Welcome to WE SERVE NO MASTER Issue #2: FERAL FUTURE. Do not fear for ravens will save you if you fall. This issue honors those of us who walk between this world and the next. Join us for INTERVIEWS, REVIEWS, MUSIC, ART and anything else we can get away with. We are Cliff and Ivy, Alaska’s only goth band. We bring you goth, deathrock, art, and punk realness from the extreme darkness of the frozen north. Contents of ISSUE 2 FERAL FUTURE House of Extreme Darkness and Cliff and Ivy 2014 (c)
Wanna be in we serve no master? email us your goth, punk, weird music, art, photos, scene reports, poems, lyrics or stories! ages 18 and over only! we are a quarterly digital zine, which we promote the hell out of! please be a dear and like us on facebook if you are submitting something.
NULLAM DOMINO SERVIMUS
In this issue we bring you a motivational interview with the legendary industrial drummer, author, artist, and now educator MARTIN ATKINS (PIL, Nine Inch Nails, Ministry, Killing Joke, Pigface, Invisible Records). CHRIS DESJARDINS, filmmaker and member of legendary punk bands THE FLESH EATERS and THE DIVINE HORSEMEN, inspires us with a great interview about his experiences and what is going on NOW. PRAYERS SD (from San Diego) are sharing their viewpoint on keeping the dark GOTH flame alive through their music and art.
BODIES IN PANIC are a legendary hard core punk band from 1980s era New Jersey. They share their stories of original east coast hardcore PUNK, how the hardcore scene was made, and they have a reunion show coming up too. This band is great and it’s high time we knew more about what makes them tick! IZZY (ANDREA GIBSON) is an artist and vocalist from the Vancouver BC punk scene! She shares what makes art important. There’s featured videos and images as well, so let yourself live a little and open your eyes to your feral future!
You can hear all the bands featured in WE SERVE NO MASTER on our internet radio show EXTREME DARKNESS WITH CLIFF AND IVY, Join us for chat on Sunday nights on WICKED SPINS RADIO http://www.wickedspinsradio.org
EXTREME DARKNESS with CLIFF AND IVY is also podcast on MIXCLOUD http://www.mixcloud.com/cliffandivy/
and NIGHTBREED RADIO http://www.nightbreedradio.com/
AN INTERVIEW WITH MARTIN ATKINS
GET THE FUCK OUT OF BED
Martin Atkins’ contribution to punk, industrial and aggressive drumming cannot be denied. Martin has played drums for the legendary PIL, Killing Joke, Ministry, and Nine Inch Nails. His collaborative project PIGFACE stands as the definition of getting a bunch of like minded freaks together to make something beautifully insane. He is a writer of several how-to style books about do it yourself- covering all aspects of touring and band promotion for those who want to learn how to make things happen. Martin is also an educator, teaching college courses about the creative music industry.
When were you sure you would be doing art/music creating for the rest of your life? Was there a certain event that showed you this?
Nope – not really – looking back it seems I’ve been doing this (amongst a few other things) all my life. I think there are creative people – who just sit in a room and create – and there are other people that find a way to make their creativity a part of what they are doing most of the time – and that creativity is then out on the world without fanfare or a special occasion. I just felt like emphasizing that – I didn’t decide to have art shows every week or music events (although that was a BIG part of stuff) I just do my thing – and things intersect and collide and lead to other things. There was no decision – i think that at anytime when i had a choice to do something more difficult, time consuming and probably more expensive but more fun and creative – i pretty much always chose that path.
You’ve played with many groundbreaking musician and bands. Is there one that you especially learned a lot from through your involvement with them? What was great about it and what was difficult?
I’d like to think I learned from everyone that I worked with (otherwise what’s the point?) from Lunar Bear Ensemble and John Richey I learned that there can be a flux with a BUNCH of musicians and that there aren’t necessarily any rules – that became a RULE with Pigface. From Killing Joke my experience was different – I started to manage, learned Big Paul’s beats – they were different from the rhythms and style I had before – it definitely changed my drumming vocabulary.
You have made collaboration into an art and science. What makes working with collaborative groups great?
New energy, unexpected ideas from places you wouldn’t think. If you can turn off your own insecurity and fear for a while and listen – good things can happen. I learned that even though someone can program/create whatever any part with any instrument – they are creating from the starting point of their own brain their own experiences – by plugging in with other people you can get to some really interesting stuff.
I know our readers enjoy your motivating statements! What are your top three? (Ex: get the fuck out of bed, etc) How do you come up with these things?
One of my social media phrases is “think like a t-shirt!” if you do that – maybe your ideas will be a little more memorable. I fish around for these in the classroom too so that I can communicate my ideas and hopefully have them stick. ‘Free is the new black’ ‘if the chorus of your song doesn’t belong on a t-shirt then maybe it doesn’t belong in the chorus of your song”
I think its writing a lot and trying to find the phrase that gets you in – and then putting a social media twist on it…some are a little alarming
“Hey, know what’s great about that new song you’re working on??? NOTHING – work on something else!”
Some are just trying to be personal in a depersonalized way and play with that- “You are awesome – kick the world in the face!” That kind of thing. Messing around with how personal you can get by being totally impersonal – and how weird that is – like a form letter gone wrong wrong wrong – its still weirdly supportive.
It’s 3014. Archaeologists have discovered a cache of your writing, art and music, almost perfectly preserved! What do they find? And, what do they write in their history books about you?
I think I’d be some kind of idiot, ego maniac asshole if I thought they’d write anything…..and if they did it’d probably be something completely disconnected and ridiculous – like ‘this guy threw blueberry muffins during lectures!”
What’s an average day like for Martin Atkins?
So far there hasn’t been one. There is usually some kind of large project deadline looming in the background – Band:Smart is officially killing me I think – two years passed due date from my Kickstarter almost – it keeps growing and changing and getting better and more focused – but it is coming at a great cost – cant wait to get it DONE and OUT!!
Right now I’m typing while waiting for my two youngest (of four) to finish breakfast so i can drop them off at school. There is some routine at SAE – but its my job to break that up as much as possible – today Alex Fruchter has a guest from Atlantic Records in his class – so I’m allowing other classes in Music Business to ditch out and see what is up with that – it can get crazy – but once you establish the guidelines – students and real world experiences come first – it gets easier.
I think any time i sense my days becoming average – i do something about it.
What would you say brings you the most comfort in life?
recently I’ve been wondering about drumming – I’ve been doing it since i was 9 and i think it creates a stability in my ADD brain – i haven’t done enough recently. Overall though – its about my kids these days – either my 4 or the scores more that come through the school
What do you consider your finest, and/or most odd, achievement?
there have been a few – it seems nuts that I was on American Bandstand – such an iconic TV show – or that they used some of my music on the opening ceremony of the Olympics in the UK in 2012. Surviving as an entrepreneur in this business for so long – maaaan, that seems impossible
What’s one thing that you think all musicians today should be doing but are not doing?
Lots of small things – but mainly running their own businesses – not blaming anyone or complaining because they don’t have _____ or _______. Just getting on and doing it – working for 5 + years to become an overnight sensation. There is a lot of chicken and the egg – lots of artists think they need a lawyer, manager and agent BEFORE anything can happen – these people happen after you have already made huge strides on your own.
Can you catch me and our readers up on your most recent teaching engagements?
I’m the Dept Chair of Music Business at SAE Chicago – I’m shredding the curriculum and making it REAL!! I’m speaking all over the world these days – I was just asked to be a featured speaker at 2015’s SXSW – this will be my 8th in a row!
What’s great about being a music educator?
Making a difference, allowing all of the years (35?) to inform someone’s ideas and trajectory – without dampening enthusiasm or the possibility of being surprised by someone else’s ideas and energy. Its also been awesome for myself – without teaching social media for the last 6+ years I might not have stayed immersed in it – teaching and lecturing have provided me with a way of organizing thoughts into lectures and some of that starts to coagulate together – either as ‘bits’ for speaking events or books etc
Why is education the next punk rock?
There are no new permutations of ideas on the rock stage – just remixes – the field of education has been neglected and is ripe for the application of punk rock ideology – question everything, find a new way, always ask why! Its the same fight as it ever way – new ideas vs. the establishment – not just what is taught – but how – pretty cool – flipping classes, NOT being the provider of information but the igniter of discussions, a facilitator if you like – letting go of the traditional roles and allowing the students to make choices. There are so many new and amazing ideas – that are being so infrequently applied – the field is wide open!
MUSICIAN, AUTHOR, ACTOR, EDUCATOR, BADASS: CHRIS DESJARDIN
CHRIS D is touring with THE FLESH EATERS, JANUARY 2015 in celebration of the re-issue of A MINUTE TO PRAY A SECOND TO DIE! You can see tour dates here: http://www.superiorviaduct.com/blogs/news/15685884-announcing-the-flesh-eaters-mini-tour
CHRIS D’s voice has been in my head literally for the last 34 years. I first discovered THE FLESH EATERS via a record store on the east coast and these iconic tracks have been go-to for me to this day. We are so pleased to get to know him better through this interview and researching his additional music projects (THE DIVINE HORSEMEN) and film work. CHRIS D is a true LA punk legend and has influenced many with his charismatic vocal performances. CHRIS D found his expression in writing and has extended to acting and film. He is also an educator who shares his real experience with film studies students.
What came first for you, writing or music?
Writing. I’ve been writing stories since the 7th or 8th grade.
Are there any writers, books or other written creative works that influenced your writing early on?
My earliest influences were sci-fi writers like A.E. Van Vogt and Cordwainer Smith and horror/ghost story writers such as Poe, J. Sheridan LeFanu, Algernon Blackwood and H.P. Lovecraft. Then William Burroughs and French symbolists Lautreamont, Huysman and Baudelaire. Then later hardboiled writers like Chandler, Hammett and James M. Cain, then Jim Thompson and David Goodis.
When did you know that you would be involved in punk music?
I think the first time I knew, “Hey, I can do this,” was when the Brit/Aussie punk invasion started happening. I got imports of LPs by the Pistols, the Damned, the Clash and the Saints in mid 1977.
Was there an influential event or circumstance?
Well, I’d had a band in high school around 1969 or so that only lasted about 2 weeks. But I was already influenced by a lot of garage bands as well as some groups like the Stones, Steppenwolf, the Stooges, MC5, Jeff Beck, Cream, The Velvet Underground, Led Zeppelin, Ten Years After. The influences continued in the early 70s what with more Stooges, the New York Dolls and Bowie’s Ziggy/Aladdin Sane/Diamond Dogs era. It’s kind of amazing it took until late 1977 for me to start a band, but that Brit punk explosion and writing record reviews and live reviews for Slash magazine stoked the embers into full blown flames.
What was the best live gig you did with The Flesh Eaters, and what made it great?
That is impossible to say. Each line-up I’ve had with the band from 1977 through 2000 (and in 2006 when we did a few Minute to Pray reunion gigs) has been special in their own way. The Minute to Pray group was classic. The Forever Came Today/Hard Road to Follow line-up was tight as a drum and a lot of fun because we got to tour with that configuration in mid-1982. I also loved the later line-ups from 1998-2000. The line-up for the 2004 Miss Muerte CD never played live, which is a pity as I think it is one of the best Flesh Eaters albums.
What was your greatest experience with The Divine Horsemen?
Once again that is an almost impossible question to answer. I think my favorite recordings were the demo songs we did in 1985 – a couple of those, “Little Sister” (the longer electric version) and “If Only I Could” showed up on the Middle of the Night LP, then a few more, including my favorite version of “Tenderest Kiss”, showed up on the Time Stands Still CD reissue from Atavistic that came out in 2004. The Snake Handler LP-line- up, which went on tour twice in 1987, was I think the most fun I had doing live shows.
And as a solo performer?
I never performed as a solo act. It was always with The Flesh Eaters or Divine Horsemen (even the early DH days were billed as Chris D./Divine Horseman). The one solo album I did in 1995, Love Cannot Die, I never performed any of that material in a live venue.
You’ve done extensive work researching and writing about yakuza films. What’s one thing that directors of these works do that every film maker/director could learn from?
It kind of depends on which studio turned them out. The two biggest producers of Japanese gangster pictures were Toei and Nikkatsu. Toei’s films from the 1960s through the early 1970s were notable for their very complex webs of deep character interaction. Nikkatsu’s pictures from the late 1950s through 1971 were famous for their very bold, colorful visual compositions that married production design, editing and action choreography into fast-moving action thrillers.
How did you first become involved as an actor?
I did some acting in high school and college. A friend of mine, John S. who I went to university with, was a screenwriter and called me to play the part of a punk singer in a movie he’d written called Radioactive Dreams. That’s how I got a SAG card. Unfortunately the movie never got released. It showed on the USA Network a couple of times, I think. Most of my part, which was only about 5 minutes to begin with, ended up on the cutting room floor and when it was in the finished film ran only 10 or 15 seconds. I never even got to see the whole film all the way through. The first time I got to do some real acting was when Allison Anders, Kurt Voss and Dean Lent were collaborating on their first feature, Border Radio (which I think began filming in 1985?) and I was cast as one of the four leads.
I know our readers will want to know more about what it was like to work alongside stars like Gene Hackman and Kevin Costner, and any of the other interesting people you have worked with…
Oh, on No Way Out…I never had a scene with Gene Hackman and never got to even meet him. I socialized with Kevin Costner a bit and was friendly on the set with some of the other actors like Will Patton and Marshall Bell. More recently, in 2001, I had a part in a crime thriller called Double Deception that co-starred James Russo and Udo Kier, but we weren’t in any scenes together, so I didn’t get to meet them either.
You wrote and directed the independent horror film I Pass for Human (2004). What would you say to the independent horror directors of today?
Jettison the obnoxious flash cutting that completely makes action sequences incomprehensible. Get rid of the bleach filters that either give everything a golden hue or a bluish pallor. Stop casting bland anonymous-looking model type automatons instead of real people. A perfect example of what is wrong with contemporary horror films: look at the original Texas Chainsaw Massacre, which is a masterpiece – I never get sick of watching it or fail to be scared by it – and compare it to the extremely boring, extremely crappy Michael Bay-produced remake from the early 2000s. That, in a nutshell, tells the sad sate of affairs that represents a lot of today’s horror films. Of course there are exceptions. The Aussie film The Snowtown Murders from 2011 is an example of a great, really disturbing horror film based on a true story.
What do you find the most satisfying about teaching film studies?
I’m no longer teaching at the moment, but it was very satisfying to turn kids onto great films they’d never heard of. One thing that was shocking, a lot of kids (we’re talking in the 18 to 22 year old range) had no idea who some very famous old Hollywood stars were, people like Joan Crawford, Cary Grant, Bette Davis, Robert Mitchum, James Stewart let alone universal icons like Bogart and Sinatra! If you’re over 40, these are people you pretty much take for granted still being household names, especially if you’re a film buff.
What’s the most challenging thing?
Avoiding budget shortfalls which can lose you your job, especially when the school where you are teaching doesn’t have film history studies as a major and the classes you are teaching are offered as “electives”, in other words non-essentials a student can take to fill up their credits for graduation. This happened to me just about a year ago, losing the job after 5 good years because the school located in San Francisco could no longer afford to fly me up there once a week. So if there are any representatives of institutes of higher learning in southern California reading this who need a good, qualified film history/film genre instructor, I’m your man.
What’s one thing that musicians of today should be doing but are not doing?
Listening to all different kinds of music, including classical, jazz, ethnic and older pop music. You don’t have to like everything you hear but you may surprise yourself and find out some 1940s or 50s blues or folk or 1950s, 60s or 70s country or jazz or R&B relates to some melody you’ve cooked up and gives you a fresh perspective. One thing I hate about most contemporary pop from alternative rock to opposite extremes like hardcore punk thrash or hardcore rap is that 90% of the bands have absolutely zero knowledge of other music genres, very, very narrow parameters of influences.
What is an average day like in the life of Chris D?
Up until about a year ago I was writing everyday but then I hit a writer’s block, with the newest novel not worked on since then and only halfway done. I’ve written some song lyrics recently that I go hot and cold on, but that’s about it. I’ve been isolating, pretty much a recluse, and I like to take a lot of naps – hah! – when I’m not watching movies. I’m still in SAG and usually get a couple days a month work as an extra on commercials. Could definitely use more work, though! For the unaware out there, I published a massive anthology of my poetry, lyrics and dream journal entries called A Minute to Pray, A Second to Die in 2009, then between 2009 – 2013 published 5 novels, 1 short story collection and a massive encyclopedia about 1955-1980 era Japanese gangster films called Gun and Sword. Go out and buy! Because I’ve made only a pittance doing this (of course money isn’t my motivation). Here is the link to my Amazon author’s page: http://www.amazon.com/Chris-D./e/B001JP7T4U/ref=sr_ntt_srch_lnk_1?qid=1409978754&sr=1-1
What brings you comfort?
As Al Green might put it, Love and Happiness.
Your music has been so iconic to us. Are there any plans for The Flesh Eaters at present?
I’ve talked to a couple of the Minute to Pray line-up and I’m hoping we may do some shows in early 2015. But it’s by no means a done deal because everyone’s so busy with their own bands. I would like to record another album at some point, but am not sure when or under what name. Sometimes I feel like I’d want to do it as the Flesh Eaters, sometimes as Divine Horsemen and sometimes as something altogether new and different. In any case, it wouldn’t be until next year at the earliest, I am sure.
Editor’s Note: This makes me extremely happy, I would absolutely love to see them live!
Get the works of CHRIS D! http://www.amazon.com/Chris-D./e/B001JP7T4U/ref=sr_ntt_srch_lnk_1?qid=1409978754&sr=1-1
PRAYERS SD KILLWAVE
TRANSFORMATION AND REDEMPTION THROUGH MUSIC with Rafael Reyes
Rafael Reyes, vocalist, lyricist, writer and artist shares what’s important about transformation and realizing the power within. PRAYERS SD, from San Diego, are a goth duo (Reyes and musical collaborator Dave Parley) with a powerful electronic stripped down sound. Their beats and lyrics come forth with messages of isolation, inspiration, break-through, and finding your art. PRAYERS SD are KILLWAVE as they are breaking stereotypes and urging their audience to look within to find the true power in life. This is modern goth with roots in classic death rock, electro goth, dark poetry and personalities from the past; PRAYERS SD also describes their music as CHOLO GOTH! Embracing the goth sensibility with an unapologetic style is a big part of PRAYERS SD. GOTHIC SUMMER is their latest release, and they have played shows on both US coasts to enthusiastic audiences who are treated to an experience they will never forget. Their songs are focused on spiritual aspects of oneself, with titles like FROM DOG TO GOD. If you listen to their EP you will also find yourself singing along as there will be a little bit of YOU in every song.
When were you sure that you would do art/music/creative works for the rest of your life? Was there a particular event that showed you this?
I wish I had a simple answer for this question. I’ve been creating for as long as I can remember but in 2007 when I got out of jail, I decided it was time to give my art the chance and respect it deserves. 2007 was a turning point for me, for that’s the year I decided to commit to my truth. I had rediscovered myself and I was in love for the first time with my world and with every little thing that had shaped and molded me. I am honoring and celebrating my life and the experience that is life through my musick, my writing and my paintings.
What or who are the strongest influences upon your art/music?
My influences are Rozz Williams of Christian Death, Aleister Crowley, Aubrey Beardsley and my father Alfonso Reyes for he was my altar.
What is goth to you?
Goth to me is the mysterious beauty who elegantly and gracefully enchants the night.
What is Killwave?
KILLWAVE is about breaking stereotypes. I am KILLWAVE.
What’s the thread that ties all your work together through time?
Its honesty, humility, vulnerability and its unyielding presence!
What brings you the most comfort?
Results bring me comfort. As a magician results are the fruit of my labor.
What’s an average day like for Prayers?
No average Days, our life is far from it… We are dedicated to our craft everyday is spent breaking stereotypes and challenging everything we have learned, heard or seen.
What would you tell the goth musician/artist of today about creativity?
It’s out there. Live life, let it hurt you, let it love you. Don’t fear it- allow yourself to be consumed by everything life has to offer- creativity lives there. It’s all around you.
Please share one thing that artists (meaning musicians, writers, visual artists) today should do but are not doing, in your opinion.
Honesty! Especially when it comes to what their true desires and intentions are. What’s the reason behind what you do, is it to get laid? Is it to be rich, famous? Or is it because without it you can’t be.
You’ve had some great shows recently. Can you share some highlights?
Opening up for the CULT in San Francisco. Walking on that stage (The Regency Ballroom) and hearing people singing our songs it was humbling and powerful….. Results!
What’s your stage gear list?
My band mate Dave Parley plays the MPC 5000 and I use the KP3 by KORG for my vox.
Please share what’s next for you.
https://itunes.apple.com/us/album/sd-killwave/id789737169 (PRAYERS SD ALBUM)
https://itunes.apple.com/us/album/gothic-summer-ep/id894847365 (PRAYERS SD GOTHIC SUMMER EP)
ART IS: IZZY
Izzy Andrea – Andrea Lee Gibson (from Vancouver BC) shares her artist’s statement- manifesto and manifestation!
Explaining art is like trying to explain a bicycle to a fish. I never went to fine art school. I took some animation classes, tried and failed many pieces and was, and am, still told how I create is wrong. But that’s what I love about it. I can make anything I want, people can yell and scream how “wrong” it is ‘till the cows come home and yet… it still exists. It’s like people. You can scream how wrong they until you’re blue in the face but they’re still people. And the ones that make you the most upset are usually the ones that shape your opinion the most, whether it be to mimic or avoid it.
I never make a “batch” of “work”. I create pictures when I want, in what ever medium I want, on what ever subject I want because I do it from my soul and my soul can’t be told, “For this show we have a ‘Cartoon Cloud’ theme.
I avoid doing that in order to keep my pictures… well… pictures, rather than work. I try to be honest. Most of art, such as media, or even art shows, is corralled into a central idea. I will gladly take an idea and run with it but detest borders on how far I can go.
I did a collaborative art show (The last one I will ever do) where the theme was “Space Invaders”. We were told to portray the misuse of space in the world or have a Space Invaders video game-like feel. I painted a giant boxy robot standing on the hillside of a cemetery during a sunset storm. My point of that painting was that cemeteries are a misuse of space for robotic emotions we are told to portray and how cemeteries are just a place to feel emotionless, if anything, remorse that we feel alone and empty, like the space that then surrounds us. Even with the write up I was told by the promoters of the show that I didn’t adhere to the curriculum of the show, which was filled with talented pieces… but mostly throwbacks to the Space Invaders video game. They still showed the piece as how they didn’t have another submission to fill the space. I was not aware that there was such a thing as thinking too outside of the box, let alone, over thinking the box. I sold the piece. I then vowed I would never do another art show.
So here I sit, a social hermit, in my North Vancouver apartment on top of a giant pile of my art work. I sell some pieces occasionally to friends who stop buy and offer money but mostly give it away to those who really connect with a piece.
I never assumed I would make a living off of my art. (Hell, if you want to make your parents cry, tell them you want to be a musician… if you want to make them cry for 32 years, tell them your back up plan is a freelance artist.) I do art because I tried desperately to stop and couldn’t. My emotions and mental well-being work visually. It’s a very naked feeling but very comforting to find I’m not the only one who feels as I do.
So in a world of Photoshop, computer masterpieces and nervous wreck artists straining to make every line perfect as they pull their hair out at 22, I sit happily buried at the bottom of the pyramid with my pens, pencils, paints and whatever I can get my hands on to create art with and shrug off perfection. After all, isn’t the point of making art to show our imperfections?
BODIES IN PANIC INTERVIEW
New Jersey Hardcore Legends Bodies In Panic are set to do a reunion show at the Court Tavern Nov 15th 2014 New Brunswick, New Jersey.
Who’s playing and what can you tell us about the history of the band?
Kyle Eaves BIP: The band started in 1983, Gavin posted an ad in the Aquarian magazine. Greg Walker and Mike Pek and Kyle Eaves all answered the ad and the band was started.We played lots of shows over the next 3 or 4 years and 13 different guys played in the band at various times. We did a US tour in the summer of 85 and the band reformed when we returned, with Chris Jensen guitar, Bill Lawson bass and Mark Empire (Watson) drums.The line-up for the re-union show will be: Kyle, Gavin, Chris and Mark. We are thrilled to be playing with Pleased Youth and Cyanamid, who we played with many times back in the day. The Court Tavern is an old haunt too, so I am wondering what it looks like more than 25+ years later. As today is 9-11, I would like to say RIP to our brother Wayne Russo, who was murdered at the WTC (World Trade Center attack, 9/11/2001) . Wayne was the drummer on our only album. We have about 10 songs for the re-union show. One will be a new song that we are working on.
Amazing yes RIP WAYNE RUSSO
Kyle Eaves BIP : Wayne was a great guy. Upbeat attitude and always enjoyed helping others. Don’t know anyone who would say anything bad about Wayne.
We were lucky enough to see a few hardcore show with BIP Greg and Gavin on bass and Wayne of NJ punk band Stetz.
Kyle Eaves BIP : I was also in Stetz for a while.
Very cool yes closely related with Greg Walker of Pleased Youth also.
Kyle Eaves BIP : Greg Walker also sang in Stetz once. Stetz probably had about 8 or 9 guys in the band at different times.
Please recall any favorite stories or shows.
Kyle Eaves BIP :Wayne, Brian Somer and FranK Mehringer were the core of the band, especially Brian and Wayne.
I remember once at Anthrax on CT, the crowd picked me up and I was in the ceiling for a few minutes. In our first show, Greg’s drum stick kept flying out of his hand. We were all very nervous. In Minneapolis, we played in a driveway and there was a decent crowd. Cops came and shut us down after about 20 minutes. The cops stopped us another time in Baltimore about maybe 15 minutes in. We were playing in an old abandoned building and there was a great crowd for that show. Bummer. We played Baltimore 3 or 4 times and there were always lots of enthusiastic people. Made it fun. We played with many great bands over the years, mostly at City Gardens and the Dover Show Place, but there were many shows all over the place. It is hard to remember them all. CBGBs was always great too. Another time in Lehigh Valley PA, Catasaqua Playground, we were doing a big show and I had a cold and blew out my voice about half way into the show. Mark was drumming at the time and he sang until I could drink something and then I frogged my way to the end.
Mark Empire BIP : I have a tape of BIP on WPRB w/Kyle doing frog vocals all the way through.
Kyle Eaves BIP : We had several shows in a short time I think winter of 85 and I had a bad cold. The Show must go on. I also remember BIP in ’85 rehearsal at the infamous New Brunswick NJ Rubber Room where our band Dolphin Room rehearsed at as well.
Hearing your version of Hendrix Foxy Lady ruled.
Mark Empire BIP : Yeah, a punk band covering Hendrix. Not something you see every day.
Kyle Eaves BIP : Any shows that stood out to you Mark?
Mark Empire BIP : Well, the first one was pretty memorable, opening up for the Dead Kennedys @ the Showplace in Dover. I think they were touring behind Frankenchrist. The hippie bikers that ran the place were letting kids in without checking ID, and then checking their ID’s once they were in and throwing out anyone underage. I remember walking in the door with drums under my arm and the guy at the door’s like, “That’ll be $5 please”. I remember everyone sitting on the floor during our set like scouts around a campfire. As the night went on, fight after fight started breaking out. The DK’s were awesome. Darren, their drummer, was drinking Jack Daniels straight from the bottle and had to be carried onstage, and then played flawlessly for the entire set. It was like watching a tornado. Right after they were done, Jello goes, “I hope you people learned something tonight other than engaging in some bullshit macho ritual” and walked off. Classic.
Definite culture shock, I can tell you that. My previous gig six months prior was like Teen Night at some Central Jersey club playing covers, and then this.
Kyle Eaves BIP : Welcome to the big leagues.
Mark Empire BIP : Second gig was CBGB’s two weeks after that, opening for Suicidal Tendencies, who were going under the alias of Institutionalized. Almost stepped in a seemingly fresh 6 foot wide pool of blood loading in, 11 am on a Sunday. Pretty standard for the time, I guess. Apparently a knife fight had just occurred, according to the lady who let us in. I remember her complaining about having to mop it up because it was “probably crawling with AIDS”.
Kyle Eaves BIP : Blood is being splattered the walls are turning red.
Mark Empire BIP : The jury’s still out on the headless penguin, though. BTW, Kyle, they cleaned up the Court a bit. No more 30-year-old stale vomit smell in the back stairwell. I don’t know, it’s not the same.
Kyle Eaves BIP : Never had much of a sense of smell and that comes in handy sometimes.
Mark Empire BIP : Well then you probably wouldn’t notice. It’s still a cool place though, it’s under new ownership now.
Kyle Eaves BIP : Mike Pek orginally wrote chickens without heads and I made it magical by switching it to penguins.
Mark Empire BIP : Penguins are pretty magical, I’ll give you that.
Kyle Eaves BIP : amen
Mark were you familiar with the DKs before that show?
Yeah, if you count some kid on my bus playing Too Drunk to Fuck on his boombox once.
Mark Empire BIP: So, let’s see, other shows…oh yeah, there was the time we played the Eutaw Club in Baltimore during a blizzard, and there was no heat in Bill’s van going there and also none in the club and both my feet were numb during the gig and pretty much didn’t thaw out ’til we got home.
Kyle Eaves BIP : The first DK song I heard was Holiday in Cambodia in about 1980 and I was properly amazed and wanted to hear more.
Mark Empire BIP : I wasn’t really familiar with punk rock generally speaking. I knew who the bands were, what they looked like and all that, but didn’t own any of the records. I was too much of a 60’s and 70’s rock fan to care, honestly. Pretty much despised pop culture in general when I joined BIP. But, BIP allowed me to play like Keith Moon to my heart’s content, so…
Kyle Eaves BIP : What did you think overall of the DKs when you saw them that first time? I saw them first at the Whiskey in Hollywood.
Talk about a mosh pit.
Mark Empire BIP : Still hands down the best punk show I’ve ever seen. The energy coming off that stage was frightening.
Kyle Eaves BIP : They were a big influence on me, no doubt. Liked the speed of the music and it was finely textured with clever lyrics
Mark Empire BIP : Oh yeah, they set the standard in punk rock for me. I didn’t really appreciate it at the time, but I certainly did later on, especially from the late 90’s onward.
Kyle Eaves BIP : I am interested in what bands that you started to listen to and like once you became aware of what was out there?
Mark Empire BIP : it took me a while to see past the shit that I grew up on, even though I was getting into other stuff like new age and thrash and hardcore and regular metal. Some folk and jazz as well. You know how some people say they listen to everything but not really? I actually do. Over the years, the bands I got into ran the gamut from Michael Hedges to Slayer and Eno and the Stooges and on and on.
I can totally hear the Dead Kennedy’s influence in BIP but what other bands influenced you guys?
Mark Empire BIP : and of course hip hop which I’m doing currently
Kyle Eaves BIP : My major influences that shaped my hardcore ear were: DKs, Minor Threat, Plasmatics, Ramones and the B52s
Mark Empire BIP : Bill and Chris and I were always jamming Hendrix, Kiss and Zeppelin covers during sound checks.
Kyle Eaves BIP : Bill liked Roxy Music.
Mark Empire BIP : Utopia, too. He let me borrow Swing to the Right once. We weren’t really all that punk, were we?
Kyle Eaves BIP : No more classic rock, but I think all f you and Jeff Webb came around in time and appreciated some of the better bands
Mark Empire BIP : Yeah it definitely helped shape what I did later on, once I got bored with that other stuff
i wouldn’t say they were better per se, it was just different genres.
Kyle Eaves BIP : I am not as diverse as you. I like lots of stuff, but there is some stuff I try to avoid.
What’s one thing today’s musicians should be doing but are not doing ?
Mark Empire : I don’t avoid anything much. i used to be the exact opposite. i spent my youth hating whatever was going on around me and pining for some distant imagined “better time” in music and blah blah. i went through my “you kids don’t know good music” phase very early on.
Kyle Eaves BIP : It pays to keep an open mind more times than not.
Mark Empire : Stop playing “follow the money” when they’re writing songs.
Kyle you spent time in Los Angeles in the early 80s why did you leave ?
Kyle Eaves BIP : I was in the LA area from 79 to 81. It was great and I learned a lot, but I missed my friends and family. I was kind of on my own out there and it was time to move on. I brought what I experienced back to NJ and BIP.
Mark Empire BIP : there are plenty of artists who do that now, though
Kyle Eaves BIP : what money?
Mark Empire BIP ; well it’s more proverbial money nowadays I suppose.
What’s special about NJHC and is HARDCORE dead ?
Mark Empire BIP : I don’t know and probably not.
Mark Empire BIP : Yeah NJ tends to stifle creativity in my experience. you kinda have to go elsewhere for inspiration
penguins were a thing in the 80’s.
It’s the year 3014- Archaeologists have found a stash of BIP music …what do they learn from it ?
Kyle Eaves BIP : They learn to say holly crap those guys played really fast!!!
Mark Empire BIP : and had penguin fetishes
Kyle Eaves BIP : that too proud creature
Mark Empire BIP : Penguin Fetish would make a great band name. Maybe that could be a BIP tribute band
Kyle Eaves BIP : I hope not
Mark Empire BIP : OK then I’ll have to tour as Mark Empire’s Penguin Fetish.
Kyle Eaves BIP : When I listened to the tape Chris emailed me I was shocked at how fast we played. I have not heard it in quite a few years and it took me a few listens for my brain to catch up
Mark Empire BIP : Yeah, I honestly didn’t realize how fast we were going till I listened back to the recordings afterwards.
I swear I heard a rumor Fred works on Sesame street as a puppeteer. We booted Fred out of our band Lesser KooDoo cause he was creeping our singer out cause she was wearing a coconut bra and Fred couldn’t keep his hands off her coconuts. True story.
Gavin Von Em BIP : One thing that was special about NJxHC was that early on, we were between two big scenes, in New York and Philadelphia, that tended to siphon off ambitious people and bands — so in a way, we had tremendous access to resources from the beginning. We never had to invent our own thing in isolation the way kids did in Alaska. But at the same time, we never considered ourselves part of those other scenes. We weren’t content here in northern NJ just to be a satellite of New York, and insisted on building something for ourselves, that belonged to us.
Gavin I remember seeing you on guitar and bass and maybe even drums once 83 & 84.
Gavin Von Em BIP : So there was a conviction here that it wasn’t good enough just to imitate stuff we saw and heard in New York — that attaching yourself, or attaching your band or your other talents, to someone else’s scene was an easy, lazy way to avoid making stuff of your own, to avoid being in the center of something that was actually happening in real-time, where great things and ridiculous mistakes could both be possible. We didn’t fear failure. And we often achieved it!
Yeah, I played drums and guitar on a few records after BiP, then wrote for magazines for awhile, then started doing graphic design. I’m subject to multiple modes of artistic failure.
Mark Empire BIP : Pssh…don’t get me started about failure.
Gavin Von Em BIP : [Next is some interesting/weird BiP trivia] Among the people who answered the original BiP ad (in the Aquarian, a NJ hippie weekly, in Feb. 1982): Dave Scott of Adrenalin OD, apparently looking to trade up; bassist Tom Shad, later of a million projects including Dumptruck and the Blue Man Group, and the notorious literary fraud Laura Albert, a.k.a. ‘JT Leroy,’ who was at the time pretending to be “a blind American musician and songwriter.”
So believe it or not, the early lineups of BiP could have been even weirder.
This isn’t totally relevant, but my first punk band, Johnny Saline & the Abortionz, had split up after playing a couple of shows because the 23-year-old singer thought he was too old to be playing with 14/15-year old kids. The drummer was a very early member of the Cro-Mags, and is the guy standing in the middle on the sleeve of the first Agnostic Front EP.
In late 1983, this trend continued when I got kicked out of BiP for being too young to play City Gardens. About 6 months later I rejoined on bass, in the lineup that recorded the album. There’s a whole lot of early studio stuff from 1983, like two albums’ worth, that none of us have listened to since then.
Fred: The genius that was Fred…
Fred Buccholz was a quiet, nerdy guy who was heavily into ’60s psych music and who just fell into punk/hardcore by accident when Kyle asked him to play in BiP. Fred was not like mere mortals. He drove a primer-black Fredmobile that he built from parts of various early-’60s cars, with an interior made out of plywood and hardware-store items (the glove compartment had door hinges and a fencepost latch).
He fixed things obsessively. Every physical object Fred owned had been Fredulated. Cliff, you remember that one Ovation Breadwinner that Fred played in your band?
Totally- Fred played in Lesser KooDoo. Looking back now I think Fred experiences Aspergers.
Gavin Von Em : Oh, totally Spectrum. He bought that Ovation from me when he was down to like six homemade Fred Special guitars.
Or actually, when he’d used the parts off every guitar he had building those Fred Specials. Greg Walker just found one in his basement.
It’s like a thick green plank with a neck bolted on and $1,000 worth of vintage parts on it.
Yes Fred is crafty,Yes very Devo, Loved that.
Gavin Von Em BIP : The red one with the steel strips bent into a guitar-body shape — that was some punk.
We did record 4 song Lesser KooDoo demo with Fred in 87 or early 88 that may surface one of these days.
Gavin Von Em BIP : But anyway, every piece of guitar equipment in this band was Fredulated into this beautiful space junk.
First came the power sander, then the parts got swapped everywhere, then came the weird custom innovations — switches with LEDs, Radio Shack kits built into things…
The absolute pinnacle of Fred Genius was when our Fred-Customized tour van broke down on the highway in the middle of Kansas.
It blew a head gasket at like 1AM. There was nothing around for miles. We were like, “Oh shit, now what are we going to do?”
Fred goes under the hood with his toolbox and you hear banging, clattering, and cursing for about ten minutes.
He comes back in and is like, “Heh. Give me a couple of album covers.” A few minutes later he’s like, “Gimme the road atlas.”
Then he comes back and says, “Heh. Got any extra guitar strings?” And then he opens the driver’s door, sits in the seat, looks back with the most innocent of smiles, and buckles his seatbelt. The van starts, we drive away. Not only did Fred fabricate and replace a head gasket out of duct tape, album covers, a road atlas, and some guitar strings. The van got better gas mileage afterward….For over 6,000 miles. And for all we know, to the present day. 1970 Ford Econoline, btw. With an interior built out of plywood with hardware-store accoutrements. If anyone has seen it, please send a report.
Classic Fred , That’s amazing.
Mark Empire BIP : Much like Fred, I stumbled onto hardcore myself. I’d just started college and my dorm room just happened to be next door to Chris’. Anyway, he was jamming one night with a bassist and drummer and I got behind the kit for a couple songs. The drummer whose kit I was using was one of these exact, Neil Peart types who played Rush note for note. I, on the other hand, played like I was having a seizure.
At one point, he began yelling, “JUST TAKE IT EASY, OK?? JUST…JUST TAKE IT EASY” in my face mid-song.
The next morning, I was in Chris’ room and the drums were still set up and he put the BIP record on. I got on the drums and started goofing on Demolition Mission for like 30 seconds. Next thing I know, later that day, Chris is asking me to try out. I said yeah, obviously not knowing what I was getting myself into. Couldn’t really play it, either. I still can’t. I was only in the band for like 8 months, really, but it was probably the most memorable 8 months of my life. Certainly the most unglamorous musical genre I’ve ever been a part of. Polar opposite of anything MTV was shoving down our throats, which is what I loved about it. That and the speed (of the music)…
Gavin Von Em BIP : Sometime in late 1984, we were opening for Scream in Baltimore in some warehouse space, and we were doing soundcheck. Wayne had an economics final the next day, and he studied all the way the way down to the show. So onstage before the show, he’s sitting behind his kit with the textbook open on his floor tom, hitting the snare over and over, as you do, still studying. Then the soundman says to hit the toms one by one, and he shifts the textbook over to his snare and starts doing the toms. We were laughing at him like, “Hey Wayne, you need to give up these pie-in-the-sky dreams of being an accountant. You need to be practical and stick with punk-rock drumming.”
I tell someone this story every year on 9/11. The punch line is, “If only he’d listened!” And it’s not really funny.
Well the music biz is hard life. So if it’s not one thing it’s another.
Gavin Von Em BIP : There are some things about Wayne on 9/11 that nobody talks about. There were difficult, rage-inducing details that are still too vivid.
Yes maybe out of respect for Wayne’s family we leave out horrid details.
Gavin Von Em BIP : They’ve never gotten over it.
Who could? Just learn to live with loss.
Gavin Von Em BIP : Loss is hard, but this was just awful.
I think we’re got a great story here.add any additional influences or rival bands that you threw rotten eggs at ?
Can you tell the story behind the BIP album who wrote what and where it was recorded and how’d it happen? My own band had difficult time getting money to record as we’re broke and we have kids.
Gavin Von Em BIP : We used to piss off Adrenalin OD by opening sets with their opener, ‘AOD vs. Godzilla.’ Now it seems kind of lame. Now with Facebook, there are so many better ways to piss off Adrenalin OD!
Mark Empire BIP : We had no rivals. Kyle looking like Charles Manson was pretty tough to beat.
The spraypainted BIP Album cover was classic.
Gavin Von Em BIP : The album was done at The Sanctuary, which is the studio responsible for making most early NJ hardcore records sound bad.
Gavin Von Em BIP : Also visiting bands. DRI did their Peace Compilation track there, but Kurt apparently used his own snare. So the drums sound like a beautiful snare drum in a sea of midrangey thunka-thunka cardboard. The Sanctuary guys had no idea what they were doing. Except if you wanted to go somewhere else, the only studios we knew about were Mix-O-Lydian in Boonton and Reel Platinum in Fairlawn, where the Misfits recorded. They were something like $40/hr, while Sanctuary was $30. We couldn’t afford it.
How did the album get released and distributed. I’d like to hear ’bout old school network pre-internet.
Gavin Von Em BIP : Like how people communicated and information was passed around? Because that’s really interesting. It’s the key thing about the ’80s hardcore scene that nobody seems to have discovered yet. Among the silly things I’ve done is that I wrote most of the east coast hardcore entries for the current edition of ‘Volume: The International Discography of the New Wave.’ I don’t want to be all like, “I’m one of the foremost experts on hardcore punk.” Except I sort of am.
Kyle Eaves BIP : Yes I think you are.
Gavin Von Em BIP : I spent some time as a working rock critic, wrote some stuff for Rolling Stone, etc.
Kyle Eaves BIP : I am not even an expert on BIP cause I can’t remember large portions of the past due to chemo.
Gavin Von Em BIP : Chemo = our version of Emo!
Gavin Von Em BIP : No, I was going to say that the BIP album is kind of shockingly early for an album from NY/NJ/PA.
It didn’t seem so at the time…
Do you guys self produce it or did it get made with Buy Our Records?
Kyle Eaves BIP : Fred and I paid for it and BIP let us use their name to promote
Gavin Von Em BIP : But in terms of hardcore albums, there was the Nihilistics, Kraut, and Heart Attack from Long Island, and a Little Gentlemen album from Philadelphia… If it wasn’t for those punk labels alot of bands would not have been recorded or heard beyond their towns. And then all that strange Mutha Records stuff that barely made it outside of Long Branch.
The Philly hardcore comp and the Dirt comp.
Gavin Von Em BIP : There were lots of 7″ EPs, but albums were really uncommon. Well, compilations, yeah. NY was still all about 7″ comps with the Big City releases. Plus the NY Thrash tape, which was a tape. Kyle, why did we do an album instead of an EP?
Kyle Eaves BIP : I don’t know much about EPs and I thought we had enough songs for the LP. Never really thought about doing an EP.
Gavin Von Em BIP : Even Boston only had about 6 or 7 12″ hardcore records at that point. AT THE TIME, it seemed like everyone was doing it… But when you go through the actual releases, there weren’t many at all.
West coast bands and DC bands had albums- the bigger punk bands from NYC and UK had albums,so why not right
Gavin Von Em BIP : Seriously, count the DC albums. Government Issue, Minor Threat, Second Wind, Scream…
Our bands from the 80’s never got on vinyl,we could only afford cassette releases.
Gavin Von Em BIP : Yeah, it’ss weird now that we had the audacity.
Kyle Eaves BIP : I did not know any of this. I was just focusing on doing our thing.
Gavin Von Em BIP : Yeah, most bands only released cassettes. And there’s a real bias among collectors and critics that unfairly privileges vinyl releases as releases that ‘officially’ happened… When most of the stuff that people actually made and listened to is on cassettes, and has never been re-released.
Well if it’s not one thing it’s another, I mean when Fear came out with the record,it was far more well produced than other bands, I think it stood out, because most punk sounded like garage bands cause that’s what people could afford.
Gavin Von Em BIP : The Germs album sounded pretty great.
Kyle Eaves BIP : We had a shoestring budget for sure.
Gavin Von Em BIP : I remember it being a money thing.
Kyle Eaves BIP : Someone suggested it and I did not know better.
Gavin Von Em BIP : Probably AOD.
Kyle Eaves BIP : probably an issue always is, money.
Gavin Von Em BIP : Many tears have been shed over the NJxHC scene’s allegiance to Sanctuary.
Kyle Eaves BIP : You do what you can.
Gavin Von Em BIP : But it was also out of the question to record in NYC. It had to be in NJ somehow.
Kyle Eaves BIP : seems appropriate probably more expensive in NYC.
Gavin Von Em BIP : AOD later found that amazing place in East Orange where all those soul and disco records had been recorded.
And the rest is history, I guess.
Kyle Eaves BIP : We had too many line-up changes to record well after that 1st record. AOD had more continuity
We had enough material, but not enough backing hence lack of money.
Gavin Von Em BIP : Aah, well after I was out, you didn’t have a Curious Squirrel who wrote a million songs and wanted to do weird things.
Who did most of the writing ?
Gavin Von Em BIP : Well… I didn’t write lyrics hardly at all.
Kyle Eaves BIP : I wrote lyrics. I know Bill wrote some and Jeff – Democracy or Die is the only song. I wrote some of the music.
Gavin Von Em BIP : Greg Walker wrote the music to ‘Bodies in Panic.’
Kyle Eaves BIP : Mike Pek wrote the chorus lyrics, but he wrote chickens without heads but I changed it to penguins
Greg Walker is amazing.
Kyle Eaves BIP : Gavin you and I wrote the verse lyrics one day in your basement together
Gavin Von Em BIP : I’ve forgiven Greg for kicking me out of the band in 1983, but [cough cough] timing problem. By the time he joined Pleased Youth, he got a lot sharper.
What do you hope to bring to the table for this upcoming reunion show,do you have a set list in mind,and is there any chance of a future beyond the reunion show ?
Gavin Von Em BIP : I’m ADHD-I (the non-hyper kind that they usually diagnose in girls). I’m on a shit-ton of speed at all times. I also have the ‘paradoxical’ reactions to it — it makes me sleepy.
Kyle Eaves BIP : We have 10 songs as of now and a new song in the works for the show. We may do more recording after the show but live is unlikely
Gavin Von Em BIP : The new song is called ‘Who Took a Shit In the Dip-Da-Dip-Da-Dip?’ It’s doo-wop.
Kyle Eaves BIP : Actually it’s called Hamster Hide Away.
Gavin Von Em : He’s lying. It’s called, ‘By the Time I Get to Phoenix.’ It’s about the ’85 tour, and how we never got to Phoenix. We’ll be settling old scores. Oh yes. If Kyle kicks me out of the band this time, it won’t be because I’m too young. It’ll be because I’m…well, too me.
Favorite shows ?
Favorite shows: Archer (on the FX channel).
Top Gear (the real British version, not the ridiculous US one).
Uh, Anthony Bordain.
Kyle Eaves BIP : Yes on Bordain.
Gavin Von Em BIP : ‘Danzig With the Stars’ — the show about shooting Glenn Danzig into outer space.
Kyle Eaves BIP : I liked City Cardens, Anthrax and Baltimore as my favorite place to play. CG for the great bands we got to play with and Antrax and Baltimore for the great crowds. Catasaqua was very fun also.
Gavin Von Em BIP : The Ramones show(s) at City Gardens were kind of epic.
Kyle Eaves BIP : And Gavin no more kicking of any kind, you are a lifetime member now,Show Place with the DKs. The show at the Union Rec hall with pretty much all of the NJ bands was fun.
Gavin Von Em BIP : He’s not telling you that I tried to make the current band play ‘Red’ by King Crimson. That almost got me bounced — or should have.
Yes I agree Gavin is brilliant, he deserves to be the guy who brought it all together guy and placed the ad in the Aquarian want ads.
Kyle Eaves BIP : At this point, we can add people but no one is getting kicked out
Gavin Von Em BIP : But then imagine you have to be that guy your whole life. Where do you hide from him if he’s you?
Kyle Eaves BIP : Kind of like the Supreme Court appointed for life.
Gavin Von Em BIP : The joy, the horror.
Kyle Eaves BIP : life is both
Kyle you mentioned Chemo, would you like to talk about you experience fighting cancer?
It’s ok to not go into it, just an opportunity if you like.
Kyle Eaves BIP : Mantle cell lymphoma in small intestines. Hospitalized 111 days in a 1 year span around 03 and nearly died 4 times. Rough going for about 5 or 6 years but I work out in the pool now often and I am doing much better. I would not recommend cancer to anyone.
C&I : that’s amazing Kyle we are so glad you are with us.
Kyle Eaves BIP : I think about things I can do now and don’t worry about what I can’t do for peace of mind. For a while I kept thinking I was like half the person I used to be, but thinking about the past too much was unproductive to survival, got in the pool and turned things around.
Yes be positive, and live life.
Kyle Eaves BIP : Yes sir, not just a saying.
And laugh and have fun.
Kyle Eaves BIP : That is what BIP was at its best of times.
That’s a heavy bunch of years Kyle, we are so glad you made it so far, so excited for the band to do this reunion show.
Kyle Eaves BIP : A big factor for me to survive was my kids were young and I knew my wife needed my help and I did not want to leave them
plus I’m stubborn.
You have what it takes my friend, big love. Ok one last question for Gavin, if BIP was a boy band, who would get all the TWEEN attention ?
Gavin VonEm BIP : I’d like to think it would be me, but if ‘tweens were going to pay attention to any of us, it would’ve happened a long time ago.
Dark Model SARAH VIUM
CLIFF AND IVY- ALASKA’S ONLY GOTH BAND— EP SPRINGTIDE OF PURE REASON
Download Cliff and Ivy’s EP! produced by KRAMER (Butthole Surfers, Ween, Low and more) with Don Bolles (The Germs, 45 Grave) on drums!
Compared to Siouxsie and the Banshees, Sisters of Mercy, this EP has received many great reviews- find out what Alaska’s only goth band sounds like!
Meet The Can Can Heads- A Band From Finland
Can Can Heads: Raine Liimakka (guitars etc) Janne Mäki-Turja (drums) Tomi Nuotio (bass) Mikko Lehtonen (vocals) Janne Martinkauppi (saxophones)
Butter Life is the second full-length from Finland’s Can Can Heads, the previous one Headcracking Lifestyle came out in 1999. Butter Life will be released on vinyl as an edition of 300 copies. The album can be heard in its entirety at:
http://cancanheads.bandcamp.com/album/butter-life Album artwork: https://db.tt/cnoLCeZi
Can Can Heads is a nest of contradictions, twists and surprises. It’s violent music with a gentle heart. The band’s front man doesn’t sing. Or play an instrument. He occupies the space on stage where a lead singer usually resides. And gyrates. Generally, the bass is as close as the band gets to a lead instrument. The music is convulsive and jerky, but manages to reach a hypnotic state. It’s like tribal music made by a quintet consisting of misfits and contrarians. Hailing from a barn in the flood-prone flatlands of Bothnia in western Finland, Can Can Heads has been kicking against the pricks for over two decades. They’ve managed to avoid all contact with the roaming searchlights of media attention by skulking from one margin to another: punk, no wave, free jazz, noise. All this goes into a blender and out comes something the band itself tends to call “Ramones meets Albert Ayler”. Others might call it skronk. Butter Life is not smooth and it’s not creamy. It sizzles and scrapes, raking its lo-fi nails from your scapula down to the small of your back. – Arttu Tolonen
FOR THE BATS COMPILATION- A GOTH/METAL/PUNK COLLECTION TO BENEFIT BAT RESCUE AND SANCTUARY
Please consider being a friend to the bats! Download this great compilation- CLIFF AND IVY are proud to be on it with other fantastic bands from all over the world! All bands have donated goth tunes to help http://www.batworld.org rescue and rehabilitate bats.
VIDEOS FOR YOUR PLEASURE!
SMASH FASHION with “MARIONETTE” NEW GOTH/POP, ALL A FUN MYSTERY AND BLACK AND WHITE
TRAILER CRASH with “PRIMITIVE”
Like an unholy cross between the Cramps and The Birthday Party, this band is outta control in someone’s basement in Prague!
THE SILENT PARTY with “I CALL YOU”
This is a great track evocative of shoe-gaze, goth and Joy Division with a touch of Deftones! Grandiose and majestic!
SEVEN SECONDS with “I HAVE FAITH IN YOU”
CLASSIC HARDCORE from TODAY!
NEW YORK JUNK with “POISON HEART”
SILKE BERLINN, RIKK AGNEW, GITANE DEMONE with “We’re Desperate”
Deathrockin great cover from the legendary Rikk Agnew, Gitane Demone, and Silke Berlinn! Los Angeles goth royalty!
NEW ZERO GOD with “KISS THE WITCH”
Awesome track from this top band, goth royalty from Greece!