential listener?

I just follow my instincts. I wouldn’t say that it was a conscious effort. I didn’t wake up one day and decide to rip off My Bloody Valentine and buy a ton of effects pedals. It was a gradual kind of thing where I would test the waters. I think that some of the material on “Lifetime of Gray Skies” gives a hint of some of the concepts that would be used on the Tombs records.

I don’t know how I would describe the band. Ultimately I end up saying that I want to be like Richie Blackmore during the Deep Purple Machine Head era, but for you, Kunal, I’ll give it a try.

Tombs = gloomy blackened doom-core with a shoegaze sensibility.

How is the dynamic different in this band compared to your previous ones? Is it a democracy or a dictatorship? What is the songwriting process like for Tombs?

Honestly, and the other guys will back me on this, the writing is more of a dictatorship. I write 99 percent of the material on my own and bring it to rehearsal. We arrange the songs as a band. I’m open to what the other guys say because we all share similar tastes in music. Usually, if Andrew suggests something it’s on point so “being open” isn’t really an issue. Nobody’s suggestions are coming from left field.

Tombs' first EP

Tombs' first EP

How did the Relapse hookup occur? How has their treatment of you been (or can you not say)?

It was a pretty low stress scene with the Relapse thing. Greg Drudy, who works at Relapse as well as doing Level Plane / Enucleation records, gave a copy of a demo we recorded to the point men at Relapse. They dug it. We were on tour, played a show in Philly and the offer followed. So far things have been pretty right on.

Your touring schedule is rigorous. Do you have regular jobs and how does “real life” fit around the band?

Somehow it all works out. It’s a tight rope walk and at times things get pretty shakey but we all make it happen with respect to our “day-jobs”. My “personal life” is currently in a shambles but that kind of stuff happens from time to time and I just have to deal with it.

How has the response been to the live show? When supporting bigger bands, is it the usual indifference to support bands, or is there a marked difference according to who is headlining? Have you had much chance to headline gigs yourself?

The response has been really good on the last few tours. The opportunity to support Isis, Pelican and Wolves in the Throne Room were amazing. It was the perfect situation for us to get out there with those bands. It’s easy for me to take the cynical path and say that I don’t care if anyone likes us or not, but after years of touring I have to say that it definitiely helps.

Is being a band in New York tough? Are practise rooms expensive to hire, or spaces tricky to find, and venues difficult to park at and so on? Is there a scene as such in the densely populated metropolis?

It’s hard to be a band in NY. Rehearsal space is overpriced, parking is tough and in general there isn’t much of a scene.

I don’t want to be part of any scene; I don’ feel comfortable with being a New York Band or a Brooklyn Band because we do’t have anything in common with a lot of the bands in this city. I just want to be on the road.

Tombs - Winter Hours

Tombs - Winter Hours

Have you had interest in Tombs from quarters that previously would have given, say, Anodyne short shrift? Would you attribute this to your sound or the involvement of a large independent label?

Anodyne had a very specific audience so yeah, a lot of people that wouldn’t have been into Anodyne seem to be into Tombs. To me, I don’t see the difference, but I guess Tombs has more melody and it’s easier for people to relate the the music. I don’t know. Being on Relapse has definitely been a big help and they have allowed us to get in front of a lot of people.

“Winter Hours” seems to have picked up a number of very good notices. How important is the critical reaction from the press at the end of the day? Have you had much audience response in this respect, at gigs or via fanmail and so on?

The media, though, I admit is important and necesary, doesn’t play as big a part in the success of your band. I take it all with a grain of salt. Anodyne got really positive reviews but we were always a super obscure band to most people.

I have to admit, that I do get a fairly steady stream of email from people regarding the band. It’s important to me that I answer everything, my point is that everyone is busy these days and if you take time out of your schedule to put together some kind of correspondence, the least I can do is write back.

Your label Black Box has put out a handful of great, well presented releases. Do you plan on continuing with it or does Tombs occupy too much time? What were your reasons behind starting it and what are your aims with it?

Tombs has definitely moved up on my action item list. I’m still doing BBR but all of the touring has made it difficult to manage everything. My next release is a split 12-in with Dead in the Woods and Diet Pills. It should have came out in the spring, but the touring set it back. I’m going to be home all summer so the revised release date is fall 2009.

I started the label because I wanted to put out quality music that I thought was important. I feel like a band like the Wayward should have their own section at the local record store. I would like to do whatever I can to facilitate that.

Judging by the (often personal) commentary in your blog, it seems like touring is more gruelling than rewarding. Is it something you enjoy or something you feel you have to do as part of the band lifecycle?

At this point, it’s part of who I am. It’s important in the business end but I also need to travel aspect of it. Every night is an achievement and I love to achieve.

You’ve been doing this for a long time. What keeps you hungry for it? What do you hope to achieve with Tombs? A similar longevity to Anodyne (which I would consider to be lengthy within the hardcore genre)? Absolute world domination?

Absolute world domination. I want to have my own country and I want “Seven Stars, the Angel of Death” to be it’s National Anthem.

Links / Tombs / Black Box / Relapse

Army Of Flying Robots / Battle Of Wolf 359 / Hello Bastards / Dopefight – London 12/07/09

July 13th, 2009

This was probably going to be my last chance to see the mighty Robots, so I had to go really. London traffic and the elevated temperature got me in the right frame of mind – pent up and aggressive.

Dopefight continued my emotional arc with their gnarly downtuned stoner sludgecore. I’m sure they’ll come up with more and more killer riffs at this rate, which is what it’s all about really, because it’s not an overly deep genre. I really enjoyed it, although I did need to nip out after a few songs to get a beverage to combat the oppressive heat.

I was expecting boring crusty punk from Hello Bastards, and while they have an aesthetic that may suggest that on their shirts and records, they certainly surprised me with some ripping near-grind in places and playful powerviolence. Wicked drumming, and even wickeder gurning, but could it do with a bass in there and less singers?

BOW359 are a total (Borg-like?) machine nowadays, with lots of people onstage to observe which is fun. Some tuning issues aside, it was dense and heavy and the mental fast bits were offset with lovely, crushing slow bits. Sure it’s a formula that they keep repeating, but it works bloody well. Another kickass drummer too.

And finally AOFR. It would be a sad moment but they’re totally angry and vicious and treat every gig like it’s their last anyway, so it’s not long before they’re blasting out track after track like they always have, one difference being that Henry has turned into a ball of hair with some eyes and a nose placed on it. The crowd go nuts, and Luke’s the most kickass drummer of the entire night!

AOFR play Supersonic Fest on 24th July, and have a farewell gig in Nottingham on August 7th. Don’t miss out. And buy the CD I put out by them while you’re at it.

Thou / Moloch / Ghast / Spider Kitten – Newport, 21/06/09

July 8th, 2009

Although Newport is a bit of an armpit, Le Pub is an absolutely wicked venue and a haven from the outside world, and it’s not even that far from Bristol. A half-hour jaunt across the architectural wonder of the Severn Bridge makes for a nice drive, although the toll seems to go up 30 pence each time we go over. Bastards.

spider kitten

Spider Kitten

Spider Kitten sound a bit Godflesh-y thanks to some chunky drum machine beats, dense riffs and hoarse vocals, but it’s dead plodding and they keep trying to sing and do melodic bits which tend to fall on their arse. Ghast plough through some black metal and pay their respects to the classics of the genre but it’s a bit much for me on a Sunday evening so I hide downstairs to nurse a soft drink.

moloch

Moloch

Moloch are up next and they’re something of a Nottingham supergroup now. Chris is still singing, with Henry and Craig from Army Of Flying Robots (Henry’s drumming here, his genetically modified power-calves positively stamping down on the kick pedal) and Steve from Gramercy Riffs helping out. They sludge it out with some big riffing and a nice hardcore vibe running through it all, providing a homegrown alternative to bands like Fistula, Rue and 16. They’re not quite as memorable as those bands yet, but they will be soon I’m sure, and they rock it live.

Thou

Thou

Thou are from Baton Rouge in Louisiana, and as such have that swampy sludginess running through their veins. They are quite the tight unit having got all that practising, gigging and recording under their belts in what seems like a frighteningly short period. Straight from the off, they blow us away with a seriously loud, seriously satisfying bit of downtuned chug, but the key thing is that they don’t dwell on anything too long, and before you know it, the songs have flowed into embellished sections of psychedelic, winding, trebly, duelling guitars. Super.

Thou

Thou

Coalesce – Plymouth, 18/06/09

June 22nd, 2009

The White Rabbit, Plymouth – 18th June 2009

A quick glance at the tour poster tells me Coalesce are really getting about on their first ever jaunt across the pond. Amsterdam, Berlin, Prague, Zurich, Hellfest in France… but Plymouth?!?!! Someone’s fucked up real bad here.

a whole lot of not many people

a whole lot of not many people

So as expected it’s not as rammed as it should be, with some blissfully unaware locals, some fans from the slightly hotter musical bed of Exeter, plus a gaggle of morons willing to drive from Bristol on a schoolnight (i.e. me and some chums dragged along to keep me awake). We arrive mega-late due to Google map miscalculations only to find no bands have played yet, our relief at not missing Coalesce offset by the fact that we’ll be getting home at a correspondingly late time. There’s only one support band, Cornwall’s Crocus having pulled out due to the drummer being on holiday. Local chunners Castor Troy (not the defunct one from the Midlands with Montana folk in) tickle the cochleas prior to the main event with their tight but utterly run-of-the-mill haircut hardcore and have the good grace to play for 20 minutes, though it did seem longer.

coalesce

Coalesce seem like grizzled dads and nice dudes, highlighted by them dishing out a tray of free whisky shots from their rider prior to starting. A couple of songs in however, and they then seem like apeshit lunatics when they short circuit the lights and Jes Steineger flips the tray of remaining shots ceilingwards with his guitar, all of which combined with the dense ferocity of their mangled metal hardcore creates a fairly terrifying experience. I’ve never had whisky in my eye before and it hurts. The band gives it their all, especially Steineger who is either on the floor or on the audience, slamming the hell out of his suffering body and guitar. Ingram’s thick, phlegmy roar holds together well, and the rhythm section kills us all.

coalesce

Somewhere in the melee they played a select bunch of songs from the entire back-catalogue: Have Patience, cowards.com, Jesus In The Year 2000, A Disgust For Details, One On The Floor, You Can’t Kill Us All, A Safe Place and 73-C all featured, in amongst a bunch of new ones from “Ox” which sounded great too. Well worth the 13-year wait even if my head hit the pillow at 4 a.m.

Aethenor / Bugbrand – Bristol 15/06/09

June 21st, 2009

Bugbrand is a man called Tom, an enigmatic Bristol resident who spends a lot of time mucking about with circuit boards and soldering irons to make boxes and machines that make a massive array of weird analogue bleeps and bloops. His former incarnation as Knowledge Of Bugs was a highly enjoyable noise act, creating a pleasing ambience that pulsed and phased through a variety of soundscapes, but also stepped outside of the nerd-crouched-in-front-of-laptop live setting schtick by actually showing you how those sounds you were hearing were being created in real-time, be it contact mikes on slinkys, e-bows on guitars, laptops played through toy megaphones, and so on. Bugbrand on the other hand seems to be a step away from this involving approach, with Tom utilising a single box with tons of sockets, connecting wires in an ever-increasing tangle and twiddling knobs in a manner that ultimately distanced the audience through the incomprehensible nature of the performance. Ultimately, the monotone bleepsand cycled drones (together with sporadic guitar that was soon dropped) didn’t contain enough light, shade or structure, seemingly appearing random and accidental rather than part of any great plan.

Bugbrand

Aethenor is a supergroup worthy of the term. As much as I’d like to hate Stephen O’Malley, you can’t deny he’s in some cracking bands, and maybe the issue I really have is how much certain fanboys fawn over every single fart he produces. With SOMA on guitar, you also have the keyboard player from Guapo, a geezer from excellent Swiss experimental rockers Shora on noise, and, best of all, the drummer from Ulver, so there are certainly no slouches here. Having only recently got into Ulver, especially the later stuff, I was extremely pleased to see that the latter’s skills were exemplary, very jazzy and intuitive, providing an absolute base for what seemed to be a largely improvised bout of pleasing ambience, soon building to stoned freakouts. Usually this stuff really sinks or swims live, but for some reason, on a school night in the intimate surroundings with forty or so other people, it worked. It was nice, loose and exploratory, and clearly made by a bunch of proficient like-minded souls in tune with one another.

An Experiment on a Bird in the Air Pump, Men, Fever Fever – Norwich, 20/06/09

June 20th, 2009

finally, a gig in norwich. i wasn’t exceptionally optimistic about this one, but i had little else to do on a mediocre saturday night and managed to trick a friend into attending, despite him having no prior knowledge of any of the 3 bands due to play.

fever fever stepped up first and played a solid burst of post-gunge riot grrrl punk. fairly standard, and, as was to be the case with all the bands tonight, completely wasted on such a big venue. in a sweaty beer pit, this would have been an inspired performance but the arts center is a cavernous auditorium, and the spirt of fever fever was rather lost.

men

men

next up was men, featuring norwich folk who have served time in bands such as the captain, that band that carl did with neil and some other guy, and fun yeah. men displayed a nous for pop punk mixed with post punk mixed with funk mixed with braid. they did not dally, five songs, on and off. good banter, good times. they sold a cdr demo for 20p to cover costs of the cdr purchase from WH Smiths 2 years ago. men’s best songs were the well drilled ‘calculators’ and the pop punk dynamo of ‘re: your rebranding’ which is a stomping master piece. this 3 piece is tight and hefty and they should go down well elsewhere in the country and i look forward to seeing them again shortly as they are utterly entertaining.

last up was the the absurdly named an experiment on a bird in the air pump.

an experiment on a bird in the air pump

an experiment on a bird in the air pump

i expected to have no interest whatsoever in this band, but they stole my mind and heart with a slightly overlong set of primal garage. a 3 piece drum kit with no cymbals, no guitar and at least one bass (sometimes two), saw these 3 long fringed lasses hurtle headlong into garage barnburners that i would liken to miss alex white and the red orchestra. this was ramshackle, blistering and intense. good shit. i couldn’t fathom why they had no records for sale. go see these people if you can, they are up to no good.

and so, i left with satisfaction, this was a fine evening, better than my jaded self expected. investigate these bands if you see them in your local gig listings.

The Shivering – Behind Broken Eyes

June 16th, 2009

i never reviewed this when it initially came out in 2000 or so for whatever reason – it was the first release by the Shivering, a band who cranked out a goodly number of excellent releases and have since seen members go on to bands such as Baader Brains and Bullets*In amongst others. i figured more people would like to hear this album, so wrote a bit about it on the obscuremo blog. it is a fine mix of intense, heart on the sleeve revolution summer era emo and 90s melodic punk. enjoy.