Pocketknife/Adventures With Might Split 7" - Release at Holocene, February 29th

I was excited to discover that Pocketknife has a new release coming out - a split 7" with fellow Portland synth pop makers Adventures With Might on Vinyl Richie. The concept of the record is simple but clever - each band's side contains one original song and one cover of the other band. All songs contain sexy, danceable, synth-heavy pop. Pocketknife's original track, "Bats in the Belfry," skillfully combines creepy, ominous lyrics with frantic, catchy pop hooks. Adventures With Might's "Teen Machine" sounds like what would happen if 70's funk and 80's goth had the most awesome music baby possible. The bands are having a release show at Holocene on February 29th. Dancing will not be optional.

Ron's Picks: Recession Proof Music

Being broke.  We all know how it feels.  Cable news and our lavish iPhones keep telling us how horrible the housing market is, or how the unemployment rate is higher than ever.  Money, or the lacking of having any, controls are lives no matter how badly we want to believe it doesn't.  But there is one thing it really can't touch.  Music!  Yes, there is always music.  And believe it or not, some of our favorite artists are broke as hell too (shocker, I know).  And with said brokeness, it seems as though an abundance of EP's, 7" singles, digital "albums", etc. seem to coming out these days.  This is not a new discovery of course (I started Recession Proof Music last year at MusicGeek.org), but I think it is still worthy notarizing.  

So good CIMB readers, I present to you just a few of my favorite short tracked releases of 2011.  There is no order.  And to make it all even more enlightening, you can purchase all of these albums for less than the cost of that Japanese imported Radiohead 78 you've had your eye on.  Enjoy!

The Old Lace - The Old Lace EP

One of my favorite musicians, Arman Augusto, spent 2011 trying some very cool new things.  He created a strange, dark, and absolutely fascinating grind core project known as Curse Of The Black Widow.  And there was always his famed experimental folk moniker that I have been following for years known as The Walking.  But, what impressed me the most this year was without a doubt his three piece experimental project The Old Lace.  Here we find Arman in an entirely new state of experimental bliss.  The man shows all new colors on this one.  And who couldn't love that, right?

The Dustbowl Revival - Holy Ghost Station

When I was introduced to this amazing bluegrass/folk/rockabilly/all sorts of things group from lovely Venice, California, I was instantly hooked on their amazing modern take on classic tunes.  Although this format of rejuvenating aged products has become a pretty common occurance, "Holy Ghost Station" is an example of said format that strikes out all on it's own with pure and indigent originality.

Thunder Power & The 1959 Hat Company - Hearts Intersect

It's simple.  Thunder Power rocks.  They are by far my favorite group coming out of the midwest Mecca known as Omaha.  They're sometimes light hearted blend of indie pop and lo-fi pyschodelic mantras are always a joy to have blast through your Chevy Nova at 3 in the morning.  And yes, there might be a bit of bias opinion based on the fact that front man Will Silvey Simons was a major part in my book Children of Mercy: Tales and Teachings From The World of Independent Music.  (Yes, a shameless plug.  Sue me).

The Rest - Always On My Mind/The Last Day

I fell in love with the beautiful indie noise The Rest creates since I first heard 2009's Everything All At Once.  And although we have only heard from this Canadain in moderation since, it does not mean they haven't been working.  In fact, their 2011 was spent recording their highly anticipated follow up album SEESAW.  Unfortunately, an almost fatal technological mishap occurred, and things were put on hold.  But, it's pretty much a definite that we will see this album finally come to life in 2012.  And with this split single, we get a small taste of what is to come.  And folks, it tastes amazing!

Jacqui & Anthony - Weekend EP

I've developed a great addiction to the releases from the Exeter England based indie label Pastime Records.  They had more releases in 2011 than Hermain Cain had mistress in his lifetime (we can only assume).  And without a doubt, the indie folk duo Jacqui & Anthony was one of the best of the bunch.  Jacqueline Cooper exposed herself as having one of the finest set of vocal chords in indie folk today.  And proving once again, that everything sounds better with a British accent.

Wyatt - Wyatt EP

Oh sweet Maddy Wyatt.  Brooklyn's gem in the folklore sand.  Easily one of the finest song writers playing today.  Just a doll to the indie world.  And with a successful Kickstarter campaign in 2011, we got to hear Maddy and some friends in full band format with Wyatt's debut EP.  Maddy kicks up her sassy folk tunes up a dozen notches on this one.

Do Not Forsake Me Oh My Darling - Questions Are a Burden to Others

I fucking love Michael J. Epstein and Sophia Cacciola.  Simply put.  They have so many damn projects spinning around these days their almost too hard to keep up with.  It seems as though I can't go a single day without an fresh Facebook update on a new project formulating.  But, my favorite project will probably always been their work as Do Not Forsake Me Oh My Darling.  And we were blessed in 2011 with a follow up EP by this enigmatic duo of geniuses.

Hosannas - Thug Life Nicole

The PDX legends did it once again.  Although Hosannas claimed this is a collection of songs that weren't good enough for their 2010 release, Then & Now, they are definitely spectacular.  I honestly can not describe this EP any better than the band does themselves:

"These songs all share a common thread embodied by the ttle of this e.p.  "Thug Life Nicole" is an albino reindeer we found on the side of the road while on tour in Santa Barbara.  She lived in Vanworld Africa USA for a couple years and became our mascot."

Couldn't have explained it any better.

Flying Spiders - The Doppleganger EP (Villaging Trio Pt. 1)

As some of you know, I live in Spokane, yet hail from the "other" side of WA.  A strange personal duality to say the least.  And as most of all of you know, our music scene seems to be just one small step above non existent.  Many great groups have formed here, and flocked west with the best of intentions.  So imagine how strange it is to know that one of the finest organic hip hop groups is in Spokane.  Front man Isamu Jordan and his 7 merry musicians have created an amazing jazz infused styling that lives and breathes the fresh dry air of Eastern Washington.  The crown jewel of the east if you will.  

**Disclaimer:  Although I absolutely love all of these albums, if you are looking for a better formatted, more educated, downright more mature listing of some amazing EP's from the year past, I recommend you check out our friend Andy Fenstermaker's list at Fensepost.  He's a smart guy.  A mentor if you will.  And, of course, my favorite EP of the year was not listed here.  Shameless plug #2:  Check out my Top 37 1/2 Albums of 2011 at Trainwreck'd Society**

Help me record a HAUNTED ALBUM!!!

photo by Anthony Georgis

Hello everyone, long time no see!  I've been busy with vacations, writing, working, parenting... all the good stuff.  So of course there is a backlog of music submissions and such.  I'll get right on it.  No, really.  And I do have some great things to bring up, but first...

Help me record a HAUNTED ALBUM!!!


From my indiegogo page, here's a little background on the project:

When was the last time music moved you?  It probably happens all the time.  But when was the last time music scared the hell out of you and made you afraid to go to the bathroom at night?  IN YOUR OWN HOUSE?  I would like to spread fear and confusion to a jaded populace, and give them something to play at their Halloween parties that isn't "Monster Mash" or "Ghoul, You'll Be A Woman Soon".  Instead, we'll have songs about and manifesting the spirit of some of the creepiest locations in the world... Aokigahara, Pripyat, The Lalaurie House, and more...

What We Need & What You Get

To be perfectly honest, my recording facilities suck.  I prefer to run lean, like a thief in the night, but that won't be enough for this project.  I mean, I could just sneak into an abandoned warehouse with a length of rebar and a dictaphone- actually, that sounds like a really good idea.  Maybe I'll do that.  BUT IT WON'T BE ENOUGH FOR MY GRAND VISION!!!  To really evoke the dark presence of haunted locations, I'm going to be getting some electronic percussion (to use as a midi controller to "play" my locations), some better microphones and audio equipment to do field recording, and whatever is left will be used to buy random crap that I will hit with a hammer. Come to think of it, I may need to buy a coupla hammers as well.

Now, I really want to do something unique and original.  So, apart from cool, normal stuff like downloads, physical copies, thank-you notes, etc., I have put in the very top support bracket a slightly weird opportunity- I come to your house, set up my stuff, and record the ambient life (or unlife) of your living space.  I will then take what I find and plug it into reverbs and sampling and PLAY YOUR HOUSE on a song.  Okay- and if that wasn't creepy enough, I will then either haunt your house or unhaunt it using a special ritual.  How's that for supporting the arts!?!?!

Other Ways You Can Help

Now, I'd love it if you could help financially, but if you can't, I'd appreciate you getting the word out there.  Indiegogo has some great sharing options, please avail yourself of them. And of course, if you happen to live somewhere haunted and want to send me creepy audio clips, I will most certainly not turn them down.  If I use your audio you will of course receive credit and I will probably give you a download.  Because I am super nice.

I am really stoked about this.  You have no idea.  The inspiration for this hit me the other day, and I'm excited all the time. It's going to be awesome, and I hope you can help.  Portland peeps- do not miss out on the affordable top tier of support.  It's a really unique opportunity.

Thanks for reading, everyone, and I'll be back soon with more reviews and snarky criticism.  Here's a little taste of the project, a little live-ish piece I did with my daughter.  Pretty rough, obviously, but thus the funding campaign.  Bye!

Dyatlov Pass Incident by DJFalsifier

Intro to PDX Hip Hop for the Indie Rockers Volume 1

TURN MY HEADPHONES UP! Friendly Neighborhood Edition

Hi everybody, it's time to clear out the ol' inbox again?  HAhAHAHAHA, just kidding, the inbox will never get clear.  That's just the nature of the beast.  But what isn't beastly is that I do get to listen to a lot of awesome new music, and make fun of a lot of really bad music.  It's all in the spirit of the thing, so put on your anti-douche belt and come along with me.


NICOLE LEXI DAVIS- "no title given"

Now, one of the best ways to get featured on this blog is to ask nicely, and not make some really uninspired joke about how your music is Crappy enough.  We've heard that one, seriously.  We really have.  So it is fortunate that SoCal singer-songwriter Nicole Lexi Davis is polite.  Or, at least her PR people are.  On Davis's website, her bio suggests that she is a "throwback" to good ol' 70s female balladeering.  I like the intellectual honesty of describing yourself as a throwback.  Much like the way Peter Gabriel unashamedly describes his own sampling as "stealing".  As far as music goes, Davis does indeed show much of the wide-open lush sounds that I personally have come to associate with "Blue"/"Hissing"-era Joni, and also with being 5, reading "Just So Stories" on a cold morning with some hot Cream o' Rice.  A strong showing- only lacking in tracks like "Popsicle" that sound- honestly- like someone trying to nail down their tempo with a drum machine for the first time.  But so it goes.  Keep up the good work Nicole!


BRITCHES- "Demonstration"

Hi, Britches!  I didn't realize CopShootCop had gotten back together!  As much I was initially pleased to hear a resurrection of that sound, somehow it just didn't gel for me.  I don't think it's so much that I'm old, as I will still cheerfully crank up "Ask Questions Later", but to hear this from a new release just doesn't seem to fit into the weltanschaung, if you'll pardon my french.  Now, there is absolutely nothing wrong with Britches' music, and I'm sure there is an indie circus troupe out there just waiting for their soundtrack, but for the moment I just don't see it rotating on my personal playlist any time soon.  Note: their upcoming album project is entitled "The Reptal Centiguiner", and I'm not sure how much more awesome that could be, so keep an eye on Britches.

BORON OXYKITTEN- "The Streets Were Paved With Circuit Boards"

Well, the Field Hymns label has been sending me some stuff about their artist Boron for a while now, and there has been such a self-indulgent air of cleverness about the whole thing that I have really been struggling to give half a rusty tinker's fuck.  Portland doesn't need any bad musical mystery figures- we have a good one.  The world doesn't need a musique concrete versions of Jandek- the real thing is poking around somewhere ruining someone's day.  The funny thing is, when I went to the Field Hymns site (I had to, there were no music samples, and I definitely don't give a shit about his guest players or the release date of his on-again-off-again titled-not-titled new album) I suddenly found myself interested in their releases, because that, children, is the power of description.

Normally I cringe when artists or artists' reps go from beige to purple in their descriptive mode, but who can resist the description of Oxykitten's new album:  the sound of John Carpenter making hip-hop instrumentals for long, sweaty nights - a sound from the era when a man had a better chance of getting knifed in Times Square than finding Gelato....drum machines and old synths barrel down alleys thick with grime and groove, where police and disco lights beat in tandem and the dirty beats sluggishly refuse to die..

I know, right?  Holy shit.  Who wouldn't want to listen to that?  Well, after going to Oxykitten's site, I found that their music (as played on an emulated old school tape peripheral) didn't have much going for it: vintage computer game samples, meandering uninspired synths, and a lot of garagey noise.  And speaking of cassettes- Field Hymns mostly puts out their new releases on cassettes.  Why?  Fucking why?  And another thing- if your website is going to have a mock TRS-80 as the primary interface, then the motherfucking BREAK button had better do something.  Like stop the music

You see, zeerust is only effective as a prominent part of the image until a hipster shits on it.  We've seen lounge come and go, letting people listen to it now unironically.  Which is for the best.  I'd really like to see the late-70s/early-80s big glasses and too-short-shirt thing go away now.  You motherfuckers had best step back from my Venture Bros.  And stop tempting me with your websites that promise creative, spacey goodness, and supply only half-hearted pastiche!  That's all I want.  My birthday is coming up.  Surprise me.

THE I.D- "Age Anti Age"

Oh, thank goodness.  After that last one, if it had to be intense, I wouldn't have made it.  The I.D didn't have much to say about their music, and that was just fine.  "Age Anti Age" reminds me of a certain band back when they were good and when their singer could keep the damn sunglasses off his face.  Here is a retro sound that is completely without pretense, and I can get behind that.  There's also a pleasant thickness to the sound, a rolling off of the top end that fits quite well.  Good job, kids!

Ra Far- "FFN"

Um.  So, I should have seen the writing on the wall with this one.  Or, rather, the writing in the email.  Look- maybe it sounds harsh, but we don't really have many specific requirements on the submissions we get.  It shouldn't have to be spelled out that if you're going to communicate to someone in a professional capacity, you should actually, I don't know... communicate.  Crappy Indie Music may not be Rolling Stone, but we're also not your stoned texting buddy.  So if you want to know anything about Ra Far, here is what he/it has to say:

bio- Ra Far is a revolutionary artist he makes all his own artwork and music. Ra Far grew up in Woodstock, GA with a lot of music influences from acoustic rock to hip hop, through the years he has found a new type sound that has been said to be like a combination of Christofer Drew and Tyler, the Creator. A weird combination, but its refreshing. His mixtape (FFN) is coming out on 11/11/11 for free at OtherOr.org

genre- Experimental

Once again, you might feel that I'm being too harsh, so perhaps I'll let the music- the watered down, flat, boring rap- speak for itself.  Seriously, I thought I had problems with flow.


Strange Mangers- "Strange Mangers"

Well, I always like to end things with a digestif.  What better way to clear out the taste of objectionable rap with some brilliant postpunk?  UK-based Strange Mangers may not reinvent the wheel, following very closely on the heels of their own cited influences like Tortoise, Don Caballero, etc., but going with that, they shine.  It's always nice to see bands just going with it, and doing well.

Now, if you'll excuse me, I have to go rock.  Good night everyone!

TURN MY HEADPHONES UP... "Run and tell that" edition

Crikeys, I've been so busy interviewing fancy people that I've forgotten all about my portion of submissions that are slipped under the crack in the door in the wee hours of the morning.  So as is my wont, I'm going to start working backwards and letting you know what's up. Unfortunately, since I'm in a really bad mood I'm going to be super critical of everyone.  You know, I only pick on you because I love you.

RAW MOJO- "Submission"

From left: Herp, Derp, Hurr

First dip in, already Raw Mojo have pissed me off.  They submitted music and didn't give it any sort of title.  I mean, seriously... everything I do ends up with an epic title even if it's just a bass groove I lay down for future musical cannibalism.  It takes like two seconds to click on a random wikipedia article and name your goddamned ep.  They also gave me a "sounds like" description that truly boggles the mind:

Sounds like: The band is still new but has drawn comparisons with the likes of The Breeders, Yeah Yeah Yeahs, EARLY Motley Crue, Joan Jett, Nirvana, The White Stripes, Rush, Metallica, Hole, Ozzy, The Donnas, Robert Johnson, Diamond Head, and Girlschool 

See what I mean?  Bonus points for throwing Diamond Head in there, but Robert Johnson?  News flash, kids.  YOU DON'T SOUND LIKE ROBERT JOHNSON.  You sound like, oh, I don't know... Dead Moon.  Or something.  What is my honest take on their music?  It's so okay.  Good enough, but I have the feeling their heart is really not into it.  Look at the guy in the blue shirt's face.  He really would rather be anywhere else.  Word to the wise: if you're going for oldschool RAWK, then you had better fucking mean it.

FUEL BOX- "I"

Christ, why is everybody on the right always smoking?

Fuel Box are, as I am told by their very professional press kit, a Dutch soul act.  Now, despite their shiny exterior, they also committed the cardinal sin of presenting some interesting hypothetical sounds like:

Our music style? Kind of a dark blend of dub(Lee Perry), hip-hop(Madlib), soul(Bill Withers/Prince) and pop(eeeh...Maroon5)

They are right on with that last comparison.  I know Maroon 5 is the last thing most people would admit to liking, but I've always thought that some of their stuff was good for what it was.  And those songs of Fuel Box's that sound similar are decent.  It's when they cut loose a bit with the crazy delays that Fuel Box starts to shine.  Deeper in the depths of their press kit is revealed that "they generate a sound that is best described as if a 60s soul singer and a latter day hip-hop producer cut an album together in 70s Jamaica."  Well, no, not really.  It sounds as if a 2000s soul singer and a former indie rocker cut an album together in a modern studio.  Which turns out to not be half bad.  I enjoyed Fuel Box, and I think as they get out on the road and shake off some of their pop sheen they will be a band to watch.

BARRY ADAMSON- "Destination" single

Oh hell yeah.  Looks like my boy Barry is coming out with a new live album soon.  Our dear friends at Central Control dropped this tantalizing taste with us, and it finds Adamson in more of a rock mode than some of his most recent efforts, which is just fine.  Remember, this is the guy who kept (for a few albums at least) Nick Cave's music from completely sucking.  Shit, that's like pushing on a wall and slowing the rotation of the earth.  Yay Barry!

ODDEPOXY- "forthcoming album"

We've got rust ass jeans, son, don't you know?

Well, I have to say that I hate this band's name but love their music.  And they are fucking geniuses.  They're about to write their next album, and starting November 3rd we are going to get to watch the process live on justin.tv. Now that shit is creative.  Having written and recorded an album in the month of November, I will say that it's hard enough to just do, but to let every troll out there watch you do it is brave.  Bravo, sirs.  Oddepoxy's kickstarter can be found here, go help 'em out!

TENDER FOREVER- "Where Are We From" EP

TENDER FOREVER LOVES THE SHIT OUT OF YOU. YOU JUST DON'T KNOW IT YET.

From our friends at K Records comes French artist Tender Forever, who also has a kickstarter that I think is paying for her to stay in the USA.  Why, back in my day, if you wanted to come from Brittany to the US to rock, you had to pay your own way!  Now get off my lawn.

Anyway, I really like Tender Forever, very sweet and personal seeming.  In the spirit of me being critical, the youtube videos of Tender Forever at the TBA festival are really fucking annoying.  STOP TALKING AND PLAY MUSIC.  And you, down in the front row, stop giggling.  Fuck.

Have a listen to Tender Forever and help her out!
---

Okay, that's it for now.  I've got plenty more music to review in the next couple of days, and I wouldn't dream of leaving you out, dear reader.  So until then, hide your kids, hide your wife.

Ben Meyercord's Live Picks for Monday October 24th

Hello Dear Readers,

What's up? I have not been to any shows in a while. I also haven't blogged in awhile. My life is way different than it was than when I started blogging. It also seems like my life has been pretty scattered in the last year or so. But I am going to try to make time to write about the shows that look good to me. Here are the shows that look good to me today:

Valentine's is having a show with John Heart Jackie and Duover. This is a special show for two reasons. 1) This is the last show of the John Heart Jackie fall tour. 2) It is Jennie Wayne's birthday. Heart Jackie are a lovely band. Peter Murray and Jennie Wayne have been playing music together for a while. I have seen them playing shows with others lately. I believe the tour they just returned from included some of these people. I believe. If you listen to their full length you will find yourself reminded of why male female duos are so great. Or if you want another example you can check out the other band on the bill, Duover. They are great. The show is FREE and starts at 9 PM.

The White Eagle is having a show with Norman and Owner/Operator. Norman is a band from around the Willamette Valley that make music in the vein of classic Americana. If you have not seen them, there have been plenty of opportunities to see them this month. They have been having a residency at the White Eagle. Owner/Operator is a band that I read about from Lewi Longmire's website. He plays pedal steel guitar of this band. It also features Mike Midlo (Pancake breakfast) and Jeff Munger, Tyler Tornfelt and Ford Tennis (guitar, bass, and drums- Sallie Ford and The Sound Outside). The band apparently plays song about trucks and trucking. Exclusively. There is also a chance that Kelly Blair Bauman will play. The show is FREE and starts at 8:30 PM.

If you see me at any of these shows please say, "hi". That would be really sweet.

Ben

John Heart Jackie - Deep As Whales from Ben Moon on Vimeo.

John Heart Jackie plays tonight at Valentine's

Back and Forth with Lucas Dix

What up Lucas? Got a few questions for you. First off, let's take it back. What was your introduction to hip hop? What inspired you growing up, or continues to inspire you?

Aside from rocking my clothes backwards while listening to Kriss Kross in second grade and having some Biggie albums get confiscated by my Mom in 4th or 5th grade, I really didn't fall in love with hip hop until my reintroduction to Wu Tang at the end of high school. Punk rock satisfied my teenage angst through middle school up until 11th grade, but once I started to question God, the universe, myself, etc., I needed something more. Wu Tang fit the bill perfectly. Every member had like 10 different aliases and they rapped with this crazy, slanged out imagery about mythology, comic books, drugs, kung fu movies, and mathematics. Plus, they had this beautiful sense of brotherhood. I have about 6 or 7 homies in my life that are my fucking brothers, my "been through some intense shit with you and will love you for the rest of my life" type brother. For the longest time I thought that all of us were going to conquer the world together through music and philosophy. We seriously would drive around for like 4 hours a night (back when gas was $2.50 and we were too young to hit the bars up), get high, freestyle to RZA beats, listen to Ironman or Liquid Swords and formulate our Pinkie and the Brain plan.

Last year, I was tutoring a student and he was really starting to get into more underground and old school hip hop music as well as inquiring about the world around him. One day, he told me something along the lines of "I have all these questions about life and religion and how people interact with each other and sometimes it's just so overwhelming." I literally teared up and was like "Have you ever heard of the Wu Tang Clan?". Then I proceeded to jot down the 10 albums he needed to listen to. That collective meant a lot to the development of my peoples and I during a time where we made an exponential amount of personal growth, so much so, that my friend Sins has RZA and Raekwon's signatures tatted on his back. I also was heavily influenced by Aesop Rock, Slug, Black Thought, MF Doom, Mos Def and the like, but nothing like them dudes from Shaolin.


OK. So, what was the impetus behind these new Jellyfish Brigade tracks? Talking to you one on one downtown last weekend I got a basic idea, but can you expound on what we talked about?


For the longest time, I was someone who got drunk every night, smoked a little more than a half a pack of cigarettes daily, ate fast food and didn't do anything but rap and was damn sure that I was going to live off of touring and putting out music. I had this bullshit elitist ego and hated on everything from other rappers to religions, to 'sheeple" in society. Then, about a year and a half ago, I had this sudden change of heart where I was tired of being angry and thinking that I was the greatest thing on the planet (when I quite obviously wasn't). My mindstate just flipped and I started to focus on being a better teacher (I sub in 8 districts for my daytime job, plus I tutor). I wanted to be more understanding and empathetic of all people and started to develop a "whatever gets you through the day is ok and whatever gets your through the night is all right" mentality. I wanted to see the sunrise from the morning side more. I wanted to learn how to cook, eat healthier, build fires and camp, do yoga and work out, go hiking, learn to swim, and most importantly have a garden.

One day this summer, while watering my garden, I stopped in front of my giant sunflowers and stared at them for a while. I thought about my lady and I planting the seeds in little pots, then clearing out some area in my yard so I could transfer them to the dirt, then watering them and seeing them slowly grow, to them now being almost twice as big as I am with huge, golden heads. This garden was so important to me because, for the first time, I felt like I had something tangible that I could provide for myself and those around me. I had this new instrumental that Jeff had given me at the time and thought "That settles it. I'm going to write a song about my garden."

The second song on the single is a remix of Portland, OR artist Natasha Kmeto's "Want You Too". She is an awesome producer/singer in the city and friends with Jeff. I was pumped about the opportunity because it gave me a chance to be a Jay-Z to her Mariah Carey, a Drake to her Rihanna.

Around this time, my love hit me with the news that she was going to be moving to Africa and then back to the east coast. This is a woman who has been a huge influence on the changes changing me and I basically just wrote about how we spent our relationship: drinking wine, making love, going to the river and bridge/cliff jumping, etc. I am a proponent of the beauty of the sacrifice. I honestly feel like one of the best ways I can show her that I love her and cherish the time we spent is by letting her go and being supportive of her decision to leave, even if it's going to hurt.

Shit's about growth and change and being uncertain of whats going to happen in the future. Then again, most of the Jellyfish Brigade stuff is. This time I just had a symbol to direct the metaphor. Sunflowers, yo!



Word. So how would you describe the difference between how you approach this project compared to your work with Gavin in Hives Inquiry Squad?

I would say most all of the Jellyfish Brigade songs that exist (first ep, Sunflowers single, and the next ep that's not out) are songs that Jeff made for The Great Mundane project, decided they didn't quite work for what he was going for and then were given to me. Jeff and I connect on very similar levels. One night we'll have a conversation about how "the grass is always greener" and how we need to recognize that we are standing in the green grass right now. The next day, I'll go to write and start writing a song "Standing in the Green Grass" and basically expound on the conversation.

Gavin and I have been working together for about 6 or 7 years now. Our process is different in that we never write a song based around a subject. We don't say "this is a song from the perspective of a crack in the concrete somewhere in the middle of a city and all the things it sees during the course of a day." Rather, we work on moods and images. Gavin will show me a wonky beat and spit me a line like "I'm the dusty albatross cloud 9 afficianado" and I go "all right, I feel you"; then we write our verses.

With Jellyfish Brigade, we're going for an Avett Brothers meets Postal Service meets Foreign Exchange sound. It's going to morph towards complex ideas expressed in simple folk song lyrics with lots of singing to compliment the rapping. We recently got a write up that said we were "part Lazerbeak and Sufjan Stevens, half Das Racist half Neon Indian." That was like "boom, people are getting it." Hives is more Camp Lo, Aesop Rock type shit where Gavin and I string weird phrases together with multi-syllabic rhymes and grandfather slang. Jellyfish Brigade is me with my shirt off in the middle of the woods using a fallen tree as a balance beam over a river. Hives is Gavin and I in a basement of a future world in the present with glowing screens surrounding us, as we plot the break out. I will say this. Jellyfish is waaaay easier to write for, solely because I feel a constant pressure in writing with Gavin. Every time he spits me a 4 bar I go, "damn, how the hell am I supposed to follow that?" If I'm drunk enough, I'll admit that he's a doper emcee than I am.



Are there any future plans to perform your Jellyfish material in a live setting? Or is this going to be strictly a studio project?


We are definitely going to be performing as Jellyfish Brigade. Jeff's been on the road constantly for the last year so we have never really gotten a chance to sit down and work on a live set. Now that we have about 10-12 songs and some merch, we are ready to play out. I think with 1320 Records putting out "Sunflowers" and re-releasing "Gills and a Helmet", we will get some damn good show opportunities in the near future. We've already seen a bit of the effect as we've gotten offers to play shows up and down the west coast just this past week.

Our first official show is Thursday, November 17th at the Tonic Lounge in Portland, OR with our homey and local producer Shut-Ins, who is releasing his debut project that night, Gavin Theory of Hives Inquiry Squad, and Dropping Gems artist Brownbear with a live band. $5.
I'm really excited to start playing and perfecting our live set.

Anything else you'd like to add? Any shout-outs? Or just any other info you want to get out there?

Go to www.jellyfishbrigade.com or www.1320records.com to download "Sunflowers" for free as well as our debut EP "Gills and a Helmet" (which is offered as a pay what you want, free is a welcome option).

Also, thank you good sir for asking me to do the interview. You do a lot for this city with your support of the hip hop scene. Much love and respect.

One.


Thanks for doing this man. I really do appreciate it. Soon....

Cloudy October Q&A

*UPDATE 12AM OCTOBER 18 - STREAM THE RECORD FREE HERE*

Dear Funky Lord Finesse, I got some questions for you, is that cool?

Ha. You caught the Lord Finesse reference, nice.


Let's start off by taking it back to the basics. What was your introduction to hip-hop? I think you're slightly younger than me, so I assume you didn't come up in the RUN DMC/Fat Boys cassette era like I did. I could be wrong though. What was your personal intro to this music and art form?


I love your style, that is a great assumption. I do the same thing when hip-hoppers are 3 to 4 years younger than me. Not only is it great from that angle but also because you are accurate. I was alive when that shit was going on and I was listening to those cats, but didn't have the cassingles or full albums. But I was more so into what my father was listening to. Which of course was my introduction to hip-hop. Listening to Above the Law, DJ Jazzy Jeff and that one guy, LL Cool J and a few others. My oldest and fondest memories are of Bonita Applebum and Me Myself and I being played on Rap City. Never knew I would be fully immersed 17+ years later but at the time I did really enjoy seeing those brothers killing it on television. Run D and Markie Dee came after those cats on my radar. I'm not a nostalgic cat, don't want hip hop to return to that but damn, those were good times. Innovation by way of being ones self, who would of thought? ill.


How did this new album The Metal Jerk come together? In technological terms regarding your recording techniques, your lyrical and thematic inspirations, as well as how you made the connect with Fieldwerk Recordings.

I made the Fieldwerk connect mainly because of Anthony Sanchez from Runaway Productions and Zavala from Dark Time Sunshine. Sanchez let me loose last year and gave me many opportunities to show out-of-towners what I can do. Dark Time was often in town because of their hard work ethic along with Sanchez. Zavala really dug my work and my brand and how I treated people so he told Crushcon7 from Fieldwerk about me. Crushcon7 is the Cobra Commander of Fieldwerk so once he and I started talking over the phone regularly, we bonded and started making plans. I am the only rapper on the label and I love the novelty of that. Like if they end up sticking around for decades, cats will look back and say that dude was the first rapper on that label. Or maybe first and last rapper if my shit flops. Cheesy sounding I bet, but it feels good to think about it with such plurality.

The idea to do The Metal Jerk was in my head really early because my debut is like a 17 minute record. I not only need(ed) more songs to have when I am doing long sets but also I still had a lot of left over samples and ideas since my debut that I didnt use. The Metal Jerks theme and concepts have been slightly evolving for many months. It's more of an album that is a proclamation of where I am creatively in the present moment, than it is a cohesive theme venture. That would be a cool band name 'Cohesive Theme Venture'. The Metal Jerk is full of flaws, just like its father, and I prefer it to be a reflection of such. My voice cracks a lot in the recordings, if one listens close to other music and then mine they will easily hear that I am still learning how to rhyme and make beats. As far as recording techniques, I am pretty regular there so far. I use the punch-function way too much in my opinion. Really every song went like this: Get high, write a verse. Sober up, finish those verses the next day. That rhyme sucks on that beat but works good on that other beat. Get high and record it. Listen to myself while high, I sound like a pussy, question my position in hip-hop, sober up the next day, record again, nail it sober, sober up and repeat. I still sound like a pussy, but a really wet one that people can maybe enjoy.


There's been a lot of talk about your mysterious nature. I've always thought you were trying to pull a fast one on me by insisting that your name is Genkai Yokomura. I had always doubted that was your birth name, and thought that was you getting your Sun Ra on with the local press.To quote my man Casey Jarman, "My God. Where did this man come from?....I feel like I don't know this guy at all." How do you respond to this?


Yeah, I get all sorts of reactions when people see my real i.d. My ideals and education are constantly evolving because of the time I spend investigating things and communicating with people who also do the same. In short, the way I dress and speak and make choices, even names, is subject to change, probably until I die. Most black folks that encounter my actual name know or have an idea very quickly, about why I changed my name. This is very telling of the separate nature of black and white life here in America. When Paten Locke, a black musician friend of mine, found out I changed my birth name. Without hesitation, he started joking with me about the reasons why I would change my birth name. The spill went something like ' Yoko what? damn, i know some fucked up shit must of happened for you to go through the trouble of changing your name. But, I feel you my brother, you been reading and you know that slave name had to go'. I smiled at him and said something that had a tone of agreement and pride. Any name I choose, including 'Cloudy October', was designed to give me opportunities to express something that many people I respect, feel is important. To make the invisible, visible.


Hip hop as a culture has always been very concerned with geography, whether it be the South Bronx versus Queens in the early years or West Coast versus East Coast in the 1990's or the rise of the Dirty South at the beginning of the new millennium. Yet your music seems to transcend these dichotomies. What would you attribute that to?


Damn sun, you're killing it on the questions, thank you. That is definitely due to the fact that I have grown up on both coasts and over seas and I am from the South. When you travel as a kid, its very difficult to have geographical issues in that way.You have to let go emotionally and start over. I have really never had a name or a home. My dad was in the Navy so we moved every three years. Also because I was raised to be myself, I never really needed to rep anything but whatever I felt like at the time. Even if often times it was something mad corny. Add my studies and its a rap, i mean, a wrap. I have a song called 'Name Yourself' on The Metal Jerk. Not my best song by far but for what it is conceptually, it's a small jewel. A line that says "I am not this skin or this place" is absolute. Skin color is a mutation if i remember correctly and where I am at the moment is just a place. Many people are willing to fight and possibly die over negative words about the neighborhoods they grew up in or a fucking sports team. This is a rare form of localized jingoism or something. I understand why but I also value others emotions too much to ever want to cause someone harm over any opinion. I hear songs often and it seems that rappers for several reasons, are having identity crisis or more so have bought into this 'this is what hip hop has to be like' type shit. Even as a teen I never used phrases like 'Keep it Real'. These were and are like thought-stoppers. Rubber stamp answers to complex issues. To the point where 'thought-stopper' and 'Rubber-stamp' also become useless and only regain life by breathing specificity into them.

How engaged are you with the current state of hip hop? Either on a local level of Portland rappers or on a national level. Luck One tweeted today, "More often than not, I'm disgusted with the either snobby or uncultured palette of hip hop listeners." Does that resonate with you at all? What's your take on either rap snobs or those with an uncultured palette?


Luck-One has a fantastic mind. Glad you brought him up. He is one of the only rappers in all of the Northwest - besides Remember Alwayz, that I can relate to. Not because we share the same mutations, but because these cats have been oppressed in the ways that I have and they are also as study-driven as myself. People ought to just talk to those dudes more, they will blow ye mind. What Luck says does indeed resonate with me. I get disgusted, bored, and many great laughs about the local scene and the national scene and the global scene. This has nothing to do with me thinking I am dope. This has to do with me knowing that I do wack shit all the time but I try not to release it hahah. Where as, to most cats, all they have is material that people find it hard to care for. There is a lot dishonesty going on in song and also going on between listeners and artists. I been talking to audience members locally for years, before I starting putting out music and after. They are bored out of their fucking minds they tell me. They sound like sad wives who havent been fucked well in so long. Slowly, people are starting to change dishonest habits it seems. I also expect things to be the way they are now though. Look at our school systems, look at everyones motives all over the world. Avarice as a prerequisite? Why would they care to actually hone a skill with diligence? I often meet rappers who have only been rhyming for a year or two and have done no research about racism or hip-hop. Racism is the father of hip-hop in so many ways. To not have an inkling of how this phenomenon works can be detrimental to ones skills set. Not necessary to be successful of course, but these men seem to need all the help they can get judging by what the citizens around here tell me. But of course this could be seen as snobby to some so for that I say fuck Cloudy October.

Lastly, you recently messaged to me that, "It's pretty telling about many current issues that the press has been ignoring, voluntarily and involuntarily." Let's get to the bottom of this then, please elucidate what you were alluding to. And also feel free to drop any knowledge you feel you've never been asked about before that you would like to share with your fans.


Thanks for asking yo. Never seen 'elucidate' before, is that anything like elimidate?.....hold on while i look that up.......................Oh shit!!!!! I love elucidating!!!!!!! I would start dating again if I could elucidate more. Mainly most people and the media alike, never connect the dots to complex issues. For many reasons there is little incentive to do so. Too risky. Often times media and individuals may mention someone having a problem and an oppressive system being a part of the problem. To consistently connect each inviduals problems with systemic oppression would be really difficult. Whites are mostly not addressing their racial experiences because they have been taught that they don't have one. This is one of five myths that keeps racism alive and well. The Myth of White Racelessness. Being that whites still run and own most of everything well, you see what happens. Cool thing is though - because of the internet and the fact that people are constantly evolving along with the issues, people of all colors are waking the fuck up. Articles are easier to share with people with the net, and even easier on facebook. That large issue and the things I mention about the local scene are equally ignored and also linked. To speak about the music scene here without speaking about the policies that effect the demographics could prove to be inaccuate.

I would like to tell the few fans I have that my song 'Vagabondage' was made from a voicemail message that I saved for three years. That is all. Oh wait, and also, I wrote one of the best 'I Saw You's' ever in The Merc about Cindy from the back pages too. Bonkers. Whatever happened to the back pages? Ya'll got scared?


All right homie. Thank you so much for taking the time to set the record straight for our readers! Looking forward to the album dropping. LINK HERE


Are you kidding me? Man I am so grateful. I hope you dig the album after many listens. See you around Feigh, thanks again yo.


Nah man, thank you for doing what you do. Appreciate your thoughtful responses homie. Soon.....

The Metal Jerk

(PORTLAND, OR) - CLOUDY OCTOBER SET TO RELEASE HIS SOPHOMORE ALBUM, 'THE METAL JERK', OCTOBER 18TH, THROUGH FIELDWERK RECORDINGS, CHICAGO, ILLINOIS

Cloudy is a half american male emcee, publisher, producer-songwriter, rhyme inspector and social magician. Cloudy makes research-based hip-hop that caters to the listeners intellect. It is a form that stresses emphasis in specificity.. Cloudy likes to read books, enjoys films, long walks to his mailbox, doing laundry and walking on rappers vertebrae. Rumored to have been born in Atlanta, Georgia in the early eighties or late seventies. It has also been said that Cloudy October has been through several name changes with the assistance of the U.S government and a few facial reconstructive surgeries. He is currently signed to Fieldwerk Recordings and watches Knight Rider. Cloudy is releasing his brand new sophomore album on the Fieldwerk Recordings label, October 18th.

The album, The Metal Jerk, is named after a rhyme style Cloudy is currently utilizing. The Metal Jerk is a walking abortion. It is a rhyme style that seems to have an advantage by vocally mimicking and adhering to the instruments inside of a beat. It is inspired by popular piano right hand techniques. Cloudy states that It is also a rhyme style that is handicapped by his lack of practice, primitive syllable placement and an incessant, desperate use of the punch-in function and delay effect while recording. Cloudy says; "This album marks a period in my life that I discovered that my imagination is much larger than my skill set. "

As one can clearly hear, even his disadvantages seem to have sharp edges at times, depending on who is listening.

"You can't spell rhyme without me folks. You can not spell rhyme without me."

New Cloudy October Interview Coming This Saturday

Just talked to Cloudy and he has a lot on his mind. We will be having a meeting of the minds Friday evening, and our conversation will be transcribed by Saturday Night *Don Pardo voice*. This is gonna get good. Trust me. In the meantime....

JESS GULBRANSON INTERVIEWS TONY LEVIN

Hello again everybody, I have a very special treat.  Coming up this Friday at the Aladdin Theater is a concert that you don't want to miss: the Adrian Belew Power Trio with Tony Levin's Stickmen.  Between the two, they've worked with a who's who of awesome rockers: King Crimson, Peter Gabrial, Pink Floyd, Frank Zappa, David Bowie, Alice Cooper, Paul Simon, John Lennon, Talking Heads... so if you are a fan of these two rock legends, or of prog rock in general, I hope you're going to be there.

When I was 8 years old, Peter Gabriel's So had just come out and was the soundtrack to my summer vacation on Chincoteague Island.  The bass sounds were so otherworldly and I kind of obsessed over it.  Cut to about 4 years later, I start playing bass, still can't figure it out.  In a shopping mall at Christmas, there is a guy with a crazy instrument playing "I Saw Three Ships".  I ask him what it is, he tells me it's a Stick, and I ask him to show me what it can really do.  HE GOES CRAZY AND SHREDS THESE 64th NOTE PERCUSSIVE STOP START THINGS, and my light bulb goes off.  That's the crazy awesome bass noise I remember from childhood! So Tony Levin occupies a very special space in my heart, and it was with great pleasure that I got a chance to talk to him.  Without further ado, here is

MY INTERVIEW WITH TONY LEVIN

Mr. Levin- I jumped at the chance to talk to you, and then realized I didn't really know that much about you.  My readers also seemed to view you mythically as judged by some of their mostly tongue in cheek questions like "When you ascended to godhood, did it hurt?" and "When there is a Mt. Rushmore of bassists, will you be Washington or Jefferson?"  So, to help us out, give me your briefest nutshell answer on who Tony Levin is.

Not my area of expertise. [Editor's note: Tony Levin can now substitute for Chuck Norris where necessary.  Example: Tony Levin can slam a revolving door.]

Your work as a session musician is very far-ranging- I can think of both Paul Simon and Alice Cooper off the top of my head.  Do you think there is something in a person's temperament that let's them do work like that?  Obviously not everybody can.

Studio work, as such, is more a craft than an art. Back (way back) when I moved to NYCity, there was a lot of this type of work to be had - quite different than nowadays. Most of it, of course, not for artists like Paul Simon and Alice Cooper, but it was possible in the 70's and 80's to play sessions all day, for different records. So, in that time I got fairly good at sussing out what was wanted from not only the musical track, but from the artist and producer, and engineer too. That's part of the equation in making studio recordings.

In later years, I veered toward playing much more live, less in studio - which is a good thing for me, because I prefer it. 

In these past few years, things have changed again... less touring with King Crimson and Peter Gabriel, so I organize tours myself, for the band Stick Men, that I work a lot with. And recordings are still going on, but mostly file sharing, from my home studio.

There was a very interesting documentary on "The South Bank Show" that you were featured in.  I was surprised at your almost Zen calm.  Is that something you cultivate, or are you just like that?

Again, describing myself is not something I'm good at.  [Editor's note: Tony Levin does not sleep- he waits.]

There were some great insights into the recording of Peter Gabriel's 4th album in that documentary.  Any fun anecdotes from that time you'd care to share.

 It's always great with Peter, whether in studio or touring - a combination of great music, a lot of fun, great people. I believe that kind of atmosphere stems from the person at the top, so it's a credit to Peter as a person that his whole organization and band are very cool, nice people.

I remember Jerry Marrotta getting a bit passionate about how humans will never be replaced (musically, at least) by machines.  What's your take on the increasing mechinization of music?

Drum machines are an old story by now -- they've been incorporated a bit into live drumming, but still sometimes are there on their own. Likewise sequencer bass parts. I don't have any particular insight -- just the obvious, that there is always some room for a musician who can create great parts on his instrument, and that people love live music made by musicians. The economics might change, but those things remain.

From what I understand, you're quite the early adopter.  You've been blogging for as long as I've been on the internet- 1995, right?

Yes, I think it was '94 or '95 that I started the website - at first to offer my new cd, but soon after it morphed into mostly a road diary. Eventually I separated the Papa Bear Records 'store' onto a connected but separate site, with just a few buttons to remind people of it. Must be hundreds of web diary pages up by now, and thousands of photos, from back when they had to be just 200 pixels wide!

Obviously so many things have changed online since then.  How do you keep up with changing times?

I don't keep up as much as I'd like to. But I feel that if I skip a technology jump (say, MySpace) then I'd better jump on the next one, like it or not, so I can be a bit comfortable as interfaces change. Facebook was a challenge for me (the old 'help from my daughter' thing) because I was used to writing code for the page -- the unintuitive, ever changing, rules of getting what you want up on the page has become the new standard. I may not like it, but best that I'm dealing with it, or I might not be able to work my next cell phone!

One of your current projects is The Stickmen. What was the genesis of that?

It began before it's beginning (!) When I made the solo CD "Stick Man" ... the music on that was fun to record, and I was wanting to play it live -- but it had multiple Sticks on much of it, and my band at that time had two keyboards, guitar bass and drums... not right for that harder edged music. Michael Bernier is an excellent Stick player who lives near me, and we had been trading ideas. It seemed right to team up for the band, and the obvious choice for drums was Pat Mastelotto, my King Crimson bandmate, who'd also played on the album, and with his electronic drums, he can cover some samples and stuff we can't manage with two Chapman Sticks.

Then after a few years of touring, Michael felt he couldn't go out on the road much, due to family obligations - we had, and still have, pretty hefty touring schedule - so we made the difficult decision to let Michael move on, and we added Markus Reuter, who plays a touch guitar he designed himself, lives in Innsbruck, and was already in a duet band with Pat.  Since then we've toured and recorded over the last year, and look forward to more.

I've always liked the fact that in a live setting you take the time to explain the basics of the Stick.  I read somewhere that 5-string basses were made as a response to the low notes possible for synthesizers.  Do you think the Stick arose from a similar need?

I don't really know Emmet Chapman's motivation for creating the Stick - but I think it took years and probably began before synths were being played much.  [Editor's note: Tony Levin can cut through a hot knife, with butter.]

You're touring right now with Adrian Belew, which has been described as "as close to King Crimson as you're going to get".  In your own words, what is the heart of this tour?  What's it about?

Adrian has a 'Power Trio" which tours a lot -- then Pat and I are in a different trio which also tours a lot - Adrian thought, if we team up for a show, we could do an encore set of King Crimson music - first the 3 band members (teamed up as trio for the first time ever) then have the other three musicians come on to join us for more Crimson, including being able to cover the 'double trio' period of six players.

The tour has been very successful with lots of sold out venues, and audiences really liking the music.

King Crimson has existed in so many permutations, the methodology behind it may not be so visible.  What is it about that that makes it such an enduring concept, despite changing so much?

I can't speak for the whole life of the band - what I really appreciated in my time in the band was how the ethic was to push yourself as a player, and to push ourselves as a band, to come up with really new approaches, and not fall back on what we'd done before.

That brings me to some of our reader questions.  From Langdon Hickman, "What's your favorite King Crimson song from a lineup you didn't play with?"

I don't have favorites of just about anything, but I think I could choose "Red" because I play it every night, and still find John Wetton's part exciting to play even after decades.

From Alice Green: "What's the status of Peter Gabriel's I/O album that you worked on?"

I'm not sure what that album is -- as you may know, he's been busy recording and touring with orchestra. My hope is, of course, that he'll come back to the band one of these days. It's my very favorite musical thing to be part of.

And a nice open-ended question from Reese Hopkins: "What do you think about newer prog groups like Moon Safari or Phideaux, newer stuff that has only gotten big in the past few years?"

Do not even know of them... okay, have now added to my 'must hear' list!  Sorry.

Well, it's a pleasure getting to talk to you.  I wanted to round things off with a non-musical question.  What does bass hero Tony Levin do for fun?  I hear rumblings about a quilt...

Quilting on the road for sure ... doesn't everybody? But much going on when I'm not touring, including a pretty decent and involved home family life after all these years travelling so much. 

Thanks again for taking time out for this interview!

----
Once again, thanks to the amazing Tony Levin.  Make sure to read his tour diaries at www.papabear.com,  and be sure to make it to the show on Friday!  And just for fun, watch this video of Patrick Stewart playing a Chapman Stick.

Ron's Picks: Black Pussy's On Blonde

It is suffice to say that with a name like Black Pussy, you are probably going to be embarking on a journey with an extremely bad ass group.  Of course, this is a band residing the the fair City of Roses, home to the cult legends Starfucker.  And just as the stars would show, the old 80's hip hop question, "What's In A Name?" is still very relevant.  No matter the stigma, Black Pussy is a group that portrays nothing more than hellride worthy damn genius with speed guitar anthems and piston blowing insanity that is both enjoyable and systematic to chance to have a damn good time.

Black Pussy takes Dustin Hill and a few of his friends away from their regular duties with the thrash core group White Orange, to make some old school road trippin', hardcore songs about weed, crumbling towns, and Indiana chops.  On their stellar initial release, On Blonde, we find a side project that takes a turn for the center lane, and never looks back.  They sound cocaine infused, yet determined to develop a pop worthy sound that can be breast fed to one audience, and then a different one entirely.  Alongside Dustin is Toadhouse Studio founder Adam Pike (also of White Orange) enlightening himself just as Hill has obviously done with this fun and enthusiastic record unlike any blatantly boring shit you have heard recently.

While many avid indie rock listeners might embrace this sort of exuberance as just another way to spend a night fueled up on PBR and lost hope, there is actually a bit in On Blonde for everyone.  It is manic!  It's insane.  It's probably an album you have been waiting to find for sometime, yet were far to chickenshit to extend your ears to something so amazingly insane.  So, how about you lighten up Francis, and learn how to party.  These guys can show you the way.  They'll have you blowing smoke from your ears while juggling chainsaws in the back of a busted up convertible fueled by Jack Daniels doing 90 down Burnside with the intensity of Denis Leary on stage talking about 8Balls.  And who wouldn't want that?

Check out Black Pussy's On Blonde on the group's Bandcamp Page (where they somehow earned a tag of "Fleetwood Mac", which actually makes no sense at all, but definitely intriguing)

A CIMB Interview with Timmy Williams of Whitest Kids U' Know

I was recently fortunate enough to come in contact with the (soon to be) comedic legend Timmy Williams.  You know him best as an extremely lovable and talented member of the comedy troupe Whitest Kids U Know.  Whether you've seen them live on the summer festival circuit, had their show relentlessly hold space on your DVR, or dig through YouTube trying to find the best video to discuss your religious co-worker two cubicles down from you, you have probably seen our friend Timmy.  Sometimes he places the far too nice punching bag of the group.  But, die hard WKUK fans will always hold the likes of "Timmy Dance" and the recently hilarious "Baked Beans" as just a couple of the finest moments in the show's history.  And that just wouldn't be without the brilliance of Timmy Williams.  Fresh of the farms of South Dakota, Timmy has seen the early stages of his comedy career turn into some great success.  And the future can only look brighter and brighter for this rising talent.

 The show has since had it's finale, and will only grace our cable boxes via syndicated bliss.  But, Timmy and crew have given us a half a decade groundbreaking work (poop has never been covered so well prior to this show) that will definitely be remembered.  For a while anyway.

I thought it would be nice to have a quick chat with Timmy and share shared statements with the likes of you fine CIMB readers.  Check it out as we discuss music videos, Andrew W.K., fatherhood, South Dakota's comedy scene, and more!  Enjoy!



As a comedian who has worked between the realms of stand up, acting, and sketch comedy, which do you rightfully prefer?  

This is as tough a question as "what's your favorite food?"  I like all 3: stand up because it gives me complete independence and instant gratification, acting because it's fun to collaborate with a huge group of people, and sketch because it's fun to collaborate with a small group of people.

What was the last thing that made you smile?

I can't remember exactly, but I'm sure it was either the baby or a fart.

You have recently become a father for the first time, can we expect some family oriented type bits from you in the future?

Well, my stand up is already becoming peppered with baby stuff.  I always wanted to be a comic that "doesn't do that," but once you have a kid, you realize you have nothing else going on to write about.

Video still for Golden Bloom's "Rhyme To Reason"

How did you become involved with Shawn Fogel and his Golden Bloom music video directed by Alicia J. Rose?

Boring story.  A friend who knows Alicia asked me to do it.  Done.

Yeah, that was pretty much a shameless plug for my good friend Shawn anyway.  So, what made you choose the City of Roses as your current residence?

We wanted to start doing some urban agriculture stuff, like raise chickens and garden.  Now we're going to move to LA so I can earn some money because that other stuff doesn't.

How was the comedy scene around you growing up in rural South Dakota?

What comedy scene?

Sadly I know exactly what you mean.  So, now that you're living, temporarily, in the land of 100,000 musicians, and been featured in an indie rock sensation's music video, I have to ask....are you in a band? 

No.  I have very little musical talent.  I can kind of play the sax and am "funny" at karaoke, but not good.

You know, CIMB hosts regular karaoke sessions, of which you are obviously invited to.  That being said, if you could sit in with any band, active or not, for just one show, who would it be?

I would love to sing backups with Andrew W.K.

What does the future hold for you post WKUK?  Will you still tour with the troupe, or is officially disbanned?

The troupe is still together!  We're writing a movie, we're working on a tour, and I'm sure you'll see us around the TV in one way or another.  We're definitely not done filling the world with poop jokes.

Lastly, and obviously most importantly, where did you learn to dance with such grace and zest?

You know what's crazy?  I can actually explain that.  Every summer between the ages of 12 and 16, I attended an arts day camp for a week.  One of the mandatory classes was ballet, and so I actually know some ballet moves.  That's silly.

Silly, yes.  Utterly impressive....always!  Thank you for your time Timmy!