News Worthy? Notes For Friday the 13th…

Well boys and girls it’s Friday the 13th in cyberspace and if nothing else it’s a good excuse to go out and find some mischief. Cure the summer doldrums drooling in your favorite dive. Cocktail in hand and cryptic rock on repeat.
On a musical note…Anyone notice something strange during Bad Religions set @ Warped Tour 13 in Mountainview on July 1st ? As the band played, various artists, family memebers and friends roamed around on stage (my son included), this sordid group included San Fransisco’s own Fat Mike (NOFX/Fat Wreck Chords) who at one point replaced Brian Baker during the OOzin Aahs…prompting Greg(Graffin) to jesture and verbally…over the mic, mid song, ask for security. Evidently, security (like most everyone else) thought he was joking. It’s just that there was something about the look on his face. Point being over the last two weeks, I’ve spoken with several friends and they all found it strange as well. Knowing that Greg has taken jabs at people in the past (think live performances during the Brett feud) could there be something brewing between the two? Or am I just a shit stirring rumor monger?
As far as recently released music is concerned, I’ve been listening to the new offering from Strung Out-Blackhawks Over Los Angeles. I’m not sure how I feel yet. Power- Pop Punk with a potent political message. Like they’re destined for MTV (which I refuse to watch) but too smart. There is some truly poignant shit here. The title track for one is great. I’d love to watch the chaos described unfold on CNN. Anarchy would rule the day, Glenn Beck would beat the shit out of Nancy Grace. The Headline news crew locked in their station would resort to cannibalism and treachery on live T.V.! Finally Paris Hilton would be paraded through the streets like a sacraficial lamb. Now thats MUST SEE TV. Fantasy aside, check out tracks 5 and 6. If there were a truly active anti-war movement (Not Cindy) like in the 60’s/70’s, I can envision these guys in the middle of it, unlike the oh so Anti Anti-Flag. Drop the Anti guys the rest of your name puts hammer to nail in your case. The the haters hate.

Old Time Relijun sounds war cry, delivers new K Records album Catharsis In Crisis.

Old Time Relijun sounds ‘war cry’, delivers new K Records album Catharsis In Crisis.

“This is a war cry” declares Old Time Relijun. Can you hear it?

If not now, then soon, very soon the rest of the world will hear the urgent call of Catharsis In Crisis, the Portland, OR quartet’s forthcoming album.

Old Time Relijun continues to further shatter rock’s imperious formalism with its latest K Records release. Song after song, the ferocity of vocalist/guitarist Arrington De Dionyso draws listeners deeper into a

world where language, rhythm and unrepentant libido collide. The music is temperamental, unwieldy and unyielding; aimed to cut listeners to the bone.

Catharsis In Crisis was written and recorded at Calvin Johnson’s fabled Dub Narcotic Studio in Olympia, WA over four inspired days and nights. Legendary producer Steve Fisk was recruited to mix this raw material into OTR’s most fully realized album to date. OTR + Calvin Johnson + Steve Fisk = a magical alchemy of sound and light. But don’t worry folks, it’s still terrible background music.

Arrington de Dionyso’s electrifying vocal delivery retains the blood-soaked risk of a true underground visionary, while showcasing his mastery of over-the-top nuance. Aaron Hartman (contrabass) and Germaine Baca (drums) propel the album forward with relentless bump-and-grind. Catharsis In Crisis is the first album to reveal OTR’s new secret weapon, subversive “saxophonista” Benjamin Hartman, who uses and abuses his classical training to drive the band further into the spheres.

Often lazily compared to a No Wave version of Captain Beefheart, Old Time Relijun’s subversive — dare we call it sadistic — mashing of world folk music styles sounds brutally fresh. No Wave? Forget that. Catharsis In Crisis is Yes Wave for the young millennium. “Daemon Meeting” (MP3) blazes through a bizarre convocation of underworld creatures, to conclude with the query, “what does it mean to be human?” A tenor saxophone throttles the dub-infected “Liberation” with propulsive urgency through a zone of “young life and decay,” while songs such as “In the Crown of Lost Light” and “Invisible New” confront infinity with their bright shimmering sound. Even Dante is given a run for his money with the Ennio Morricone influenced junk-disco centerpiece “Veleno Mortale,” actually an Italian “re-translation” of the brutal “Burial Mound” featured on OTR’s album 2012.

Taken as a whole, the three discs of the “Lost Light Trilogy” (in reverse chronological order Catharsis In Crisis, 2012 and Lost Light) are a tour-de-force of myth, dream and autobiography. “We wanted the ‘Lost Light Trilogy’ to be a kind of rock opera,” de Dionyso says. “But with a non-linear development of plots and characters. Every song on each album contains musical or lyrical fragments of other songs within the trilogy, like broken shards of mirrors reflecting each other infinitely, the way a cubist painting presents multiple perspectives of the same subject, or the labyrinthine twists in a Borges story.”

Catharsis In Crisis, while concluding the trilogy, also stands on its own. Like the confrontational, compulsively danceable live show for which OTR is known and loved, Catharsis is a record and a testament to the oscillations of opposites. Darkness and Light, Water and Fire, Spirit and Matter struggle within Old Time Relijun’s alchemical oeuvre. From this elemental battle, the music emerges, dripping and triumphant.


Olympia, Washington. New Year’s Day, 1995. A dark and smelly basement. Three young musicians gather to tackle the vast songbook of Arrington de Dionyso. They had heard his self-recorded cassettes. The songs were wild and lovely. Arrington (the rebellious son of Methodist ministers) played every instrument with the soul of an outsider artist who didn’t know any better. He knew he needed to bring his songs to life.

The original trio was brought together for one show. Just to see what would happen. They called themselves Old Time Relijun. Arrington played a $20 guitar and a beat up bass clarinet. He sang with a mixture of piss and vinegar that exploded with naive charisma. Bryce Panic harassed the drums. Aaron Hartman beat on a two-string upright bass with a microphone taped to its bridge. They communicated with the clairvoyance of long-married ninjas.

That first show, everything went red: strings broke, the bass was a solid mass of feedback, the PA was blown. They used Arrington’s songs as a template to meld shock-ritual with a mad-tea-party-dance-vibe. They barely noticed the college kids in full Riot Grrrl gear screaming, they had no idea that punkers and hippies were dancing together. Something awful happened that night. A band was born.

Soon they were playing full sets to friends and taste-making Olympia hipsters alike. They played every show they could – whether or not they were on the bill. They developed the kind of intuitive free-jazz rapport of which most bands could only dream.

In 1996, OTR recorded its first album, Songbook Volume One. They released it themselves, financing the production by tricking a friend out of his meager inheritance. The CD was packaged in stolen popcorn bags.

In 1997, Calvin Johnson invited the band to record a song for the Selector Dub Narcotic compilation for his K Records label. At that point, a beautiful relationship was born.

After Bryce left to pursue a life of dance and yoga in India, one of the band’s younger fans, Phil Elvrum, asked if he could join. He moved to Olympia, and OTR’s second of many lives began. Phil’s caveman beats and undeniable production savvy helped launch the first three Relijun albums K would release. Uterus and Fire (1999), was a bombastic exercise in recording in the red. Serena de Pecera (2000) was a one-night multilingual wonder, acting as a coda to the unyielding momentum of Uterus and Fire. Then came the band’s first true masterwork, Witchcraft Rebellion (2001), an album as deep and bizarre as anything you’ll find on your record shelf. A retelling of the first chapters of “Genesis” from the serpent’s point of view.

After a couple U.S. and European tours, Phil decided to focus his energy on his recording projects and his own band, The Microphones. Old Time Relijun continued in a variety of mutated formations, with various lost souls sitting behind the drum set.

The group experienced a brief lull in activity as Arrington began a vagabond period that would take him hitch-hiking across the United States and back and forth between Italy, France and Argentina. A compilation of unreleased oddities, Varieties of Religious Experience, was released in 2003, and both Arrington and Aaron had time to reevaluate the direction their band would take.

During his travels, Arrington composed an outline for what would become “The Lost Light Trilogy”. The first two installments, Lost Light (2003) and 2012 (2005), recorded with the help of drummers Rives Elliot and Jamie Peterson, respectively, saw extensive touring, a wider audience for the band, as well as high praise from critics world wide.

Old Time Relijun Live:

7/07 Portland, OR Holocene

7/20 Seattle, WA Comet Tavern

7/22 Anacortes, WA What the Heck Fest!

7/27 Portland, OR Ground Kontrol

8/10 Missoula, MT Total Fest

Catharsis In Crisis Tracklisting:

Release Date: October 9th, 2007

01. Indestructible Life!
02. The Tightest Cage
03. Daemon Meeting
04. Liberation
05. Garden of Pomegranates
06. Akavishim
07. Dark Matter
08. The Circular Ruins
09. Veleno Mortale
10. Dig Down Deeper
11. A Wild Harvest
12. The Second Day of Creation
13. In The Crown of Lost Light
14. The Invisible New

Bad Religion – New Maps Of Hell

Bad Religionwritten by Mike Cox

P.H.D. toting punk –rocker Greg Graffin has done it again. Fans rejoice. Critics be silenced! 27 years and 14 full-length albums into it, Bad Religion has rekindled the fire burning in the moral minority.

“New Maps of Hell” the bands first studio release since 2004’s (mostly) disappointing “The Empire Strikes First” showcases the bands depth and resilience. Baptized by fire and armed with a six man front including a three guitar arsenal, listeners are treated to a ferocity reminiscent of late eighties, early nineties Bad Religion. Evident just a few bars into the albums opening track “52 Seconds”, the band lets loose a sonic tidal wave that goes on to flood almost every track on the album.

Long fueled by Graffins’ lyrical proselytizing, 2007 finds the band breaking new musical ground, fusing their traditional melodic skate punk sound with a little hardcore, producing the darkest sounds to date in a long celebrated career. Lyrically Graffin stays true to form, highlighting social inequity and political injustice. His conviction remains just as powerful as his command of the English language, solidifying his reputation as one of the more intelligent songwriters of our time.

So deep is the lyrical content, that trying to interpret each individual track could amount to writing a senior thesis sure to enrage Theologians and Poly Sci professors around the world. Bad
Religion is vehement in chastising our overbearing, judgmental society. “New Dark Ages” a blistering track warning the unnamed and aforementioned of some metaphoric Armageddon really hits hard. Like brick to skull hard.

Though the first single “Heroes and Martyrs” was ill received true fans will appreciate it, which may not be the case with the likely second single “Honest Goodbye” a radio friendly rant full
of the signature Oozin Aah’s…lets just hope an accompanying video is NEVER produced.

Love it or hate it, Bad Religion is back, punkin’ the government, condemning the puritan masses, and invigorating the moral minority. RESPECT.

Made Out Of Babies press release

Made Out of Babies announces summer tour, band led by the singer Decibel calls “Metal’s Most Riveting Frontwoman” and Revolver picks among the “Hottest Chicks in Metal” brings intense, volatile live show to the masses.

Made Out of Babies — the New York City quartet that looks like renegade fashion models and sounds like a ferocious hybrid of PJ Harvey, Jesus Lizard, Babes In Toyland and Big Black — has announced tour dates throughout the east coast and midwest in July. See complete tour dates below.

The band’s sophomore Neurot Recordings album, Coward (E-CARD) received an 8 out of 10 rating from Decibel Magazine and ranked in that publication’s Top 40 Best Albums of 2006. Likewise, Revolver Magazine currently features vocalist Julie Christmas in its “Hottest Chicks in Metal” issue. And, despite the group’s menacing sound and intimidating glamour, much of the mainstream music media has embraced MOoB’s dark portents.

“Metal’s Most Riveting Frontwoman” might be the type of accolades awarded in a construction industry trade magazine, but we double-checked and such high praise for Made Out of Babies and Battle of Mice wailer Julie Christmas is indeed that of the esteemed rock monthly Decibel Magazine (which also awarded the Battle of Mice debut a perfect 10 out of 10!) Likewise, several other publications have sung the praises of Coward since its release in October, 2006.

Made Out of Babies first captured the attention of the underground punk/metal scene with its Neurot Recordings debut Trophy in 2005. On stage, caterwauling front-woman Julie Christmas paces the floor, yelping with a bewitching intensity that defies her charming beauty and occasionally cherubic whispers. Meanwhile, towering guitarist Brendan Tobin coolly strangulates leaden sheets of guitar strata from his battered six-string, bassist Cooper lunges in time as his instrument rumbles and slithers around Matthew Egan’s relentlessly churning rhythms and blood-splattering drum fills.

There’s no rock machismo in the sounds of Made Out of Babies, which just might be what makes it so unsettling and unique. Instead, the group bears a mysteriously unified all-out visual and aural aesthetic assault reminiscent of mid-period Black Flag. And yet, there’s a certain curious glamour to MOoB that gives it a monolithic appeal.

MOoB’s sophomore album was recorded with the equally intimidating Steve Albini at Electrical Audio in Chicago, which could only be described as a match made in… loud. Where its previous album condensed its songs into a single psychotic impulse, Coward blasts its sound inward as well as outward, like a cathartic supernova from a band driven beyond any point of being rational.

From the very first throat-searing yowl that opens the album, Coward is, quite simply, bigger that you. “Proud To Drown” lurches with Cooper’s staccato bass line tugging at Eagan’s pulsating 6/8 drum pattern while Tobin’s Middle Eastern tinged riff winds it all up to erupt. While “Fed” temporarily cools the band’s frenetic energy to greasy throb, it seems primarily to highlight the fact that Julie can really sing – not that any of us are likely to coax a sweet lullaby out of her anytime soon. But, her vocal acrobatics — leaping effortlessly from a demure whisper to a note-perfect murderous scream — are in finest form here, reminiscent of Leslie Rankine of Silverfish and/or a more demented Karen O of the Yeah Yeah Yeahs. Throughout, the album Made Out of Babies remains evocative, intimidating, brutally frank and — as the International rock press shouted with glee over the band’s stunning debut – by far Neurot Recordings’ most unabashedly rocking outfit.

Chris Bathgate – A Cork Tale Wake

So good it’s scary… Yeah, there are plenty of singer/songwriters out there, but in a sense that’s what makes a record like this so special. How does an individual rise above the multitude of those toting acoustic guitars? For the past two years Chris Bathgate has done what few are able to accomplish in a lifetime: created a sound that is entirely his own and transfer every ounce of his talent into one of the most emotionally inspiring albums to see the light of day in years. Produced by the infamous Jim Roll, A Cork Tale Wake highlight’s Chris’ spectacular/haunting voice alongside lush arrangements owing their dynamic sound to a carousel of instruments. If jukeboxes exist for very much longer, these are the songs that will posess the ability to pry a dollar from your pocket so you can share them with a bar full of strangers.

Boys Night Out Interview

Interview conducted by JKE Dean

I was fortunate enough to be able to get a few questions answered by “laser” Dave Costa bass player of Boys Night Out .

MVRemix: How have the kids at shows received the new material?

Dave: It’s gone over very well. Probably the best so far of any record. Which is awesome, considering we usually get a lot of shit when we have new records come out, and they usually sound very different from each other.

MVRemix: What was the writing process like for this album?

Dave: It was really easy, but pretty long. I think we took about 2-3 months off to write. So we really tried to refine the songs, and write properly structured songs this time. Get rid of the weird unnecessary stuff.

MVRemix: Tell me about the lineup changes between the last album and this one, and how things are feeling now?

Dave: Well, Kara and Brian both left, but for different reasons. Kara got married, and basically just wanted to be home. With Brian, I am actually not too sure. He said he wanted to do different things other than music, but now he’s playing with Receiving End of Sirens. So, yeah, not too sure. It feels awesome now though. Having Ben back in the band is amazing. Being on tour with him is incredibly fun. And now with Andy being in the band, songwriting is much easier.

MVRemix: Why the self titled album now?

Dave: Basically because we feel like we really found our sound. So yeah, that’s pretty much it.

MVRemix: Anyone in particular you are looking forward to touring with this year?

Dave: I am looking forward to touring with Olympia. A few of them were in Fairweather, and they were one of my favorite bands.

MVRemix: Any bands you guys have come across you feel like people should be looking out for?

Dave: Dear and the Headlights are my favorite new band right now. Absolutely amazing. Really good mellow indie type stuff. I highly recommend them. Other than them, I am still stuck in the mid 90’s.

MVRemix: You guys have had major label rumours following you since before Trainwreck… do you see yourselves moving from ferret to a major or staying with ferret for a few more records?

Dave: I highly doubt it, but I would never rule it out. Myself, I am really apprehensive about that kind of stuff. So many bands get fucked; I don’t want to end up like them. Our contract is up with Ferret now, so we’ll see what the future brings. I still love Ferret so I would have no problem going back with them.

MVRemix: You tour practically non stop anything you miss from home?

Dave: Pretty much just my dog and friends. The dog is definitely the toughest one. So other than those, nothing really. Maybe good nights of sleep too.

MVRemix: So what is next now that the album is out?

Dave: Just touring non-stop. I would love to do another record faster this time around. Hopefully that’ll happen.

MVRemix: Which track do you recommend people check out to get a feel for the record or boys night out in general?

Dave: I’d say “swift and unforgiving”. Its got a good mix of every style we’ve done. Still technical, but catchy.

Boys Night Out – Boys Night Out review

Boys Night OutMaybe it was some lineup changes, maybe it was getting that concept album out of their system, maybe it was deciding to self-title the record. Whatever it was Boys Night Out have created an incredibly solid record. It rises and falls in a natural progression, the tracking and consistently great songs really make it a beginning to end success for the band. Connors hooks, the group vocals and harmonies, layers and layers of guitar, and songs that you can listen to again and again, and still notice something new give the release from Burlington Ontario rockers a longevity and quality rare to find in the pool of bands BNO usually finds themselves swimming.

The album opens with the infectiously catchy “Get Your Head Straight” and sets the pace for the rest of the disc. Honest lyrics immediately bring you in and make you feel like part of the family. Clever and conversational the song is an anthem, a quick introduction to the sound of Boys Night Out for those unfamiliar. The next two tracks let the band flex their muscles a little more. “Swift and Unforgiving” a track more on the technical side of things with swerving tempo changes held perfectly together by melodies and vocal patterns. “The Push and Pull” seemingly straight-ahead but with the
subtleties of the guitar work it becomes a song with real depth.

“Up With Me” is the best example of the songwriting abilities within the band. Musically intriguing with vocals full of hooks and emotion. One of the stand out songs on the album full of little different parts to enjoy not to mention the fact that I cannot get this song out of my head! Next up “The Heirs of Errors” the roots of Boys Night Out start to show. Fast and direct, palm muting, octave work and riffing all pull together to make this song a wake up in case you weren’t paying attention. With the addition of the heavier vocals and group sing along parts this track is one I have to see the band play live. “Let Me Be Your Swear Word” and “Hey Thanks” again both let the band experiment a little. With more elaborate guitar work and arrangements these songs really stress the inability to categorize Boys Night Out into a particular genre and sets them apart from the bands they occasionally get lumped in with.

For the fans of Trainwreck the bands previous release “Fall For the Drinker” all of the elements that worked so well on that album return here refreshed and capture a staple of the Boys Night Out sound. It also seems that the more familiar song on the album is followed by the real departure of the record, “Apartment 4” is in the ballpark of the BNO sound but has a wonderful collection of pop and even post-hardcore touches thrown in. This song almost feels like its looking forward to the next album, with a chorus
that is goose bump worthy for those who really appreciate the complications of writing a good hook.

“Reason Ain’t Our Long Suit” is a semi-closer a power track to finish of the record really pulling together parts of older and newer Boys Night Out. The line “now were better than ever” pretty much sums up the idea here and my feelings about the band after hearing this record. The album finishes with a perfect closing track, the lyrics tell a story and usher you to the end of
the disc. This is a great encore track midtempo and building to a grand sing along finish, closing the CD in fantastic boys night out style.

8/10 – JKE Dean

Vans Warped Tour review

written by Mike Cox

Date: July 1, 2007

Venue: Shoreline Amphitheatre, Mountain View, Ca.

From the dust it had risen, and into the dust it would fade. On July 1st 2007, Shoreline Amphitheatre in Mountain View California was home to the 13th annual Vans Warped Tour. Take time to note, that of all the music festivals conceived in the early 90’s the Warped Tour is one of only two still clinging to life’s breath, a true credit to the “underground”.

That being said, it’s important to recognize just how much the festival has evolved over the last decade.

Once a mere spotlight for the Punkers, the tour is now brand central, with representatives from every hipster clothing line and record label between here and Timbuck Two, shamelessly promoting their wares by any means possible. Not necessarily a bad thing, the consumer microcosm created offered many the chance to sample sounds ne’r heard at the local Sam Goody. Though most were no more than new school “Monk”(mock punk) bands trying to jump on the Emo/Screamo/Teeno bandwagon being paraded on the airwaves these days. Still there were a few standouts.

The So Cal based Street Drum Corps (S.D.C.) were well worth the time and effort it took to see them. An audience of well over a hundred packed into an amazingly small tent where temperatures easily reached the century mark to enjoy the sights and sounds of this so called “Punk Rock Stomp”. Founded by Bobby Alt (S.T.U.N.), Adam Alt (Circus Minor) and Frank Zummo (The Start), S.D.C. unleashed an all out auditory assault, arming themselves with anything and everything they could get their hands on. Look for the new record “We Are Machines” in stores this summer.

Conscious of the tours continued evolution (success?) the powers that be again offered another first, the combination of athlete and artist. Mike Vallely (Mike V. to the rest of us), host of Fuel TV’s “Drive”, pro Skater extraordinaire, and all out punk rock madman, on board skating and singing. On tour for the summer with his band Mother Revolution. Unfortunately as his set coincided with the Vandals I was only able to catch the last few songs. Alas the sound and accompanying vision provided by Mike and his band on stage was nothing short of refreshing. With the day and age of eyeliner and emo upon us Mother Revolutions’ hurricane like zeal for fast loud rock was certainly one of the day’s high points. Hardcore fans rejoice, this album is for you.

Added bonuses aside, I was here for the meat and potatoes of the line-up. Conveniently, every band I specifically came to see were set to perform on the Lucky stage one after another starting at 3:00 P.M.

The only scheduled exception was New Found Glory (whom I find nothing glorious about) taking the stage at 5:00 P.M. This gave me a chance to check out “The Brothers Grimm Sideshow” which amounted to nothing more than a K-Mart quality rip off of “The Jim Rose Circus Sideshow.” Don’t bother. Spend the 5 on a beer instead.

The Tiger Army set kicked things off with the brand new “Prelude: Signal Return”, stirring the crowd into a frenzy and in the process creating what was to become a day long dust storm in front of the parking lot stage. Suffering through some technical problems (Nick13’s amp lost power a few times), T.A. offered a blend of new and old, pulling out a few crowd favorites while mixing in tracks from the recently released “Tiger Army IIII, Music From Regions Beyond”. T.A. finished the set with F.T.W. – dedicating it to everyone who had been at B.F.D (where rumor was, they were told not to play it).

Next up, playing their only date on the tour, So Cal career goofballs, The Vandals. For some odd reason, the Vandals started the set several minutes early causing many to miss the first few songs. Not to fear as most of their tunes seem to clock in around 90 seconds apiece. Tardy fans were still treated to classics along the lines of “I’ve Got An Ape Drape” (if you actually have to ask, don’t) and “Happy Birthday to Me”. Closing with “And Now We Dance” a sing-along that conquering punk hordes might have used in ancient Rome. At this point in the day it was safe to say the Vandals had set the crowd standard, performing with an almost seismic energy.

Picking up where the Vandals left off, the Circle Jerks assaulted the crowd with deafening decibel levels. Keith Morris and company did not disappoint. The ‘Jerks, attracted a largely older crowd, most paying tribute to a group amounting to punk rock royalty. The kids in attendance were treated to a blistering set dating back to 1979, offering them a glimpse of what life was like for us old guys. Suffice it to say I think the ‘Jerks swayed a few new fans their way. Thanks Keith.

Pennywise took the stage at six o’clock to a mind-blowing crowd. Seemingly everyone in attendance made a concerted push upon hearing front man Jim Lindberg’s classic call, “Hi we’re Pennywise, from Hermosa Beach California.” The ensuing set was a fans’ dream come true. PW stormed out of the gates with high-energy classics that moved the crowd so forcibly the dust had reduced vision to a blur. At one point Jim gave up the mic to Fat Mike (who was backstage with wife and child), treating everyone to an impromptu NoFX tune. Pure electricity! It must be said that although true punk zealots Bad Religion followed them, Pennywise stole the show. Never was it more evident than during “Bro-Hym” an emotional ode to Jason Matthew Thirsk, the bands original bassist lost to suicide in 1996. Watching my son worked over by the energy was moving. Instantly I remembered my introduction to PW. Not much different than today’s high schooler, riding in the back of a minivan en route to Ocean City, New Jersey. Cranking the newly released self- titled album “Pennywise.” I love the bond music has offered my son and I. We owe it to people like Jim Lindberg, Fletcher Dragge and our brother Jason Matthew Thirsk. Jason may you rest in peace with the eternal comforts of brotherhood and music.

Finally the act scores had patiently waited for, Bad Religion. Following Pennywise would prove a difficult task, Greg Graffin and company played a set heavy with tunes released on 1994’s “Stranger Than Fiction” and few too many from 2004’s disappointing release “The Empire Strike First” much to the dismay of older fans chanting “No Control.” Though the set list was less than ideal the Band made up for it with a razor sharp performance including tastes’ of the soon to be released (July, 10th) “New Maps Of Hell” which seems to stray from the concept of the last few releases and is more reminiscent of 1993’s “Recipe For Hate”, a direction longtime fans will be pleased with. Having closed the set with “Sorrow” the band exited the stage to chants of “One More Song”, which proved futile due to the powers that be. Just like the man to fuck up a good thing.

Call it corporate. Call it a sell-out. Hell call it whatever you want, but The Vans Warped Tour is still the best opportunity to see the best of the best do what they do.

Girl Talk goes topless for Playgirl, eats hot dogs with Congressman Doyle and Newsweek

Girl Talk goes topless for Playgirl, eats hot dogs with Congressman Doyle and Newsweek, quits his job and goes on tour with Dan Deacon.

Although you’re more likely to see Gillis strip down to his skivvies at a Girl Talk show, half a million people saw Gillis exposed in June’s “Man of The Year” issue of Playgirl Magazine. When discussing what he likes to do in his free time, Gillis says, “I enjoy swimming, playing basketball, lighting off fireworks, snacking it out, and bro’n down.” About the issue, Gillis says, “I didn’t know it was out, and a friend actually spotted it in a women’s restroom at this pretty dive-y bar in Pittsburgh. She didn’t know I was in it, she was just browsing. Pretty funny situation.”

What some might find even funnier is the fact that Gillis ate hot dogs with Newsweek journalist Steven Levy and Congressman Mike Doyle shortly after the Playgirl piece hit stands. Levy and Congressman Doyle flew to Pittsburgh to meet Gillis at local hot dog joint Franktuary to discuss Doyle’s recent statements supporting Girl Talk ’s sample based music on the floor of Congress. Read all about it (LINK).

Gillis recently was granted the freedom to do the above mentioned things, as he recently resigned from his job as a biomedical engineer that up until now has also kept him from taking on more remix projects and touring on a regular basis.

“I couldn’t keep up with both worlds,” Gillis says. “It was just too much. I keep getting sick because I’m in a constant state of running somewhere else. Music has always been my main interest, but I never really thought of it as a possible career. I think I’m extremely lucky to be in the position I am in now, where I can dedicate at least a year of my life to music and stay afloat.”

According to Gillis’ booking agent Sam Hunt at The Windish Agency, “It shouldn’t have too great of an impact on his live schedule. There’s something awesome about only playing on the weekends, and we’d like to do our best to keep that going,” Hunt says. “However, there have been a number of uniquely awesome opportunities that have been impossible because they took place during the week. Also, there’s a chance he’ll be able to do a more thorough/actual tour involving multiple consecutive shows!”

Gillis’s resignation also granted him the opportunity to go on tour with Dan Deacon, more flexibility to perform at special events during the week and also more time to work on Trey Told ‘Em, a band he started with friend and collaborator Frank Musarra (Hearts of Darknesses). The duo has already completed one remix for Tokyo Police Club, and has many more in the works including tracks for Simian Mobile Disco and Professor Murder.

Girl Talk was one of the highlights of this year’s Coachella festival (VIDEO), with Paris Hilton (mere weeks before her incarceration!) and Perry Farrell dancing alongside him and throwing confetti. As usual, Gillis had a crew of dancers join him on stage, with gigantic bright yellow balloons tied to their wrists. Girl Talk was also a hit at this month’s Bonnaroo Festival and the Primavera Sound Festival in Barcelona.

Who ever thought you would see the day when the words Playgirl, Newsweek and Paris Hilton could all be used in one of our press releases? In true Girl Talk fashion, he never ceases to amaze.

In addition to the tour with Dan Deacon, Gillis is excited to be playing several more summer festivals, including Pitchfork and the Winnipeg and Montreal Jazz Festivals. He will also put his fan base to the test this July by playing Red Rocks in Colorado with Violent Femmes and Blues Traveler, soon to be followed by a show with Widespread Panic in Boston. This just further illustrates Girl Talk ’s notorious “down for whatever” attitude about music.

Girl Talk Live:

* w/ Dan Deacon

07/04 Morrison, CO Red Rock Pavillion
07/14 Chicago, IL Pitchfork Music Festival
07/18 Boston, MA Bank Of America Pavilion
07/27 Seattle, WA Capitol Hill Block Party
07/28 Louisville, KY Forecastle Festival
08/04 Baltimore, MD Pimlico Race Park
08/09 Indianapolis, IN Talbott Street
08/10 Baton Rouge, LA Spanish Moon
08/24 Tulsa, OK Cains Ballroom
09/08 Portland, OR Roseland Theater
09/12 Toronto, ON Phoenix*
09/15 New York, NY Webster Hall*
09/17 Philadelphia, PA First Unitarian Church*
09/20 Charlottesville, VA Satellite Ballroom*
09/21 Asheville, NC Orange Peel*
09/22 Atlanta, GA MJQ Concourse*
09/27 San Diego, CA Epicentre*
09/28 Los Angeles, CA Echoplex*
09/29 San Francisco, CA The Fillmore*
10/04 Lawrence, KS The Granada Theatre
10/05 Minneapolis, MN First Avenue
10/06 Iowa City, IA The Picador
10/11 Calgary, AB The Warehouse
10/12 Edmonton, AB The Starlite Room
11/01 Houston, TX Engine Room
11/02 Dallas, TX Palladium Loft

People Noise continues seemingly endless six-month U.S. tour supporting debut album Ordinary Ghosts

People Noise continues seemingly endless six-month U.S. tour supporting debut album Ordinary Ghosts, Louisville, KY band features ex-VHS or Beta guitarist Zeke Buck.

Louisville, KY quintet People Noise is on a mission. Just like in the days before the Interwebs when the only way for a band to build a fan base was consistent touring, the band led by former VHS or Beta guitarist Zeke Buck set out on a seemingly endless tour last April with dates stretching into late September this year. …And the tour itinerary keeps stretching onward.

“There’s so much lost time to cover,” says Buck in a recent interview with The Louisville Eccentric Observer’s Mat Herron. “Basically, I’m trying to start anew.” After a successful 10 year run in VHS or Beta – which included a national arena tour with Duran Duran – Buck now devotes his time and talent to People Noise, the band he started with good friend and ex-Boom Bip member Matt Johnson. With Johnson on drums and Buck on, well, everything else, these Louisville natives have produced an epic, drone-laced rock album reminiscent of Black Rebel Motorcycle Club, Spiritualized and Interpol.

Although we never heard him sing a lick during his years in VHS or Beta, Buck’s resume would lead us to ask the question, “why the hell not?” From the ripe age of only four years old he was belting out opera all over the country until the inevitable struck: puberty. Unfortunately for him, it struck in the middle of a performance. It wasn’t until only recently that Buck began to sing again. For a number of months he studied under Turley Richards, a blind Louisville musician with a vocal range that would impress Whitney Houston, and eventually regained the confidence that was lost long ago. On People Noise’s debut album Ordinary Ghosts, Buck sings about everything from reincarnation to thoughts on his former band.

Johnson, a guitarist turned drummer with an experimental electronic music background, boasts quite a resume himself. During his time in Boom Bip, he toured extensively across Europe and has shared the stage with notable acts like LCD Soundsystem, Yo La Tengo, Pinback and Matt Pond PA. Johnson has also performed at London BBC Peel Sessions, Centre Pompideu, Royal Festival Hall and The Renne Music Festival in Renne, France. Not to mention he studied the djembe under Yaya Diallo for a number of years. Quite an accomplishment for a guy who wrote and performed all of the drum parts on Ordinary Ghosts on a rural Kentucky farm with no internet and no cell phone service!

For its live shows, Johnson and Buck are joined by Rahman McGuinnis on guitar, Woody Woodmansee on keyboards, and Sam Marino on bass. People Noise’s debut album Ordinary Ghosts album hit stores on June 12th. And, considering its crazy tour schedule, the band might be available to deliver its album straight to your door.

People Noise on Tour:
07/03 Athens, GA Tasty World
07/04 Chapel Hill, NC Blend Nightclub & Lounge
07/05 Atlanta, GA The ISP Space
07/06 Tampa, FL New World Brewery
07/07 Orlando, FL The Back Booth
07/09 Jacksonville, FL Jack Rabbits
07/10 Tallahassee, FL The Beta Bar
07/11 Deland, FL Cafe Davinci
07/12 Delray Beach, FL City Limits
07/13 Miami, FL Churchill’s Pub
07/14 Gainesville, FL The Atlantic
07/15 New Orleans, LA House of Blues (The Parish)
07/16 Montgomery, AL Off the Wagon
07/17 Jackson, MS Swell-o-Venue
07/18 Little Rock, AR Sticky Fingerz Rock-n-Roll Chicken Shack
07/19 Lafayette, LA The Grant Street Dance Hall
07/20 Houston, TX The Meridian Room
07/21 Austin, TX Beauty Bar
07/25 Salina, KS Lucky’s Bar
07/26 Kansas City, MO El Torreon Ballroom
07/27 Tulsa, OK DFest
07/28 Oklahoma City, OK The Conservatory
07/29 Aurora, CO Wyatt’s Torch Bar
07/30 Boulder, CO The Trilogy Lounge
07/31 Denver, CO 15th Street Tavern
08/01 Albuquerque, NM Atomic Cantina
08/04 Phoenix, AZ Casa Blanca
08/06 Pomona, CA The Glass House
08/07 San Diego, CA The Jumping Turtle (All Ages)
08/09 Davis, CA KDVS 90.3 (In-Studio)
08/12 Eureka, CA The Boiler Room
08/15 Seattle, WA The High Dive
08/18 Boise, ID Neurolux
08/19 Salt Lake City, UT Monk’s House of Jazz
08/20 Riverton, WY Fremont County Fairgrounds
08/24 Missoula, MT The Badlander
08/25 Fargo, ND The Nestor
08/27 Omaha, NE The Slowdown
09/01 St. Louis, MO Lucas School House
09/02 Clinton, IA Zabbies
09/03 Des Moines, IA Vaudeville Mews
09/11 Augusta, GA The Mission
09/26 Durham, NC Duke Coffeehouse
10/11 Bloomington, IN Live From Bloomington