The album cover for “Fate” itself, a handsewn remake of one of the most notorious images ever captured of Bonnie and Clyde, hints at their willingness to go down in a blaze of glory for the passion of their craftmanship, lyrics blazing and wild-eyed all the way.
Let’s discuss The Mayhem Festival. Don’t you like the word discuss? It is one of those fucking three dollar words that lead into the four dollar words known as discourse and dialogue-but I am definitely slated to be a three dollar publication. I am a million dollar photographer, but a three dollar publication.
I take it on the fucking chin about Danzig. –He is so self-important. Full of himself. Serious. Blah blah fucking blah fuck. –The deal is THIS you fucking COCKSMACKS: Danzig is fucking important.
This was one of the more memorable concerts of the summer-why? Always ask why when some fucking retard starts an article that way. Why. Don’t buy anything wholesale, because if you were not there you do not know.
Voxhaul Broadcast – Rotten Apples EP Review
by Rikki O.
David Dennis- guitar, vocals
Anthony (Toe Knee) Aguiar- guitar, organ, backing vocals
Phillip Munsey II-bass
Kurt Allen- drums
Voxhaul Broadcast is a band that you probably haven’t heard of – yet. The Orange County, California band is composed of four energetic guys who have been friends since childhood and who decided to create “our own version of soul music.” Their debut EP “Rotton Apples” was recorded live in a single day by Dwayne Larring, mixed by Dave Larring and then later mastered by Mark Chalecki at Capitol Mastering. Signed to Leftwing/Retone Records in 2007, their distinctive sound is a little hard to pin down, but certainly doesn’t disappoint – catchy and buoyant guitars lift the mood in the heaviest of rooms lickety split and the ardent and expressive lyrics are a blast for singing along.
Opening track “Rotten Apples” is a clear standout for single material and has a charming video by director Luke Asa Guidici with the lead singer riding a quarter-operated horse over old western film footage. This song is perfect for college radio and I’m somewhat surprised that it hasn’t blown up beyond the California area yet. Lyrics like “You say the strangest things in the name of self defense/ I need your love in my blood, so I cut off all my limbs” are strangely charming; what choice do you have but to lean in and listen harder? On “The Echo”, a slowed down track perfect for the last song spun at the end of a summer night’s close, guitars slide and echo contrasting nicely with the next song on the EP, “Why Not” – a rollicking number that truly shows off the band’s musical talent.
The sexy “Lipstick Stained Coffee Cups” slows the EP to a sultry near close followed by “When The Wives Come Home”, a passionate homage to that vintage British sound that should seem out of place coming from a California indie band, and yet proves to be the perfect end to what promises to be the start of something big for Voxhaul Broadcast. Hopefully their aversion to recording in studio settings does not delay a full length release in the near future, as this could easily be a buzz generating band that surpasses the indie realm with a sound that is palatable to nearly everybody with ears. I’ll be watching.
MI: How did you come up with the name?
NS: Temperedcast, I guess, we have this really laid back vibe, so, and just naming the band was one of the hardest things we’ve ever done – trying to find something that best represented us, so basically what we kinda did was we wanted to do something that represented something hard, something metal and that’s where the ‘tempered’ comes in – something cast together, which is a group of guys that sets out to do something, it’s going to mean different things to different people, but we just kinda look at it as representing the music that we’re playing right now.
CK: Exactly. And it’s about how we need to create a new dream, about how all my life, I’ve watched my family struggle. I watched my dad break his back to put food on the table, stuff like that, to where you really see what’s going on in America. I just want to remind people that not everybody is well off. I think there are a lot of people, especially in our scene today who…in the beginning the hardcore scene was for the kids, the misfits, more for the outcasts. We did not grow up in a wealthy family, we struggled and didn’t have shit and most of the people in the scene that I knew were the exact same way. Nowadays, because it’s so mainstream, you’ve got kids that are rich and way more well off and it’s easy to get in a band that mommy and daddy bought them and go tour the world so they can pay their rent. It’s a reminder of what the struggle is.
When I see something, it just looks like there’s a little bit brighter light around that thing and I just gravitate to it a little bit more. When I feel strongly about something, I usually hold on tight and tend to not let go and people have to relinquish me to relentlessness of my nature. (laughs)
MI: To me, you’re more like metal punkish, but you’re claiming to be “street metal” – how do you differentiate between street metal, punk, rock…
LS: Well actually I don’t know. I think the street metal came across when most people giving interviews chose to put us in the street rock category. The street metal sound comes from the older street sounds like Motley Crue and stuff like that but it doesn’t sound like the new stuff because we are not from LA and we are not with all the pain and all the girls and stuff – we are just a hard-working band from Sweden with our feet on the ground and that’s why we are more metal, more street. But the punk for me was much better than street metal. (laughs)
Formed around four years ago by guitarist Lisa Liu and the artist known only as SMV on keyboards, Renminbi are an incomparable self-described “experimental indie/post-punk” band that have created a purity of sound that is reminiscent of Sonic Youth’s glory days mixed in with some Mogwai and Yo La Tengo.