Java.Oct.2016

250 • OCT 2016
ISSUE250
JESSE RIESER • FOUR BANDS TO WATCH • DANNY ZELISKO

OCTOBER 7 | 6 – 10 pm
Opening Night
KEHINDE WILEY: A NEW REPUBLIC
o n v i e w t h r o u g h j a n u a r y 8 , 2 0 17
Kehinde Wiley: A New Republic is organized by the Brooklyn Museum and made possible by the Henry Luce
Foundation and the National Endowment for the Arts. image credit: Kehinde Wiley, Portrait of Mary Hill,
Lady Killigrew (detail), 2013. Collections of Guillermo Nicolas and James Foster. © Kehinde Wiley. (Photo:
Stephen White, courtesy of Stephen Friedman Gallery)
+ Free general admission
+ $5 exhibition tickets
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DJENTRIFICATION,
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in the galleries
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CONTENTS
8
12
22
30
34
FEATURES
JESSE RIESER
Photographic Prophecy
By Demetrius Burns
8 12 22
34
DANNY ZELISKO
Legendary Music Promoter
By Tom Reardon
NEXUS DREAM
Photography: Joseph CG,
Joseph Signature Arts
DADADOH
Radical
By Mitchell L. Hillman
FOUR BANDS TO WATCH
A Dispatch from the Phoenix Rock Scene
By Andrew Cameron Cline
Cover: Mello Jello
Photography: Joseph CG, Joseph Signature Arts
COLUMNS
7
16
20
30
38
40
BUZZ
The Big 250
By Robert Sentinery
ARTS
J.W. Fike at Bokeh Gallery
By Amy L. Young
Beth Ames Swartz
Cultivating Local Artists
By Jenna Duncan
FOOD FETISH
Sushi in the Desert
By Sloane Burwell
SOUNDS AROUND TOWN
By Mitchell L. Hillman
GIRL ON FARMER
The Perfect Blend
By Celia Beresford
NIGHT GALLERY
Photos by Robert Sentinery
JAVA MAGAZINE
EDITOR & PUBLISHER
Robert Sentinery
ART DIRECTOR
Victor Vasquez
ARTS EDITOR
Amy L. Young
FOOD EDITOR
Sloane Burwell
MUSIC EDITOR
Mitchell L. Hillman
ASSOCIATE EDITOR
Jenna Duncan
CONTRIBUTING WRITERS
Rhett Baruch
Celia Beresford
Demetrius Burns
Tom Reardon
PROOFREADER
Patricia Sanders
CONTRIBUTING PHOTOGRAPHERS
Joseph CG
Enrique Garcia
ADVERTISING
(602) 574-6364
Java Magazine
Copyright © 2016
All rights reserved.
Reproduction in whole or in part of any text, photograph
or illustration is strictly prohibited without the written
permission of the publisher. The publisher does not
assume responsibility for unsolicited submissions.
Publisher assumes no liability for the information
contained herein; all statements are the sole opinions
of the contributors and/or advertisers.
JAVA MAGAZINE
PO Box 45448 Phoenix, AZ 85064
email: javamag@cox.net
tel: (480) 966-6352
www.javamagaz.com
4 JAVA
MAGAZINE

NEW FALL CONCERTS
COMING TO MIM
Julian Lage Trio
Fri., Oct. 7 | 7:30 p.m.
Tickets: $28.50–$35.50
Guitar virtuoso and remarkable,
genre-crossing artist whose roots are
“tangled in jazz, folk, classical, and
country music.”—New York Times
The Ravi Shankar
Foundation Presents
Bickram Ghosh’s
Drums of India
Sun., Oct. 9 | 7:00 p.m.
Tickets: $38.50–$48.50
An electrifying evening of Indian
drumming and vocalizing
accompanied by sitar.
Annie Moses Band
Tue., Oct. 11 | 7:00 p.m.
Tickets: $45.50–$53.50
The Annie Moses Band is an awardwinning
group of Juilliard-trained
musicians and songwriters dedicated
to musical and spiritual excellence
in the arts.
The Cookers
Fri., Oct. 21 | 7:30 p.m.
Tickets: $38.50–$48.50
The Cookers are an all-star jazz
ensemble made up primarily of
veteran bandleaders and star soloists.
Rumer Willis:
Over The Love Tour
Sun., Nov. 6 | 7:00 p.m.
Tickets: $58.50–$68.50
Actress, dancer, and singer Rumer
Willis blends her sultry voice and
reverence for music in a captivating,
cabaret-style night of music.
Dave Damiani and The
No Vacancy Orchestra
with Renee Olstead and
Landau Eugene Murphy Jr.
Thu., Nov. 10 | 7:30 p.m.
Tickets: $38.50–$43.50
Classic big-band swing.
To purchase tickets or for the full concert series lineup, call 480.478.6000 or visit MIM.org/concerts.
Sponsored in part by
4725 E. Mayo Blvd., Phoenix, AZ 85050

FIRST FRIDAYS
AT THE HEARD
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OCT 7 | 6 TO 10 P.M. | FREE
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Sponsored by

THE BIG 250
By Robert Sentinery
BUZZ
This month marks an important milestone in JAVA’s history—our 250th
edition. Over the past 20-plus years, so much has changed in the Valley.
The magazine started in downtown Tempe in the mid-’90s, the epicenter of
Valley subculture at the time, then relocated to Phoenix about 10 years
ago to be closer to downtown’s cultural renaissance. We’ve covered this
city’s evolution over the years and watched the Phoenix creative community
really step up to help build it.
What goes around comes around. A little over 10 years ago, we met
a photographer named Jesse Rieser who was fresh out of art school. We
took a chance and gave him his first publication opportunity. The shoot
came out fantastic, and Rieser’s career has been on a stellar trajectory ever
since. He has won a slew of awards both nationally and internationally, has
been published all over the globe, including by the New York Times, and in
2011 was named one of the Art Directors Club’s (ADC) “Young Guns”: the
top 50 international creatives under 30. Rieser was ranked number nine—
not bad for a kid from Missouri who grew up with a love for the gridiron
(playing football) as well as working in the darkroom (see “Jesse Rieser:
Photographic Prophecy,” p. 8).
One of JAVA’s missions is to feature the people who’ve helped shape this
town—the pioneers who’ve stuck to their guns and carved out a niche.
Danny Zelisko has been bringing world-class musical talent to this city since
the early ’70s. His venerable Evening Star Productions was the biggest
player in town until Zelisko got an offer he couldn’t refuse and sold it off (it
eventually became part of industry giant Live Nation).
It takes a certain kind of person to deal with the enormous risk/reward that
comes in the concert promotions game: nerves of steel and a gambler’s
instinct. Zelisko couldn’t stop doing what came naturally, so he eventually
started DZP (Danny Zelisko Presents). With his industry connections and
unstoppable personality, he has gained a leg up on the competition, and now
DZP produces more than 100 shows each year, featuring top-tier artists (see
“Legendary Music Promoter Danny Zelisko,” p. 12).
Besides looking back, JAVA also prides itself on finding the best up-andcoming
talent that will shape this town for years to come. This month,
we’ve selected four of the most dynamic bands on the verge. The Phoenix
music scene is an incubator that is nurturing an incredible range of styles
and genres. While it may be just under the radar, it is only a matter of time
before the record labels descend and our innovative bands start getting signed
(see “Four Bands to Watch: A Dispatch from the Phoenix Rock Scene,” p. 34).

BY DEMETRIUS BURNS
Photo: Jesse
8 JAVA Rieser + Lauren Mary Bate
MAGAZINE

Jesse Rieser sits me in front of his wide-screen Mac computer with dual,
ultra-high definition speakers and says, “Pick a song.” I request Frank
Ocean’s “Nights.” I’m immediately awash in subtleties. Every nuance is
amplified by the speakers, which cocoon me in a sound that’s new and
nostalgic at the same time.
As a photographer, Rieser’s main impetus is to expose people to subtleties. And as
I sit there exploring Frank Ocean’s latest hit, I am immersed in the sonic blueprint of
Rieser’s undergirding philosophy.
“Back when I was teaching, one thing that I would tell my students is that
photography is a field where you can do well by being technical and implementing
other people’s ideas,” said Rieser. “The digital age has broken down those walls.
Now your currency has become your point of view. It has become your vision and
the way you see the world, which is yours and yours alone.”
Rieser feels especially drawn to the residuals beneath the surface. “I hate the Desert Scope
obvious,” he said. “To me the obvious and the explained have a shorter shelf life.
It’s as easily consumed as it is exposed.” This idea flows throughout his work and
even his appearance. He has a beard that goes down to his chest and deep-set
eyes. He’s the observer, shrouded in mystery and deflecting attention. Like most
photographers, he is most interested in staying in the background.
Bible Belt Binary
Rieser was raised in Springfield, Missouri, a place he describes as both kind and
bigoted. His family was an island of progressivism in a sea of religious fervor.
Both of his parents and his siblings are artists. He grew up equal parts jock and
artist—a confounding binary of sorts. Rieser originally focused on drawing and
painting, until his junior year of high school when he signed up for a photography
class and fell in love with the darkroom. “There’s a mysticism or magic that
happens when you first develop a print in a darkroom,” said Rieser.
He had received scholarship offers for football but decided to stop playing his
senior year. With football off the table, Rieser wasn’t sure what he wanted to do
following graduation. His dad suggested that he look into a photography program
because he seemed to enjoy it so much. Rieser wanted to go to a big school, so
he literally flipped a coin between Kansas University and Arizona State University.
The coin fell in favor of ASU, and so he packed up his things and moved out to the
desert.
At ASU, a lot of his education focused on the philosophy and the art of
photography. It wasn’t until Rieser studied abroad with the American
Intercontinental University of London that he learned more of the technical and
professional dimensions of photography by working in the fashion world. He got
to work with models and designers while learning the industry vernacular. After
studying abroad, Rieser wrapped up his senior year. While looking through a local
Phoenix magazine, he was struck by the work of photographer Brandon Sullivan.
Rieser reached out to Sullivan and they began a working relationship. Through his
connection with Sullivan, Rieser met photographer Dave Siegel, who hired him on
as an assistant at first, then a full-time photographer.
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After working with Siegel for a while, Rieser received a business loan and moved
into his own studio. He began working on advertising campaigns around town.
“You go from making no money to doing well. I was learning on the fly,” Rieser
said. Because of his work ethic, Rieser was able to sign with an agent in New
York. He moved to Los Angeles around 2007 and was immersed in commercial
work. But the industry in LA was inundated with photographers, which drove prices
down and made it hard to live there.
At the same time, Rieser suffered from a serious creative block. He felt he had
reached a point where his work was just a reflection of other people’s ideas.
In many ways, he had become a great technician, but the artistry seemed to
elude him.
Going Inward, Looking Back
In response to this block, Rieser decided to strip everything down. He went
minimal. No models. No crew. No stylists. Just him and his camera. He focused on
listening and observing and trying to do more personal work. The two projects that
emerged from this period were “The Class of 99 Turns 30” and “Starting Over.”
The former documents his graduating class’ promised hope and juxtaposes this
against the reality of unemployment and a housing crash. The series received
American Photography Annual 26’s “Best Personal Work Series” award. “Starting
Over” chronicles his parents pending move to Arizona from the house they lived in
for 23 years.
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“That project started almost in a context of me being selfish. I wanted to
photograph the house I grew up in for my own reasons,” said Rieser. “Quickly
thereafter, I realized it was much more about them and their loss.” Rieser learned a
lot about his parents in the process. He saw them in vulnerable positions and
experienced the transition from a parent-child relationship to a relationship of
peers. Both of these projects mined the narrative in search of the deeper, less
obvious truths. Both projects were studies in nostalgia and memory.
“I feel estranged from my youth like everyone does,” said Rieser. “My idea of home
doesn’t exist anymore. That idea has moved on. As much as you want to hold onto
those notions, concepts and ideas—it’s just not there anymore.”
In one gripping photo, Rieser’s father stands waist deep in a pool looking down
into the water. His hands seem to be searching for something, in a sort of limbo
right below the water. It’s a simple image that carries a lot of weight. This
nostalgia and sense of memory moves a lot of Rieser’s photographs forward and
backward. Photography is one of those art forms that both captures a moment at
the same time speaks to a variety of moments and movements.
The Motion of Nostalgia
“I am very fascinated with memory, growing up and nostalgia—perspective
and perception versus reality and truth. Where I grew up, it’s this strange space
that’s familiar and foreign at the same time. Like a dream,” said Rieser. This very
curiosity informed one of his most formative projects: “Christmas in America.”

There’s a real dimension of holding onto a dream or nostalgia that’s captured
in the Christmas tradition in America. Rieser’s project highlights this and the
absurdity of it all.
He was inspired to do this project after passing a four-story Santa Claus in Phoenix.
After that, he traveled to various parts of the United States to get a perspective on
Christmas in America. Rieser was moved by the contradictions of Christmas—the
extravagance and the sincerity. “I was curious to see what motivates these people
to carry on that celebratory disposition,” said Rieser. “To be honest, I think a lot
of it is something they can hold onto in order to connect. It’s this nostalgia— this
magical time of year [that] makes people happy. They, in a sense, are using that as
a mechanism to prolong that nostalgia of a happy time for them.”
Again, the recurrent theme of nostalgia emerges. In some ways, Rieser is an
anthropologist—keeping the language of nostalgia alive through his camera
lens. Curiosity is one of the main motives that drives his shooting. He compares
photography to comedy in the sense that you have to take everyday situations and
see the absurdity in them. There’s a real magic in making the everyday sparkle with
dimension and humor.
Rieser has enjoyed his fair share of success as a photographer. He has worked
with ESPN and MSNBC. He’s been featured on NPR and in the New York Times. He
recently signed with the Sunday Afternoon agency to work with other innovative
artists who are furthering their craft. Despite his success, Rieser carries himself
like someone who is still trying to make it. While we listen to music in his
studio, he pours me a couple drinks. He shares his portfolio. Mostly, though,
he shares about himself. I get a sneak peek into the life of someone who
watches others for a living.
Rieser is a true asset here, not just because of his success, but because of
how he gives back. He mentors several photographers in Phoenix and lives
within the city, seeking inspiration. Phoenix—as well as the desert specifically—
really speaks to Rieser. He feels it embodies the aesthetic he’s seeking. “I think
there’s a strangeness to the West… It’s harsh and unforgiving. It’s almost like
the sun is metallic,” said Rieser. And in the eyes of a photographer, everything
is illuminated by this magic of perspective: the sun becomes a gold medal in the
stratosphere, the moon an iridescent force, the photo as medium and a message,
the past as prophecy.
www.jesserieser.com
Wirschern Sisters’ Christmas Dinner. Phoenix, AZ. Wirschern Residence
From the Series: “Christmas In America: Happy Birthday, Jesus”
Asleep in the Wave Pool. Branson, MO. White Water Park
First Swim. Phoenix, AZ. 2010
From the Series: “Starting Over Will Move For Work”
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Photo: 12 JAVA MolhoPhotography.Com
MAGAZINE

Danny Zelisko, a 61-year-old Chicago transplant, has created a concert
promotion empire here in the Phoenix area (as well as in New Mexico,
Nevada and, over the years, across the country) while building
a stellar reputation as both a true music fan and an exceptional
businessman. Zelisko regularly co-hosts a radio show on 93.9 FM with fellow
local music aficionados such as Ed Masley from Arizona Central and Jason
Woodbury from Aquarium Drunkard, playing local and national talent and
discussing the influence of the artists.
The modest Zelisko says he still “does okay” in the promotion business after
walking away from Live Nation in 2011, who he worked for after he sold
Evening Star Promotions to SFX (which later sold to ClearChannel and then
to Live Nation). Zelisko does better than okay. His current company, Danny
Zelisko Presents (DZP), puts on some of the better rock and roll shows in the
Southwest. In October alone, DZP will promote acts as diverse as Slayer,
Flaming Lips, Cyndi Lauper, Bonnie Raitt, Willie Nelson and more.
Zelisko was gracious enough to check in with us during a recent vacation to
talk a little bit about the state of the music scene in Arizona and how he came
to have a very important place in it. The Valley would not be the same without
Danny Zelisko, and for this, we salute him.
How did you get into the concert business?
I always loved music. I listened to the Four Seasons and Elvis and all those singers
in the early ’60s. Then along came the Beatles. Things were never the same [for
me]. I told all my friends about them, and of course they didn’t figure it out till the
“Ed Sullivan Show” appearance [in 1965]. They were a baby band that I promoted
to everybody, and they made it. I thought maybe I could do this promotion thing.
What’s the biggest change you’ve seen in the music industry as it relates
to your business over the years?
Ticket prices became insane. And between Live Nation and Ticketmaster under one
roof, it is a monopoly in many ways, but since it’s legal it keeps on happening. It’s
very difficult to compete but not impossible.
How has the live music landscape changed the most in Phoenix over
the past few decades?
Better and more facilities [are available], although I still love Celebrity Theatre
[the venerable theater-in-the-round located at 32nd Street and Van Buren],
along with the Talking Stick casino—I book that as well. The casinos have
made it possible for many bands to continue to perform.
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Why Phoenix? How come you have stayed?
The weather motivated me. I lived in a great music city, Chicago, and
loved going to shows there. But I didn’t think I could make it there. It
seemed so wide open here back in the early ’70s and I hooked up with
a new concert club called Dooley’s [which was most recently known as
the Electric Ballroom, located on Apache Boulevard in Tempe, but the
building has not been an active concert venue for over a decade and
now houses a charter school]. Had some great times in there. Broke
a lot of great bands, like the Police, Talking Heads, Cheap Trick, and
made friends with Muddy Waters there. Some years later, we broke
Nirvana in there, No Doubt, Black Crowes and so many others.
[Writer’s note: I still have my ticket stub from seeing Nirvana in October
of 1991 at After the Gold Rush—which was what Dooley’s was called
in the early ’90s—and it was an epic show not long after Nirvana
broke the music world wide open. Thanks for that, Danny!]
Is there an “Arizona sound” and if so, what is it? Who are the
quintessential Arizona bands and artists?
Not really, but there are lots of great bands. Roger Clyne and the
Peacemakers, Jerry Riopelle, Alice Cooper, the Tubes, Stevie Nicks are
all from here and are all very diverse. Lots of great new bands, too,
like Kongos, getting attention.
What advice would you give yourself if you could go back
40 years?
Start getting guitars signed before 1990. It drives me nuts I wasn’t
asking Nirvana and Muddy [Waters] and Stevie Ray [Vaughan, who
died in 1990], to name a couple, for signed axes. I love getting
cool signed stuff. I also wish I would have kept Compton Terrace
as a venue and not gone along with the guys who built Desert Sky
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[Pavilion, which is now Ak-Chin Pavilion]. I could still be competing
with them big time with my own place.
What’s next for you? What haven’t you been able to do that
you would still like to accomplish?
I am having a good time. I work with great people who are good
at this business. I am involved on a day-to-day basis, but as I get
older I like being mobile, traveling [Zelisko was in Italy when we did
this interview, for example] and staying involved in the minutiae of
this work we do. I like seeing my friends who I have made over the
years come back again and again, and like getting hooked up with
new groups.
All of it is still very exciting for me. I have done pretty much everything
one can do as a promoter except open more markets and buy for more
people, which I am open to doing. But I don’t want to kill myself doing
it. I am enjoying the pace I am at. We are doing 125 to 150 shows
a year. I still dig the venues and people there that I work with. The
[Arizona] State Fair is always fun. [I like] nice halls with great sound
and lights.
We have great shows in Phoenix and I like to feel that I am responsible
for a lot of the good ones that come in. Plus, I have helped shape the
market with all the other shows that come in as a result of the other
main promoters in town having worked for me at one point or another
[and the people] who work with them, too. I just don’t make money off
of all of those shows anymore. But I am doing okay.
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ARTS
J.W. FIKE
at Bokeh Gallery
By Amy L. Young
As a born and raised East Coaster with a visual
affinity for straight lines, giant buildings and
post-industrial decay, the desert landscape wasn’t
an easy sell for me. I am guilty of—for a period
of time—maintaining the ridiculous, easy and
tired perspective of, “It’s just so brown.” A pretty
embarrassing admission for a person whose
life is steeped in the visual arts. It was the arts,
however, that led me to explore this region’s
mountain and desert areas, discovering the
complex and fascinating plant life and all of its
combined real and mystical beauty.
The metro Phoenix area is home to a number of
artists who showcase and interpret elements of its
natural world, sometimes recreating it, other times
physically incorporating it into their work. In either
case, seeing these artists’ compelling takes on
our surroundings is a great pathway to developing
a personal relationship with them. This month,
Shade Projects is presenting the Photographic
Survey of the Wild Edible Botanicals of Arizona, a
solo exhibition by J.W. Fike, in Bokeh Gallery (at
monOrchid). Fike’s solo show offers a truly magical
look at the plant life with which we are fortunate
to co-reside.
First off, Fike’s mastery of his medium is
undeniable. He has formal training in photography
and drawing, and has been exhibiting his artwork
in galleries and museums for a couple of decades
now. He also serves on the art faculty at Estrella
Mountain Community College. The presentation
and composition alone provide an eye-catching
invitation to take a deeper study of these works.
The pieces feature solo plants floating against a
black background and are brought to completion
through an interesting process. Fike excavates the
plants and then does further arranging and the
photographing in the studio. He then uses digital
tools to render the edible parts in color, allowing
the rest to be read as contact prints.
The overall results are vivid and remarkable. The
plant at the fore of each photograph is electric.
Even with the visibility of the roots and the
apparent effects of the excavation, the plants look
and feel vibrant and alive. The colors that highlight
the edible portions come across as both sweet and
important nods to science, further emphasizing the
life cycle, and even our own personal relationships
with nature. When the viewer looks beyond the
plants and into the infinite black backgrounds,
the pieces have a lost-in-space effect, inspiring
reflection and examination, and evoking the pure
magic of the unknown that surrounds everything.
“Hauntingly beautiful” is how Shade Projects’
curator, Nicole Royse, describes Fike’s work. “It
results in striking and mystical imagery,” she
continues. “He blends traditional contact prints
and photograms with modern tools, creating
refreshing images of everyday plants. The color
draws in the viewer’s eye throughout the work.”
This body of work is part of a larger effort on Fike’s
part. He’s already photographed plants in seven
different states and ultimately wants to cover
the entire United States. This show is a solid and
intriguing examination of our personal and global
ecological approaches, and how those can evolve.
J.W. Fike
Photographic Survey of the Wild Edible Botanicals of Arizona
Through October 30
Bokeh Gallery at monOrchid
www.monorchid.com
London Rocket
Plantain
Wild Ginger
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BETH AMES SWARTZ
Cultivating Local Artists
By Jenna Duncan
For many, a life in the visual arts is a labor of love.
Without the assurance of success and profits,
remaining an artist—whose primary purpose is
to grow while producing new works—is often
an uphill struggle. But the very dedicated few
who endure will often tell you that it’s worth it.
The documentary film “Beth Ames Swartz:
Reminders of Invisible Light,” which celebrates
Swartz’ Sisyphus-like story, recently screened
at Phoenix Art Museum and will debut on PBS
later this year. Swartz is 80 years old. For about
the last 15 years, she’s been hosting what she
calls the Breakfast Club—a regular meeting of
local artists who get together for brunch at her
home in Paradise Valley, or at a local arts-related
destination, to talk about the business and life
of art. “Some of them are 30, and some of them
are 85,” she says. “They come when they need
to come.”
Swartz says she currently has an active stable of
55 or more local artists, but more than 90 have
come through her home over the years. “Everybody
knows I’m an advocate for Arizona artists,” she
says. “That’s my main love.” Swartz enjoys seeing
artists blossom and takes every action she can
to support and encourage them, especially those
without a patron or a lot of capital backing.
Swartz’ message: “Don’t give up!”
She encourages young and new artists to follow
the model she’s developed to support and sustain
herself. Swartz has always made a living through
her art, without the support of her husband. “And
I’ve been through two!” she jokes.
Working independently as an artist, Swartz was
able to buy her home in Paradise Valley about
46 years ago (for $42,000). Between here and
New York, she raised two children. Her daughter
Julianne Swartz has gone on to become an
internationally acclaimed multimedia artist herself.
Julianne had a solo exhibit at SMoCA about two
years ago.
Swartz says that her work has often been
misinterpreted. If you take one piece here and
another there, they might not seem to connect.
This is because her work often comes in series.
“I work in series because I have an idea, then I
create a puzzle, and then I solve it. Sometimes it
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takes five years to figure it out, and sometimes it
takes longer,” she says.
“If you could put my whole body of work into a few
sentences it would be this: There are two forces in
the world: order and disorder,” she says. “I don’t
like the idea of entropy, so I added a third one of
my own: re-order.”
Swartz has moved through many natural themes
in her career, beginning with the four elements.
Her early watercolor pieces focused on the fluidity
and lightness of water. She then moved into
working with earth and fire. Since it’s incredibly
difficult to depict fire, she decided to use fire as
a tool. Soon she found herself burning different
materials, molding them and working with their
enflamed shapes.
Two of Swartz’ smoke drawings were recently on
view at SMoCA as part of “Public Trust: It’s About
What We Do,” an exhibit that invited visitors to
take a peek behind the scenes of the museum’s
operations: planning, curation and even storage of
pieces in its collection.
While she loves to watch the successes of her
fellow artists unfold locally, Swartz also loves
seeing them show outside of Arizona. There is
an enormous art world out there, and for anyone
working it’s often not enough to exist in a bubble.
Supporting artists to have shows in other states,
find representation or even make sales out of state
is gratifying to Swartz.
She’s also very into encouraging artists to create
catalogs. “I always say: The show is temporary,
but the catalog is forever!” she explains. She
has been a source of encouragement and even,
occasionally, financial support for several local
artists who have launched their catalogs in the
last few years.
“There’s a lot of misunderstanding in the art
world, and I believe in communication,” she says.
“I think artists feel neglected by the museums.”
Connecting the dots and supporting local artists
who are launching their careers is Swartz’ true
purpose now. “Why revisit the same thing when
I’ve already done it?” she asks. “It’s just common
sense,” she says, tapping her temple with a paintcovered
index finger.
Beth Ames Swartz Selected Works
October 16 through mid-January
Cutler Plotkin Jewish Heritage Center
122 E. Culver St., Phoenix
Only the Mindless Waters Remain
A weather in the quarter of the veins turns night to day
Sometimes the sky’s too bright
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SUSHI IN THE DESERT
By Sloane Burwell
If I had a piece of nigiri for every time someone said something incredulous
about how they could open their own sushi bar… Let’s be honest, the best fish
comes from Japan. Even if you are neck deep in hipster Portland, where there is
a sushi joint on every corner, their Hamachi is still flown in on the regular.
While I was sad to see Maizie’s Café closing, I watched with excitement as
what appeared to be a cool little Japanese spot grew in its former home. When
the telltale red lanterns appeared announcing the arrival of Yama Sushi House, I
couldn’t wait to go.
The name Yama means mountain in Japanese, and that motif is mirrored in the
wooden mountain scene behind the bar. Natural elements adorn the walls, with
striking wood accents and live moss art that make me wish I was more Martha
with a glue gun, because I would be making these as Christmas gifts.
Fans of Maizie’s will recognize the layout, but that is essentially where the
similarities end, except that Yama also shares the warm, welcoming vibe
that happens when a charming family runs a business. On each visit we were
welcomed by the chef and owner, who wrote down names and remembered
them along with orders on our next visit. Our servers told us they were cousins
of the owners, and the commitment to hospitality never wavered.
Neither did the excellent food. Their inventive happy hour runs from 2 to 6
p.m.—seven days a week. Small dishes include a hearty miso soup ($1),
which is thicker and more substantial than most mediocre watered-down
versions. I’m in love with the strikingly designed spoon that rests on the end
of your finger. The squid salad ($4) is a delectable mix of tender squid and
spices atop a mesclun salad mix. Round out your happy hour with an excellent
spicy salmon roll ($4), and you can still quaff a small sake bomber ($5) without
breaking $20. Yama defies convention and proves that great sushi doesn’t have
to break the bank.
Normally I would skip the appetizers at a sushi place, but here you would
be missing out. The Golden Avocado ($6) is almost an entire avocado in four
pieces, miraculously warmed, loaded with spicy tuna tamago and drizzled with
a kicky finish. Eat this now. The Agedashi Tofu ($6) comes in a bowl, where the
fluffiest pillows of tofu perched above excellent broth. I can’t wait for this dish
to chase the coldest winter blues away. It is truly delightful. The Gyoza ($5) were
fantastic, too. Classically flavored and perfectly executed—your friends who
don’t dig sushi will love this.
Sushi is where Yama shines. To be honest, my fear is that they won’t be able to
survive with their incredible prices. On every visit, literally every friend I brought
there commented on the accessible pricing. The quality is so far above what
they are charging, it feels almost like eating there is getting away with something.
Like the Poke ($12), a heaping plate of perfectly cubed fish, tossed in spicy nirvana,
or the Yellowtail Carpaccio ($12), a plateful of excellent fish with slices of jalapeño
on top. The chef told us that we got the last of the yellowtail belly from that fish,
with no upcharge. Silky, flavorful and fantastic—and flown in that day from Japan.
Fans of sashimi will enjoy the Chef’s Sashimi ($21), a dizzying array of 11 pieces.
I was anticipating small slivers, but not so. A delightfully arranged plate adorned
with real shishito leaves arrived, with enormous wedges of fish. The big surprise for
me was two-fold. First, these combos change with availability (obviously), but also
the customer’s preference, so that if you don’t enjoy a particular fish, you won’t be
saddled with it. Second, the variety. I was pleasantly surprised to see white tuna
in my selection. White tuna is no descriptive lie—it’s paper white. It’s also firm,
buttery, and delectable. To be honest, I hadn’t tried this before, nor have I seen it on
other menus around town.
The Chef’s Nigiri Sushi ($18) comes with nine pieces, and again it is a combination
of chef’s choice and your personal preference. I particularly enjoyed the flavorful
salmon. Let’s be honest, salmon is fairly ubiquitous. It is also seldom this good. Ask
for the fresh wasabi for an added kick.
The showstopper is the Tidus and Yuna Love Boat ($55). This comes with a mindblowing
15 pieces of nigiri, eight pieces of sashimi, and two rolls (spicy tuna and
dragon) in an adorable and celebratory wooden boat. The quality of the fish was
superlative, and we didn’t feel like we lost out on quality or selection. The red
snapper was so fresh it almost moved, the salmon resplendent, and the spicy tuna
roll knocked it out of the park. Sometimes I think the spicy tuna roll is a way to move
questionable product, and here that couldn’t be further from the truth.
I was a little forlorn when Maizie’s left. The love from the family that ran the
place was infectious. I really felt like they did miss me between visits. I’m
glad to say that legacy appears to live on at Yama Sushi House. The adorable
chef, owner, and all the servers are always welcoming and efficient. I have
never seen a misstep in service or charm. And the food lives up to that
endearing and engaging desire to please, as well. Sushi in the desert? Yes,
please. Especially when it is this well priced.
Yama Sushi House
4750 N. Central Ave., Phoenix
(602) 264-4260
Tuesday - Thursday 11 a.m. to 9 p.m.
Friday - Saturday 11 a.m. to 10 p.m.
Sunday 12 noon to 9 p.m.
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Model: Mello Jello
Makeup and Hair: Suzanne Deadmond, r salon
Photographer: Joseph CG, Joseph Signature Arts
Location: HANNY’S
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Photo: 30 JAVA Frank C Photography
MAGAZINE

Dadadoh has just released the most exciting
local hip hop album of the year, Radical,
which has been a while in the making after
a slow build-up of singles and a video here
and there. Some significantly different versions of the
songs have appeared previously that sounded more
like demos, but they have now been shaped into
album-worthy material.
The mix isn’t solely focused on hip hop; there’s a lot
of genre-bending experimentation, from synth-heavy
electronica to more soul-drenched R&B, which is
compelling, and the album’s pacing is perfect to
allow full enjoyment. Whether it’s in-your-face rap
excursions like “Do It” or the impressive fusion of
“Get You Away,” Bryan Preston AKA Dadadoh has
laid down one of the smoothest records of the year.
While Radical may technically be a solo album,
Dadadoh had plenty of help along the way. “I really
learned a lot about working with people through this
record,” Preston said. “People get the assumption
that if you’re a solo, you should do everything yourself,
but you actually have to work with as many people as
you can to make something really great! I can’t stress
the importance of keeping really good people around
you that understand your vision and believe in it as
much as you do.”
The album features guest appearances from MC/DC,
Mr. Uu, Dirty Dalla$, Kali Kal, WOLFZiE and Curt Flo,
as well as some conversation with folk punkster Andy
Warpigs. While Preston produced the album himself,
it was mastered by Scott Mitting (20 Ft. Neon Jesus,
Militia Joan Hart). The results are fantastic.
It all begins with “And We’re Back,” a skit of
Dadadoh being interviewed on a TV talk show
(Tiffany Michelle Hilstrom of Manic Monkeys is
the interviewer). There’s as much humor as there
is ambition in the opening bit, but the album that
follows is Dadadoh’s pure, undiluted vision, and the
skit provides something of a construct through which
the rest of the album can operate.
The album proper begins with the dark groove
of “No More,” which features MC/DC. The
arrangement is minimalist and relies on spare keys
over a deep bass line, long before the percussion
kicks in, which it slowly does. When the flow gets
going the song takes off, and it’s only moments
after the mention of Rick Rubin. Clever lyrics are
clearly Dadadoh’s wheelhouse, and this one’s full
of them from start to finish.
“Lonesome” continues the darker, low-key vibe,
and this time features Mr. Uu. I’m not sure if the
intention was to make hypnotic hip hop, but that
was the end result. This is the hip hop equivalent to
shoegaze rock, with arrangements as mesmerizing
as the circling, swirling vocals. It is one of the
most fascinating compositions on the album, as
introspective lyrically as it is engaging musically,
questioning the scene in the midst of finding strength
in the music.
One of the finest moments is Dirty Dalla$ joining
Dadadoh on “Just What You Like,” a soul number
that’s got a catchy sax part from Dalla$, with sexyas-hell
lyrics. The synth strings are simply icing on
the cake.
The pre-album single, “Do It,” captures the essence
of the record. It’s swanky and sexy, with arguably
the best delivery of verses on the record, while the
chorus is understated and more than suggestive.
It’s a fantastically masculine song that celebrates
a woman who seeks satisfaction frequently and
specifically with the protagonist. It finishes with a
rather humorous skit that should have been reserved
as a separate track but is a funny footnote.
Kali Kal joins in on the fun for “Real Good,” which
begins with a hazy intro and the sounds of female
ecstasy in the background. If there hadn’t been the
humorous sketch at the end of “Do It,” this would
work perfectly after it, thematically speaking.
It still works, and the break between the songs
definitely provides a pause to set you up for the
contrast in musical backdrops, as “Real Good” is
a much darker tune, explaining the details of one
woman’s sexual prowess.
The pristine intro is nearly dreamy on “In College”
before the sound becomes twisted and Dadadoh
announces, “I only fuck with girls in college.” This
should be another single, because it is lyrically
concise and musically brilliant. At times, when
Dadadoh is at his most succinct he delivers pure gold
like, “Say you got a couple demons? I think you got a
couple monsters girl.”
One of the highlights of the album is the smooth R&B
delivery of “Get You Away,” with a musical dressing
that sounds like The Avalanches and Preston’s best
vocal delivery on the record. It’s moving and beautiful
and seems literally ready to take the listener away.
It’s as accessible as it is psychedelic, and the trippy
mixing on the vocals only serves to strengthen it.
Mr. Uu joins again for “Kowasahki Trappin’,” which
may be a nod to Drake as much as it is to Asian
culture. The two songs with Mr. Uu present make a
strong argument that these two artists should join
up on the regular. This is one of the most energetic
and exciting tracks. You will be singing, “Bitch, I’m
Kowasahki Trappin’” to yourself after only one or
two listens.
“All This,” featuring Curt Flo, is a fantastic homage
to marijuana, in part. It’s another hypnotic number
with swirling vocals, turning round on themselves
to the refrain, “Man, I’m smoking all this reefer
and they can’t understand it.” Lyrically, the verses
are all over the place. Whether the song is about
college, sex or smoking weed, it’s almost an anthem
for someone young and talented enjoying the more
sensual side of life.
The spell is immediately broken by four minutes
and 20 seconds of “Silly Freestyle,” which appears
to be exactly that. It reminds me of Jay-Z’s “My1st
Song” for some reason; I can’t quite place it, but it
has that same vibe to it. Even though it is a silly
freestyle, it’s definitely one of the lighter moments
of the album and a good move in its placement for
the fun factor alone.
WOLFZiE collaborates with Dadadoh on “What I
Got,” a song so good it will also appear on WOLFZiE’s
album later this year. Dadadoh delivers one of his
best lyrical flows over the dream pop background
WOLFZiE has put together, with intense textural
landscapes, approaching a trip hop housing. It was
released as a collaborative single and it’s not hard to
hear why.
Radical concludes with the amazing, near indie
rock fusion of “Never (Invite Whack People to My
Shows).” An earlier version of the song was available
for a while, but it doesn’t hold a candle to this one.
It’s got fantastic cross-genre appeal and could pass
for a more experimental song by Beck.
It is striking how much musical territory is covered
on this album. It’s not just poetry set to some beats
here. There is some agile thinking and exciting
arrangements behind these songs. This is as much
about the music as it is the rhyme and the vision. The
authenticity is what makes the fantasy of the album
all the more understandable.
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MAGAZINE

COMPLICATE SIMPLE
Blue EP
COOBEE COO
Strikes Again EP
THE SINK OR SWIM
High Tides EP
Complicate Simple dropped their impressive hardrock
debut this summer with the Blue EP, which
treads into mini-album territory. The record comes
on like a juggernaut with “Broken Pieces” and you
are immediately introduced to the wailing power of
Maxwell Pittman’s guitar, the heavy bass work of
James Ferguson, an avalanche of drums from Kyle
Norwood and Michael Jon’s intensely fascinating
voice. It’s a perfect combination, and the initial
reaction is that this sound was recently exhumed
from the vaults of the ’90s in a good, hard-rockbending-on-grunge
sort of way.
“Complicated” couldn’t do more of an about face,
very nearly becoming new wave-styled pop with
insanely crunchy guitars and showing off the idea
that, yes, this band is complicated. This song recalls
early-era Police in its energy and delivery. One of the
early singles for the record was “Rewind,” and it’s a
slow burner, built around a mantle of darkness with
Jon’s vocals taking center stage. “Penny” is damn
near power pop, coming off like Cheap Trick with
heavier guitars. This is easily my favorite track on
the record. Complicate Simple really shines on tracks
like this and “Complicated,” which are both off the
beaten path of their overall sound.
With “Glow” they take more of an atmospheric
approach until it explodes in pure rock ’n’ roll glory
and becomes one of the more surprising tracks.
“Vignette,” another pre-release single, is the perfect
finale for the record: Jon’s vocals are on point and it’s
an aggressive rocker showing them at their best. The
record really gives you a good idea of the breadth and
depth of material they have to offer, and the word is
that their sophomore effort, Green, is soon to follow.
CooBee Coo have returned with a four-track EP called
Strikes Again, and it’s quite a genre showcase for
these lads from The Farm. On “In the Zone” they
combine such disparate elements as Some Girls-era
Mick Jagger vocals, Pink Floyd/David Gilmour guitar
and an unbeatable funk groove that will have you
dancing in your seat. It’s a hell of an introduction to
the record, and it pulls out all the stops with classic
nods of homage.
Next they take you to a very Kraftwerk-inspired
sound on “Make a Vibration.” There is a nostalgic,
austere delivery to what is essentially minimalist,
new wave electronica. It’s quite a contrast to the
opener, but a fascinating juxtaposition nevertheless.
Its synth-heavy presentation makes it feel like 1980
all over again. “Never Settle” returns the record to a
funky groove and predilection for neo-soul with deep
touches of the blues. It’s easy for CooBee Coo to play
into the Black Keys sound for being a duo alone, and
here they are definitely approaching that perimeter.
“Say My Name” sounds like it’s going to come on
like Big Beat dance music from the ’90s, a more
bombastic modern take on electronic rock with the
most aggressive sound found here. The variety of
territories of sound explored on this EP would make
for an interesting approach to their next full-length
album. While it may not be consistent in style, it’s
consistently good, as they have no issue mastering
whatever approach they attempt to take. CooBee Coo
have repeatedly proven themselves to be wizards in
the studio, and Strikes Again is no exception to what
we’ve come to expect from these two.
The Sink Or Swim have established themselves as
one of the brightest and most ambitious acts in the
local music scene. They have an innate ability to
write catchy-as-hell alt rock with a mix of youthful
confidence and new wave quirkiness. Nate Zeune’s
vocal gymnastics are nearly half the fun. They would
overshadow the rest of the band, except that the
drumming of Lou Resnick and the bass work of Niel
Erlich are monstrous elements in the overall sound.
Throw in Zeune’s angular guitar work and you have a
perfect combination that rides the line between indie
pop and alternative rock.
High Tides isn’t so much an EP (like The Sink Or
Swim’s debut earlier this year); instead it’s more of
a compilation of three singles, each an A-side in its
own right. A perfect rocker to open up the trio of
singles, “Blame It On Me” features Zeune’s voice
approaching an Eddie Vedder sound, while Erlich’s
bass threatens to steal the show and Resnick propels
the entire thing. It’s a stunner for sure.
The catchiest track found here is the centerpiece,
“Glass Eyes,” with the perfect balance between
the guitar hook, the Jam-like bass line, thunderous
drums and Zeune’s vocal histrionics, approaching a
Danny Elfman sound. “The Delay” is the finale and it
starts like a slow burner, but it’s too damn catchy and
subsequently explosive. On this one, it’s the vocal
hook that catches, as well as the guitar line. This may
be the least balanced of the singles, as it is definitely
Zeune’s showcase. It is the perfect end cap to this
collection and feels like something of a “goodbye for
now” song. The Sink Or Swim have definitely made
an impression in 2016, and they have become one of
the bands to watch in the local scene.
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Sounds Around Town By Mitchell L. Hillman

RØÅR
Impossible Animals
SOME MAGICAL ANIMAL
Some Magical Animal
EL WEST
El West EP
Phoenix has produced its fair share of indie pop
wunderkinds, including the likes of Stephen Steinbrink,
Diners, Dogbreth and, last but far from least, RØÅR.
Four years in the making and the first record since
2010’s I Can’t Handle Change, Impossible Animals is
probably everything RØÅR fans could have hoped for
in a full-length album. Beginning with the melancholy
chamber pop of “Dream,” it feels like Owen Evans’
invitation to his magical mystery tour of highbrow pop.
The songwriting here is on the level of Jason Falkner,
Jellyfish and those who have studied the movements of
Brian Wilson. While “Ghost (of 7th St.)” may begin with
a vocoder effect, it breaks down into SMiLE-era Beach
Boys pretty quick. There’s a touch of psychedelic reverie
throughout, recalling mid-period Beatles and pre-Tommy
Who. “Explosions of Birds” explores Rubber Soul meets
Pet Sounds territory, and it’s one of the more arresting
tracks on the album. “Little Sisters” is presented as
a haunting choir for the first half while it works itself
toward a fading lullaby for the second.
The vocoder returns as a robotic introduction to the
Phil Spector dream pop of “Hope,” while there’s a
Four Freshmen feel to the harmonic introduction to
the hypnogogic “Goldfinch Nocturne,” putting the
dream back in Dream Pop. The rousing dance-ability
of “Theophobia” brings you out of otherwise lush
textures only to return back to them, then leads you
to “Fading Kitten Syndrome,” which is one of the
more experimental compositions found here.
RØÅR approaches Disintegration-era Cure and
Elephant 6-era indie pop with “Truck Stop Tiger,”
which is a single in waiting. “The Ocean” is the finale
to the album, and it’s something of a mournful pianodriven
piece that feels as much like The Beach Boys as it
does The Flaming Lips at their Soft Bulletin heights. It’s a
stunner of a closing number.
One local album that should be topping best-of lists
this year is the highly anticipated debut full-length
from Some Magical Animal. Jake Greider (vocals,
guitar), Rick Heins (guitar, pedal steel), David Libman
(drums) and Jess Pruitt (bass) are Some Magical
Album, and their self-titled album is another winner
out of STEM Recordings this year.
Greider, the singer/songwriter fronting the band,
seems to access the same mystical realm that Elliot
Smith, Nick Drake, both Buckleys and Chris Bell
divined in their songs decades ago. Throw a hint of
Gram Parsons into the mix and you get the sense of
how this album is going to sound. In short, it’s soulcomforting
music that can play over and over again
on a lazy afternoon, with each spin more enjoyable
than the last.
Even when they approach Radiohead on their
glorious “Hello,” you can still hear the basic song
on guitar that it emerged from. The album is best
taken as a whole and repeatedly. There is something
intrinsically uplifting about it, as well. I first heard it
on a day I was feeling down and it completely turned
me around.
This record seems like it could be one clever
marketing campaign away from being picked up by
an indie label, because it’s right at home with artists
currently getting national attention. It is great modern
American music, and when “Mama Sparrow” sounds
like a Ryan Adams tune, it doesn’t seem out of place.
Nothing seems out of place; it’s a true listening
experience from beginning to end.
Sounds Around Town By Mitchell L. Hillman
El West may be going for the title of “Best Debut
Band of 2016” with their slew of amazing shows all
summer long and their four-song debut EP. Appearing
at the start of the year with a standalone single,
“Marauder,” El West has emerged as a local favorite.
Whether it is the electric energy of their live shows
or their polished, radio-ready recordings, El West
makes some of the most engaging music around.
The magic is mainly found between the booming
voice of Bryant Powell and the guitar voodoo of
Thomas Brenneman, but the rhythmic backbone of
Ricky Powell on bass and Marty Welker on drums
is pretty unwieldy, as well. Powell’s vocal delivery
is right up front in the mix, as it should be. It comes
across as a cross between Brandon Flowers of The
Killers and Dave Vamian of The Damned.
The opener, “Half to Death,” is an immediate rocker
that gets you into their sound, easing you into sonic
dimensions, holding you in thrall. “Santiago,” the
closest thing to a ballad here, wears something of a
gothic mantle, with the chiming guitars and Powell’s
voice adding that vibe. This song just screams for a
very cinematic music video.
A sure-fire single is “Olivine,” with its easy-on-theears,
alt-guitar opening, recalling the heyday of the
New Romantics on MTV. Powell’s vocal hook on
this number is particularly catchy amid washes of
accessible, radio-ready guitar. Still, it’s the finale
of “Thin Air” that is sure to garner fans from coast
to coast. It’s their finest song to date in the aim of
writing a fantastic alt-rock hit.
For more on these events and other highlights of
the Phoenix music scene, check out Mitchell’s blog
at http://soundsaroundtown.net. For submissions
or suggestions contact him at mitchell@
soundsaroundtown.net
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MAGAZINE

Just over 16 years ago, at the tender age of
13, I played my first concert at a local dive
called The Mason Jar. Having never played a
show before, I had lofty visions of Phoenix as
a cultural mecca, full of rapt audiences clambering to
the stage to adore my every move. As anyone from
here could tell you, in 1999, this was unrealistic.
Over the last 15 years, I have been both an admirer
and a critic of Phoenix, especially with regard to our
perpetually fledgling music scene. I have played in
many groups since my first and seen countless local
shows. Great artists have fallen by the wayside,
while others have brought their dreams to fruition.
Some have moved away, some have died, some have
simply given up, disillusioned by years of playing to
nobody.
But that’s all over now.
It finally happened. Phoenix is now a flourishing hub
of musical creativity with teeming venues, and true
to our maverick nature, a scene is being forged in the
name of Rock & Roll. Yes, you read that correctly:
Phoenix is probably the most exciting scene in music
today, and it is because of bands that proudly carry
the torch of Rock, an art form that continues to be
relevant in the modern era.
Last spring, my friend and creative counterpart, Nick
Florence (formerly of Knights of the Abyss), showed
up to my apartment raving about a handful of local
groups that he implored me to listen to immediately.
What I heard left me slack-jawed and inspired. It was
one of the greatest gifts, and surprises, of my artistic
career. I could hear Phoenix’s disparate musical elements
coalesce before me, all sharing one quality: a
drive to play genuine, authentic Rock music, with a
capital R. I decided right then and there to start my
own group, the Weird Radicals. The “Phoenix sound”
I heard that day was so exciting that I ended a fiveyear,
self-imposed exile from our scene just so I could
be part of it.
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DENT (THE INNOVATORS}
For fans of: Tera Melos, Abe Vigoda
Dent’s self-titled EP could be one of the best
things I’ve ever heard come out of Phoenix.
Their music and visual aesthetic is fully formed,
something one does not see every day. “Visit
Us,” my favorite song by the band, cloys in its
fluidity, a kaleidoscopic and unique mixture of
haziness and pop hooks. Josh John, Jeff Taylor,
and Bryan Ohkura create a striking panorama
of the desert through rose-colored glasses,
sedate yet unforgiving in its torrential waves of
ambient sound.
Their melodies are intoxicating, leaving the
listener dumbfounded at the interlocked contrast
between the sheer scope of the music and the
simple beauty of their warped-VHS songcraft.
Josh John, the songwriter and singer of the group,
humble and contented, is a rare talent. Often,
great artists are seemingly unaware of their
originality due to knowing the minute details of
their writing process. Such is the case with John,
eager to praise the Phoenix musical community as
a whole, above his own work.
“Phoenix rules! We are very happy to be a part of
the awesome things happening in the Valley at the
moment,” John says. “[We, and] all of our fellow
music-makers, are here to support one another.”
In the near future, Dent will be releasing a split 7”
single with Tempe’s Twin Ponies, another highlight of
the Phoenix rock scene. Do yourself a favor: listen to
Dent before they inevitably become famous.

TWIN PONIES (THE POETS)
For fans of: Pile, Television, Silverchair
Transcending their influences to create a singular,
mathematical style, Wayne Jones, Jacob Lauxman,
Phillip Hanna, and Jordan Tompkins are Twin Ponies,
and they are sincerely a force to be reckoned with.
Upon hearing their last release, 2015’s Friendly Pet
Mass Graves, I was impressed with their off-kilter and
promisingly surreal songs, reeled in by guitar hooks
and infectious polyrhythms.
I became enamored with the lyrics, written and sung
by Wayne Jones, which are integral to the sonic
portrait they create. Wayne makes poetic vignettes
from the mundane and ordinary, giving an almost
pastoral experience through his conversational
words. These are observations I made before I even
got to see them live.
Two words burst into my mind the first time
I watched a Twin Ponies show: intricate and
dangerous. The moment they stepped onstage it
was like witnessing a machine, finely tuned and
brutal in its utility. Going against meandering and
high-minded musicality, every note was necessary,
not one indulgent or wasted.
By the time they got to their final song, I knew I
was seeing something very special, even aside
from their impressive recordings. They closed that
night with one of their best songs, “Merciless and
Masculine,” a song whose effervescence on record
could not have prepared me for the aural onslaught
I witnessed in person. The performance of the
song lived up to the title, and more. I watched a
band build a hurricane onstage.
“Creating is a boredom-killer and boredom is bad
for your health,” Jones says about the artistic
compulsion to work. “Phoenix is special because
every local offering is truly unique. We’re all
different fruits.”
Twin Ponies will be performing Oct. 24 with LVL UP
and The Expos at Rebel Lounge.
JAVA 35
MAGAZINE

SUNSHOWER (THE REVIVALISTS)
For fans of: Nirvana, Alice in Chains, post-grunge
“If there ever was a musical revolution in Arizona,
it’s happening right now. We’re living it, baby!” Eric
Hula, singer and guitarist of Sunshower, relates to
me. “I’ve been going to shows for a decade. I was
there when [the rock/metal scene] was alive and
well, and also when it died.”
Hula, Brent Gutierrez, Jorge Santacruz, and Kelly
Emig are on a mission from God to bring the frenetic
energy and heaviness back to Rock. They have
succeeded. I saw them recently opening for Purple
at Valley Bar, and it was a revelation to be sure. All
the hallmarks of our last great era in mainstream
rock (the ’90s) are evident in their album Leader of
the Cult: heavy guitars, often awash in effects, gruff
vocals and an accessibly heavy sound.
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MAGAZINE
What sets them apart from other groups mining
the same territory is the complete and utter lack of
pretension in their work. They don’t come off tonguein-cheek,
ironically playing the styles of yesteryear to
prove their street cred (which they also have); rather,
they are earnest in their fandom, and that honest
approach can be heard in songs like “Slave to the
Season” and “Sorry.” In my opinion, this makes them
true students of grunge and post-grunge, Alice in
Chains and Bush alike.
“We draw inspiration from the good and the bad,”
Hula says, referring to their post-grunge tendencies.
“We want to make something that we want to
hear.” Indeed, their influences from the past
include musical elements currently considered out
of style, and it is precisely what makes Sunshower
great. The mixture of those elements might appear
cheesy on the surface, but culminates in a sound
that, while hearkening back to another time, is
capable of standing on its own two feet, and does.
Outside this band, the members of Sunshower are
also involved, to varying degrees, with the exciting
post-emo group Goldengoat, as well as the hardcore
group Reasons. If anything in this article indicates the
rejuvenated state of our music community right now,
it is the fact that three of the best bands in Phoenix
share members for the greater good of our scene as
a whole.
“It has never been like this [in Phoenix], ever,” Hula
says. “More venues and bands are sprouting up every
day, and they are good.” Well put.
Sunshower will be performing at the Within These
Walls festival at The Nile Theater Oct. 29.

THE ECHO BOMBS (THE OUTSIDERS)
For fans of: Cloud Nothings, Brian
Jonestown Massacre
“Music is a matter of passion for us; it gives our
lives meaning,” says Eddie Horn, the singer/guitarist
at the heart of garage group The Echo Bombs. “It
provides us with a medium of communication that is
therapeutic.”
I am inclined to agree with his sentiments, especially
knowing the kind of racket they can drum up in their
live sets. The Echo Bombs, made up of Horn, Daniel
Endicott, and Michael Regan, make music rooted very
much in the tradition of punk rock, the music of the
outsider. Nothing makes an outsider’s heart sing quite
like annihilating an audience with a barrage of noise,
and when I saw The Echo Bombs make it look so easy
at The Rogue Bar, I knew I had found kindred spirits.
King of Uncool, their full-length album, draws out its
influences with equal measures of newer groups like
Cloud Nothings and Wavves mixed with classic Pixies
and the Brian Jonestown Massacre. “Creeper,” my
favorite song by the band, is a lurching and jagged
hit, odd as that may sound. The Echo Bombs make
pop music for serial killers, meaning their songs are
catchier than they have a right to be, considering
their fascination with distorting every element. It is
this paramount priority that makes them stand out:
the need to take something merely pleasant and
deform it into something new.
“We can’t pretend to love Phoenix. Our songs
‘Fake It’ and ‘King of Uncool’ are actually about our
struggle to find a place—and an audience—here,”
Horn says about their relationship to the musical
community. The qualities held in high regard by the
group are those that entail sacrifice to a muse and
eschewing the concept of material gain as artistic
validation. “There are a few extremely talented
artists in our scene that have shed their ambition
for a socially defined success and instead set out to
create insightful and personal music,” Horn says. He
could apply this to his own work, and the city itself—
amorphous and changing, difficult and rewarding.
The Echo Bombs will be performing a costume partythemed
show at Rip’s Bar Oct. 29 with the Paper
Foxes.
JAVA 37
MAGAZINE

GIRL ON FARMER
At a show a few weeks ago I was thinking about the
importance of blending things. What made me think
about that was that even though I liked the music,
I was getting sleepy. Too many synthy, electronic,
snoozey songs in a row. Time to mix it up, guys, you
can’t go straight up ambient, you need some dancey
and singy stuff too, a good blend of old and new
to keep me from tipping over. The tasty cocktails
(perfectly blended) lent themselves to the near crisis I
was experiencing, but there was more to it than that.
When you are emerging from the cocoon of
childhood, spreading your wings into the terribly
confusing landscape of the preteen, you spend a lot
of time wondering what you will look like when you
grow up. (Or was that just me?) I spent a lot of time
with my elbow on my dresser, looking into the mirror,
thoughtfully staring into my own eyes, trying to
imagine what I might look like at 18. I hoped I would
not have the same eyebrows and would retain my
baby smooth skin.
Now, before you think I am vain, I have to tell you
that these stare-downs I had with myself were
precipitated by a comment made by my 17-year-old
camp counselor, John, whom I had a gigantic crush
on. You see, I thought John might have loved me, as
he spent so much time in the Camp Arrowhead pool
playing Shark or Marco Polo with me and the other
kids. Although he never gave any indication of this,
I was sure he was there for me. Turns out, that was
just his job. So when I saw him hand-in-hand with
the new counselor who was on her summer break
from college, I was devastated.
Being the sensitive guy he was, John tried to
console me at the snack bar. He did this by letting
me know, “You’ll be a real fox when you’re 18.”
Then he winked. I figured that the moment I turned
18, John would be available for more winking,
provided I turned out like a fox. This is when my
mirror obsession began, and the rest of the summer
I was torn between pining for my 18-year-old self
and sneaking out to play Barbies with my best friend
Susan. It was a confusing time, to say the least.
38 JAVA
MAGAZINE

Being the sensitive guy he was, John tried
to console me at the snack bar. He did this
by letting me know, “You’ll be a real fox
when you’re 18.” Then he winked.
When you are 12 imagining your 18-year-old self, it requires thinking about more
than just your face. You have to consider the whole package. This is when I decided
I would be about 5’5”, because that’s what happens when you average my mom and
dad’s height. That makes sense, right? Your offspring will be little blended cocktails
of your genes in equal proportions that turn out to be amazingly perfect, balanced
humans. Sadly, this is not the plan that genetics has in store for us.
Instead of turning out 5’5”, I got my mom’s shortness gene. I could have just
as easily been 5’10”. But no, nature doesn’t want to use my blending idea, and
although my preteen self was concerned with how I would look, now I have real
reasons to resent nature not being into mixing—because if it had, I could have
been perfect. If you took my parents and put all of their traits in a blender and
then made me, I would have been the best person ever.
I would have my mom’s ability to be clever and witty and my dad’s penchant for
being the life of the party. I would have a healthy dose of my mom’s paranoia,
to keep me out of sticky or strange situations, and my dad’s ability to travel
anywhere in the world and meet his new best friend. I would have my dad’s voice
of wrath but my mom’s patience to dole it out only when necessary and with the
utmost control. My mom’s smarts and my dad’s connections. My dad’s extreme
cleanliness and my mom’s love of animals. I’d be hilarious but only have two
drinks. I’d eat everything delicious but have the dedication to exercise.
No, genetics doesn’t let you mix it up to give the best outcome. It takes all or
nothing to make you a mini-Frankenstein replica of your parents. My idea is that
the good and bad of each parent should mellow each other out. It’s a great idea,
and if I were a genie I would make sure trait-blending happens like that from
now on. When long strings of baby DNA are being coded, there would be some
concessions made. It would no longer be the all-or-nothing scenario we have to
deal with now. Why must the genetic lottery give us either our dad’s too-big nose
or our mom’s too-small nose? Why can’t they be blended together to make the
perfect-sized nose?
Unfortunately, I am not the master of the universe, so for now nature will
continue with its own plan. Sure, genetics gave me my dad’s love of travel and
my mom’s inability to go beyond the front porch. Gave me one parent’s sweet
tooth and the other’s diabetes. Gave me one parent’s sense of humor and the
other’s horrible timing. It doesn’t seem fair. Luckily, your 12-year-old self does
not know any of this. It just gazes lazily into the mirror, dreaming and wondering
about the foxy future ahead.

NIGHT
GALLERY
Photos By
Robert Sentinery
1
2
3 4
5
6
7
8 9
10 11
1. Clutch Crowns at the Royal Black Sheep Party
2. Steve Hanson’s Polaroid pop show at Practical Art
3. Michele’s Tongue Tied Prom Night party
4. Marshall at his “Visions of GRANDeur” opening at Chartreuse Gallery
5. August Manley and Brea Burns at the American Italian Club
6. Rossitza poses with her piece at Chartreuse Gallery
7. Celine and Jan at the AWE Agency re-launch party
8. Photojournalist Nick Oza at “People, Places + Pop”
9. Dynamic trio at the Grand Art Haus
10. Laura Dragon’s {9} The Gallery features Sky Black
11. Dana and Yuki at the American Italian Club

12 13 14 15 16
17 18 19 20 21
22 23 24 25 26
27 28 29
12. Ty does a “toast” with gelly at the AWE party
13. Keith Laber’s fab sculpture show at Eye Lounge
14. Angel and his lady at ThirdSpace
15. Master class with Chef Joan Roca from El Celler de Can Roca
16. American Italian Club inner circle with Jay and John
17. Steve Hanson’s Polaroid pop show at Practical Art
18. “Visions of GRANDeur” with Vaiden
19. Cheers to the couple on the cool background
20. Lisa and to crew from Practical Art
21. Grand Art Haus grand opening
22. J.B and his lady at Grand Art Haus
23. Ion AZ editor Deon Brown
24. Kali and pal at Grand Art Haus
25. Look who showed up for hip hop night at ThirdSpace
26. End of an endless summer
27. Tongue Tied’s prom party at Linger Longer Lounge
28. Cocktails with these pretties at the AWE party
29. Artist Jim Covarrubias at Practical Art

30 31
32 33 34
35 36
37 38
39
40 41
42 43 44
45 46
47
30. Behind the bar at ThirdSpace
31. Mix master at the AWE party
32. Scary Carrie at the prom party
33. Brazilian dance babe at the Royal Black Sheep party
34. Pretty pair at the AWE party
35. Dumper and Co. at ThirdSpace
36. Lead Black Sheep Shimeon Mattox
37. Stacy from Clutch Crowns with Justine
38. Ketonya and Mia at Royal Black Sheep
39. Kathy Taylor with her “Graffiti Horse” an ArtLink winner
40. Tongue Tied’s thrift store prom dress party
41. Stylish couple at the AWE party
42. Hipster artist at {9}
43. Dynamic duo at the AWE soirée
44. Sweet sistas
45. More fun at the Royal Black Sheep party
46. Art lovers at {9} the Gallery
47. Stylish duo at “People, Places + Pop”

48 49
50 51 52
53 54
55 56
57
58 59
60
61
62
63
64 65
48. Grand opening of Bassim Al Shaker’s Babylon Gallery
49. Amanda and Shaun at “People, Places + Pop”
50. All together now ladies at the American Italian Club
51. It girls Laura and Mello
52. You’re supposed to do your hair before hitting the club
53. “You Weren’t There” punk and new wave exhibit at Modified
54. Frank Yberra at the ArtLink Juried Exhibit
55. Babak and Ellee at Babylon Gallery
56. Thumbs up for the Joy Division shirt
57. Mitch and pal – JAVA happy hour at the McKinley Club
58. Spicy duo at the AWE party
59. Jennifer and Alex at the ArtLink exhibit
60. May says let them eat cake
61. Cute couple at {9} the Gallery
62. Steak dinner with Mia at the American Italian Club
63. Rocking the AWE party
64. Super fly couple at Grand Art Haus
65. Trippy trio at Chartreuse Gallery

66 67 68
69
70
71
72 73
74 75
76 77 78
79 80
81 82
83
66. Hank and his lady at “Visions of GRANDeur”
67. A toast with toast at the AWE soiree
68. Arizona girls at the American Italian Club
69. Joe B sandwich at The Lodge Studios
70. Flirting with angels at the Royal Black Sheep fete
71. Monique and pal at ThirdSpace
72. Bill and Lexie at Modified Arts
73. Marcelle and Aileen at the Babylon Gallery opening
74. JAVA happy hour to celebrate cover girl Celine
75. Ellen Nemetz’ excellent paintings at Eye Lounge
76. Ty from AWE poses with his posse of rock star chefs
77. Roca brothers master class at Az Culinary Institute
78. Snappy trio at {9}
79. Fun with Steve and Ashley at Sidebar
80. Wendell Burnette book signing at For the People
81. Damian Jim and Breeze say farewell to 1 Spot Gallery
82. Kim and her beau at the McKinley Club
83. Hector gets snapped on Grand Ave

84 85 86
87
88
89
90 91
92 93
94 95 96
97 98
99 100
84. Justin and Jenna at the JAVA happy hour
85. Mello and pal check out Grand Art Haus
86. Amazing 3D Kraftwerk show at the Orpheum
87. A toast at the AWE party
88. “You Weren’t There” opening at Modified Arts
89. Roosevelt containers curated by Rhetorical Gallery
90. AWEsome posse at the AWE party
91. Rocking the Royal Black Sheep party
92. Smile your on JAVA camera
93. Fun prom night party at Tongue Tied
94. Roscoe Taylor does a set at the Vig Uptown
95. Cherie showed up for the ArtLink juried show
96. This guy bought five Kraftwerk t-shirts—super fan
97. Cool op-art in the container gallery
98. Mata Hari look at the Royal Black Sheep party
99. Sky Black painting at {9} the Gallery
100. Mia with Shawn and Chad from For the People

First Column Images (top to bottom):
Carolyn Zarr, Tufted I, monotype on cotton
napkin. Sandra Luehrsen, Mirage: Gold
Water #2, earthenware, glazes, glass, wire.
Warren Woodson, Center and Main, wood.
Michael “Madone” Neely II, Don’t-It’s
Art, mixed media, aerosol, acrylic, latex.
Second Column Images (top to bottom):
Laurie Nessel, Untitled, oil. Suzanne Tyson,
Happy, acrylic on canvas. Debra McKee,
Quiet Reflection, acrylic on wood panel.
Becky Anderson, Nature’s Majesty,
photograph and acrylic.
Eighth Annual
10 x10
Benefit
Show & Sale
Exhibition & Preview Dates: Oct 5-16, 2016
Reception & Sale: Mon, Oct 10 (6-8pm)
10 x 10 inch (2-D and 3-D) works of art created by over 100 artists from Arizona and beyond. Each
piece will be available for $100. First come, first pick! Doors open at 6pm sharp! All proceeds
benefit Mesa Contemporary Arts Museum exhibitions and educational programs. Admission: $10
One East Main Street • Mesa, Arizona 85201 • 480-644-6567 • MesaArtsCenter.com

IN HONOR OF
FREE EYE EXAM
WORLD SIGHT
WITH MONTH
PURCHASE OF
FRAMES THIS OCTOBER
& LENSES
FREE EYE EXAM
WITH PURCHASE OF
FRAMES & LENSES
THE COLONY | 5538 N 7TH ST | 602 283 4503

now @smoca
Fall Opening Celebration
Friday, October 14 | 7 p.m. | Free
Be the first to experience SMoCA’s new exhibitions Push Comes to
Shove: Women and Power and Architecture + Art: Everything Falls
into Place When It Collapses.
Good ’N Plenty Artist Award
Friday, October 21 | 7 p.m. | $10, Members $8
Empower artists while you enjoy delicious desserts and strong
coffee! Vote on innovative new projects by local creatives and
determine who walks away with the cash prize.
Guerrilla Girls Art and Activism Workshop
Saturday, November 19 | 10 a.m. | $35, Members $30
Aestheticize your activism! Learn more about the Guerrilla Girls’
style of activism and how to produce your own project from
founding member, Frida Kahlo.
Push Comes to Shove: Women and Power is organized by Scottsdale Museum of Contemporary Art. Curated by
Muriel Magenta, Ph.D., Professor of Intermedia, Herberger Institute for Design and the Arts at Arizona State
University, and Sara Cochran, Ph.D., SMoCA Director and Chief Curator, with the assistance of Julie Ganas,
SMoCA Curatorial Coordinator. Presenting Sponsors: SmithGroupJJR and Carrie Lynn Richardson and
Paul Giancola. Supporting Sponsors: Tamar Weiss, in loving memory of Emil Weiss.
Architecture + Art: Everything Falls into Place When It Collapses is organized by Scottsdale Museum of
Contemporary Art. Curated by Sara Cochran, Ph.D., SMoCA Director and Chief Curator, and Emily Stamey, Ph.D.,
Curator of Exhibitions, Weatherspoon Art Museum at the University of North Carolina, Greensboro. Presenting
Sponsors: Walter and Karla Goldschmidt Foundation. Supporting Sponsors: Tamar Weiss, in loving
memory of Emil Weiss
This exhibition is made possible through the generous support of the
Mexican Agency AMEXCID and the Consulate General of Mexico.
Image: Gabriela Muñoz and M. Jenea Sanchez, Labor (detail), 2016. Serigraph on bricks made with Mexican
soil. 36 × 264 × 8 inches. Courtesy of the artists. © Gabriela Muñoz and M. Jenea Sanchez
Visit the Museum today!
Click SMoCA.org
Call 480-874-4666
Visit 7383 E. Second St.
scottsdale museum of contemporary art