Coming Soon: Chairlift

Chairlift @ Kung Fu Necktie (9/06)

At times Chairlift sounds like a Post Punk aerobic workout (“Bruises”), at times like Moz and Marr on a space station (“Somewhere Around Here”), and at times like a John Hughes prom spiked with absinthe (“Planet Health”). However, at their best and chicest they are making runway music for androgynous androids (“Le Flying Saucer Hat”). Their enchantingly postmodern debut LP (originally released on Kanine Records in 2008 and re-released by Columbia Records in 2009), Does You Inspire You, has the Williamsburg trio swimming through ambiguous and undiscovered galaxies of musicality, while also firmly rooted in an 80’s pop aesthetic. If you’re still intrigued, make sure to check out Chairlift at Kung Fu Necktie to see Dream Pop, wrapped in New Wave, shrouded in Sonny Chiba. Izzy Cihak

David Bowie - Storytellers

David Bowie
VH1Storytellers
Virgin

You’ve probably never envisioned Ziggy Stardust in a hoodie. However, the sight turns out to be far less revolting than you would have imagined. Finally available for home viewing in a CD/DVD package is David Bowie’s edition of VH1’s Storytellers, sickly cousin to MTV’s Unplugged. Despite our hoodied narrator performing in front of a collection of seated, faux “in-the-know” superfans who very likely have full bootleg’s of all eight shows Mr. Stardust performed at the Tower Theater between 1972 and 1973, yet have never donned a pair of gold lame pants themselves, the performance itself is the furthest thing from the drab collection of top ten hits, phoned-in from-the-space-station that one might expect.

“Life on Mars?,” Mr. Bowie’s masterpiece of all-time, begins the set in an unfortunately abbreviated format, followed with the very fortunately abbreviated rendition of “Rebel Rebel” (no one wants to see a middle-aged Englishman enacting the quintessential anthem of androgyny). Also included is the most raw and sincere performance Bowie has likely ever managed of “China Girl;” the Glamtastic early single “Can’t Help Thinking About Me,” and “Drive-In Saturday,” a brilliant but forgotten piece recently re-legitimized by St. Morrissey.

The set also includes a handful of tracks from 1999’s villainously underrated ‘hours…’, a piece far more worthy of unearthing than recent DVD re-issues of concerts from the Serious Moonlight or Glass Spider tours of the 1980s when the The Thin White Duke made a sincere attempt to get in touch with his heteronormativity. Izzy Cihak

Lewis & Clarke - Light Time

Lewis & Clarke
Light Time
La Societe Expeditionnaire

Lewis & Clarke have attempted to pack a concept album into a 22-minute, four-song 12”. While their artistically melancholy view of neocapitalist society sounds intriguing (albeit very hackneyed) on paper, their delivery is far too subtle to make any point and their lyrics fall victim to cheesy folk clichés: “In the petrified forest, where your heart is frozen still, you will bring it to life… you will bring it… you will.” Izzy Cihak

Music Review: West Gate "Daylight"

West Gate
Daylight
2009/Unsigned
westgateband.com

RATING: Listenable

Produced by Grammy Award winner John Seymour, Daylight, the newest release from the New Jersey-based rock quintet West Gate, is a boisterous effort that melds melodic vocals, pulsating bass lines, heavy drumming, eager guitars, and perceptive lyrics. With songs like “Ordinary,” “Want it All,” and “Alive Again,” West Gate is ready for the radio-friendly rock mainstream. The only real disappointment is the inclusion of West Gate’s cover of Seal’s “Kiss from a Rose.” It’s not because their version is so far off from the original – in fact, it’s quite similar. The issue lies in the fact that West Gate is unconvincing at recreating the sensual machismo found in the original – vocally and musically, the masculinity seems forced. But with that track aside, and some tweaks here and there, Daylight is one infectious rock record. -Annamarya Scaccia

Interview with Beyond From Within (Pittsburgh, PA)

Beyond From Within is the brain child of founder, lead singer/songwriter, and single member Steve Andrews. The musical genre of Beyond From Within is a mixture of psychedelic folk, pop, and rock. The psychedelic edge isn’t dominant but has a mellow presence in the music. Elements of synth are also added into the musical mixture to round it out and give a little of something for everyone.

Andrews calls Pittsburgh home and his music (Beyond From Within) is his one man creation - he writes the songs, plays all of the instruments (guitars, bass, keyboards, drums), and sings all of the vocals. Andrews talked about his one man project, saying “The concept and name of Beyond From Within came about when I was writing the deep, psychedelic song 'Seven Strangers.' Beyond From Within is original, clever, creative, and unique. The unique melodies and thoughtful lyrics take you on a soul searching journey."

After pausing, he mentions his influences. “The biggest influences on Beyond From Within are the Doors, Rolling Stones, and the Who. Jim Morrison's deep lyric verse has been a great influence on my writing. Their music is fantastic!!," he says. "Some of my favorite songs are, 'Paint it Black,' 'Light my Fire,' 'Street Fightin Man,' and 'We Don't Get Fooled Again,' etc... [They] are songs that have influenced my melody writing."

Andrews continues: “My first experience with music came when I was a vocalist in a grade school choir. I started playing and creating music about fifteen years ago. At first, I didn’t know what a chord was, key signature, bass clef, treble clef, etc...I started as a lyricist. Then, I took some guitar lessons, and everything else has evolved from there. I am considered a self-taught musician."

Andrews’ Beyond From Within project can be seen as a flashback to the past. The songs have a '60s psychedelic feel, mostly thanks to the guitar parts found on them. The lyrics have an underlying spirituality, not heard too often in this day and age.

Beyond From Within has an album out by the same name. The tracks that stand out due to being acoustic guitar driven are, “Forever Road/Lonely Penny,” and the Dylan-ish folk pop song, “Between the Rain." Andrews comments on his self-titled album (reviewed in the latest issue of Origivation): “Beyond From Within was created with the objective to encourage and take listeners on a journey that they will want to take over and over again." The final outcome of Andrews' debut CD is a solid gold hit for those music lovers wanting to experience something different.

When asked what was in the future for Steve Andrews and his Beyond From Within one man project, he thought a moment and then said, “Beyond From Within is on a timeless journey searching to explore and conquer minds, which it has yet to conquer and discover.”

If you would like to find out more about Beyond From Within and experience it’s timeless journey go to http://www.beyondfromwithin.com. -Crazy John Kerecz

UUVVWWZ - S/T

UUVVWWZ
UUVVWWZ
Saddle Creek

There’s always been something cool (and obviously pretentious) about a band whose name you can’t pronounce... of which UUVVWWZ are both. The sound of the Nebraska quartet’s debut album is a pastiche of Noise, Riot Grrrl, No Wave, and other movements that you weren’t hip enough to indulge in the first time around. Izzy Cihak

WARPED TOUR EXTENDED: Interview with Sing It Loud

Sing it Loud grew out of a friendship between cousin's vocalist Pat Brown and guitarist Kieren Smith, who founded the group together and added members whom they met locally in the Minneapolis music scene. The band was offered a contract with Epitaph Records after playing only seven shows together. Their debut release for Epitaph was an EP produced by Josh Cain of Motion City Soundtrack, released in March 2008.

They released a full-length album, Come Around, in September 2008, which hit no. 44 on the Billboard Heatseekers chart.

We sat down during Warped Tour with singer Pat Brown to discuss the tour, his music, and his new girlfriend.

Can you tell us how you started out?

Brown: We were all in touring bands that were pretty popular in our hometown (Minneapolis area of Minnesota). Our bands kinda fell apart, 'cuz there were people who wanted it a lot more than others. Seeing as we had the same aspirations, we just kinda formed what we thought would be a personality super group (since we had all been in bands with people that we wished we weren't). We played our first show on July 11, 2007.

When'd you get your first big break?

Brown: The story of how we got discovered was a very “right place/right time” sorta deal. We won this contest to open for Motion City Soundtrack, which is a band that is really popular from our home town. We befriended them at the show and kept in touch. They pitched us to their label, Epitaph, and convinced the owner of Epitaph, Bret, to fly out to see us. He did, and signed us.

How does it feel to be on a label, Epitaph, with a mainstay of music so different than yours?

Brown: Some people might look at it and think that it's weird, or not a good thing, but I love it 'cuz I'm not only on a label with bands that I really looked up to for a long time, like Bad Religion, NOFX, Atmosphere, Story of the Year, Newfound Glory. The coolest thing about it is that there's no band on our label that sounds like us. Alotta major independent labels these days sign the same band over and over with the same trend. We're lucky to say that we have a reputable, long-standing-bad-ass-record-label. They signed us because they like our music and what we're about, whether or not there are other bands that sound like us on their label.

How do you like Warped tour? Is this your first Warped tour?

Brown: It is our first Warped Tour. It's amazing! There are a lot of bands that I grew up listening to, and alotta bands that we've toured with and have become friends with. Add in alcohol, subtract the bullies, and it's basically like a summer camp for 22-year-olds--it's alota fun/a traveling party. Warped tour was such a part of my teen years (when I was in junior high and high school), so it's really cool to be a part of it this year.

It was really sick when you got everyone in the audience to crowd surf.

Brown: Yea, did you like that? Nice. Yea that was fun, I do that every day. 'Cuz alotta times, you know, people are shy, so it's fun. It's funny. It's really funny 'cuz you get people who are stoked and you get people who are really pissed off that people are crowd surfing, but whatever, I think it's funny. When I went to warped tour I crowd surfed all the time--and at shows--I loved it.

You got the crowd pretty pumped up with that.

Brown: Yea, its fun. Gotta have a good time, you know.

It seems like you guys have a lot of heart as a band. You made a speech on stage about people who hate on everyone else, and how they just come to Warped Tour to make fun of people. You further stated that you want everyone to be united and cool to each other. That's what Anti-Flag are all about.

Brown: Yea and that's what Anti-Flag does to this day. When I was in high school, I wasn't popular by any means. There were alotta people at my school who were such assholes to everyone, and made fun of people for no reason. Like the high school jocks that just make fun of people, and like two years after high school, it's like, “Bro, high school football is over man, what are you gonna do now, how are you gonna find your coolness, 'cuz there is none, you're an asshole.” Alotta people suck, and it bums me out. Some bands get up on stage, acting tough, and yelling at their fans. They talk smack about other bands and try to act cool. We don't do that. We just try to have a good time. And if other people are trying to not let us do that, then it's like whatever. I totally hate people like that, it makes me sick, and so I preach.

So you just try to help people love themselves?

Brown: Yea, it doesn't matter if your tall, short, black, white, Jewish, Christian, gay, lesbian, straight, transsexual, I don't care what you are or what your into, everyone's badass in some sorta way. Not alotta people know that 'cuz people bring them down, and it bums me out.

How do you feel about your new video, “Come Around” on MTV2 and MTVU?

Brown: I love it I'm really stoked on how it turned out, 'cuz we worked really hard on it. We all went out to LA, in January, to do the video. We chose to do it with a guy named Luke Aca. He really understood our personalities as a band. There were a couple other people that wanted to do our music video who were better known in the industry, but we all felt that Luke had the best treatment. Honestly, he nailed it. It couldn't have turned out better.

What's the process involved in choosing a treatment?

Brown: Basically, Epitaph sought out a list of 10 music video producers, and sent them our ideas and song, then the producers come up with a storyboard. We then get an email with the 10 treatments, and we picked the funniest one.

It was funny, I really liked it.

Brown: It was fun, he's great.

Did you meet your girlfriend, Dani from the Millionaires, on the tour? Or do you not wanna talk about that?

Brown: No, I can talk about that, for sure. I get asked that a lot actually lately (laughs). 'Cuz people are talking about it a lot.

You guys are a really cute couple.

Brown: Oh, well thank you. Sing it Loud went to the UK with a band called Cobra Starship, right before Warped Tour. She hit me up on the Internet, and she's like “Yo, I'm really stoked to spend time with your band on tour this summer, 'cuz we're both playing the Warped Tour.” And I hit her back with my number and said 'Hit me up whenever.' And she texted me when I was on the plane, actually, on the way to the UK. We were texting back and forth, then we took off, and I didn't have my phone on for two weeks. When I came back, I just started texting her again, and it grew from there. I asked her out on the first night of the tour.

So wait, she just found you on MySpace?

Brown: That's where she initially talked to me, but we knew who each other were for a while, I guess, like known each other's bands and stuff. 'Cuz like when you're in a band in this genre/scene, you know who everyone else is. Like alotta bands on this tour I hadn't met until two weeks ago, but I could point them out in a crowd 'cuz I know what they look like. 'Cuz I go on the blogs and on websites and watch other bands music videos, so I can see what other people are doing, and try to learn from it.

What are you aspiring to do in the future with your music? I know you're working on a new album.

Brown: We've already started writing it, we're recording it in the fall, which we're really excited about, and after that we're gonna be touring nonstop. And I guess collectively as a band, we just wanna fund our lives with playing music. Like I don't wanna go to school, I don't go to work, I don't wanna do that stuff, I already did it and it sucked--I didn't like it. I just wanna be able to do what I do, live off of it, and not have to worry about anything else.

If you could tour with anybody, who would you like to tour with?

Brown: Probably a band called Taking Back Sunday. They're like my favorite band. They got me into this kinda music. Or also a band called Jimmy Eat World. I'm super into them as well. Those would be my two dream bands to play with.

Do you wanna tell us about your album, Come Around?

Brown: Well, you can pick up our album, Come Around, anywhere right now. It came out September 23, it's got 11 tracks. It features guest vocals by Alex Gaskarth from Alltime Low and Justin Pierre from Motion City Soundtrack.

What direction is your new album going in?

Brown: We're going in a more of a rock/'90s/jumpy sort of theme. It's kinda like our CD now, mixed with Third Eye Blind, Taking Back Sunday, and Def Leppard. That's how it would sound - very commercial and very pop.

Can you tell us a funny tour story?

Brown: It was our first tour ever. We booked it ourselves. It was a month after our band started, in the late summer of '07. Ben, our keyboard player, was driving. We were crossing the Lower Peninsula of Michigan into the Upper Peninsula. We didn't have a tour manager, guitar tech, merch guy--it was just the five of us. We had driven all day long, so we were all very tired--except for Ben, who slept in. So we were like, “Ben, is it cool if you drive, we're gonna sleep, so we can play tonight.” And Ben was like, “Yea, sure.” So we all fall asleep. About three hours later, Ben wakes us up and is like, “Dude, guys. Dude!” (We didn't have GPS, so he was using MapQuest on his little shitty phone). We all woke up, and he's like, “Dude, I fucked up really bad.” We all sat up, and it was like “Welcome to Canada.” We were at the Canadian border. He missed the turn. He missed the exit and took us three hours out of the way. And we didn't have any of our passports, so we had to explain why we had to turn around. We ended up missing our show, and it was like really bad. It wasn't funny at the time, but now it is.

So did you call the venue and tell them what happened?

Brown: Yea, it was fine. It was a huge bummer, but it was really funny.

Do you have anything else to add?

Brown: Make sure to come check us out on Warped Tour. We're playing every day on the Hurley stage for the rest of the summer. Also, pick up our record Come Around in stores, iTunes…all that jazz.
-Roya Butler

WARPED TOUR EXTENDED: Interview with Gallows

Formed in 2005, Gallows is an English hardcore punk band from Hertfordshire, England. Guitarist Laurent Barnard united with bassist Stuart Gili-Ross, and with the rest of their band mates, released their debut album, Orchestra of Wolves. The album caught the attention of Bad Religion's Brett Gurewitz, who released it in the US on independent label Epitaph Records with new tracks including a cover of Black Flag's “Nervous Breakdown.” In an interview, Gurewitz named Orchestra of Wolves as one of his favorite albums of 2007, praising it as being the best hardcore album since Refused's The Shape of Punk to Come.

The band won the 2007 Kerrang! Award for best British Newcomer, and were recently signed to Warner Brothers Records, releasing their label debut, Grey Britain, on May 2 of this year.

During a stint on Warped Tour, guitarist Laurent Barnard discusses the tour, their album, and why every Gallows show leaves audiences begging for more.

How did you get your nickname 'Lags'?

Laurent Barnard: When I was about 10 years old, I was on the school football team (soccer as you Americans like to call it). At the time, I had a really good long distance goal score. Meanwhile, another player from Yugolsovia, who was a friend of mine called “Dragenslocavitch,” was scoring all these amazing goals for long distance as well. So he started calling me “Lagenslocavitch.” That name later got shortened to “Lags,” and somehow for 18 years, it's managed to stick. That's how I got “Lags,” the nickname. I always get asked this question, so hopefully, now, kids can search and find out the reason why, so that's good.

You guys have been quoted as saying: “If the crowds don't fear their own safety then we're doing something wrong.” Can you elaborate on that?

Barnard: I think our singer Frank said that. I feel like music's become really safe. Going to shows today isn't quite like it used to be. Back when hardcore/punk rock first started, there was an element of danger at shows--like you don't what's going to happen, and it was like exciting. But now when you go see a band, it's the same show every day--a rehearsed set. It's just a bit boring. We're trying to inject some excitement back into music.

Who are your musical influences? Do you guys like Minor Threat, Gorilla Biscuits, Sick of it All?

Barnard: Our influences range from all those bands to Discharge, back home, as well.

What about Amebix?

Barnard: I actually listen more to a lot of American Hardcore like Fugazi, the Stooges--bands that are taking rock 'n' roll and doing something different with it. I think with Gallows, we're not just a straight up punk or hardcore band; instead we incorporate loads of different musical elements.

Tell us about your recent signing to Warner Records.

Barnard: It's really a good opportunity for us to really push the band. It was wicked being on Epitaph, 'cuz they released some of our favorite albums, and signed great bands such as Bouncing Souls and Converge. But moving to a major label makes being in a band a lot easier--a lot easier to handle. Signing to Warner made sense for us, 'cuz it just meant that our band will have more support behind us. When we were on Epitaph, we were very DIY. Although we like DIY, we've been playing in bands for over 10 years, and are looking to make Gallows work. So we're really happy. Everyone's working really hard in helping us reach our dreams.

Can you tell us about the now-legendary, on-stage tattooing of your singer, Frank Carter, at the Reading Festival?

Barnard: We played a show at Reading Festival--which is a massive deal for us, and it was the first time we ever played it. We had just come back to the States, and it was one of our best shows ever. During our set, our singer, Frank was like "Ah, yea this is great," and asked Dan Smith (a friend of ours, who had some of his tattoo equipment with him) to get his tattoo stuff. Dan got it, and brought it on stage, and we kinda forced Chad, from Newfound Glory, to tattoo a lock with seven dots on Frank. The seven dots was for 2007, and the lock was for "The Lock Up Stage," which was the stage we were playing. It was a pretty spontaneous event. That's what we're saying: it's good to have random things happen in music. If you come to a Gallows show, you know it's not going to be exactly the same as the last show.

How do you feel about Warped Tour. Is this your first time at Warped?

Barnard: We did Warped two years ago, and that was really hard. Coming back two years later is a lot better--more people know us, so the shows are better. It's going really well. We made heaps of new friends and got to hang out with loads of old friends as well. We know loads of bands, as well, now which is really cool--when they come out to the UK, we get to hang out and see 'em again. So yea, it's like the whole friendship/family vibe of Warped tour. The one thing I'd say about Warped tour is there's a lot of non-punk rock bands playing, which is not something you associate with a punk rock tour, but I guess it's like trying to attract different crowds. Being a hardcore/punk band, I think we're pretty different than a lot of other bands on tour with us at the moment.

Tell us about your new album, Grey Britain, which came out in May.

Barnard: It's kinda like a concept record about everything that's wrong with England. We're not trying to say that England is a terrible place to live. It just has a lot of problems. The album focuses on all those issues. It's wicked. We spent so much time and money making sure the record is what it is today. This new album may not be something our fans expect, in listening to our past albums. There's heaps of piano and strings--we just tried to make a really big dramatic album.

Tell us some of the problems you focus on in the album.

Barnard: Quite a few, really: Youth Crimes, Politicians, Religion…I wish I had a record here so I could look at the album and tell you which song is about which. In whole, it's basically a social and political view of living in England.

Your single, “In the Belly of a Shark” recently came out on Guitar Hero 3: Legends of Rock. Can you tell us about that?

Barnard: We're all massive video game fans. We've got an Xbox there [pointing to the Xbox in their bus], and we got it especially so we could have one for the tour. We got asked if we wanted a song on Guitar Hero. If anything, it helps…kids are gonna play Guitar Hero, kids who have probably never heard of Gallows. Hopefully they'll check out Gallows, and then check out the bands that we like--listen to something different.

You have a “Viva Hate” tattoo on your forearm, is that in reference to Morrissey?

Barnard: Yea, it's from Morrissey. It's just a cool phrase as well, I reckon.

What does it mean to you?

Barnard: I was really angry when I got it--actually I got it done yesterday. And, I donno, it's just like all my tattoos, they don't really mean much. Like I got this one [pointing to a tattoo of a key] when we were recording in the studio, so I got the key to the studio 'cuz it was a good time. Then [pointing to another tattoo] mom and dad. Then, [pointing to a tattoo of a rooster] a French cock, which means “family” in French. A lot of my tattoos don't mean anything though. I just like 'em. I get 'em cuz it's a fun thing to do I think.

Anything you want to add?

Barnard: Check out our myspace, check out our record, and come to a show.

-Roya Butler

Review: Girl in a Coma "Trio B.C."

Girl in a Coma
Trio B.C.
6/2/09
Blackheart Records

RATING: Iconic

Hailing from San Antonio, Sisters Nina and Phanie Diaz, along with best friend Jenn Alva, make up Girl in a Coma. GIAC was formed when Nina Diaz, at age 12, borrowed her older sister's guitar, impressing both Phanie and Jenn with strong vocals and incredibly deep and expressive songs. The three of them formed GIAC, named in homage to the Smiths' song “Girlfriend in a Coma.” After playing for none other than Joan Jett herself, GIAC was signed on the spot by Blackheart Records.

Although compared to the Smiths, the Yeah Yeah Yeahs, and the Pixies, Girl in a Coma has a uniquely impressive sound. Their sophomore album, Trio B.C. was named after the Diazes' grandfather's 1950s Tejano band. This album has a unique amalgamation of eclectic influences: oldies, rockabilly, '90s alternative, and contemporary bands, both indie and mainstream. And in a nod to their San Antonio, TX background, the Girls place their cutting-edge rock sound in a familiar context, while their passion for making music is felt throughout the new album.

Trio B.C. includes tracks produced by Grammy-award winning producer Greg Collins (U2 and Gwen Stefani) and Gabriel Gonzalez (formerly of Sparta and one of the producers of the band's debut Both Before I'm Gone).

Nina's seductive vocals hail from track ine, "BB", with a grinding tempo and haunting vibrato. This song is addictive. The rest of the album's cuts explore different styles and tempos with tracks ranging from the eerie and poetic love song “El Monte” to the fast and hard rocking “Static Mind.”

Joan Jett and long-time songwriting partner and producer, Kenny Laguna, produced two special tracks on the CD, “Vino,” and “Joannie in the City.” The guitar riffs on "Joannie in the City" are mesmerizing, strumming fiercely along with both Nina Diaz and guest vocalist Joan Jett. “The song is about females in the music business,” Girl in a Coma's writer/singer Nina Diaz explains about her song, “having that tough attitude and doing what you want. Joan was the door opener for us all."

Other tracks include the delicate ballad "Pink Lemonade" and the more sonically experimental "Ven Cerca," the album's closing song. “Ven Cerca” is faithfully recorded in Spanish, interpreting the song by female fronted 1960s pop band, Los Spitfires. -Roya Butler

Interview with Rob Miller from Amebix

Britain's Amebix is one of the first bands to blend anarcho-punk and heavy metal music. Formed in 1978, and split in 1987, they recently reunited as of 2008.

Crusties both young and old packed the Trocadero venue to capacity on a mid-January night for the legendary hardcore punk band, uniting to go on tour for the first time in twenty-two years. This was a dream come true for punks young and old who have wanted to see the glory that is Amebix live.

The heavily influential sound of Amebix laid the foundation for crust punk. It's hypnotic and haunting melodies merge the harsh cold brutality of metal with the raw punk edge of anger, calling out injustice. All over the US, punks united to witness their unforgettable shows. The venue was flooded with a sea of black leather and metal studs as the crowd sang along with Amebix singer Rob Miller, “Arise!”

We were honored enough to be able to interview vocalist, Rob Miller, from the island of Skye, after their highly anticipated US tour.

Regarding your song, "Largactyl," can you give us the background story of how that song was written? Also, how do you feel about overmedication of children today? Lastly, what does the last lyric of "Largactyl" mean: "At 21, they'll be coming for you?"

Rob Miller: "Largactyl" was written about our first drummer Martin, who was diagnosed as Paranoid Schizophrenic after we left his place in Devon. The medication they put him on was Largactyl, which seemed extreme for someone essentially so gentle. The lyric is: “Senility at 21...they'll be coming for you, we were still young”--it means that the men in white coats are coming. I think there is a lot of over diagnosis of social problems that didn't really exist when I was a kid. If you were a pain in the ass, you got a punch. Sorted.

Can you tell me the story behind the song "Beyond the Sun"? It's my personal favorite.

Miller: It is basically homage to friends who died along our way, some through drugs, others through motorcycles. I like it as an emotionally driven song but also find it a bit too personal at times. My ex died a few months ago riding her Trike. She had lost one leg in an accident a few years ago after I left. And she really got me into the whole bike thing again after Bristol (where Amebix lived before moving out to Radstock near Bath, where we recorded Arise). So my son, Richard is dealing with the loss of his mother now and feeling alone. She was a very tough woman. The split with her is what drove me to move to Skye 20 years ago almost. She taught me a few things, not the easiest person in the world, but a real warrior spirit.

“Beyond the Sun” has a very heavy feeling of melancholy. A cold harshness seems to pervade through out all of your music. Even “Drink and be Merry” ends on the dark note of: “For tomorrow, we may die.” Was this dark outlook on life a reflection of the squatter lifestyle that the band lived while writing these songs?

Miller: Yes, but there is also a positive side to these songs. “Drink and Be Merry” is a statement that things can be very tough around you but you must still seize the day and make the best that you can from it. “The Darkest Hour” actually gave hope to one guy when he was going to commit suicide. He wrote to me that he was going to throw himself off the roof and someone in a flat below was playing this and he "got it." I have a large amount of very personal mails from people who say what a significant and positive impact Amebix was in their lives. For a long time, I was very uncertain about what we had done, whether anyone understood us, as there was no feedback at all when we were first around. We had a very very small audience, most of them reluctant. Amebix is a phenomenon, a band that has surprisingly achieved a cult status over the years. Playing to sold out venues in every city in the US was totally amazing for us.

You are cited as creating crust punk. How does it feel like to have made such an impact?

Miller: I don't feel comfortable being tagged with that label. I think Amebix was always a band that stood apart from our contemporaries, in our approach, attitude and unwillingness to conform to "scene" parameters. I think the term "crust punk" is not something that we consider ourselves to be part of. Crusty was a term used in Bristol to denote the punks who were really living on the street--not the studs and leather guys who would spike the hair up on the weekends, but that is all. People seem too ready to adopt a packaged lifestyle complete with uniform and prescribed political belief structures that I personally find very claustrophobic. We are not interested in being defined by a genre. If anything, we are in our own selves complete and don't need to be labeled. We rose from the original punk scene to define our own music in our own way. Motorhead are just Motorhead, Killing Joke are Killing Joke, and Amebix are just Amebix. We don't need to feel secure in our nest.

While squatting, you must have struggled for basic needs: food and shelter. How were you able to gather the equipment to make your music?

Miller: Our equipment was always basic. We would drag guitars around with us, try and get secure places to put things in but generally it would be a case of borrowing from other bands whilst we were playing. We came to Bristol with a bass and a guitar and a synthesizer, and managed to save money to buy leads and strings when they were needed (although I am sure I only ever changed my bass strings about four times in as many years). It was always a bit of a struggle, but between ourselves and Disorder, we managed to play.

I understand that you squatted with Disorder. Were your bands friends and influential on each other? Do you keep in touch?

Miller: We shared the same drummer for some time, but the two bands were distinctly different. I didn't like any of the thrash/fast music at that time--even Discharge. I preferred “Ain't No Feeble Bastard” to any other song because it had pace and power. I saw the hardcore stuff as dissipating power. We were all the best of friends regardless, and played a lot of gigs together. We shared whatever we had with one another. I still talk with Boobs and Steve.

Living the squatter life sounds like it was cold, hard, and depressing. Is the dark tone that pervades throughout all yours songs that you wrote at that time a reflection of that life?

Miller: I think “Winter” is a great summary of those times--the harsh life on the streets in the winter time. There is certainly bleakness about some of our early music that is very apparent…desperate times.

You've lived by the "No Gods, No Masters" creed for decades. How has its meaning changed over the years?

Miller: My views on most things have stayed consistent. “No Gods, No Masters” is open to interpretation. For me, it is about autonomy and following your own path, even if it leads away from others. It is ultimately about being true to you.

Please tell me more of how tour reshaped, or refreshed your views of the punk scene.

Miller: Firstly, we were amazed at the sheer number of people that came out to the shows. Pretty much every venue was sold out. People came from all different areas. One guy in Seattle commented that there are at least five distinct "scenes" there, and that show was the first one that he had ever witnessed people from all those scenes in the same place. It felt very unifying, and I am happy to see that Amebix had such a far reach. I was encouraged to see older people from the punk scene that had taken the original ethos and integrated that into their lives, manifesting that spirit in independent radio, magazines, and websites. When the band split in 1987, the entire experience left a bad taste in my mouth. I found the mentality of the scene in the UK really claustrophobic in a lot of respects. For me, it seemed to turn in on itself and demand conformity to a new set of rules--which is exactly what we were fighting against. We are faced with this now as well, when some people assume that Amebix should be playing in squats for beer money all over Europe, when it isn't like that for us anymore. We enjoy playing again, and want to express that by putting on a solid show. It's important for us to attract different people from all over. Our message was always a universal one, not to be jealously owned by a select group. Punk rock, to me, opened everything up as possible, and I was so happy to see that manifest in people's lives on our last visit to the U.S. The anarcho-punk scene in the UK had a few positive effects, in that people were encouraged to DIY, but the constant struggle for security led to people forming more and more obscure cliques, and forgetting that the message goes outwards and not inwards.

Your brand of anarchism seems meant to be implemented on a personal level. How do you feel about those anarchist thinkers who feel that an overhaul is needed on the structure of society itself?

Miller: Each to their own. I understand peoples desires to make the world conform to their will, but it is also important to recognize the will of others and not arbitrarily impose yours.

Why were you initially called “The Band with No Name?”

Miller: It was after the Clint Eastwood Spaghetti Westerns, where he was “the man with no name.” It just tickled us a bit.

Then you created the name Amebix, meaning simplicity (coming from the basic form of life ameba)?

Miller: Yes, it was to indicate that we were a very basic musical unit.

What was it like meeting the legendary Jello Biafra?

Miller: Fine. He was very enthusiastic about us and gave us a break to release "Arise." We had him on stage in SF to sing "Largactyl."

How's it like living on the Isle of Skye?

Miller: It is both difficult and amazing. The winters are long, cold, and dark, offset by long days in the summer. Here, there is some of the most magnificent scenery in the world, and the freedom to roam wherever I like. I have walked and camped all over this island, and the Outer Hebrides. I have grown to love the wilderness and the solitude that it offers, as well as a good fire in the woods with friends. It is somewhere that I would be haunted by if I ever left, and has become a part of my soul as much as Devon--where I grew up.

Do you have a sword shop in Skye?

Miller: I have made swords for the past 18 years here on Skye, training myself in the Art of the Medieval sword smith. This has brought me to be well recognized in my field. It is a hard job but very creative: www.castlekeep.co.uk

You reissued your last album Monolith. Do you think you'll re-record arise?

Miller: No. Arise 2 was released a few years ago with the bonus tracks. Monolith may see a vinyl release one day. But for now, we are concentrating on recording new material.

Tell us about your influences such as Killing Joke.

Miller: We saw KJ in Trafalgar square in 1980 at a CND rally. They had a profound influence on us, as they manifested energy in such a powerful manner--it was almost psychotic. Black Sabbath also a huge influence, as well as the bands we grew up with T Rex, Bowie, Iggy, etc.

Have you heard the bands Converge or Bane? Do you think some new bands are becoming more courageous as the hardcore bands were in the late 80s, to rip through the molds?

Miller: I cannot answer that question, I have not had any contact with music for over 20 years.

Can you tell us about the new compilation that you released, No Sanctuary: The Spiderleg Recordings?

Miller: Yes, it was the result of trying to re-claim our Master tapes from our first three releases. It took some time, but the new staff at Southern were very helpful, and we were able to get the tapes back and release them on one CD/LP. They have been boosted and cleaned up a bit, but essentially the same. It's a good package that Jello has taken a lot of care into putting together. As a record, it is more primitive than our later material but still very visceral.

Can you tell us about your DVD, Risen. When do you plan to release it? I heard it will include interviews and live footage.

Miller: The DVD is now released and receiving a favorable response. It is the labor of Roy Wallace who put the project together as a tribute, and as a consequence brought Stig and I together with Roy Mayorga, which has brought the band back to life. We are all very happy to be taking things forward from here.

-Roya Butler

The Dandy Warhols - The Dandy Warhols ARE Sound

The Dandy Warhols
The Dandy Warhols ARE Sound
Beat The World Records

The second best thing to come from the King of Pop’s passing, aside from a collective sigh of relief on behalf of the new parents of southern California, is the Dandy Warhols’ eventual cover of “Blackbird,” as promised by the title track of 2003’s Welcome to the Monkey House. However, until the release of said cover, fans of the most essential quartet of Portland hipsters will be happily pacified with The Dandy Warhols ARE Sound, an alternative interpretation of their 2003 release and their most impressive effort since.

Welcome to the Monkey House proved to be a brilliant example of perfectly crafted pop music by Godlike Geniuses (NME, take note) of the American Northwest (a stateside equivalent to Suede’s Coming Up), although the band didn’t see it in quite the same way. While they wanted to release a version of the album that had been mixed by soulful engineer Russell Elavedo, affectionately referred to as the Dragon Elavedo (whose engineering credits were highlighted by likes of D’Angelo, The Roots, and Alicia Keyes), Capitol Records wanted something a little more to the liking of America’s cargo-short-wearing contingent and enlisted a different engineer to release a “whiter” mix of the album.

The polishing of ARE Sound is far less explicit than Monkey House and gives the album a sleazy funk reminiscent of last year’s …Earth to the Dandy Warhols. Singles “We Used to be Friends” and "The Last High” lose a bit of their anthemic kick under the weight of a lazy groove, but they are the only casualties of the release. “Burned” kicks off the album in an epic fashion, “Scientist” has the band more danceable than ever, and “I Am Sound” plays like brilliant twee disco.

In the end, the two mixes of the album are… well, not that different. While ARE Sound is unquestionably a more Dandys-sounding Dandys album, it’s just not as satisfying as their Suedian-scale masterpiece of pop music. While the former was suited for PDX scenesters, Phil Spector fanatics, and “indie” radio listeners alike, the latter sounds more like something inspired by mirror balls and gravity bongs. Izzy Cihak

MUSIC REVIEW: Chimaira “The Infection"

Chimaira
The Infection
4/21/2009
Ferret Music
www.chimaira.com

Completely Intolerable

Poison is oozing out of Cleveland, Ohio. The theme of Chimaira's latest record release,The Infection, concerns the “ills” of a fast paced society. One of these “ills” is drug abuse. Featuring vein popping vocals throughout, “The Venom Inside” is a gloomy thrash metal track about a person whose good life was shattered by drugs. The song's subject thought the “thrill ride” would be wonderful, but it turned out to be an absolute disaster, and is left with a life full of regret and feeling hopeless. Chimaira’s newest album, The Infection, is 55 minutes of awful, nonstop gut busting screaming. -Leslie Snyder

a whole lotta...music reviews

Cycle Of Pain
Cycle Of Pain

Badass

Sheer terror comes out of New Jersey with the 2009 release of Cycle Of Pain. Cycle Of Pain is a loud, ominous metal band that tells tales of darkness. For example, “Reign Down” features heavy drums and a “thumping” bass line. This track is about a person’s “dirty deeds” haunting them. Cycle Of Pain is one frightening metal band. - Leslie Snyder
***

Ghosts in the Valley
Won't Go Politely

Listenable

If you enjoy the outbursts of indie/garage band rock, Ghosts in the Valley may satisfy your musical indulgences. This is definitely some hipster-friendly unfiltered alternative. This band definitely set a danceable tone to the indie rock sound to make you boogie. Their music will sober you up from the sounds like Modest Mouse, and Dinosaur Jr. –go ahead, listen. -Sophia Varoumas
***

Helado Negro
Awe Owe

Listenable

Let me be the first to admit- I don’t speak Spanish. But the pleasant blend of guitar, clarinet, and the occasional trombone certainly does have the power to awe. Harmonic voices mix with flourishes of guitar forming sweet, soulful, and smooth melodies. While I have no idea what the lyrics mean, the music speaks for itself. Awe Owe es bien. –Kate Gamble
***

Jukebox Zeros
Rock & Roll Ronin

Badass

This South Philly rock band release six tracks on their second EP, Rock & Roll Ronin. Its not your daddy's rock-- its your generation's music and Jukebox Zeros help you to own it. It has British punk, ambiance, and American rock, so you get slapped with a serving of modern yet nostalgic, semi-fast garage rock. Its a fun 18 minutes of music. -SV
***

Pelvic Fury
Non-Euclidean Nightmare

Completely Intolerable

One long nightmare comes out of Philadelphia. Pelvic Fury is a thrash metal band that sings about the painful side of life. “Apathy” is a thrash metal track with elements of classical guitar and fast keyboard playing. This track is about a family who suffered through an abusive past. This CD was fifty one minutes of severe, never ending pain. -LS
***

Quieting Syrup
Songs About a Sick Boy

Listenable

Like a nighttime elixir, Quieting Syrup pours out super slow. The record is calming background music when you wanna relax; perhaps so relaxing, you fall asleep. There are beautiful musical compositions behind the voice of Stephen Howard, whose music and voice resemble the Rentals, (Weezer drummer's side project in the '90s). The tempo is like a slowing down baby mobile singing grown up lullabies. Don't drive to this! -SV
***

Wesley Jeremiah
Wesley Jeremiah

Badass

Tugging at a listener's soul on "Scotland," this track certainly gives an avid music lover the chills. It reminds you of the passion of Jeff Buckley, pulling on the heart strings and making you feel. Wesley Jeremiah is intense. They are fully emerged in a perpetual enlightenment of emotion. This band needs to release a full length and fast. -SV
***

Your Best Friend
Your Best Friend

Semi-obnoxious

“Close Your Eyes and Drive Away” reveals, “Sometimes I feel like closing my eyes, and driving my car until I hit something hard.” Listening to this album in its entirety may produce that same depressing feeling. “Aboriri” is moving, beautiful, and soulful, but as the title suggests, unless you’d enjoy listening to the audible confession of an abortion, steer clear. -KG