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SLUGPANGEA SPEEDand the Salt Flat SocialDead to Me Fresh Celebrates Two Years Frosty Darling’s Cupcake SocialJuly 2011 Vol.22 Issue 271 SLUGMag.com Always FreeSaltLakeUnderGround1


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SaltLakeUnderGround • Vol. 22• Issue # 271 • July 2011 • slugmag.comPublisher: Eighteen Percent GrayEditor: Angela H. BrownManaging Editor:Jeanette D. MosesContributing Editor: Ricky VigilEditorial Assistant: Esther MeroñoOffice Coordinator: Gavin SheehanCopy Editing Team: Jeanette D.Moses, Rebecca Vernon, Ricky Vigil,Esther Meroño, Liz Phillips, Katie Panzer,Rio Connelly, Alexander Ortega,Mary Enge, NWFP, Cody Kirkland,Hannah ChristianCover Design: Joshua JoyeCover Photo: David NewkirkIssue Design: Joshua JoyeDesign Interns: Eric Sapp, JeremyRiley, Chris SwainstonAd Designers: Todd Powelson,Kent Farrington, Sumerset Bivens,Christian Broadbent, Kelli Tompkins,Maggie Poulton, Eric Sapp, BradBarker, Lindsey Morris, Paden Bischoff,Maggie Zukowski, Thy DoanWebsite Design: Kate O’ConnorOffice Interns: Jeremy Riley,Chris Proctor, Tom EspinozaIllustrators: Manuel Aguilar, RyanPerkins, Phil Cannon, Benji Pierson,Maggie Zukowski, Sean HenneferPhotographers: Ruby Johnson, KatiePanzer, Dave Brewer, Sam Milianta,Weston Colton, David DeAustin, DavidNewkirk, Barrett Doran, Adam Heath,Bob Plumb, Chris Swainston, MaxLowe, Peter Anderson, Jesse Anderson,John Carlisle, Eric Scott RussellFilmers: Brian Baade, Loren Tyrel,Mary Catrow,SluggerAd Sales: SLUG HQ 801.487.9221Angela Brown:sales@slugmag.comMike Brown:mikebrown@slugmag.comJemie Spranklejemie@slugmag.comShauna Brennanshauna@slugmag.comSales Coordinator: Shauna BrennanMarketing Coordinator:Bethany FischerMarketing: Ischa Buchanan, JeanetteD. Moses, Hailee Jacobson, StephanieBuschardt, Giselle Vickery, Veg Vollum,Emily Burkhart, Rachel Roller, JeremyRiley, Sabrina Costello, Taylor Hunsaker,Tom Espinoza, Grayson Roylance,Josie Lee, Karamea Puriri, KristinaSandi, Kyla Grant, Brooklyn OttensSocial Networking Coordinator:Hailee JacobsonDistribution Manager: Eric GranatoDistro: Eric Granato, Tommy Dolph,Tony Bassett, Joe Jewkes, Jesse Hawlish,Nancy Burkhart, Joyce Bennett,Adam Okeefe, Ryan Worwood, TomEspinoza, Jennifer QuintanaSenior Staff Writers: Mike Brown,Mariah Mann-Mellus, James Orme,Lance Saunders, Jeanette D. Moses,Bryer Wharton, Peter Fryer, James Bennett,Ricky Vigil, Gavin Hoffman, JonRobertson, Esther Meroño, RebeccaVernon, Ross Solomon, Chris Swainston,Sam Milianta, Jimmy Martin, BenTrentelman, JP, Tyler Makmell, PrincessKennedy, Sean Zimmerman WallMonkeys with Computers:Brian Kubarycz, Cody Hudson, EricHess, Rio Connelly, Courtney Blair,Tully Flynn, Elliot Secrist, Dean O.Hillis, Jemie Sprankle, Jessie Wood,Chris Proctor, Bethany Fischer, SomeCop Dude, Nate Perkins, AndrewRoy, Alexander Ortega, Kyla Grant,Nate Housley, Madelyn Boudreaux,Ischa Buchanan, Gavin Sheehan, LeviRounds, Dylan Chadwick, ClaytonGodby, Julianna Clay, Megan Kennedy,Mike Abu, Tom Bennett, Mary Ryder,Mame Wallace.Roller Derby Correspondents:Paige Snow, Diane HartfordWanna be part of SLUG? Get involved:slugmag.comDISCLAIMER: SLUG Magazine does not necessarily maintain the same opinions as those found in our articles, interviewsor advertisements. If you are easily offended, please do not blame us. We are a carrier for the voice of the people and it isnot our fault if you don’t like people. Content is property of SLUG Magazine. Please do not use without permission, or we willhunt you down and make you pay for your sins. Now, that’s a promise.Contributor LimelightGavin Sheehan—Office CoordinatorA recent addition to the SLUGteam, Office Coordinator GavinSheehan is by no means new tothe Salt Lake City scene. In 2008,Sheehan started an interviewbasedweekly blog hosted onthe 2News website, Gavin’sUnderground, covering localmusic, film, art, theatre, writers,comic books and more until2009 when it moved to its currentspot on cityweekly.net. Sheehanstarted at SLUG as our film festival intern, posting up-to-the-minute Sundance,Slamdance and X-Dance coverage. He has recently been put to work in our SLUG HQas the coordinator of our latest project, Soundwaves From The Underground, SLUG’snew weekly podcast. Keep an ear out on the net waves for the podcast dropping July11, and help us give a shout out to one of our best hiring decisions ever … next to theoffice sexbot, of course.4 SaltLakeUnderGround SaltLakeUnderGround 5


Dear SLUG;Why is it over the past several yearsyou’ve given little to no coverageof the local MMA and cage fightingcircuit? You give time to skiing, yougive time to skateboarding, you evengive the fucking derby girls pressevery four months. But nothing onus! Its totally cool if you’re pussiesand are afraid that if you write a badreview about us (which you seem tobe good at), we’d come to your officeand beat the shit out of you. But wewon’t. We’re not all muscle headed,roid-raging, truck-nutz driving assholes.We’re doing some awesomework getting people out to events,scoring TV deals on cable, and a lotof Utah fighters are starting to maketheir mark on national promotions.Send us JP, we’ll train him up and hecan go head to head with a regularfighter… In the women’s division!Just kidding. Anyway, show us somelove!—Peace; J. LukeDear J. Luke,As you pointed out, MMA getstons of coverage by the localand national mainstream media.The world does not need anotherstory about pussy-ass, dirty-fightingMMAers. It’s a stupid fad sport(at least here in America anyway),if you can even call it a sport. PlusMMA fighters are just glorifiedthugs who need an excuse toroll around in the ring with otherdudes instead of discipliningthemselves enough to learn aREAL sport like boxing.Thanks for your offer to train aSLUG writer and to put them inthe ring— I’m sure our residenttranny, Princess Kennedy, wouldlove to show your boys the correctway to pin down anotherman. SLUG Magazine’s “women’sdivision” ain’t nothing to fuckwith. Sticks and stones may breakbones, but pens can fucking stabyou.Dear Beer Issue,I’m all for the consumption of tasty,alcoholic beverages, but a wholefucking issue dedicated to beer? Okok I get it, SLUG is trying to be edgyand beer drinking and brewing is astick-it-to-The-Man thing to do here inUtah, but don’t you think that printing80 pages on it EVERY year is a bitmuch? There’s hardly enough goingon in the beer scene here to makethe content fresh and interesting. Igot bored 10 pages in. The only thingI really enjoyed about it was TravisBones’ cover, which was fucking rad.Oh, and the Blue Boutique ad, ofcourse. The last couple of those havebeen spank bank worthy. Speakingof sexy ladies, the photos in the beerissue are pretty much void of visualstimulation as it seems that mostbrewers adhere to a strict uniform:BEERded, bloated and boooring. Ilove SLUG because it’s got articlesabout awesome stuff and the photosare always interesting, but the beerissue…well, it took a couple of beersto get through.Cheers,Beer-ed OutDear Beer-ed Out,Sorry you find our beer issueso boring. Stay tuned next yearfor the heroin issue, which wepromise will be a much biggerdowner. If you’re lucky, maybesome of SLUG’s most dedicatedwordsmiths will die in the processof “researching” and writing ourgrittiest issue yet!Cheers always,SLUGFAX, SNAIL MAIL OR EMAILUS YOUR LETTERS!Fax: 801.487.1359Mailing Address:Dear Dickheadsc/o SLUG Mag351 Pierpont Ave. Ste. 4B SLC,UT 84101or dickheads@slugmag.comLove, SLUG6 SaltLakeUnderGround SaltLakeUnderGround 7


Put On Your Birthday Suit:Turns twoget to meet new people every day andreally find out what they want and builda relationship. I think when someonewalks into a local store, they want tosee the owners there, not some highschool kid behind the desk that doesn’tcare about you,” she says.This openness and attention to detailhas also allowed them to slowly evolvetheir inventory, bringing in fresh brandsand developing a unique, Salt LakeCity style for their new and returningcustomers. “When we opened, we werea little safer, and now we take a fewmore risks here and there,” says Ian.As young professionals themselves—Helen an avid snowboarder and soonto-bemom, Ian a diligent student andskier—the pair keeps a close eye onthe season’s trends and has learnedto listen to customers’ needs, puttingthem above their own personal tastesat times. “This store is definitely ourstore, but we’re not shopping forourselves, we’re shopping for everyonein Salt Lake, and that’s the hardestthing, to separate yourself and learn,”says Helen. “Each season, I feel likewe do a better job, but there’s alwayssome stuff that was a miss. We openthe box, and we’re like, ‘Oops, whydid we order this?’ And then there aresome things that are like, ‘Yes, I’m soglad I ordered this.’”Their buying process is also somethingto be commended. Each brand thatcomes into the store is researchedthoroughly by the Fresh team, afact that sets them apart from manycorporate and local boutiques alike.“There’s a back story to every brandthat’s in the store. You can ask usabout any piece, and we can tell youabout the brand and where they’refrom,” says Ian. Last year, Californiabasedclothing line Ambiguous flewout their designer to paint some muralsand premiere their brand at Fresh, agesture that was much appreciated atthe small store, Helen says. It’s thesetypes of affordable, customer-orientedbrands that keep conscious consumersshopping at Fresh. “If we can’t standbehind the brand, then we’re not goingto bring it in,” says Helen. The clothingboutique also features local designerssuch as shogoclothing, Evryday,Brumbies, Velvet Seahorse and VeloCity Bags, and they keep 80 percent ofthe jewelry local.By Esther Meroñoesther@slugmag.comIt’s no secret that Salt Lake’s citizensare some of the best-dressed folks thisside of the Rockies —the young ladiesand gents of this city can be seencatwalking down Broadway like it’sFashion Week every night. Contributingto their schnazzy style since July of2009 is none other than your friendlyneighborhood modern apparelboutique, Fresh. Operated by the lovelysibling duo of Helen Wade-Joice andIan Wade, Fresh calls the bustling9th & 9th district home and offersSalt Lake’s young men and womenan affordable, local alternative to thecorporate cookie-cutter clothes you findat the *gag* mall.Fresh has survived in this cutthroateconomic state to see two years worthof clothing walk in and off their racksdue to the owners’ dedication andinsight. “If you are serious about havinga business, you have to be there everyday and put 100 percent into it. We’vepretty much given up everything forthe store,” says Helen. As frequentcustomers know, the two young shopowners are as much a part of the storeas the surrounding walls, greetingevery person who walks in with genuinewarmth and admittance. Helen believesthis kind of customer service is whatmakes their business successful. “WeMomma-to-beHelen Wade-Joiceand her brother Ian Wade, ownersof Fresh, with their dogs Biggensand Cash, celebrate theirtwo-year anniversary this July.Photo: Chris SwainstonAside from supporting the localfashion scene, Fresh contributes tothe community in a variety of ways,hosting and sponsoring bicycleevents, fundraisers and gallery showsin the shop. SLUG’s own reveredphotographers Chris Swainston andSam Milianta are beneficiaries ofFresh’s support of the arts, both havingshown their work on the boutique’swalls. Helen and Ian hope to feature anew artist every month and are open toany “cool ideas,” time permitting.Perhaps the most “fresh” aspect ofthis clothing boutique is the owners’optimistic perspective and drive tosucceed. When asked how manymore birthdays we should expect tocelebrate with Fresh, the siblings gaveno end. “The longer we’re here, thebetter we’ll become established, themore of a hub we’ll become to theneighborhood,” says Ian. “… That’ssomething that our shop kind of brings,a new sense of community.”Come be a part of Fresh’s two-yearanniversary party on July 15 at 6p.m. where local photographer andstencil artist Gabriel Garcia will befeaturing his work. Fresh will also havea weekend-long anniversary sale, so besure to stop by, say hello to Helen andIan and buy some classy new threads.Who knows, you may even get somefree liquor out of it. “I can’t count howmany shots I’ve bought for peoplewearing a shirt [from Fresh],” says Ian.Now that’s what I call customer service.8 SaltLakeUnderGround SaltLakeUnderGround 9


Localizedby Megan Kennedyiamnightsky@gmail.comPhoto: Peter AndersonCharles Bogus - BassElliot Secrist - Guitar/vocalsMike Collins - GuitarRoss Lambert - DrumsNo one’s ever claimed being in a band is easy work.Finding four or five others who share your level ofpassion for the music has long been the arch enemyof every act, and Utah has seen its fair share of greatbands throwing up the surrender flag. Luckily, thereare some bands that never hear that swan song,and Maraloka is one of them. Hailing from Provo,its members confess to being in “billions of bands”over the years, including several line up changes inMaraloka itself. Two of its members are fathers toyoung children, and all of them work the nine-to-fiveduring the week. Despite all this and an almost 10-year hiatus, the band have resurrected themselvesand matured their sound to re-emerge on the Utahmetal scene with verve.During Maraloka’s break, their members weren’tidle. Bassist Charles Bogus and guitarists MikeCollins and Elliot Secrist put their talents into touringand recording an album for Parallax. The membersalso formed God’s Revolver. And one fine day, thecards fell just right for Maraloka to become a bandagain, playing an opening slot at SLUG’s Localizedapproximately a year ago and cutting a joint EP withDenver-based group Cannons. “It just worked outlike this. We’ve all been friends for forever,” saysCollins of the rebirth.While the band has kept their old name, which theysay is a rough Sanskrit translation for “planet of death,”all the members agree that their sound has maturedsince their earlier days, which were more influencedby the hardcore-breakdown scene. “We all write reallymelodic music. We’re trying to make a balance ofheavy, sludgy stuff and really pretty stuff,” says Secrist.Their writing process is also a lot more organic thanit once was. “We don’t stress writing as hard as weused to,” says Secrist. “Mike and I come in with riffideas and then just let it go.” Drummer Ross Lambertsays, “[We’re] too lazy to play fast anymore … nomore double-bass. I don’t wanna run, I wanna playdrums. We all write together, but there’s no arguing oranything like that—if everyone likes it, then we play it.”While the band members have background in and areinfluenced by many genres like jazz, blues, old countryand ‘80s new wave sound, metal is their primaryobjective, and their first time playing live together seta standard for epic metal shows the likes of whichProvo has never seen. In their first performance everas Maraloka back in 2004, their live energy resultedin multiple injuries. “We turned off the lights, startedplaying, it built the energy up and by the time we weredone, our friend Rick had a broken nose, a guitaristhad a dislocated knee … and we decided to turn thelights back on,” says Secrist.Though their sets might result in fewer trips to thehospital these days, the “beautiful sludge,” asdrummer Lambert calls their sound, comes from adistinct and full love for the creation of their music,a love that has maintained and grown despite thechallenges and roadblocks all members haveovercome. Of his lyrical messages, Secrist says,“We’re all getting older, we have two dads in theband, so we just talk about getting older and all thatcomes with it.”Unlike many bands in the scene, Maraloka is notabout the big payday or the legendary record dealthat will send them on a two-month tour of Europe.For them, it’s all about the love of playing, no matterthe real-life challenges that stand in the way. “Mostbands that I know take it extremely seriously andprobably envision going farther and doing morethings, and we’re just trying to have fun and writemusic that we all enjoy, so it’s much easier thanother bands I’ve been in. I could personally careless about finding a big record deal or a big tour,”says Lambert.Their revival is nearly complete. Maraloka is arare treat in Utah’s metal scene with their matureddoom-and-sludge sound and their love for musicalcreation after all they’ve endured.This July 8 at the Urban Lounge, SLUG’s Localizedis serving up a heaping pile of doom andsludge, courtesy of old-school heavyweightsMuckraker, the newly returned Maraloka,and openers Dwellers. The show startsat 10 p.m. and is only $5, so get yourmetal pants on and join us!Russ Millham -Guitar/vocalsJeremy Sundeaus -Bass/lead vocalsBob Sutton - DrumsFor Russ Millham, JeremySundeaus and Bob Sutton,heavy metal is a way of lifeand has been for nigh thirtyyears. This epic trio is notonly a part of Irony Man(a local “Black Sabbathexperience”), but within the last year, they have started on a unique journey withMuckraker, a band whose sound is a testament to the giants of the scene who’vepaved the way for metalheads all over the world. “We just started jamming one day,and the songs kind of wrote themselves,” says guitarist Millham. “There has beena distilling and refining process; every band has to go through that and pull in newdirections, but we are in a comfortable place with our sound now.”Muckraker don’t limit themselves, and they claim influences from all over thespectrum—anything from Soundgarden to Fugazi, The Sex Pistols toMotörhead. Their inception sprung from a familiar well. “Learning the first sixalbums of Black Sabbath for Irony Man has caused that sound to seep into ourwriting. Muckracker is definitely Sabbath-based, that’s where most good metalcomes from,” says Sundeaus.Muckraker is a band that torches obstacles to their music—like Vikings landingon an undefended shore. Millham is a pipeline worker in Vernal who makes a sixhourroundtrip drive at least once a week to perform. Sutton is a father of four, andSundeaus and his wife just welcomed their first child seven months ago. Even withthese obligations, they haven’t missed a step, playing weekly shows for either (orboth) bands and recently finishing their first recording as Muckraker. “Our wivesknew when they met us what they married. They definitely know the band is in ourblood and if they tell us to quit that, they’re cutting off our lifeblood,” says Sundeaus.bands, we had to goout to music stores anddig in and get it. I hear oldguys grumbling about thisgeneration saying ‘Theydon’t know what’s going on’and I say ‘You know whatman? They do. They havethe Internet, they do theirresearch, they look thesebands up and they payattention.’”Millham agrees and, unlike some old-school metalheads, appreciates thetechnological aspects of the newest generation to refine their tastes. More thanthat, he says he’s learning from their sound just as much as they learn from thepioneers. “A lot of kids have grown up with Guitar Hero, which has done more formusic than any other single force other than the Internet, I think. I’m learning stufffrom new bands like Norma Jean, Dillinger Escape Plan, and it seems to haveroots that I appreciate as a listener. I love a lot of that stuff. I like where it’s going,”Millham says. “Metal is a religion now. It’s not just for kids—it’s for everybody.”As far as their own sound, Muckraker has spent the better part of the last yearrefining and cutting away the fat to find their perfect fit. Millham describes theirwriting process as organic and relaxed. “All good songs start with a riff. We just gofrom there, mess around [and] Jeremy will come with some melody lines as we’rewriting,” he says. When it comes to his lyrics, Sundeaus says the music alwayscomes first. “I don’t have the lyrics sitting there and put them to the song. Lyricscreep in as the song’s going on. And the mood dictates the lyrics.”For Millham, writing music is akin to creating a visual work of art. “Songs are likesound pictures—the song looks like something in my head, and that dictates somesort of a mood. Music is very suggestive in that way,” says Millham.The band has plans to continue their local shows and gradually widen their circleof influence, hitting more Utah venues with shows already planned for areas likeVernal.The metal scene in Salt Lake City has been through some ebb and flow through theyears, and the members of Muckraker have seen it all. Sundeaus thinks the scenehas recharged with the newer generation digging back into their roots, appreciatingthe ones who came before to pave the way. “I think the metal scene is stronger than Wherever touring takes them, however, Muckraker’s members are musicians to theit’s ever been. There’s a lot of kids in their 20s that are taking part of the retro-thrash bone. They live and breathe the scene, and their fans can expect that dedicationbands,” he says. “When I was growing up and we were listening to thrash metal whether live or recorded.10 SaltLakeUnderGround SaltLakeUnderGround 11Photo: Ruby Claire


Cupcake Social Codewith Frosty DarlingBy JPjp@slugmag.comCupcakes, kids and cuteness—the holy trinity of agood time is happening once again at Frosty Darlingon Friday, July 29, for their fifth annual Frosty DarlingCupcake Social (177 East Broadway).This event will provide everything you’ve had in yearspast at the super-cute boutique, like the cupcakewalk and cupcake decorating, but owner GentryBlackburn is giving the format a shot in thearm with a new coloring book challenge and livemusic from Heber’s Holy Water Buffalo.If you’re anything like me, you may be dauntedby the word “social” and the fact that Blackburnwears a new, fancy, pink dress every year. It is asophisticated event where people are expectedto act with “decorum” as Blackburn says, but thatdoesn’t mean it isn’t going to be a blast. Blackburneven encourages “stuffing your face.” That’s a “todo.” So is “having a super cute time.”Blackburn was kind enough to provide additionaletiquette tips via a handy checklist (which we’veexpanded upon) of socially acceptable behaviorand activities at her social.• Do’s •1. Do come dressed to the ninesor scantily clad.But keep it classy—there’ll be kidsthere for chrissake.2. Do decorate a cupcake.“All the cool kids are doing it andit makes you 20-percent sexier,”claims Blackburn.3. Do bring your kids or a date—chicks love cupcakes.Guys do, too.4. Do bring cupcakes.Of your own for people to try—themore the merrier. I’ll be bringing myinfamous green tea variety.5. Do let kids come first.Blackburn would like to stress thatpushing little kids out of the way ata cupcake decorating station is badform and will be tsked tsked.6. Do wear a bowtie.“Bowties are cool,” says Blackburn.7. Do be on time.Especially if you’re a vegan orgluten-free fan, since those varietiesgo first.8. Do donate in the donation box.Blackburn spends more than shereceives on this day, so help heroffset her costs a bit.Makeup: Erin FoleyPhoto: Chad Kirkland• Don’ts •1. Don’t stay home.Cupcakes are fun. Abstainers arenot.2. Don’t diss the cupcake.Cupcakes are the oldest knowndessert in the world. Respect them.3. Don’t swear in front ofchildren.It’s fucking rude.4. Don’t talk of calories or fat.Pretend you’re my sister-in-law andlet yourself go.5. Don’t take one bite of acupcake and put it back on theplate.That’s just gross.6. Don’t lick a cupcake to claim itas your own for later.Double gross, barf.7. Don’t worry if you drop acupcake—the 15-second ruleapplies.I argued the 10 versus 15-secondrule, but Blackburn insists it’s 15.Regular rules of engagement don’tapply on Cupcake Social Day.8. Don’t miss Holy Water Buffalo.They play at 6 p.m..Further note about “Do” #7 “Be on time.” Thoughthere will be several dozen cupcake varietiesavailable from local shops, Blackburn’s and friends’kitchens, non-vegans dig vegan varieties and tend to gobble them up quick.If everyone plays nice and keeps it “social,” we’ll all get more cupcakes inour bellies than any rational person should consume in one sitting. Thesearen’t mini cupcakes, people—they’re the real deal.Local artists Meg Charlier, Trent Call and Sri Whipple are getting in onthe fun this year designing coloring-book style pictures of cupcakes for youto color. Pick up a coloring form starting Friday, July 22, at the boutique.Frosty Darling owner GentryBlackburn hosts her fifth annualCupcake Social on July 29.Work extra hard on it, and bring it to the event to getjudged and rewarded with “a Frosty prize” for stayinginside the lines. The coloring contest winner will beannounced at 8:30 p.m. You don’t have to be present to win.The day’s events will also include a satellite cupcake dispensary, Misc.Boutique (272 South 200 East). Go around the corner and peruse theirwares as you grub on cupcakes not available at Blackburn’s shop. All thefun begins at 5 p.m. and lasts until the cupcakes are gone and Holy WaterBuffalo hang up their guitars.Lastly, Do attend and Don’t be an asshole.12 SaltLakeUnderGround SaltLakeUnderGround 13


SapaBy James Bennettbennett.james.m@gmail.comThe Imperial Roll isone of the mostpopular items fromSapa’s sushi menu.Sapa Sushi Bar and Asian Grill722 S. State Street, Salt Lake City801.363.7272I had been meaning to visit Sapa for quite some time. I remember justa year and a half ago, when the décor started to take shape on theotherwise hapless corner of State Street and 700 South. It still blows mymind how awesome of an undertaking the installation of the restaurantwas at this location. An old storefront was retrofitted to house a collectionof 300-year-old Vietnamese huts, a courtyard and a state-of-the-artkitchen and dining area. Not bad for a place that shares its intersectionwith a mid-century RadioShack, a shuttered Remco and a credit union.I had heard some rough reports about the early days of dining at Sapa,but I figured that I had stayed away long enough. It was time that SLUGreaders knew what the place had to offer.Photo: Barrett DoranThe restaurant spared no expense in making itself look nice. The interioris lush and sexy. Blown-glass chandeliers provide the perfect mood andthe seating area is open enough that it never feels crowded—even whenchatty diners occupy every table. As the weather warms up and Sapa isbetter able to take advantage of its incredible outdoor seating, I imaginethat this same mood will permeate that space. In addition to this luxurioussetting came some unbelievable food.Now, I am no expert when it comes to sushi, but that didn’t stop mefrom sampling a few options from their list of specialties. They offerseveral of their own creations and many familiar choices as well (California,Philly and Vegas all made the menu). At the suggestion of ourserver, we started with their signature Imperial Roll ($13). One of theirmost popular offerings, it is made with crab, avocado and tempurashrimp, topped with spicy tuna, masago, green onions and a saucewith a bit of a kick. I’m normally a wuss when it comes to spice, but thisone seemed to hit just right. It built up a little heat, but was never toooverwhelming. The avocado and the sweet, crunchy shrimp offset theburn perfectly. The Imperial also makes an appearance on their lunchmenu, served with miso soup and a salad for $9.95. We also orderedthe Evergreen ($8), a vegetarian roll made with asparagus, mango, redbell peppers, avocado and cucumber wrapped up in soy paper. Thiswas a very flavorful roll whose freshness popped with every bite.Even with such a killer sushi counter, one should not experience Sapawithout getting something from the grill. One popular entrée is the CorianderSea Bass. This firm yet flaky, pan-seared Chilean fish cameseasoned with a house blend of spices and was served alongside aportion of forbidden rice. The dish also came with baby bok choy thatwas cooked with sesame and a tart, citrusy sauce. There were a fewmore bones than I was expecting, but it was still a delicate preparationand a generous portion for the $20 price tag. Not so much a fishperson, my favorite offering is the Grilled Beef Short Ribs. The ribsmarinate all day in a chef-secret citrus sauce, and are finished withpepper, garlic and shallots. It comes served with garlic green beansand a slightly coconut-flavored saffron rice. It’s a steal at $15. The beefribs, generally meatier than their pork counterparts, are melt-in-yourmouthtender and come thinly sliced into individual medallions. I knowthat you are supposed to delicately cut the meat away from the bonewith a fork and knife, but order them yourself and see if you can resistusing your fingers and gnawing off the last bit of meat with your frontteeth. This one is also available as part of their lunch menu, in a bentocombo with miso soup, salad and your choice of a California roll orfried shrimp rolls for $8.95.This may be my new favorite downtown food destination. There areso many things I still need to try. I’m intrigued by the other offeringson the sushi menu, which seem to be available at any price range forboth dinner and lunch. I also have yet to try the multiple varieties ofrice noodle Pho offered. And, where I’m more of a soda-with-my-foodkind of guy, Sapa touts an impressive wine list, as well as a selectionof teas, sake, cocktails and several varieties of (mostly Asian) beer.I’m really impressed by the whole package. A restaurant with food andbeverage menus this deeply steeped in Pan-Asian fare really is worthmultiple visits.14 SaltLakeUnderGround SaltLakeUnderGround 15


By Princess KennedyFacebook.com/princess.kennedyI was raised with four older brothers. As you canimagine, sports were important … to them. I had onebrother who was sports obsessed. You know the one:captain of everything. Once at age four, we watchedhim pole vault himself into impalement. Somehow, thepole missed every vital organ, but at the emergencyroom as we watched the doctor reach up his newanus and pull tar from his back, I was put off sports(and fisting) forever!By the time I was old enough to voice my desire toplay the piano and be a ballerina, my brothers decidedit was time to get me interested in athletics. First, I wasput into little league, but I was more interested in thatchalky ballpark candy that goes on like lipstick. Once,in left field while re-applying, I was knocked in theside of the head with the ball. I swear to this day thatwhen I get sleepy or fucked up, my left eye goes lazybecause of it. At age 10, it was soccer. A week afterbeing enrolled, my mother thought that I would lookadorable with a perm, which earned me the nicknameFaggy Locks. I broke both of my middle fingers atthe same time in volleyball—ask me to show you thefucked up thing they do when I bend them. The worstthing ever to happen was the summer I turned 13,when I went from being 5’6” to 6 feet tall. This is whenit was decided I was going to be a basketball star.Thank God that in tenth grade I got fouled, knockedinto the bleachers and both of my kneecaps cracked. Iwas never forced to play sports again.I don’t hate all sports, just the ones douchebags play.I have been waterskiing since I was three. Ilove water sports—no, not being peed on—Ijust look really great in a bikini behind a boat,and I can even do all sorts of tricks. I dated aBurton pro in the ’90s who taught me how tosnowboard. I got really good, but after seeing afriend snap an upper arm in half, I realized thatsince I’m too cheap to pay for health care, aninjury like that could put an end to my hair burningand writing careers. Since then, that has beenmy excuse to never have to play or do any kind ofphysical activity outside of a gym.grown to 16 teams who play at Sunnyside Park everySunday with an impressive 10 games a day.Even though I don’t want to have a conversation witha jock, I can at least go and support the ones in mycommunity. I love how sporty gays are so proactivein getting the rest of the community together. Did youknow that the Blackhawks, whom I think is a hockeyteam (or maybe curling) in a city which may or maynot be Chicago, marched with the gay hockey/curlingteam in their Pride Parade?Princess Kennedy goes up to batfor the Pride Softball League’sFamily Night on July 30 at theSpring Mobile Ballpark.Princess KennedyOn July 30, the Pride Softball League is teaming up withX96 to bring you “Family Night” (by family they meangay) at the Bees stadium. The $20 ticket gets you primeseats, a lot of food in a VIP pavilion and GIFT BAGS!This is your opportunity to come get your face all up ingay athletic supporters and celebrate the fact that sincethe wicked witch (Larry H. Miller) is dead, we caneven do such wonderful things. I, for one, plan on comingout and catching a raging case of GayBees myself.For more info, visit prideleague.com.When I first moved here, I had a fuck buddy whowas on the U of U football team, on the DL ofcourse, so I was really surprised to hear aboutall these sports pros who have been coming outof the closet—28 in the past year! I don’t get it.See, when I think of gays and sports, I think of thatfucked up Mormon group, Evergreen, that “turnshomos straight.” Seems that their big secret is thatthey will not only pray the fag out of you, but alsostraight-ify you through baseball. What dumb-asses!As it turns out, in SLC we have something called theSalt Lake City Gay Athletic Association, akaSLCGAA. We actually have enough queers in townto fill a volleyball team, basketball team, swim team,kickball team, football team and are currently lookingto put together a soccer team. It comes as no surpriseto me that the biggest of all the teams in SLC issoftball. Started in 1995, the Pride Softball League hasPhoto: Patiri Photography16 SaltLakeUnderGround SaltLakeUnderGround 17


Drawing from folk,hot jazz, all types ofacoustic music and just enoughedge to put punk on the list, The DevilMakes Three is a one-of-a-kind actthat has been spellbinding audiencesaround the country. This drummer-lessthree-piece conjures up thoughts ofDepression-era sting and jug bands,but remains relevant to the present day.I had a chance to talk to frontman PeteBernhard about the genesis of such aband and where The Devil Makes Threefits in this contemporary music scene.SLUG: How do three kids from theNortheast start playing in an all-acousticfolk band in Santa Cruz, Calif.?Pete Bernhard: I was playing andinterested in this kind of music beforewe started the band, and I met Cooper(guitar/banjo). We both moved toWashington about the same time andstarted playing together. Back then, thisis about 10 years ago, it was hard to findlike-minded people, so we knew eachother from home and were the only otherpeople we knew who were into old bluesand ragtime. Then, when we went downto Santa Cruz, our bass player Luciahad gone to college at UC Santa Cruzand was already living there. She joinedand that was where we started the DevilMakes Three.SLUG: When did you first hear this kindof music?Bernhard: I was pretty young when Ifirst started to hear folk music from myfamily. My dad and uncle and brotherwere all guitar players. From a veryyoung age, my dad introduced me to oldblues stuff from his record collection. Itwas great to have my family to use as aresource.SLUG: What other kinds of bands hadyou been in?Bernhard: Cooper and I had played in acouple of punk bands, but not together.I started playing just by myself with anacoustic guitar, and Cooper and I werein this kind of country band, but sincewe started Devil Makes Three, that’s allwe’ve really done.SLUG: What was the initial reception tothe band and your style?Bernhard: People hated us, but wedidn’t worry about it and just kept doingit. If you worry too much about what theaudience thinks, everything just soundsthe same. Everyone I knew was in a punkband, and that just wasn’t interestingBy James Ormejames.orme@slugmag.comThe Devil Makes Three plays Red Butte on July 19.enough for us. There’sa connection betweenpunk and folk and country, I think.They all tell first-person stories that areusually true. It’s why Johnny Cash isso big in the punk scene. In our minds,it wasn’t that big of a transition. It was allhard-luck stories, and we would play withpunk bands. It just took a while for themto come around.SLUG: Do you identify with bluegrassbands like Old Crow Medicine Showor the Del McCoury band?Bernhard: When I think of those bands,I put them in a more bluegrass traditionthan I think we are. Those guys areamazing pickers and players, but wecome from more of a Johnny Cash andThe Tennessee Three school. Melodyand lyrics are more what we’re about. Iguess you could say they’re more VanHalen and we’re more Ramones. I thinkwe’re more based in blues.SLUG: Being an acoustic three-piecewithout a drummer, what challenges doyou face in a live setting?Bernhard: Without a drummer and onlythree of us on stage, we’re limited, butwe let our songs do the talking. Thesongs have great rhythms and peoplereally respond to them. We get peopledancing and yelling at every show. It’sa lot of great energy. We want to havefun. My favorite thing about our showsis how different the people are—peoplewho usually don’t hang out together. Weget people who don’t really like the genrewe play, but they like our band, which wetake as huge compliment.SLUG: Lyrically, where do you drawfrom?Bernhard: I’m always kind of listeningfor interesting stories. Anything thathappens to me will generally get turnedinto a song. I do some fictional characterwriting, which can be a lot of fun, but forthe most part I just am always watchingand listening for anything that couldmake an interesting song.The Devil Makes Three continues togrow their audience on the basis oforiginality and authenticity. They tellstories of real people, and that’s whatfolk music has always been about. Inthe tradition of Woody Guthrie, HankWilliams and Robert Johnson, TheDevil Makes Three are the rare genuinemodern outfit. The Devil Makes Threeplays Red Butte on July 19.20 SaltLakeUnderGround SaltLakeUnderGround 21


By Alexander Ortegaalexanderlightfingers@hotmail.com“There’s all these things that we know about, thatwe should be talking about, but we’re not,” saysChicken, vocalist and bassist of San Francisco’sDead To Me. While Dead To Me do touch uponcommon subjects such as war and homelessness intheir songs, their takes on such subject matter aren’tyour typical “elephants in the room.” He fleshes outtheir somewhat cryptic references to the largest landmammal in their last full-length, African Elephants(2009), and on the cover of the Little Brother EP(2008). “We’re interested in talking about the thingsthat people shy away from, which are our emotions,our fears, our drives,” Chicken says. “It’s to put thatelephant out there and make it be the face of ourband and our music.” That is to say, the band addspersonal touches, lyrically and musically, to commenton general topics in a way that characterizes theirmusic as something that radiates from their ownexperiences and knowledge. Since 2003, Dead ToMe have been able to tantalize listeners’ senseswith an ever-changing mixture of thoughtful punkrock and iconic cover art. Although punk music isoften straightforward and declarative, the band hasbeen able to walk a thin line between punk rockexplicitness and aesthetic sensitivity—they proclaimthe unsaid and substantiate elephants for theirmusical stampede.Something that has already been talked aboutextensively may be former vocalist/guitarist JackDalrymple’s departure from the band. In light ofpeople’s comments on Dead To Me’s YouTubevideos saying they miss Dalrymple, or the iTunesblurb for African Elephants that subtly mars theintegrity of the album with a reference to One ManArmy, it’s time to acknowledge the ingenuity theband offers now. Dalrymple, a punk legend, left onthe best of terms and by necessity to take care ofhis wife and newborn child—it wasn’t reasonablefor him, at the time, to stay on with DTM. Chickenreminisces on giving lyrics to Dalrymple for him tosing, only to have Dalrymple hand them back andsay, “You wrote the song. It’s got to be your voice.”Chicken commends this punk rock veteran not onlyfor his talent and humility, but for pushing Chicken tosay what was “runnin’ through his brain.” “He gaveme a lot of strength and a lot of encouragementto do this thing,” Chicken says. Dalrymple’s exit in2009 thereby helped propel Dead To Me into whatthey have become—a punk band with a fluid, yetrecognizable style.As Dead To Me’s lineup has solidified into its presentstate, the band continues to create music with thesame approach they had when it was just Chickenand Dalrymple jamming after work: “If it’s fun, doit.” The song “X” (a call and response reggae song)on African Elephants, for example, evidences theband’s willingness to shatter any preconceptionsone may have regarding their style. “People werelike, ‘What the fuck?’” says Chicken. “And it’s justlike: ‘Yeah. Deal with it.’ It’s so much fun to play.”It’s not an intro track, but rather the first song on therelease. “I like songs, I don’t like parts,” he continues.He tells me that, although he’s impressed by aband’s musicianship in orchestrating an amazingbreakdown or weaving seamlessly into an obscuretime signature, he doesn’t really detect a song withinsuch displays. Dead To Me, on the other hand,aim to create cogent pieces that convey the soulof a song—one component bleeds into the nextto articulate the entirety of a piece. Chicken says,“Sometimes I’ll write a song where it’s the music first,and the music will convey a vibe to me. It’ll set a toneand I’ll be like, ‘Oh, the lyrics should reflect that,’or I’ll get a phrase in my head.” Lyrically, Chickendoesn’t try to contrive his subject matter based ona preconceived urge to write a song about “love” or“war”—it would seem that the imminent22 SaltLakeUnderGround SaltLakeUnderGround 23


Dead to Me plays Kilby Court on July 15 with Off WithTheir Heads, Riverboat Gamblers and Endless Struggle.song acts as a mnemonic device that compels himto communicate what is already there: “I can onlywrite about what I know and what I’ve seen. Andeven though I’ve never been to war, I’ve never beenhomeless, I see those things in our culture and theyaffect me, so I write about them,” he says.Somewhat surprisingly, Chicken cites hip hop as oneof his major influences. He and his cousin, drummerIan Anderson, have listened to it for years, and“love all different types of music.” Chicken says, “I’malways impressed by people that can take complexsubject matter and put it into two or three sentencesand just knock it out of the park.” Within Dead To Me,songs that come to fruition include potent language:“I saw a girl flip a stroller that was holding her babysister. Her mother screamed and came running.I couldn’t believe what I’d seen” (“Cruel World”).“Nathan [Grice] wrote that song,” Chicken says.“Every line of that song is one hundred percenttrue.” The images that arise from their songs providevehicles by which DTM command our attention anddirect us to the emotional sites of the music. Literalvisuals additionally aid in the band’s presence—“Wealways felt strongly about incorporating art intoour music,” says Chicken. “Art is supposed to bea big part of punk rock.” DTM uses the image ofa Zapatista on African Elephants, for example, toillustrate their compassion for their cause, andincorporate what appear to be sugar skulls on a splitwith Matter that was released in Japan (ahem).My jealousy of Japan’s access to this splitnotwithstanding, Dead To Me is scheduled to havea new album out sometime between the beginningand middle of October of this year—just in time forThe Fest. Chicken says, “People are telling me thatthe songs that they have heard sound more likeCuban [Ballerina] than they do African Elephants.”This, however, could only be a loose classificationfor a new album from a band with musical interestsall over the board, who keeps us on our toes.Chicken knows it, too: “I like that, with Dead to Me,you’ve still got to work for us a little bit. Even if yousee what we look like, know where we’re from andhear some of our music, you still don’t know what’sup till you see us live, and hear what we have to sayand read our lyrics.”Also, Dead To Me just finished a European tour whereChicken and the gang have often basked in thecountryside hospitality and welcoming venues. “Yougo to Europe and they’ve already got a bunch of foodset up for you—like, a bunch of snacks!” he exclaims.He heralds a continent full of club flats (where theband actually stays in rooms at the venue) and soundguys who tailor the venue to the auditory specificationsof the band. “We’re lucky kids, man,” says Chicken.“We’re really, really fortunate that we get to do that. Ilove every second of it.” Not to say that he isn’t stokedon the good ol’ U.S. of A., though. After comingthrough Salt Lake City a couple times, Chicken seemsanxious to come back to Kilby Court. “We’ve playedKilby Court a few times, and I really like the vibe of thatplace. It’s a total DIY space … There’s, like, a weirdfire pit there and kids burning weird pieces of woodin there that they probably shouldn’t be.” They’re dueto roll in on July 15 with Riverboat Gamblers andOff With Their Heads, and will be releasing a tourexclusive7”. Chicken identifies the camaraderie thatemanates from this tour lineup: “[We] all come fromthe same place. We’re all just punks in this band thatwe refuse to give up on.”With Endless Struggle opening up the show, July15 should be booked for you. Be ready to engage inDead To Me’s delivery of songs—not parts—repletewith soul and character.24 SaltLakeUnderGround SaltLakeUnderGround 25


By Nate PerkinsPerkins.nate@gmail.comAs the United States slowly rots into a stinking musicalwasteland—a place where MTV, mainstream rap andcoked-up, attention starved, no talent pop whoresdefine the tastes of this generation—Steven VanZandt is fighting tooth and nail to save rock n’ roll inits purest and most beautiful form. Van Zandt, who isa weird, walking, breathing encyclopedia of cool (heplayed Silvio Dante on The Sopranos, wrote songs forMeatloaf and Nancy Sinatra and played guitar in theE Street Band), has managed to piece together theaptly named New York-based Wicked Cool Records.Since 2006, Wicked Cool has released some of themost important rock n’ roll that you’ve probably neverheard of, but should immediately tell all of your friendsabout and pretend like you’ve been listening to foryears.Bears/Ronettes, Phil Spector la-la-las, the ferociousrock n’ roll twist of Paul Revere and the Raiders, andyou’ve got the record that the Lord God Almighty listensto when he kicks back on his golden throne at the endof the day.If The Len Price 3 are pulsing through God’s holyheadphones, then Satan is twisting and jumpingsomewhere in his underground mansion while TheStabilisers shake the plaster off the walls. Metal dudesclaim that their tunes are the preferred music of TheBeast, but I’m sure he’s really melting his scheminggrey matter and clomping his hooves listening to thealbum Wanna do the Wild Plastic Brane Love Thing?.The Stabilisers have the raw riffage of The Datsuns,the speed and lyrical competency of Supergrass andthe sheer catchiness and emotion of Ash.Then, there are Norway’s The Launderettes, a girl groupof garage Vikings, relentlessly pillaging and destroyingeverything in their path. More cleanly produced thanThe Drags and meaner than The Pipettes, their bestof,Fluff ‘n’ Fold, dropped on Wicked Cool in August2007 and has been blowing minds since. Vocals akin tothose of Ms. Roxy Epoxy (especially on the track “TakeMe to the Race”) and wild, fucked-up Farfisa organsolos make for an undeniable party record. The kindof party where—BAM!—everybody has sunglasses onand is gyrating violently.dues putting out records on Estrus, Zontar and Telstarthroughout the ’90s and are still churning out songsinfluenced by John Lee Hooker, The Challengers andThe Morlocks. There are The Chesterfield Kings, withthe vocal intonations of David Johansen and the cold,greasy, dive-bar feel of George Thorogood. There’s theoutrageously fast surf of the Beat Tornados, echoingThe Tormentos and Dick Dale. The Maggots soundlike a savage mix of The Cramps and The Fleshtones.The Chevelles sound like street-walking cheetahs withhearts full of napalm. Dig?Apparently, none of that is quite enough for the fineladies and gentlemen at Wicked Cool. On June 6, thelabel put out The Breakers’ third full-length, a self-titledlittle number that the Danish band will be slinging frommerch tables in various stadiums as they support BonJovi (I know) on their European summer tour. I can’tcomprehend how those old phonies (I mean Bon Jovi, ofcourse) can face a crowd that’s just had their eardrumsblasted by an actual rock n’ roll band channeling TheKinks and The Rolling Stones. I guess once you’velived through so much embarrassment, being musicallybrutalized in front of thousands is just another drop inthe bucket.For example, there’s The Len Price 3, a UK bandthat so perfectly combines mod and garage that theirmusic is entirely maddening in the very best kind ofway—the way that makes you want to quit your joband just listen to records all day long, every day. Their2010 release, Pictures, brings bands like Squire, TheLambrettas, and Purple Hearts immediately to mind.Hell, they might as well be The Who in the mid ‘60s. The list, not to mention the badassery, goes on. WearThe song “After You’re Gone” starts off in that same a parka and ride a Vespa? Jarvis Humby providesheartbreaking way that “So Sad About Us” does. The the soundtrack for the party thrown to celebrate a long,Do yourself a favor, turkeyneck, and let your needletitle track, “Pictures,” couldn’t be more influenced by successful day spent fighting rockers in Brighton. Justslide across a few of these slabs now or else pose hardThe Jam if Paul Weller, king of the mods himself, was enough Hammond B-3 and northern soul worship tolater. It’s up to you.singing on it. Throw in some bubblegummy, Teddy keep all the skins and mods happily dancing. As if thatweren’t sufficient, there are The Woggles, who paid their26 SaltLakeUnderGround SaltLakeUnderGround 27


By Dylan Chadwickdylanchadwick@gmail.comCanadian hardcore stalwarts Fucked Up, a sextetwith an FCC-incompatible name, have just releaseda landmark album in their ten-year career: a true liferock opera. David Comes to Life is an ambitious hunkof sprawling punk-power-psychedelia chronicling theschizophrenic life of David, a disenchanted light bulbfactory peon, and his love interest, Veronica. The albumis lofty in vision and rife with guest musicians,sonic experiments and smatterings of hookladenrock fury—it’s a transcendentalbum pricking ears across all ofpunk and hipsterdom. Witha dizzying assortment ofhardcore singles, threewell received fulllengths (one ofwhich is a PolarisMusic Prizewinner), prominent slots on the indie festival circuit, anda newfound following of eye-rolling, slack-jawed hipsterswho’ve just now accepted hardcore, Fucked Up hasmet incessant praise for their transcendent approachto punk rock. I spoke with lead guitarist and songwriterMike Haliechuk (aka 10,000 Marbles) about thealbum the morning after their record release show.SLUG: “David Comes to Life” was a song on 2006’sHidden World. When did you decide to flesh it out intoan entire album?Mike Haliechuk: Around then. We knew we had this“character” that we could work with … and we knew sortof early on that we wanted to do a big-style record likethis one, but we never really had the time or the guts todo it until now. Some songs on this new record are prettyold and the idea is almost as old as the song is.SLUG: Besides the namesake, how much of Davidfrom the album is based on your manager DavidEliade?Haliechuk: The song on the first recorddefinitely came from him, but thisrecord isn’t about his life oranything. It’s just, wheneverwe need to personifysomeone or something… David’s theone who getspersonified.SLUG: Why him?Haliechuk: Well, it’s just our “thing.” You don’t want tohave too much quasi-fiction in your band, or else it getstoo convoluted. If we were a band like Coheed andCambria, it’d be cool to have a universe of characters,but we’re not that creative yet. Most of the story is justfrom experience. It’s just about love and loss, andeveryone has those so we didn’t need to draw fromsomething else.SLUG: Coheed and Cambria make comics toaccompany their albums. Will there be any other visualmedium to accompany yours?Haliechuk: We’d like to turn it into a stage presentationsomehow. That’s the next thing we’ll start working on.We’re kind of working on a script for it, filling in someholes in the story. I think it’d be really cool for it tohappen. We’re probably years away from it.SLUG: Who writes the lyrics? Did you write the entirestory first?Haliechuk: For us, the music always comes first. Wehad rehearsed the majority of the album before westarted thinking about the story. We came up with theframework and narrative for the story before we wrotethe lyrics. Once we had that, it was easy to plug piecesof the story into each song. Me, Damien [Abraham]and Josh [Zucker] did the story together and then wesort of shared the lyrics.SLUG: Is it weird to choose which songs to play live?It seems similar to picking chapters from a book orsomething.Haliechuk It’s just music, right? People at a show aren’treally thinking about the lyrics or any narrative an albumhas. It’s not like you can really understand the wordswhen we play anyway. We just pick the ones that are themost conducive to the live setting.SLUG: Are youcomfortable with theterm “rock opera?”Haliechuk: It’swhatever. There’s a lot of things you can call it, butwhen you hear it, it becomes clear what it is. It’s analbum that’s got a little bit of a story to it. Hopefully itpushes the songs in a certain way and you can sortof follow along. It’s not like it’s this cumbersome thingwhere you have to listen to the whole album at once, oryou have to completely understand what the story is …At heart it’s just music.SLUG: How about classic “rock operas?” The Who’sTommy?Haliechuk: I really stayed away from them while wewere recording. I’m not really into The Who. I knowthere’s a bunch of concept records on our “docket”that people are talking about, but I’m not really into thatkind of music … The whole post-seventies thing, or thatPretty Things record or whatever. It’s just not my thing.I wouldn’t have wanted to draw from things specificallyanyway because then [our record] would have just beentoo similar [to theirs].SLUG: Stodgy rock journalists throw around terms like“dense” or “complex punk” when describing FuckedUp. Do you actively avoid simplicity?Haliechuk: I dunno. I think we are pretty simple. Peoplethink we’re complicated because we haven’t followed avery conventional trajectory in our career, but it’s not likewe use a million computers to make our music. We justplay, you know? Especially now, most bands know howto work these complicated computer programs or thiscomplicated DJ equipment. Even lots of rock bands willhave triggers, or cues or MacBooks on stage. I think ourmusic is very simple compared to bands like that.Fucked Up released DavidComes to Life on June 7on Matador Records.SLUG: Yeah, but Imean, you have threeguitarists, and you usedtons of guitar tracks onThe Chemistry of Common Life …Haliechuk: It’s surprising to me that it became a talkingpoint, because lots of bands have three guitar playersand there were dozens of guitar tracks even on that firstSex Pistols record. It’s just how we make music. Wenever set out to be weird. Adding a third guitar playerwas just something we needed to do to play one of oursongs live, you know?SLUG: This new album is eighty minutes long …Haliechuk: Yeah. When we were writing it, we wrote26 or 27 songs, and then we picked the ones that hadthe best fit or flow with each other, and it just came tobe that long. We can’t win, you know? When we startedout, we were doing these 7”s and people were saying“meh, they’re good, but they’re too short.” It’s just thiscompletely arbitrary thing. If you don’t want to listen toeighty minutes of the album, just listen to some of it andthen listen to some later. When I was a kid, I’d listento my favorite records five times in a row, you know?You can do what you want with your time. We madean album that was this particular length, but it doesn’tcome with instructions on how you’re supposed to listento it. That’s just how much there is of it.Downplaying aside, it’s albums like David Comes to Life,coupled with a baffling stream of creative zeal and artisticaccolades, that renders Fucked Up one of the mostinteresting and impressive bands to emerge from theinternet seeped, post-Green Day alternative landscape.Frankly, who wouldn’t want to see a full-scale Broadwayproduction of David? American Idiot can’t be our lasthope for punk rock musical theater.28 SaltLakeUnderGround SaltLakeUnderGround 29Photo: Daniel Boud


By Spencer Inghaminfo@slugmag.comWhen I walked into Blonde Grizzly, owners Caleb andHillary Barney greeted me immediately and werehappy to show me their latest addition to the gallery. Itwasn’t a painting and it wasn’t a T-shirt or a new pieceof jewelry. It was their brand new bundle of joy in ababy carriage, Lily. She slept quietly as we chatted,snug and cozy between the fixtures and decorative artlining the walls of the independent shop. The newbornbaby is a fitting addition for the duo to celebrateBlonde Grizzly’s one-year anniversary this month.Photo: Adam Heath Image“We’ve been lucky to get some shows and certainartists to come do signings, or to even work with us,”says Caleb, reflecting on their success so far. In thepast year, the gallery has hosted fresh works fromCalifornia pop artists such as CW Mihlberger andDave Correia.“We sell lots of T-shirts and that’s what keeps us floating,”says Caleb. The shop originated as a small kioskat the Layton Hills Mall, where Caleb sold prints andapparel from his buddies at Zerofriends. The kiosklease was expensive and only lasted three months,forcing Caleb to search SLC for a bigger spot that wasmore cost effective and closer to home. Blonde Grizzlyopened in July 2010 along 400South, primarily as an apparelstore that also featured the artists’work on the walls.“When I heard of other galleriesstruggling, I always wonderedwhy they never added artistapparel or prints. From thebeginning, I was going to open a store that sold theprints and apparel, and the gallery just came with it,”says Caleb.When the shop initially opened, the duo sold merchat the Twilight Concert Series to help gain some buzzfor their first official Gallery Stroll, which happened justtwo weeks later. That showcase featured twisted andre-imagined paintings based on Saturday morningcartoons. The gallery mixed works from local artistslike Vic Back, along with visiting artists, including AlexPardee and Mark Yamamoto. The originals weredisplayed on the walls with T-shirts and hoodies featuringthe same art sold to the side. The show garneredinstant press and recognition, but more importantly, itcaught the eye of the local art scene and made BlondeGrizzly a must-visit stop during the monthly GalleryStroll.“We knew Gallery Stroll was big, lots of people cameout and [the event] would just get you exposure. Itseemed like something that would work for our space,it helped get people out and get them to know theartists we know,” says Hillary.Caleb and Hillary Barney with their newlyborn daughter Lily Barney celebrate BlondeGrizzly’s one-year anniversary this July.The process of choosing what hangs on the wallsand sits on the shelves simply comes down to whatCaleb feels the customers will enjoy. While a lot of artcomes to him through the store or email submissions,he constantly makes an effort to go to conventionsand gallery shows. Caleb will search for new work andartists that haven’t been shown in SLC or anywhereelse, and avoids out-of-town artwork that can be foundin other stores. His approach essentially makes everythingin the shop unique to Blonde Grizzly. Caleb alsotakes special care in being selective about pop-culturereferences on the merchandise.Over the past year, the gallery has made its mark onthe art scene with their themed group shows, typicallycentered on a single pop-culture item like sci-fi films orthe Utah Jazz. These shows bring in a bevvy of localand national talent to hang a single piece on the wall.The most popular to date, and favorite of the Barneys,is the Classic Monster Show last October. The showfeatured over 25 artists putting their own spin onTinseltown horrors such as the Mummy, Frankensteinand Dracula. Blonde Grizzly has also featured soloartists, including Emily Hart Wood, who took over thegallery in April for her first solo show ever. Wood blewthe owners away with her array of whimsical paintingsand drawings, as well as collage pieces, such as her“fortune collage” made up of fortune cookie papersfrom every Chinese restaurant she’s been to.“I think we’ve gotten some good people in and it’sbeen fun. We’re still learning, figuring out what worksand what doesn’t, but our shows have done pretty welland we’re on the right track with those,“ says Hillary.In celebration of hitting the one-year marker, BlondeGrizzly will be throwing a show with Good TimesTattoo, who incidentally will be celebrating their tenthanniversary. The Anniversary Anniversary show will kickoff on July 15 for Gallery Stroll, featuring the work oftattoo artists including Alex Hinton, Danny Madsenand Bonnie Seeley. Caleb and Hillary are alreadyplanning out the rest of the year, with confirmed secretguests for the holidays, and plan to bring in art booksas part of the shop’s inventory. Those who wish tosubmit their artwork for possible shows can send theirwork to caleb@blondegrizzly.com, but are advised tocheck out the shop beforehand to make sure their artwill fit the gallery.32 SaltLakeUnderGround SaltLakeUnderGround 33


MAKI NG SOME PAPER NOISEPOTTER PRESS at ALT PRESS FESTBy Nate Housleynatehousley@yahoo.comPaper Noise, a zine publishedby husband and wife duoNick and Erin Potter, is thelatest manifestation of theadventurous, collaborative spiritbehind their Potter Press.Starting from the traditional DIYaesthetic of a zine, but addingmore sophisticated design andprintmaking techniques, PaperNoise is a showcase for writersand artists who submit worksinspired by mixtapesNick curates.While the inside of the zines areprinted in the typical Scotchtape-and-photocopiermethod,the covers are screenprinted.“We thought it set them apart. Most zines justhave xeroxed covers,” Erin says. Part of Nick’smotivation in creating Paper Noise was toshowcase his friends’ talent. “We have somepretty talented friends, and I’m always interestedin seeing their work on display,” he says. Nocollaborator is as important as his wife, Erin. “Shesometimes says she’s my art slave. It started asmy baby that I pulled Erin into grudgingly that sheended up kind of liking.” Erin corrects him, “No,I liked it, then I started hating it.” The two begandesigning posters for local music shows five yearsago, a few months before getting married. At thesame time, they kept a music blog, forestgospel.blogspot.com. At the nexus of these passions isPaper Noise. Creating a zine that combines art,writing and music seems like a natural evolution,but Nick doesn’t overanalyze its origins. “I’vealways really liked making mixtapes, so I decidedthat one way to force people to listen to mixtapesthat I make is by telling them that they have tolisten to them to make something for my zine,”he says. When Nick makes a mixtape for PaperNoise, he tries to make them cohere through acertain narrative rather than sticking to one genre.“I don’t generally go into it thinking anything inparticular,” he explains. “I’ll just be interestedin one song, and I’ll see how it moves intosomething else.”Nick and Erin Potter will be at Alt. PressFest on July 9 with their zine Paper Noise.Erin and Nick share printing duties, with Nicktypically designing the cover. “We have reallydifferent strengths,” Erin says. “I print a little bitfaster, but Nick comes up with slightly coolerdesigns.” They continue to do posters, recentlycommissioned by bands such as The BlackKeys and Okkervil River, and Potter Press printspoetry chapbooks by their friends with customdesignedand printed covers in limited editions.Between raising their 2-year-old, Atlas, and Nick’sday job as a social media specialist at a vitamincompany, not to mention Nick’s preparations foran MFA in creative writing at Brown University thisfall, publishing happens in their precious free time.“We do it because it’s fun, but we do so muchof it, it becomes unfun,” Erin says. In additionto time, running a printing press costs money,even if one’s method involves an improvisedsilkscreening setup in one’s kitchen and washingscreens in the bathtub. Fortunately, Potter Press isable to cover their costs, something they attributeto their blog with its many readers and theirconnections in the underground printing world.Photo: John Carlisleisn’t strictly local. Their posters arefeatured on gigposters.com, andthey’ve sold posters to severaldifferent continents. While they willbe moving to Rhode Island thisfall for Nick’s graduate program,they plan on continuing PotterPress and collaborating with new,talented people.Though they run Potter Press justfor the sheer fun of it, they alsohave dreams of some day openinga publishing company. “This isour baby that we’re experimentingon,” Erin says. They look forwardto Alt Press Fest for the chance tointeract with an audience alreadyknowledgeable about alternativepublishing and to connect with newfans.The third annual Alt Press Festtakes place July 9 at the SaltLake Main Library. It’s fitting that this festival forzine makers is held at the public library, whichhouses the larges zine collection in the country.In addition to zines, the festival includes localmusicians, local artists, printmakers and spokenword performances. Local bands such as 6335,Birthquake!, The Lionelle, Lindsay HeathOrchestra and many others will perform thisyear. In addition to Nick and Erin, zine makerssuch as the aforementioned BirdBrain Press,Willie Nevins, Trent Call and Wes Sadler willall be present. Artists and printmakers such asNic Annette Miller, Copper Palate Press, DanChristopherson and Andy Chase will also be inattendance.“Alt Press is awesome because there’s a greatturnout,” Erin says. A couple of years ago at AltPress Fest, a man approached their table andasked if they had anything with ninjas. Nick pulledout a comic about ninjas, and the man boughtit. Later, the same man came back, looking forsomething with robots, and they sold him a coupleof posters with robots.Six Letters Addressed toYou #1PatrokolosSelf-PublishedThere’s something inexplicablywonderful about a hand-written letter.The envelope addressed to you,the stamp, the distinctive scrawl ofhurried (but comfortingly human)penmanship—this is why Six LettersAddressed to You #1 works. It’s a zineby default (Xeroxed, stapled and givenan issue number), but at its core,it’s merely a compilation of thoughtfulletters written to you, the reader.It does fly the “per-zine” flag andboasts a detailed itemization of theauthor’s commitment to anarchism,but graciously resists veering into thatromanticized CrimethInc. “rich-kidsposing-as-radicals”territory. It teemswith enjoyable little nuggets, includinga tender dissection of the author’s jobas a wilderness counselor, dreamsinvolving giant cats and a blurb aboutmaking toothpaste from coal. Admittedly,the author does reference a lotof literary greats (Hemingway, Emerson,Woolf) and frequently weavesthem, and healthy portions of theircited works, into these letters. It certainlydelights THIS English major, butthe contrived name-dropping mightturn off a few heads. Regardless, it’sa fulfilling hodge-podge of self-reflection,personal declaration and evena smidge of pleasant absurdity, all influid ballpoint script. Webzines don’tcome in envelopes this pretty. Recommended.Contact patrokolos@gmail.com for a copy. –Dylan ChadwickUtah’s Homeless Paper:Ogden, UT EditionElvira, Ezy and Chris JamesWalkerSelf-PublishedTo be upfront, this zine is difficult tounderstand. It’s a convoluted visualdisaster, sporting chaotic layouts thatfrequently run off the page, indecipherablescrawling and fistfuls ofgrammatical bloopers. Still, the zinefollows the “enjoy me, but don’t try tounderstand me” pattern, and beneathits grizzled exterior lie some poignantlittle gems and even a “take home”message (no pun intended) or two.“The Story of Lump the Bummy,”though choppy, beautifully depictsLump, a free spirited invertebrate witha frazzled mind who lives underneatha washing machine and speaksdirectly with deity. The artwork is crassand gleeful, and the “hobo philosophy”section (“Happiness is a choice,clean underwear is a blessing.”) iswarm and full o’ heart. I won’t say it’simmediately accessible, nor easy onthe eyes, but the more I read it, themore it seems to make sense. It’s notan overly romantic portrait of homelesslivin’, but a scruffy, quasi-journalisticstreet chronicle endowed with aspecial strain of frenetic brilliance, anda certain dose of creative gusto thatonly comes to those who’ve spenta few nights sleeping under bridgesin sub-zero temperatures. –DylanChadwickWheelbite #1Jesse TuckerSelf-PublishedHigh school English teacher and prolificUtah County garage rocker JesseTucker (of the Gonorrhillos, BurntReynolds and His Hot Bones,Neighborhood Zero, Brainstorm,Clearcoats, etc.) thought that he’dcultivate a love for literature among hisrowdy class of 16-year-old assholesby assigning them a zine writingproject. While the young minds werebusy x-actoing and gluing their stupidarticles, Tucker also pieced togethera zine to show them how it was done.Wheelbite #1 is refreshingly juvenile,glorifying days when skateboardingwith your friends was just as muchabout stealing and breaking shit as itwas about slamming your bare nogginon the bottom of a mini-ramp. Therearen’t any pictures of stair sets orhandrails, but there are plenty of shotsof Tucker and his buddies skatingloading docks and parking curbs aswell as plenty of bonus features, likesome weird comix, a short story abouta kid who smashed a truck windshieldwith a fencepost, skate videoreviews, a love letter to San Franciscopsychedelic rockers Thee Oh Seesand pictures of strange garbage thatTucker found while skating. Like Isaid, there’s nothing in here aboutLizard King or anybody in Utahwho’s actually any good. Rather, thisis a zine about what it feels like to bea scabbed up skateboarder, drinkingbeers with your crew in some ditchwith shitty transitions and bloodstainson the walls. Amen. Email brotherjrex@gmail.comto get a free copy.–Nate PerkinsThey’ve made quite a mark on the independentpublishing community in Salt Lake City, with theirzines available at the Salt Lake City Public Library Nick and Erin are actively seeking submissionsand the Salt Lake Art Center, and their posters for Paper Noise, so check them out at papernoise.available at Signed and Numbered. They are blogspot.com, and be sure to swing by their tablefriends with the folks at BirdBrain Press and at Alt Press Fest to pick up a zine.plan on collaborating on a zine, but their influence34 SaltLakeUnderGround SaltLakeUnderGround 35


It’s mid-June, and Andy Carter,owner and sole employee ofPangea Speed, is 14 days awayfrom his next big motorcycleshow—Born Free 3 in California.The bike he plans to enter, which hecalls the Speed Master, sits partiallydisassembled in the shop he shares withhis father. Just a few hours ago, as hestared at the bike with his old man, herealized that this custom project, whichhe has spent “countless hours” workingon, isn’t as close to being completed ashe thought. “I’m down to the wire onthis bike,” says Carter. “I’m sweatingit because I [think] I need to begrinding these mounts and Ineed to be welding. But stepback, look at the whole thingand I’ve got some majorchanges that I’m goingto do now that it’s allcoming together.”Although Carter hasalready hand-workedand smoothed out avariety of the custombike’s components, withsome closer inspection(and the help of hisfather), he realizes thatamong many changes,the chain guard needsto come down a fewinches. “It sucks, butI know it’s the rightanswer. I know I have tobe able to step back anddo that,” says Carter. “Ihave this bad habit ofnever being satisfied. I’llalways look at a projectand think that I can doit better.” Andy Carteris a perfectionist. Whenyou consider that he isthe owner of his owncustom motorcycle andparts company, PangeaSpeed, and one of themajor organizers behindthe second annual SaltFlat Social, this quality,which he refers to aseither an “evolution or asickness—dependingPRECISION BUILDS WITHPANGEA SPEEDBy Jeanette D. Moses jeanette@slugmag.comAndy Carter, ownerand sole-employee ofPangea Speed.on the day,” is exactly whatyou’d hope to find.Carter admits that he is never fullysatisfied, but he refers to the SpeedMaster as a nearly perfect project. “I gotpaid to do it, and I got all the leeway thatI wanted. I could do it however I wanted,”says Carter. “[My client Brett] said ‘buildthe coolest bike you can.’” For Carter,this hands-off approach from his client isthe ideal situation. “I consider this an art.Having a client like Brett allows me to domy thing. [He] trusts me. That’s a hugething—the trust involved.”Photo: DavidNewkirk.comThe Speed Master is one ofmany projects that sits in thePangea Speed hanger. It issurrounded by a variety ofother bikes, all in variousstates of completion.Some belong to Carter,others like the SpeedMaster, belong toclients who contactCarter for his expertisein motorcycle creationand design. The SpeedMaster started as aTriumph won at anauction. The engineis the only thing thatremains from the originalbike. Carter says thatwhen he gets burnedout on a project, it’s notunusual for him to hopover to a different projectand do some welding onit. Pangea Speed, whichwas initially started in2007 as not much morethan a blog, catapultedinto a full-time custommotorcycle and partsbusiness for Carterabout a year and halfago. “I got fired from myjob, and there was a lotof interest in [PangeaSpeed], so I thoughtI’d try it full time,” saysCarter. Although Carterhas only been able tofocus all of his energyon Pangea Speed fora short period of time,he is no stranger to theworld of custom items.Carter’s parents ownedan industrial designand rapid prototypingcompany for most ofhis life. “When I wassuper little, me and mybrother would buildcustom bicycles, cut ourskateboard in half andglue it back togetherand watch it break in half[again],” says Carter.“We always just sort ofcustomized everything.”The list goes on: gocarts,dirt bikes andeventually race cars.Carter even spent a yearin race car mechanicschool in Californiaand as an apprenticeat a vintage Formula1 fabrication shop toperfect his skills.Carter started his firstcustom bike in 2004.The ’74 Yamaha RD 350began as a bunch ofpieces in two boxes onthe shelves of what was,at that time, solely hisfather’s shop. He initiallyplanned to create a ratbike out of the pieces, butit didn’t pan out that way.“I don’t think I’m capable ofmaking a rat bike. Next thingyou know, I’m painting the frame,I’m hand-working a bunch of stuff,I’m building a tail section. It wasn’t arat bike when I was done,” says Carter.By the time Carter finished the project,he was living in California, had recentlyfinished race car mechanic schooland was building hot rods. “Everyonewanted a custom car, but we didn’thave any space, so everyone hadthese chopper projects,” says Carter. “Ibrought the RD out there and finishedThe Zion Express, one ofAndy Carter’s custom bikes atPangea Speed.Photo: DavidNewkirk.comit in my friend’s garage.”Carter says completing theproject made him realizehow much more fun it wasto work on a bike thana car. “An average carproject is probably a yearand a half or two of fulltimework. A bike is halfthat. It’s a lot less stressthan a car,” he says.In addition to buildingcustom bikes, Carteralso specializes incustom parts. “A lot ofthe stuff I do is helpingwith projects, but doingthe work myself,” saysCarter. He recently builta friend a fuel tank,handlebars, a sissy bar, arear fender and a seat panfor a custom motorcycleproject. “I built all thatstuff, but he installed itall himself,” says Carter.“Luckily, [he] is pretty coolabout trusting my visualstyling opinion.” Carteradmits that one of thethings that burned himout about building carsis the amount of controlcertain clients would try toexert over a custom build.“It always seemed crazyto me that some old manwould come to us, obviouslyhe is coming to us to get thecoolest car ever, but then hewants to hold our hand the wholetime and tell us what to build,” saysCarter. “You don’t go to Picasso andtell him to paint your picture a certainway—there is that freedom that needs tobe had.” When it comes to a custom jobfrom Pangea Speed, the only way Carterchooses to work is solo. “I’m not tryingto run a school,” he says. According toCarter, the ultimate goal is to establishhis parts line enough that it can supporthim. The parts line currently features36 SaltLakeUnderGround SaltLakeUnderGround 37


items such as kicker pedals, license plate brackets, streamliner bars,zephyr bars, carburetor guards and seat-builder kits. Since everythingis handmade by Carter, many of the parts featured on his site,pangeaspeed.com are offered in limited quantities. He says that whenthe line becomes more established, it will allow him the freedom to buildwhatever he likes without having to worry about someone dictating tohim what the designs should look like.When describing his ideal design, Carter returns to the Speed Master.Initially, when he imagined this bike, he considered taking the Triumphengine and turning it into a ‘70s chopper, Easy Rider style of bike. “Idecided that it didn’t fit the motif,” says Carter. “That engine platformdidn’t seem to work for that.” After creating numerous illustrations andlists, Carter landed on the idea of creating a factory ‘40s-looking bike.With some help from a friend in Californiawho works as a clay modeler forVolkswagen, Carter was able to pinpointhis whirlwind of ideas. “A lot of thetime, it just feels like you are smashingthrough a cement wall trying to figure thisstuff out,” says Carter. “There is a lot ofpressure when you’re not using anythingto start with.” Carter explains that theSpeed Master lacked the boundariesthat come when you are building a bikewith pre-designed components. He saysthat the biggest challenge when workinglike that is making sure he doesn’tstray from his aesthetic. “I’ve seenso many people just get derangedand build crazy stuff for crazy’ssake, and that’s not what I’mreally trying to do,” says Carter.“I’m trying to build crazystuff that has reason behindit and functions well.”When Carter designsand builds a bike—beit from the engine upor working with factorycreatedparts—he aimsfor symmetry, precisionand, most importantly,function. If somethingisn’t well measured ordoesn’t work as a wholepackage, it simply isn’tgood enough.Carter might be aperfectionist at heart,but his attention to detailcan’t classify him asanal-retentive. He stillknows how to have agood time and is one ofthe organizers behindthe second annual SaltFlat Social. Last yearCarter and his friends,who build their own bikesunder the names ofShort Fuse and BoltsAction, organized thefirst Salt Flat Social toessentially celebrate SaltLake. “All of my friendsthat I ride motorcycleswith love Salt Lake,” saysCarter. “But there are noreally cool bike showsPhoto: DavidNewkirk.com“I’m trying to build crazy stuffthat has reason behind it andfunctions well.” -Andy Carterhere. Nobody has an excuse to come here. We wanted to do somethingthat would give people an excuse to visit Salt Lake.” The event falls onFriday, Aug. 12—the evening before the world-famous Speed Weekstarts at the Salt Flats. “It’s a lot easier to get someone from Californiato come to Salt Lake if they are 100 miles away versus 800 miles away,”he says.Last year the Pangea Speed party drew about 70 bikes and 200people—a larger turnout than was expected. The next morning, Cartersays approximately 30 people met at Este Downtown and rode to theSalt Flats together to goof around. “It’s fairly low structure. It’s prettymuch just hanging out. We don’t want people to feel like there is somesort of expectation,” says Carter. “One of the most annoying thingsabout motorsports in general is everyone feels like they have to fit somekind of stereotype. None of us care aboutany of that. I just like motorcycles.”Ultimately, Carter sees Salt Flat Socialas an unpretentious and inclusive wayto show his love for his hometown. Inaddition to living in California, a few yearsago, Carter spent the better part of theyear traveling. “I quit my job, and I rodemy motorcycle all over the country, justbeing homeless. I wanted to check thiswhole place out so I could see if I wantedto move,” says Carter. Eventually, helanded back in Utah. “I feel like Salt Lakekind of gets a bad rap because of theChurch, but I’ve had a lot of friendscome to visit from out of town andthey are like, damn [Salt Lake] iscool,” says Carter.Although the Salt Flat Socialand Speed Week areunrelated, and PangeaSpeed doesn’t actuallyparticipate in SpeedWeek, Carter appreciatesthe annual event. “We’renot really huge into theBonneville thing. I like it,it’s cool. It falls right inline with everything I’minto. I like the Salt Flats,and I like racing, butnone of us are die-hardBonneville people,” saysCarter. Just like last year,Carter says there aren’tany plans to officiallyparticipate in SpeedWeek, but they will behosting a group ride fromEste Downtown to theSalt Flats.This year, the Salt FlatSocial will be held atShort Fuse’s new shopon 988 S. and 500 W.on Friday, Aug. 12. Theevent is totally free, andCarter and crew plan toinclude a bike show inthe festivities. Everyoneis encouraged to attend,regardless of the type ofmotorcycle that they rideor if they even ride oneat all.38 SaltLakeUnderGround SaltLakeUnderGround 39


Does Art Have a Future inSalt Lake City?By Mariah Mann Mellusmariah@slugmag.comI often hear people speak of oldbusinesses that no longer existin Salt Lake. The conversation isalways the same: “Damn! I wish... was still around—they were thebest!” I ask you this: If they were thebest, why’d we let them go? If theplace was that amazing, why didn’ttheir loyal patrons rise up, raisesome funds, call their congressmanor create a human shield? I don’treally like the “what if we had” or“why did it have to happen” questions.I’m more of a “what now?”person. What businesses do I needto support now so they don’t sufferthe same fate? Soap box and drumroll please ... Citizens of Salt Lake,the Kayo Gallery needs our help!Crow Tree by Lenka Konopasek 2011Box, Paper, Scissor show.The Kayo Gallery has been a highlightof the Salt Lake Gallery Strollfor the last seven years, first underthe direction of Kenny Richesin its original location at 315 E.Broadway (300 S.) where Nobrownow resides, and now at its currentlocation at 177 E. Broadway nextto Frosty Darling. Shilo Jacksonpurchased the gallery from Richesfour years ago. “I really respectedwhat Kenny had started and hada deep appreciation for what hewanted for Salt Lake,” Jacksonsays. “It was never about turning aprofit—owning a gallery is a labor oflove. I do it because I’m passionateabout the arts and I think this spaceis important for Salt Lake.”Filling a special niche in the SaltLake market, Kayo focuses onprogressive, contemporary, cuttingedgeart and promotes local andemerging artists. How do we keepKayo around for years to come? It’sas simple as a dollar per person.On average, Kayo receives 300people through their doors everymonth. If each person made a onedollar donation as they entered,the gallery could become self-sustaining.One dollar keeps the lightson and the doors open. One dollarinsures that Kayo can continueto highlight local artists and booknational artists so they can hostthe exceptional art community SaltLake City has to offer.Once you’re ready to move froma patron of the arts to a collector,Kayo has several modestly priced,annual shows. Box, Paper, Scissorsin July, Small Works in Decemberand the Knock Out AnniversaryRound Show in February. All showsfeature past and current Kayo artistsand the price points are ridiculouslyreasonable! Box, Paper, Scissorsis Kayo’s annual fundraiser, and itwill be held Friday, July 15 from 6-9p.m. featuring cigar boxes refurbishedby established and emergingartists. A silent auction formatfollows with the boxes remainingshut during the bidding. At the endof the evening, the winning biddergets to open the box and see whattreasures they purchased. Theevent is free, but door donationsare encouraged.Donations to the Kayo Gallery canalso be made online at kayogallery.com. To hear more from Jacksonabout the gallery’s future check outSLUG’s new podcast on July 11.Untitled by Cassandra Barney 2010Box, Paper, Scissor show.40 SaltLakeUnderGround SaltLakeUnderGround 41


Beautiful Godzilla:Feminine Bike ReconBy Esther Meroñoesther@slugmag.comI learned how to ride a twowheelerwithout training wheelswhen I was three years old. Nobig deal. It was a warm summernight 20-some years ago, thesun was just setting as my papapulled off those extra little wheelsupports from my pink-tasseledBarbie cruiser. With a gentle push,I was on my way, riding in dizzyingcircles around the cheering crowdof spectators chanting my name.I’ve since upgraded to the sleekgreen pedal machine I use to burnholes into our salty streets—thesupporting character in my experiencesriding, racing, crashing,sexing (that’s right) on, over,under, next to, in and generallyaround bicycles. I’ll be wheelingthese experiences into your brainsthrough SLUG’s action stationfrom now on. With that said, let’sride!There’s a definite lack of femalerepresentation in the bicycle community.I’m not going to pretendthat it hasn’t been advantageouswhen it comes to dating—themale to female ratio is absolutelyin my favor and there aresome real babes on bikes ridingabout—but there are times whena gal just needs the kind of bondingonly her fellow lady bitchescan provide. Also, group rideswith a bunch of guys can get obnoxiousreal quick: Getting called“fag” from the overcompensatingdouches in their lifted trucks on aregular basis seems to be a bigmotivating factor to ride fast andreckless. Not that I’m against hustling,I just don’t want to watch apissing contest while I’m trying toenjoy a leisurely ride about town.This is why I’ve done just aboutanything I can think of to bringmore ladies some good clean funbetween the legs. All right, pervs,pull your hands out of your pantsnow ’cause the kind of lollipoplicking described hereafter will notleave you with a happy ending.About three years ago, I starteda women-only bicycle crew, nowcalled Salty Spokes. Back then,we were the FTP, which didn’t reallystand for anything, but rhymedwith BFC, the super macho fixiecrew that has since disbanded.What can I say, I’m a sucker forsubtle mockery. Turns out thatall irony aside, most everyonethought a ladies’ bike crew wasan awesome idea, and we nowhave monthly rides and a prettysweet blog inspired by CandyCranks at saltyspokes.com. Ourlongest running and most frequentride is Sundae Shuffle, a casualride around town that concludesin tasty vegan treats on the thirdSunday of every month, weatherpermitting. Unfortunately, for noknown reason, getting Salt LakeCity women to show up to eventsis easier said than done. Personally,I’ll show up to anything thatpromises the possibility of gettingone or more of three F’s: fucked,fucked up and fed.So, ladies of the Great SaltLake, where you at? Not only arebicycles historical symbols offeminine power, but they pumpyou up with grin-inducing endorphinsand keep your ass lookingfine. If I had to choose between aboyfriend and a bicycle, there’dbe no battle: That saddle satisfieslike no man can.Join Salty Spokes on our next rideon Sunday, July 17 at 6 p.m. atGallivan. Check out saltyspokes.com for more information on howto ditch your boy for a bike.42 SaltLakeUnderGround SaltLakeUnderGround 43


LeavingBy Giuseppe Ventrellainfo@slugmag.comI’ve heard it said that in times of recession, twoindustries thrive: alcohol and prostitution. Las Vegasis undoubtedly familiar with both these industries,but something else is thriving out there in the desertwasteland: skateboarding.While the skateboard industry isn’t exactly thriving becauseof this recession, the amount of skateable spotscertainly is. Las Vegas seems to be a shining exampleof this. The city is teeming with empty foreclosedpools and new, never-occupied construction left overfrom the boom that led up to the current economicstate.Having grown up in close proximity to Las Vegas, Iskated there frequently. After moving to the Salt LakeValley, however, I haven’t been to Vegas in four years.The strange thing is, I stopped going to Vegas aboutthe same time one of my good friends moved there.If you’ve been following skateboarding the last twoyears or so, you’ve probably seen lots of photos inmagazines and footage in videos from Vegas. Theman responsible for a lot of this is none other thanGarrett Taylor. Taylor is the man behind the scenesin Vegas. While a lot of the footage and photos didn’tLAS VEGASGood times at Sunset StationJames Atkin, wallride fakie over the dirt gap. Pablo Gonzales, MVP of the trip. Nosepick in a ditch, Boulder City. Awesome ditch in Boulder City.Photo: Sam MiliantaSunset Station in Las VegasPhoto: Sam Milianta Photo: Sam Miliantacome directly from Taylor (who actually contributesa lot of footage even though he doesn’t always getcredit), he has been slaving away, taking visiting prosto all his spots. Taylor has treated every team that hascome through Las Vegas like royalty.Having known Taylor since his days as a St. Georgelocal, I have been itching to go visit him in Vegas foryears. I decided Memorial Day weekend would bea good time. I found out right before I planned thetrip that Taylor would be moving to Bakersfield, Calif.soon after my visit. This would be the last weekend touse him as a tour guide and it was fitting that it was aweekend spent with the homies, rather than a randomvisiting skateboard team.I drove into Vegas with James Atkin, Pablo Gonzalezand Spencer Byrd, all St. George locals andlifelong friends. The first thing we noticed when we gotto Vegas was that it was ridiculously windy. In truth, itwas probably too windy to skate.to get out of the wind, at least for a little bit, so that’swhere we spent most of our time. Boulder City wasalso home to a lot of good street spots, and if you getto go there on a windless day, you should be stoked.Gonzalez got “trick of the trip” at one ditch, since he’sMVP of the trip, every trip.We spent the night eating wings and hanging outat the bar at Sunset Station. The bartender was veryinterested in telling us his deer-hunting victory stories.Just like Gonzalez got “trick of the trip,” the bartendergot “quote of the trip,” remarking, “I AM me, and I’mjealous of myself because I shot that deer.”The next morning, we got up early to more wind andactual cold weather (it was the end of May in Vegas,mind you, hardly cold weather territory) and battled ourway, trying to skate a few more spots before headingback to Utah. In terms of skating, the trip was not thegreatest trip I’ve ever been on. In terms of having agood time with old friends, it couldn’t have been better.My only advice if you’re trying to skate in Las Vegas,now that Taylor won’t be around to hold your hand, istry out Boulder City and keep your eyes open—thereare spots everywhere!We warmed up at a local park and headed out toBoulder City to check out some places Taylor hadin mind. Boulder City was full of strange, untouchedspots. It was also home to some of the best ditchesI’ve ever seen. The ditches seemed to be a good place44 SaltLakeUnderGround SaltLakeUnderGround 45Photo: Sam Milianta Photo: Sam Milianta


Illustration: Sean HenneferDear Cop,I have a question. After a bit of researchI learned that an eight yearvet of “one-timeing” y’all bitchesin blue get $30 an hour, almost.$29.95 an hour for a eight year vet.Now that being said, why is it sohard to pay off a cop in SLC? I’mnot going to stop getting tickets forspeeding. I don’t drive drunk, I’mnot a fucking skinner (thats a pedophile)and I’m no Ted Bundy. All I’masking is how come if I offer to paythat man’s hourly wage, double iteven and then some, these “heavenly”“do right” mother fuckersdon’t wanna play ball. Street workstwo pays. Why can you not pay offa cop in this city?Sincerely,Too Fast for LoveDear Too Fast,First, are you serious? Well,the simpleton answer is thatyour grammar, punctuation andinability to express a coherentconcept are so bad that no copwho’s thinking of “going on thetake” will go bad for you. He’donly last a week. Good copson the take will normally lastat least a month, maybe two,three if they’re really lucky anddon’t hook up with a dumbasslike you.People who get tickets, drivedrunk, fantasize about sex withpre-pubescent children or murderwomen aren’t the peoplepaying off cops. WTF? Weirdo!So, who would pay off a cop?Who benefits from what a copdoes or doesn’t do dependingon the crime? Sorry, I have togo back to how ridiculous youare. Even mentioning thoseabove scenarios makes mewonder if you are one of them.God, I hope you’re one of thefirst two.Who benefits, then? Well, thebest example close to home ofcurrently corrupted cops wouldbe cops in Mexico. About nineout of ten cops there are bad.So, why isn’t the same dealworking here, you ask? Well,maybe education and pay wouldbe a start. The average cop inMexico has a second-gradeeducation and makes half ofwhat the average Mexican workermakes. Here, the averagecop has at least an associate’sdegree and half of them havea bachelor’s degree. And, theymake more than the nationalwage average by double. Didn’tyou say $30 an hour? Howmany of your friends make that?(No, not you. We all know whatyou don’t make.)We won’t even get into thebenefits and retirement a badcop here in the USA would losewhen caught, and they will getcaught. Here’s my thinkingabout bad cops: it’s like thieves.Thieves are shit, even to eachother. Same with bad cops. So,if I’m going to be a bad cop,shit, even to other cops, thedeal better be worth a billiondollars. No matter what, I’d stillbe shit, so I’m gonna be “billiondollar bad cop shit” or not bebad at all. And, I haven’t seen abillion dollar offer around here,ever.Get it? Cops in Utah generallyaren’t going to go bad formoney. Now, if you really wantto get one here, the answer issex. Go get yourself a “hot hoe”and you’ll compromise morecops than you ever could withmoney. You see, cops’ peckersaren’t cops. So, when presentedwith a fine vertical smile, all thatintegrity, retirement and benefitsgo right out the window.There’s your answer. WhatI can’t answer is how yourstupidness is going to snag ahot piece of ass to assist you inyour corruption endeavor. Copsdon’t go bad for ugly.–Cop46 SaltLakeUnderGround SaltLakeUnderGround 47


By Chris Proctor • chrisproctor@slugmag.comPhoto: Katie PanzerTate Roskelley is a rare breed. You’re more likelyto see him riding his bike backward down a stairsetor manualing a chain than you are to see himin a skate park. Despite all of his abnormalities,this Utah native has his feet firmly planted inthe professional BMX industry with his ownsignature frame, the Volume Drifter, and mindblowingfull-length video parts and online-editswith companies like Volume and Demolition. Toquote one pleased fan on one of Roskelley’sedits, “Tate’s riding makes me smile becausenothing he does is actually possible.” WhenSLUG photographer Katie Panzer and I metup with Roskelley for a shoot and an interview,smiles were one thing that were not in shortsupply.SLUG: How did you end up riding for Volume?Tate Roskelley: Rob Wise, who was a bigpart of Volume at the time, asked me if I wouldbe interested in riding for them. I was riding forFit, who was arguably one of the most popularcompanies at the time, so the team was reallystacked. I decided that it could be a really goodopportunity to be a part of something a littledifferent. Also, Jason Enns and Brian Castillo,two of street riding’s most progressive riders,have been with Volume since day one, so thatalso helped a little.SLUG: You have this distinct riding style thatsets you apart from other riders. Why don’t youjust ride parks and handrails all day?Roskelley: I never was gifted to do all theregular tricks. I grew up in Morgan, and therewas nobody that rode up there at all, so I justrode by myself growing up, and I think thatprobably had a lot to do with it. The first dudes Isaw ride street were Gonz and Ratboy, and thatjust opened my mind as to what riding could be,Tate Roskelley surfs his top tube over a monkey bar wave.and ever since, I’ve been a street rider.SLUG: What is your thought process when youapproach a new spot?Roskelley: I guess it really depends. Basically,my ideas come really fast, like right when I get toa spot, an idea will pop into my head, but maybeone out of 20 ideas actually work. Usuallysomething you don’t see all the time appeals tome more, like weird architecture and stuff thatyou usually wouldn’t ride. The weirder the better,I guess you could say.SLUG: How did you come up with the“superbike slide”?Roskelley: I was playing around in a parking lotonce, and I was trying to ride under some tape. Iwas just trying to carve lower and lower, and oneof the times I kind of hit my pedal and it lockedinto a slide for like a split second, and ever sinceI’ve just been playing with it.SLUG: You once rode your bike under a movingsemi truck?Roskelley: Yeah, it was actually for “That’s It,”my first video part. One of the tricks I’d wantedto do forever was ride under a moving semi’cause I’d been riding under them in parkinglots just kind of fucking around, and I finally gotone of my friends to film it. It took forever, andnobody wanted to film it ’cause they thought Iwas going to get run over, and finally my friendBen Williams filmed it. We went to 12th Streetin Ogden at the Flying J, and we just werewaiting for trucks to come by. I wanted to do itwhen they were coming around the corner andwere speeding up to go down the road. Bensaid to me, “Dude, don’t do it that way. I’mnot going to film it if you do it that way. Do itas they’re coming up to the stop sign.” I finallyagreed to it, and when I did it, I was actuallyunder the semi for a lot longer than I had thoughtI was going to be, like the back tires caughtup, and so if he didn’t make that call, I don’tknow, I could’ve been run over by a semi. Yeah,definitely a good call on his part.SLUG: Starting out, did you ever get any flakfrom people for riding outside the norm?Roskelley: It seems like people were eitherinto it or they hated it. It was kind of polarized,I guess. Now it just seems like there’s a fewpeople that, every time I put something out, theywant to talk shit on it because I’m not doing thekind of shit they’re trying to do to get sponsored.I’d rather do it my own way, I guess.SLUG: Whom do you usually ride with thesedays?Roskelley: Elf, Cameron Wood, Aitken,Dave Thompson, Richard Fox, Nick Flex,Rob Wise, Greg, Skyler, everyone at Capilli’shouse, Ben Williams, Matt Beringer, Tuckerand the list could keep going. That’s why I likeit here.SLUG: Does music get you stoked to ride? Isthere a staple band or genre that you generallylisten to?Roskelley: Yeah, it plays a big role. It can reallyhelp with the visualizing aspect, which is veryimportant in any sport. As for a staple genre, Iwould say no. Anything that is good can dothe trick.SLUG: Any words of wisdom for up-and-comingriders?Roskelley: Probably just be you. I neverthought I’d be where I am right now. I wasalways just having fun, and before you know it, ifyou’re just doing it for the right reasons, havingfun, I think it will work out for anybody.48 SaltLakeUnderGround SaltLakeUnderGround 49


The Riders Project :By Sean Zimmerman-WallPrijon85@netscape.netPhilanthropy is a word that seldom enters thevocabulary of younger generations. It’s not thatwe don’t care, but between rising gas, tuition andbeer prices, there is not much left over after thebills are paid. Add in the overwhelming number ofcharities hitting us up for money, and it becomesvery difficult to decide where our cash should go,even if there is some extra. Enter TheRidersProject.org,a small organization with large aspirationsto get young people, especially those active in theoutdoors, to donate to worthy causes around theglobe. Started by powder-lovers Brian Bergeand Tyler Strauss, TheRidersProject.orghas been garnering the support of an increasinglyinterested population of localshredders both on and off the slopes.Both young men grew up in SteamboatSprings, Colo. and developed a passionfor the mountains and the people thatinhabit them by the time they graduatedhigh school. The two intrepid souls soonparted ways to pursue higher education.Berge went to Park City and Strauss toPhoenix, then Denver. After spendingtheir winters on the snow and summersin the classroom, they finished theircollegiate careers and began trying tomake a difference in the world. “Weboth had just graduated from collegeand couldn’t find jobs that we were interestedin. Tyler wanted to do somethingfor charity and I had the computer background,so we put an idea together,”says Berge.The two united their efforts towardsTheRidersProject.org—a website thatsells a variety of action sports gear butdonates 100 percent of the proceeds tothe charity of the shopper’s choice. Aftertwo years of research and saving, theirdream started to take shape. “We wentto SIA (SnowSports Industries America)in Denver to kind of test the waters andsee if people were interested in ouridea. After a lot of positive response, wedecided it could work and went aheadwith it,” says Berge. Now it was time toput a face on the organization, and withthe help of local software company BigCartel, TheRidersProject.org made itsdebut on the World Wide Web in 2011.“[Big Cartel] hooked us up with some greatdesigners and gave us a good deal on the site, soit made the whole process much smoother,” saysBerge. The guys continued to drum up supportfrom entities within the action sports realm asthe site went live. Developing close relationshipswith athletes and companies involved in surfing,skateboarding, skiing and snowboarding becamethe next step toward reaching their goals.The initial period of cold calling and interviewsA New Way to Givedidn’t work out quite as planned, and gatheringenough support to make things happen was difficult.“We thought everyone would want to donateto charity,” says Berge. Berge and Strauss alsotried their hand at obtaining non-profit status in aneffort to lend some credibility to their operation.After careful research and an exhausting interviewprocess with various lawyers, it turned out thattheir organization would not be eligible for a 501c3license. Since their prime business was sellingthings, even if the proceeds went to charity, thetax code got the best of them. “Essentially we areBrian Berge, one half ofthe team behindTheRidersProject.org, athis Salt Lake City home.a not-for-profit. Even though we give 100 percentof our proceeds to charities, donations are not taxdeductable for individuals,” says Berge. Regardlessof what TheRidersProject.org is in the eyes ofthe law, their mission can be appreciated in theeyes of everyone.The charities that were originally part of the programwere hand picked by the team and includedorganizations like Protect Our Winters, The SurfriderFoundation and Habitat for Humanity. As theprogram continued, they decided not to limit theselection to only a few choices, and soon the lineup encompassed charities from a wide variety ofinterests. The site even allows buyers to suggestnew charities and the assortment continues to expand.“Growing up, there weren’t many charitiesthat were related to snow sports. What’s happeningnow is that we can help generate awarenessfor the lesser-known charities. The smaller onesare also a lot more hands-on and the money goesfurther,” says Berge.Organizations like The Billy Poole MemorialFund use donations to introduceyoung people to the sport of skiing/snowboardingand give them the opportunityto experience the beauty and peace thatis found in the mountains. Poole was alocal pro skier that passed away severalyears ago during a tragic accident in theCottonwood Canyons. Other charitieslike Grind for Life provide financial assistanceto cancer patients who incur largetravel expenses going from their homes totreatment facilities. These programs andothers like them depend on the monetarydonations of individuals in order to remainviable. Working with TheRidersProject.orghas helped increase their presence, andultimately helped a lot of great peoplewho have been met with some unfortunatecircumstances. “We figure if you’regoing to buy a jacket or board anyway,why not help the cause you care about?”says Berge.Continuing to build relationships withlocal outdoor companies like Discreteand Skull Candy, TheRidersProject.org is launching its new website as thisstory goes to print. The updated sitewill include a one-deal-at-a-time format,branded merchandise and an expandedlist of charities. Navigating through thepages will also be easier than ever, andall that visitors need to do is pick theirproduct(s), pick their charities, pay theirbill and then 100 percent of the proceedswill go straight towards a great cause.The site also features info regarding theformation of a team of professional andamateur athletes. The teams will work togain support for the organization, as wellas the charities they are affiliated with. Gettinginvolved in the contest scene is also a big partof attracting more companies. Currently, theorganization has only been involved with a handfulof small rail jams, but they will be looking to uptheir level of involvement as they continue to grow.Promoting contests and using the teams to generateawareness of the various causes will ensurethat TheRidersProject.org can continue to do goodfor countless generations to come.Photo: Katie Panzer50 SaltLakeUnderGround SaltLakeUnderGround 51


By Esther Meroño • esther@slugmag.comGet off the road. Get some gears. Get a brake.Sam Allgood hears it all as he rides his fixedgear bike, and what does he have to say aboutit? “Brakes will just slow you down.” So withoutfurther ado, here’s SLUG Mag’s first interviewwith a fixed gear freestyle rider.SLUG: What got you into riding bikes?Sam Allgood: When I was a kid, I rode mountainbikes a lot in the Aves, and then I was just sickof my mountain bike and wanted a new bike. Ididn’t want to worry about adjusting a derailleuror whatever, and being a kid, I didn’t want tolearn that stuff—I just wanted to ride. I convincedmy dad to buy me a fixed gear. The only dealwas that I’d have to learn how to maintain it andlearn how to wrench my own bike. So Justin atCyclesmith helped me out with that. I’d meet withhim weekly and work on my bike, and then myfriend Jake Trimble helped me. We builtour conversions together and went fromthere. Right after that, I was super intobikes and mechanical skills and whatnot,so I just picked it up a lot, fixed myfriends’ bikes, got a job at a bike shopand collected bikes.SLUG: How did you get into fixed gearfreestyle?Allgood: I originally rode a fixed gearto get around, but I was longboardingup at the U and just loved the campusand riding through and saw people onmountain bikes and figured I could ridemy bike down all of that. I just startedhopping down stairs or riding throughgrass.SLUG: There’s been a lot of BMXintegration into the FGFS scene,especially lately. Why not just ride BMX?Allgood: Because you have to coast ona BMX, you can’t do whips, skids or ridebackward, and also, 20 inch wheels don’troll as far as 26 or 700c wheels, so you’repedaling a lot more on a smaller ratio. Onthis [FGFS bike], there’s somewhat moremobility as far as the frame because ofthe way it’s designed. You can sit morecomfortably and ride. It may be slowerthan a track bike or a road bike, but it’smore fun and I can shred along the way.SLUG: How has FGFS changed sinceyou started?Allgood: It’s a lot to do with the strengthof the parts mostly. Since I worked ata bike shop, I could work on my bikewhenever, and constant maintenance is key tofixed freestyle, or really any freestyle where you’rethrowing your bike or falling or just scraping yourparts up: brakes, pedals, handlebars, whatever.So for a while there, I was just breaking shitevery day. Everything’s stronger now and maybeheavier. It may have a lot of rolling resistancewith big tires, but it’s more fun.SLUG: Most people think fixies are a fad. Whatdo you think?Allgood: There’s definitely a trend and fixies aretrendy, like track bikes with multicolored rimsand Oury grips are trendy, but if you really knowwhat you’re doing, you ride a bike like me thathas good parts on it and solid shit and you’reactually genuinely excited about riding. If you cankeep on it, that’s all that matters really. The trendwill go on if there’s money to be made.“If you can pop into a wheelie and go 10 blocks orwhatever, it’s just sick. Everyone loves wheelies.”– Sam AllgoodSLUG: What’s your favorite trick?Allgood: I like wheelies. I’ve been doingwheelies since I was a little kid, and there’s nobetter feeling than riding a fixed gear bike youcan wheelie on. If you can pop into a wheelie andgo 10 blocks or whatever, it’s just sick. Everyoneloves wheelies.SLUG: Where do you think FGFS is going to takeyou? Do you plan to get sponsored?Allgood: Right now it’s not one of my focuses,because I have a bike and I have a job and canpay for my shit. I’m not in desperate need ofparts. If I could work with a company to betterthe frame technology or whatever, that would besweet, but that would be a local thing—I’d hookup with somebody to actually weld somethingthat I design. Right now, I’m just trying to kidaround on my bike and make videos and takePhoto: John Carlislepictures. If that gets me somewhere, thenthat’s rad, but … it’s more of a personalthing. I just want to be that weird kid whorides the pseudo mountain bike and isalways at the skate park hurting himself.SLUG: Who are some FGFS riders to lookout for?Allgood: There’s definitely some fuckinggood guys out there, and a lot of timesthey’ve ridden BMX or ridden fixed gearsfor a while and they just have the desireto stunt on their bikes. Tom LaMarcheis definitely No. 1 in my book: He ridesanything with wheels just amazingly.Steven Jensen is a guy that used to rideBMX with no chain ring or chain, so hiscranks would just coast and he’d push itlike a scooter. He got on riding fixed gearsand he could do bunny-hop bar spins onhis conversion, and that’s gnarly, ’causea ghetto road bike that’s stripped downshouldn’t be able to sustain tricks on it atall, but he found a way to make it work.It’s nice to see people doing somethingdifferent: People who do crazy stuff onbikes that aren’t really meant to do it aresuper cool.SLUG: What do you have to say to all thehaters?Allgood: Do your own thing, and don’tfocus on anyone else. If you’re hatin’,that means that you’re too focused onsomebody else and you feel threatened insome way. If you think you’re better, showme that.52 SaltLakeUnderGround SaltLakeUnderGround 53


NutcaseBlackdana Classic HelmetNutcasehelmets.comNutcase helmets are on point in feel and comfort.I’ve taken mine out for many spins, and felt muchsafer riding around unaware drivers/assholes. Youknow the type—the Utahn who thinks they havea mandate from God to drive their shitty minivanabout with their standard blissful ignorance ofothers. I’ve worn helmets for a while now fordifferent sports (my brain is worth it) but haven’tput on a cycling helmet since my mountain bikingdays. Helmet tech has improved a lot since the’90s. Nutcase’s new magnetic buckle is the shit.With one hand open/close ease, you might thinksafety is compromised, but it isn’t, which is great—buckles have long been a bane for comfort, butthe padding makes the process seamless. I initiallytook issue with the black bandana design, but I’vedecided not to paint it and embrace my new brainbucket. –JPNeffAnimal Hat and Tanka Tank TopNeffheadwear.comNeff should seriously consider firing whoeverdesigned the Animal Hat. It’s super comfortableand fits really well, but the design is fuckingridiculous. You’re designing hats for snowboarders,not anime nerds and Harajuku girls. I might havebeen able to throw it on and forget about itsabsurdity if people didn’t constantly remind methat I had fucking fox ears on my head. In order toactually leave my house with this thing on my head,I was forced to grow some ladyballs and acceptthat I looked like a total ‘tard. Once I embracedthis fact, I wore this hat everywhere—and I got asurprising number of compliments. The Tanka TankTop, on the other hand, kills it. It’s a men’s shirt,so the second I got it, both of my male roommatestried to steal it from me. Even though it’s made fordudes, it fits the female figure surprisingly well—itlooks awesome with leggings. The blue pocketadds color to the otherwise black-and-white printand it’s the perfect size for a pack of cigs. Plus, it’slow enough on the shirt that it doesn’t obstruct theview of the titties. This tank is definitely going tobe a staple in my summer wardrobe this year. Neffreally needs to rethink their hat game, but their tanktops are on point. –Katie PanzerAggronautixWendy O. Williams 1982 ThrobbleheadAggronautix.comLet me begin by saying that it’s somewhat ofa challenge to review a product that you don’teven remove from the box, but seeing as this isa hand-numbered, limited edition figurine, I’mgoing to be a total collector dork and leave itpackaged. Aggronautix has a pretty impressiveline of bobbleheads (or, to use their terminology,“throbbleheads”) going on, and the Wendy O.Williams 1982 edition is no slouch. Mohawk,spikes, ripped-up clothing—check! Limited to 2000units, it’s a cool piece for any Plasmatics/W.O.W. orpunk rock memorabilia collector, but beyond that, Idon’t really see much of a market for it. Aggronautixhas throbbleheads of G.G. Allin, Keith Morris,Tesco Vee and several others available, but it’smy opinion they should stick to dead punk rockicons (Darby Crash, guys?) instead of tossingout figures of, say, Milo from the Descendents.Regardless, this is a cool piece, and Aggronautix isa company worth checking out. –Gavin Hoffmanskateboarding is and how it works, not by theselittle plastic cards. Also, the instructions were nearlythe length of War and Peace. Do you honestly thinkany real “skater” has the patience to read throughfive pages of printer paper instructions? No, theydon’t. That’s why they skate, because they are abunch of ADD, impatient, 14 to 18-year-old kids.And if they are not, then they are way too old to beplaying with plastic laminated cards of other menflying through the air. My advice on this game:Save your money and buy a real skateboard. Thisgame is for the birds. –HondoSnack PaletteDisposable Snack Palettesnackpalette.comWhen it comes to writing product reviews, it’sthings like the Snack Palette that I get the mostexcited about. I can’t help it—I’m a sucker foringenuity. The concept of the palette is simple:Take a regular plastic plate, and add a cup holderto it. Simple as it seems, the palette is cleverand convenient in its design, and best of all, itworks. So far, I’ve only been able to point out oneshortfall: 12 oz. cans. If you’re planning on usingSuperHeat Gamesthe snack palette for its intended purpose, youmust also have cupsavailable, since cans areSkateboard Card Gametoo small for the cup holder. That, however, is aSuperHeatGames.comslight oversight compared to the palette’s benefits.SuperHeat is a “skateboard trading card game When simplicity, creativity and quality fuse intobuilt by skaters for skaters.” I honestly do not a single round piece of plastic, the possibilitiesunderstand this game at all. It’s as if a bunch of are endless—like being able to hold your food,Magic: The Gathering people got together and beverage and utensils in one hand while playingwere like “you know what? I am sick of wizards horseshoes with the other. Come to think of it,and magic and fairies, but skateboarding is cool that’s about right where the possibilities end, butnow, so let’s make a card game about that.” If that doesn’t change the fact that the Snack Paletteyou want to talk about skateboarders and tricks may be the greatest thing to happen to barbecuingand spots, then get a skateboard. By actually since roast pork. –Chris Proctorgoing skateboarding, you will understand what54 SaltLakeUnderGround SaltLakeUnderGround 55


Liquor ReviewsBy Tyler Makmelltyler@slugmag.comIn these summer months, I have beendoing my fair share of beer drinking—so much so that I am willing to imbibesomething other than the frothy beveragethat I hold oh-so-very dear. Aswe’ve seen over the years, Salt LakeCity is no newcomer when it comesto the craft of distilled spirits. Whenwe hear that there are new whiskeysand even a fucking tequila hittingour liquor stores, we here at SLUGconsider that worthy of mentioning.So here it is, a fantastic lineup that willhopefully lead to some pickled livers.Vida Tequila - BlancoDistillery/Brand: Compañia Tequilerade Arandas / Vida TequilaABV: 40%Serving Style: 750 ml BottleDescription: Poured into a wineglass, this flawlessly clear tequilablanco has a rich, sweet agavearoma with a herbal spice background.The flavor has a clean/mildsweet agave character and a lightherbaceous undertone to finish.Overview: This tequila barelyqualifies as local, since it is distilledin Mexico and the owners andoperations are run out of Utah. If Iam going to make the stretch onsomething, I am happy it’s with thisone. This tequila is ridiculously cleanto act as a sipper, or versatile enoughto compliment any mixer. If you aregoing to take one weekend night andmake some horrible decisions, makeat least one good decision: Avoid thatDon Julio Patrón shit, and push forthe locals.characters of pine, licorice, mint andcinnamon. The flavor packs a spicyrye punch with caramel, honey and abalanced-yet-herbal follow through.Overview: This double rye (two ryeblend of a 16-year and 2-year) wascombined to have the matured andcomplex flavors of well-aged whiskeyand the loud, fresh flavors of newwhiskey. It fits that bill to say the least,with those heavily herbaceous aromasand the balanced complexity ofsmooth spice with a balanced honeyfinish—truly a whiskey to make evenPhillip Marlowe blush. This very wellmay be my new bedside whiskey.High West 12 Year Old RyeDistillery/Brand: SeagramsDistillery / High West DistilleryABV: 46%Serving Style: 750 ml BottleDescription: This one pours an ambercolor into my tumbler to open upwith anise, honey and mint. The tastekicks off with holiday-reminiscentflavors of cinnamon, nutmeg and acaramel oak finish—a fantastic sipperfor sure.Overview: If you have not seen thisone at the liquor stores yet, thereis a tragic reason why: This is onlyavailable at the High West Saloon inPark City. Due to its low productionvolume, this is a very light releaseand I heavily recommend getting yourhands on a bottle. With the intenseflavor and well-balanced complexity,I have found this to be my new summersipper. For a full description andbackground, visit highwest.com.Also new to the series: This ugly fucker.inFAMOUS 2Sucker PunchReviewed on: Playstation 3ExclusiveStreet: 06.07inFAMOUS 2 is basically the samegame inFAMOUS was—if you lovedthat game you’ll love this one. Ifyou never cared for the first one,inFAMOUS 2 will not change yourmind. I, for one, adored the firstgame, and couldn’t be happierwith its sequel. Cole’s story isparamount in this game, and it’streated with good writing, greatvoice work and some fun charactersand plot twists. The newCole voice actor pissed me off forabout five seconds, until it becameobvious he’s even better than thefirst guy and I should stop whining.Cole’s increase in abilities canbe a bit overwhelming (with up tofive attack-types mapped to thesame button), but the end resultis a superhero with power you canreally feel. Cole is very strong andcapable, and it’s a joy controllinghim both in combat and during yourparkour city-running. Since storymissions and side missions arefrequently tied to your karma rating,finishing the game means you’veonly seen a little more than half itscontent! Starting over as the oppositekarmic alignment means notonly all-new missions to play, butnew abilities and powers as well.It’s a big game, and there’s lots todo. Sure, it plays mostly the sameas its predecessor, but when yougot it so right the first time, stickingto what works is a good strategy.–Jesse HawlishMinions!TurtleTossStudioReviewed on: Xbox Live IndieGames ExclusiveStreet: 05.14You’ve probably noticed the giantElectronic Arts logo delivering itssinister gaze upon the streets ofdowntown Salt Lake like the eye ofSauron. Or perhaps you have heardthe cries of despair emerging fromthe headquarters of AvalancheSoftware as they put the finishingtouches on the latest Hannah Montanavideo game. Or, if you’ve beenparticularly observant of the videogame development world in SaltLake, you know that three games(The Last Podfighter, Mr. Gravity,and Minions!) developed as part ofthe U of U’s Entertainment Arts andEngineering senior capstone courserecently became available via XboxLive’s Indie Game store. Minions!,the best-selling of the trio at over10,000 units, is a fun mission-basedshooter. The player is tasked withfulfilling certain requirements ineach level (blowing up an enemybase, destroying an enemy tank beforeit gets to your base, etc.) whilecollecting gold from defeated enemiesto create minions with uniqueattributes. It’s pretty simple, but it’salso pretty addictive. The graphicalstyle is also simple, but thecharacters become more and moreendearing as they repeatedly shooteach other in their giant heads. Theability to switch from an overheadto an over-the-shoulder view seemsnovel at first, but ultimately doesn’tadd to the experience, and thelack of an auto-save feature is a bitfrustrating, but these are just minorproblems. For $1 (which is goingstraight into the pockets of thedevelopers) Minions! is definitely anenjoyable experience. – Ricky VigilHigh West Double Rye!Distillery/Brand: High WestDistilleryABV: 46%Serving Style: 750 ml BottleDescription: Off the dram, thisrye is deep in its aroma, with heavy56 SaltLakeUnderGround SaltLakeUnderGround 57


Conan O’Brien Can’t StopAbramoramaIn Theaters: 06.24From June 1, 2009 to Jan. 22, 2010,Conan O’Brien was the host of thelate-night talk show, The TonightShow, but, due to reduced ratings,NBC executives decided to move theshow’s timeslot to after midnight tomake room for Jay Leno’s new (andfailing) program. Refusing to hinder thelegacy of The Tonight Show, O’Brientook a multi-million dollar settlementand left NBC, but was contractuallyrestricted from appearing on television,radio or Internet programming for sixmonths. Being the genius that O’Brienis, he cleverly decided to develop atraveling stage show entitled “TheLegally Prohibited from Being Funnyon Television” tour, which is wherefilmmaker/documentarian RodmanFlender stepped in to capture the outrageousbehind-the-scenes scenariosthat include everything from hilariouslyoffensive writers’ room meetings to stirringinterviews with O’Brien projectinghis raw feelings regarding the latenightdebacle and his “fuck it” period.Observing the creativity and motivationthat continuously spills out of O’Brien isexhausting as the comedian stretcheshimself ever so thin in order to pleasehis fans and energize his audience.He is the epitome of an unrelentingperformer who refuses to take a seatwith a single fan present. It is his powersource and may one day be the causeof his ultimate meltdown. O’Brien hasmaintained a calm, cool and collectedcomposure during the entire ordeal,but Flender offers an authentic glimpseof the man behind the icon that proveswe’re all only human with aspirationsand dreams. –Jimmy MartinGreen LanternWarner Bros.In Theaters: 06.17It’s no secret Hollywood has beensnatching up every comic bookfranchise available in order to devoura piece of the delicious financialsuccess these superhero projectsproduce. However, the time has cometo see if the second-tier characterscan start producing similar monetaryachievements as their more popularpredecessors. In the Green Lanternsaga, the universe has been dividedinto over 3,000 sectors and each oneis represented by one courageous individualto instill peace and justice for all.On Earth, Ryan Reynolds stars as HalJordan, an immature and irresponsiblefighter pilot who still has issues withthe tragic death of his father. While thenightmares don’t seem to impact hisprofession all that much, his would-berelationship with childhood sweetheartCarol Ferris (Blake Lively) is anotherstory. After a wounded purple aliencrash lands on our planet, his magicalring selects Hal as his heroic replacement,giving the newbie the ability toconjure up anything in his mind withthe ring’s green energy of willpower,which will definitely come in handywhen an evil supreme-being, driven bythe yellow energy of fear, sets its sightson Earth as his next target. Reynoldsdelivers his signature smart-alecshtick, which amplifies the humorousmoments of Martin Campbell’sunbalanced story, but even Reynoldscan’t smokescreen the fact that Campbellis unsure whether he is creatinga serious/terror-filled epic or a kidfriendly/sillyadventure. Granted, thespecial effects are nothing to balk at,but the copious amounts of time spenton narrated exposition and relationshipstrife does nothing but diminishs therunning time on action, which is far toominimal for a summer superhero flick.–Jimmy MartinPage One: Inside TheNew York TimesMagnolia PicturesIn Theaters: 07.15Page One could have been called “EverythingI Learned in Journalism 101.”The film informs viewers of the insand outs of the current struggles anduncertainties traditional news mediaoutlets face due to fragmentation, lossof advertising revenue and massivelayoffs in the industry. It is a film thatwill inevitably be shown in college-leveljournalism classes throughout thecountry. It demonstrates the way newsgathering works, shows how the ageoldindustry is rapidly changing andalso proves that traditional reportingand news coverage is still relevant,despite the emergence of blogs andother information distribution mechanisms.As the film progresses, wemeet a number of journalists workingprimarily in the “media” department,which was created in 2008 to reporton changes in the media. It doesn’ttake long for columnist David Carrto emerge as the star of the documentary.Carr is brutally honest abouthis past with drug addiction and thehonesty is transferred to his style ofreporting and the method in whichhe breaks an unlikely story about thebankrupt Tribune Company. In additionto the “new media” story perspective,the war in the Middle East also takescenter stage. At one point, employeesargue whether they should run astory about NBC declaring the end ofthe war—debating whether this is aphoto-op stunt being used to createthe feeling of closure or a piece ofembargoed information coming fromthe Pentagon. As the film draws to anend, it reaffirms that good, traditionalreporting allows bloggers to exist. It’shard to say if those who claim “printjournalism is dead” will be moved orinformed by Page One’s message,but for media students and workingprofessionals, it’s a clear reminder thattraditional news gathering still has apulse. –Jeanette MosesProject NimRoadside AttractionsIn Theaters: 07.08The creative team behind the 2009Academy Award-winning documentaryMan on Wire offers their distinctive,blended style of filmmaking to thetale of a chimpanzee, Nim, who wasraised from birth in the same fashionas one would raise a human child fora scientific experiment to determinewhether primates can communicatewith humans via sign language. InNovember 1973, a Columbia Universityprofessor, Herb Terrace, initiated theresearch project and hired primarilyfemale students to provide parentingand educational lessons for thedeveloping chimpanzee. While theprogressions of Nim’s abilities wereastonishing, the dysfunctional andinappropriate relationships conductedbetween teacher and students provedharmful for everyone involved. As thegifted primate endured abandonmentissues and unthinkable mistreatments,Nim’s true animalistic nature surfaced,bringing the debate of how muchdevelopment had actually occurredinto question. Director James Marshseamlessly blends intimate interviews,archival footage, candid photographyand dramatizations to unveil a touchingglimpse of how unacceptable humanbehavior can affect those around you,even beyond our own species. The filmtakes the audience on an emotionalrollercoaster complete with humorousrecollections of Nim’s appreciation formarijuana and alcohol to heartbreakingmemories of animal lab testing programs.Animal cruelty aside, the mostdisturbing component comes from theovertly perverse actions of Terrace,whose careless actions and unapologeticattitude make him the true beastof the story. –Jimmy MartinSuper 8ParamountIn Theaters: 6.10Throughout my childhood in the 1980s,there were only a handful of moviesthat personified what it was to be anadventurous kid who disobeyed hisparents, used foul language, rode hisbike EVERYWHERE and eventuallyfound himself in peril. Most of theseproductions had the involvement of thelegendary Steven Spielberg, so it’sno surprise that director J. J. Abramshas utilized the veteran’s knowledge byhaving him act as producer on his ownsci-fi juvenile journey. Set in the late1970s, Abrams centers his emotionally-chargedadventure on Joe Lamb(Joel Courtney), a shy outsider who’scoping with the loss of his mother whorecently died in a steel-mill accident,but finds comfort in the presence ofhis classmate crush, Alice Dainard(Elle Fanning). To pass the time, Joeand his band of friends spend everywaking moment creating a zombiefilm with their Super 8 camera. (Seewhat they did there?) While filming atan abandoned train station, the kiddycast and crew unexpectedly capturesthe derailment of a government trainand possibly the mysterious cargo onboard,which leads to bizarre incidentsoccurring around their small town.Abrams has painted a beautiful homageto Spielberg’s classics and allowsolder viewers to relive their childhoodcinematic experiences while invitingnewcomers to undergo their own firstexploration. Complete with his signaturelens flares, Abrams pulls genuineperformances out of a cast of mostlyunknown child actors, especially in thecase of Fanning, who is already provinggreater talents than her older sister,Dakota. –Jimmy Martin58 SaltLakeUnderGround SaltLakeUnderGround 59


Bootload Of BoogieSweaxxy Chogg (EP)Scratch It Back RecordsStreet: 10.07.10B.O.B. = Cake + BloodhoundGang + open mic night at thestrip clubThere are times when you can judgean album based on its cover. Fromthe cover art that harkens back toNational Lampoon designs to songtitles like “Go-Go Ho Sale” and “IfYou Don’t Love Me (Just Fake It)”and the half-assed attempts at lyricwriting, you’d swear Sweaxxy Choggwas made on a dare. It’s as if allthree members thought of a bunchof inside gags in high school andthen put them to music. The instrumentationis decent yet distant, likeit was recorded in a gardening shed.If freshman sex humor and threechord-punkis your thing, then thisalbum will be right up your alley. Ifnot, keep flipping to The Brobecks.–Spencer InghamDani LionDani in the CloudsSelf-ReleasedStreet: 05.18Dani Lion = Broken Bells +PB&J + MGMTDani in the Clouds is a fast-movingand euphoric first release fromrecently formed pop duo Dani Lion,consisting of producer DanielFischer and singer Lauren Hoyt.For the maiden voyage, guestmusicians—David Payne on flute,saxophone and guitar, Skippy Hepworthon trumpet and John Hoangon bass—were brought in to roundout Fischer’s electronic productionstyle. In the short 17-minute runtime, Fischer stuffs the EP chockfull of light-hearted synth leads,layered rhythms and, as foreshadowedby the first track, “Light FromYesterday,” plenty of trumpet andsaxophone hooks. Hoyt gives life toFischer’s well-crafted beats with herwarm voice and playful lyrics, whileHepworth and Payne play aroundHoyt’s vocals in a jazz-style accompaniment.Dani Lion has doneenough with this short EP to catchsome radio time on KRCL—nodoubt we’ll be hoping for a fulllengthto follow. –Chris ProctorThe Devil WhaleTeethSelf-ReleasedStreet: 05.24The Devil Whale = Wilco + JeffBuckleyThere’s nothing not to like on theDevil Whale’s sophomore release,Teeth. Once again, the SLC favoritesput out a disc full of pleasant butknotty country-rock. Brinton Jones’vocals are expressive but unassuming,and the production has just theright amount of polish. “TelevisionZoo” will grab you with the supernalarrangement of woodwinds andRhodes piano, and then hook youback in with the bittersweet melody.These guys won’t remain just ahometown favorite for much longer.–Nate HousleyExer OvuBaby, I Get ImpatientSelf-ReleasedStreet: 10.2010Exer Ovu = Modest Mouse’sSad, Sappy Sucker + PaulBaribeau“Where was this recorded, and whorecorded this?” is the first thought inmy mind as I listen to Exer Ovu’s latesteffort. I’m not even sure what I’mlistening to for the first few songs.What I can make out is that the bandconsists of a guy and a guitar, andthat’s about it. Most of it soundslike that point on acid when you’rejamming with your friends and youthink you’re awesome, but really it’sjust erratic noise. There isn’t a cleardirection or genre in any of the tensongs. It’s the kind of yell-singingthat a few bands can pull off reallywell, and, with the help of someother musicians, this guy probablycan, too. At least he lets the listenerknow he’s “Open To Suggestion”in the second song. If the othersongs sounded more like “Debutant,”he might have somethinggoing, though. That one’s the leastmusically confusing song, followedby “2WR,” that kind of sounds likeAdam and the Ants in the beginning,and then blows it with a bunchof yelping/Indian war chant sounds.Those might be cool in any othersituation, but not this one. He’s got acouple of albums out, though, whichbrings me to my original question:?! –Kyla G.The Old WorldSelf-TitledSelf-ReleasedStreet: 03.26The Old World = Josh Ritter +Pink FloydThe Old World is an album thatcatches a group of skilled musicianshalfway through a transition from apower pop band to a ballad-brandishingfolk rock ensemble. Thougheach song on the album displaystheir prodigious aptitude for theirinstruments and is entertaining in itsown right, as a collection, the albumis a bit sporadic. Folk tracks like“Rollin’ Boulders” and “New Stripes”are perfect backdrops for themandolin and fiddle skills of AustinFrodsham to come to the forefront,whereas tracks like “Save Me” and“Secret Sauce” lean closer to aprogressive rock sound and allow forCasey Romney’s epic guitar solos.The Old World would be stronger ifthey got both of their feet on eitherside of the line, but whatever theydo, they are bound to do it well. –CGSplit LidUnholySelf-ReleasedStreet: 01.15Split Lid = Godsmack + Staind+ DisturbedThe great thing about the alternativemetal push in the early ’00s wasthat headline bands recognizedthey all had a distinct sound and didtheir best not to copy one another.Everyone following them, however,did, and have not stopped since2001. Split Lid and their latestalbum, Unholy, are no different. Eachmember has exceptional skills andsinger Chad Passa has a grungyvocal range to die for, but it feelssquandered on a sound that playedout years ago. As an experiment, Idownloaded the entire album alongwith Godsmack’s Awake and putthem both on random ... I couldbarely tell the difference. Everythingfrom the vocal track to the drumbeats to the cheesy cover art feelsas if they tossed their favorite rockersinto a blender and poured thatmusical shake into Garage Band. Ifyou love the sound of that era, it’sworth a buy. –Spencer InghamThe SuicyclesExperiments in BeingAwake EPKitefishing RecordsStreet: 05.06The Suicyles =Queens of theStone Age + IAMXThe Suicycles’ first EP, Four ChaoticCar Rides, showcased the band’sability to write smooth electro-popanthems, and now they have followedit with Experiments In BeingAwake, which captures the controlledchaos that heavily defines theband. A notable distinction betweenthe two releases is the additionof horns throughout the latest EP.Greg Nielsen, known for his workwith Iceburn, can be heard wailingon the sax along with AnthonyPhan on trumpet. This EP offers sixoriginal tracks as well as a very coolcover of Radiohead’s “NationalAnthem.” Camden Chamberlainlets us into his inner psychosis onthe first track, “Sea Horses 4eva,” ashe sings of having a “head made ofsteel, a heart made of stone” over asax blasting, fragmenting the listenersattention like an axe to the head.The whole album is very bass-andpercussion-drivenwith complex timesignatures. Check out track three,“Hawaii,” for some mean sax andguitar battling, sounding like a highspeed, meth-fueled cop chase. ThisEP has balls—wear a condom whenyou listen. –Tom Bennett60 SaltLakeUnderGround SaltLakeUnderGround 61


Black LipsArabia MountainVice RecordsStreet: 06.07Black Lips = Ramones + TheBeatles + 13 th Floor Elevators +WavvesBlack Lips have hit gold with theirsixth release, Arabia Mountain. Thenewest release marks the first timethe Atlanta-based garage rock bandworked with a producer, and theresult is 16 highly infectious tracksthat channel the sounds of bands ofanother era. Teaming up with producerMark Ronson for eight of the16 tracks and Lockett Pundt for anadditional two has benefitted the Lipsimmensely. Arabia Mountain is awashwith short, tightly written songs thatI’m sure will be on repeat all summerlong on my iPod. Although the albumis far more produced than anythingthe band has previously released, thequality of recording doesn’t detractfrom the Lips’ signature style. If anything,it allows their talent as a bandto shine through. “Raw Meat” and“Bone Marrow” channel the energyof the early Ramones while “Go Outand Get It” and “New Direction” havea shimmery surf rock feel. From startto finish, Arabia Mountain is cohesiveand catchy, which earlier Lips albumsoften failed to be. Nothing gets stuckin the layers of gritty garage rock andI couldn’t be happier. –Jeanette D.MosesThe Book of KnotsGarden of Fainting StarsIpecac RecordsStreet: 06.14The Book of Knots = Tom Waits+ (Björk + Crime and the CitySolution) x Bowie/EnoBased out of Brooklyn and featuringa core lineup studded with undergroundstars from Pere Ubu andSkeleton Key as well as severalguest luminaries, The Book of Knotstakes “concept” to the stars andbeyond with this third in a series ofalbums. Previous releases coveredland and sea, while this one tacklesthe mysteries of space with a bigsound and excellent recording values(never a bad thing, but especiallyimportant with so much going on). Itlaunches with “Microgravity,” a rockingjazzy number featuring a smokyvoicedCarla Kihlstedt (SleepytimeGorilla Museum) reminiscent ofBjörk. In orbit, it explores zero-Gwith Blixa Bargeld (EinstürzendeNeubauten, Nick Cave and theBad Seeds) on the eerie “DrosophiliaMelanogaster,” Mike Watt (TheMinutemen, fIREHOSE) on theglitchy infinite tape-loop construction“Yeager’s Approach,” and Mike Patton(Faith No More, Tomahawk) onthe beautiful and huge soundscape“Planemo.” On re-entering the atmosphere,it explodes with the freakish,mind-blowing “Nebula Rasa,” andlands where it started, with glitchyjazz and spoken word over a metalnumber featuring Trey Spruance(Secret Chiefs 3, Mr. Bungle) andKihlestedt in a big Twilight Zone finish.A gem rarer than moon-rock andas otherworldly. –Madelyn BoudreauxCameron McGill &What ArmyIs A BeastPost-ImportantStreet: 04.12CM&WA = Margot and the NuclearSo and So’s + Early Wintersalbum’s lush instrumentation feelswasted. Cameron McGill’s voice,while not awful, is nothing special.Songs like “Let’s Make the DinosaursExtinct” with its nonsensical chorus/pickup line might get the high schoolpseudo-hipster girls wet, but all in all,I am underwhelmed. I think the onlysong I didn’t hate was “Dead Rose,”a song that sounds like Andrew Birdchanneling Robert Smith. If you likeshitty indie rock, this album is for you!–Cody HudsonThe Chain GangOf 1974Wayward FireModern Art RecordsStreet: 06.21The Chain Gang Of 1974 = LCDSoundsystem in the Hot Tub TimeMachineKamtin Mohager’s new recordingunder his “The Chain Gang Of 1974”moniker sounds like a joyous paeanto the ‘80s, yet combines elements ofmore updated electronica and the occasionalsample for a modern touch.Somehow, it all works. Sounding abit like Psychedelic Furs’ RichardButler fronting early New Order,Mohager’s speak-sing vocal style ispleasant and interesting enough tohold your attention. Mohanger seemsto be a one-man band in every senseof the phrase, layering both synthsand multiple instruments—along withhis vocals and samples—to buildeach track. “Matter Of Time” buildson a Gary Numan Cars-ish groove,while explosive first single “Undercover”possesses an irresistiblecatchiness. Equally adept at the occasionalballad—á la ‘80s-soundingpower variety—“Teenagers” and“Don’t Walk Away” sound like theycould be on a lost John Hughes’soundtrack, which one suspects isexactly how Mohager intended themto. Unlike recent art/pop music stars’overrated ’80s homages, Mohageractually appreciates his subject and,therefore, excels at it because he hassomething to say. –Dean O HillisCity CenterRedeemerK RecordsStreet: 05.10City Center = The Pains of BeingPure at Heart + Deerhunter +Blonde Redheadthinks that a catchy pop song has tobe clean and pretty, City Center is outto change your mind. Redeemer isthe sophomore release from the duoFred Thomas and Ryan Howard, apair of indie rockers with a particularskill for writing an infectious, simplemelody over lo-fi drum and guitartracks, only to muddy it up with a lotof sloppy reverb effects and strangesounds. If you’re one who enjoysswimming in a little mud with yourshoe-gazey, experimental pop (as Iam), check out Redeemer. The songsblend together so well that you’lllisten to the whole album in a dreamlikedaze without realizing that 40minutes have passed you by. There’salso a versatility to the album thatmakes it equally enjoyable throughheadphones on the train and asbackground music to a small houseparty. –CGCrystal StiltsIn Love With OblivionSlumberlandStreet: 04.12Crystal Stilts = (The Doors + TheDamned + Bongwater) x 13thFloor ElevatorsJangly psychedelic surf-rock anddarkness don’t usually mix, not sinceJim Morrison rode the snake off toPère Lachaise and Roky Ericksonblew a mental gasket on too muchLSD, but on this sophomore releaseby the Brooklyn-based Crystal Stilts,it’s like The Doors invented punkrock. “Alien Rivers” mixes Kyle Forester’svery Ray Manzerak-esqueorgans with layer after layer of sound,building up the alien landscape tobe eaten away by slow waters offrontman Brad Hargett’s deadpandelivery. Some tracks, like “Throughthe Floor” and “Shake the Shackles”recall a Misfits-like doo-wop, whileI feel like I am slowly starting to hateindie rock because of albums likethis. Painstakingly mediocre, the If there’s anyone out there who still62 SaltLakeUnderGround SaltLakeUnderGround 63


“Half a Moon” reminds me of TheDamned, but hazier. The album features11 excellent, appealing tracks,but is marred by a little too muchoverbearing reverb—someone shouldhave torn down the wall of sound,or hung some sound blankets up inthe cavern where they recorded. It’sgoing into heavy rotation for me, butaudiophiles may be turned off by theheavy, retro recording.–Madelyn BoudreauxDead RiderThe Raw DentsStreet: 05.03Tizona RecordsDead Rider = David Bowie + OfMontreal + NIN + MorphineThis was a surprise to me, as it isa new kind of weird that is prettyunpredictable and not so easy to castaside. It’s dark, and theatrical, andslightly vampiric and macabre, betterfor basement dwellers and nightowls. I personally do not really swaytoo much toward the gothic lifestyle,but I gave this a few spins and foundmyself enjoying it as an expressiveand artful representation, and wasimpressed with just how much atmosphereDead Rider creates with thesethoughtful dark tales. The Raw Dentshas no shortage of tight, well-craftedsongs. My favorite is the pulsinghi-hat tic of “Just A Little Something,”with Todd Rittman’s breathy vocalsintertwining with a deep synth basslines and moody organs. Whenthe horn section appears like anapparition, it will tastefully blow yourmind. A great record throughout, andphenomenal for an angsty, moodynight. –Mary HoudiniDecapitatedCarnival Is ForeverNuclear BlastStreet: 07.12Decapitated = Vader +Meshuggah + UlceratePoland’s Decapitated started out in1996 as a band of very young deathmetal phenoms. Unfortunately, in2007, while touring in Europe, theirtour bus crashed, tragically killing theband’s drummer Vitek (who was 12when the band started) and seriouslyinjuring the band’s former vocalist,Covan. Carnival Is Forever marksthe band’s first album in five yearsand contains only guitarist Vogg asthe sole remaining member. Withthat change comes big change inthe band’s core sound. Decapitatedare still tech death metal to no end,but the new offering deviates fromthe more brutal tech death formatto a stop-and-go rhythmic killingmachine reminiscent of Meshuggahbut entirely more interesting than saidSwedes’ last few albums. The star ofthe show here is Vogg—the crazed,pounding guitar rhythms twist andturmoil your brutality senses, keepingthe core “beef” of the songs nicelyblasting your cranium—but wow,when Vogg gets to soloing, that’swhen things get beyond awesome.Check “United” for a taste of thatawesomeness. When all is said anddone, and the intense 42-minute runtime is done, I want more and more.For all the things that could’ve gonewrong with Decapitated’s recordedreturn, the band scoffs at the “whatcould have been downturned” withsomething fresh and completelyenticing. –Bryer WhartonDex Romweber DuoIs That You in Blue?BloodshotStreet: 07.26Dex Romweber Duo = The Cramps+ Scott H. Biram + Heavy TrashAs a longtime fan of undergroundmusic, I am rarely put on my ass, soto speak, by a name I don’t know,but when the twangy roar of the DexRomweber Duo hit my ears, that’sjust where I found myself. I pickedup the CD sleeve and immediatelybegan digging into this Dex guy I’dnever heard of. With Is That Youin Blue? moving on to the RoyOrbison-from-hell ballad, “Nowhere,”rocking in the background, I read thatDex Romweber had pioneered theguitar and drums roots rock duo inthe legendary Flat Jets Duo, which,let’s be honest, is where Jack Whitetook the idea from. Dex with the newduo sounds better than ever andtakes crazy turns, like the spookysoundinglounge tune “MidnightSun,” which is directly followed bythe hillbilly rocker “Homicide.” Darkand pleasurable, this record is a tripthrough the cemetery in a big blackCadillac you’ll want to take again andagain. –James OrmeDosDos Y DosClenched WrenchStreet: 07.12Dos = Mike Watt + Kira Roessler+ two bass guitarsDos Y Dos is the fourth record (2 +2, get it?!) from the double bass duoof Mike Watt (Minutemen, fIRE-HOSE, Stooges) and Kira Roessler(Black Flag, Twisted Roots). Itis a departure from much of theirprevious music experiences, but itstill seems to encompass all of it. Theband started as the two were playingpunk rock separately and starting aromantic relationship together. Now,a quarter century later, the otherbands and even their brief marriagehave run their courses. What’s left isa whole lot of history filtered throughrather sparse instrumentation. Thereare moments on this disc where therelationship really comes through.I’m not the biggest fan of Roessler’svoice, but vocals are few enough thatthe double bass work takes centerstage. And even though it is a verylow, deep-sounding record, it stillmanages to be graceful and evencheerful at times. A cover of an oldSelena song (“No Me Queda Mas”)that couples the fragile bass with asincere Spanish vocal is when thingsreally mesh together. Don’t buy itexpecting the Minutemen, but buy itexpecting something unclassifiable.–James BennettEd GeinBad LuckBlack Market ActivitiesStreet: 06.21Ed Gein = The Dillinger EscapePlan (old) + GazaIt’s been six years since Ed Gein hasreleased an album, and the grind/punk/hardcore/noise scene has beenwaiting with bated breath. The last effort,Judas Goats & Dieseleaters, hadEd Gein on track for grind/noisecore/hardcore superstardom, with theirrelentless touring and building upontheir name, then seemingly mysteriouslydropping off every press andeven fans’ radars for years. The banddid not break up, it just took a break.Really, it didn’t harm them—yearsof complete absence can stir upgreat expectations and long-awaitedreturns. Ed Gein seemingly hasn’tskipped a beat in its sonic perversionof what would be considered melodiesor “normal” time signatures inits songs—Bad Luck is all about themusic and all about the anger of theband. It is purely grinding and facepoundinglydeviant from the norm ofwhat can be expected from straightgrindcore. The album transitions frommassive chaotic noise and angry outburststo coldly calculated groovesand soap-box screamed/spoken lyricexpressions. This album is only about22 minutes, but it’s peppered withcrazy rhythms that you could neverset your wristwatch to, organic andpunishing production values, andextremely heavy hardcore punk influence.All this culminates in Ed Gein’smost successful album to date andwill completely win over old fans andbring droves of noise-crazed chaoticfiends to attention. –Bryer WhartonEl OboOxford Basement CollectionEsperanza PlantationStreet: 05.05El Obo= Colour Revolt + Iron andWine + Andrew BelleMany view band members’ soloprojects as something to not be takenseriously. Colour Revolt’s JesseCopenbarger challenges this ideawith El Obo and its debut album,Oxford Basement Collection. It unfurlswith delicate vocals and whisperyharmonies, with the song “W8 OffMy Mind.” The second song, “On theEighth Day,” is equally ethereal. Thedistorted quality of the singing bringsto mind Iron and Wine’s “Carousel.”Oxford Basement Collection showcasesa variety of melodic instrumentslike piano, acoustic guitar, organ,harmonica and violin, which onlyadds to its dreamlike atmosphere.While the album does produce oddlyout-of-place songs like “Everyoneof the Hungry,” one can’t deny thequality of all the other songs. OxfordBasement Collection is acoustic atits best, with a Mississippi twist andperfect for a summer day of cloudgazing. –Julianna ClayExplosions InThe SkyTake Care, Take Care,Take CareTemporary ResidenceStreet: 04.26Explosions In The Sky = MoonlitSailor + Do Make Say Think + ThePhotographicI’m not sure what else new I can sayabout Explosions In The Sky. Theseguys have muscled their way to thetop of the post-rock pyramid (orother suitably dramatic structure).Take Care, Take Care, Take Care ismore exhilaratingly typical fare forthe genre. Which is to say that itcan leave you breathless after ridingthe high of build-ups that last sixminutes and cacophonous, melodicreleases that last another five. Echoingoceans of guitar and perfect,thunderous, cymbal-heavy drummingcombine at breakneck speedor in dreamy interludes. The albumclocks in at a little over 46 minutes,and is all of six songs, so it reallybecomes this epic soundtrack whereeach song develops from a relativelyquiet emotional start to a beautifulclimax courtesy of the quartet’smastery of the mini-symphony. Thesingle, “Trembling Hands,” is thedisc’s shortest track and a little morestraightforward than most, but asdrum-heavy and complexly layeredas the rest. I can’t wait to see thisband live. (Pioneer Park: 07.14) –RioConnellyFriendly FiresPalaXL/BeggarsStreet: 05.24Friendly Fires = Duran Duran +Wham + Cut CopyEveryone could use a little morecheese in their diets, and FriendlyFires offers the finest sampling ontheir sophomore album Pala (namedafter the fictional island in AldousHuxley’s final book). The St. Albanstrio looks to the heavy hitters of the’80s and ’90s like ’N Sync, MissyElliot and Bobby Brown. Yes, youread that correctly: the trio has createdtheir own brand of boy band. “LiveThose Days Tonight” kicks off thealbum with a rush of deep, poundingbeats, which give way to a sunnyelectro club anthem. If only one trackfrom the album could receive the ’80sstamp of approval, it would have tobe “Running,” complete with chimingbells and a sharp bass. “HawaiianAir” is drenched in tribal drumming,while “Hurting” is a throwback to’70s disco with a dash of modernity.Friendly Fires has aged this cheeseto perfection! –Courtney BlairHail Mary MallonAre You Gonna Eat That?RhymesayersStreet: 06.07Hail Mary Mallon = Aesop Rock +Rob Sonic + Big WizThe best part about an Aesop Rockproject is that you can tell one amillion miles away, yet they all sounddifferent. Hail Mary Mallon is madeup of Aesop, along with Rob Sonicand DJ Big Wiz. It’s the heavy bassand smooth lines that really givethis album a great listenability. Onone hand, just like all Aesop Rockprojects, it sounds polished and perfect;on the other, it’s almost throwntogether. “Breakdance Beach” is thereal hot jawn on this one, telling thestory of a mythical beach town whereeveryone gets along and the cultureis at large—it’s nice to dream and todo so over a punch, thump-happybeat. The use of sounds in thisalbum is downright impressive—fromdial tones to car horns, it gets used.In all honesty, if you have gone thislong without hearing an Aesop project,get on it. –Jemie SprankleIce AgeNew BrigadeDais RecordsStreet: 06.21Iceage = Joy Division + DNA +2011In the first couple listens to New Brigade,I couldn’t help but let my mindwander back to 7th grade, when thebest part of school talent shows werethe kids making fast-paced, drumheavypunk rock and finding the way,the truth and the light of some ofthe best music on earth. The albumstarts with a 50-second noise trackand settles effortlessly into “WhiteRune” with jagged, distorted guitarsand a lot of tom. After a good sevenseconds of feedback, the title trackstarts off with true punk form. Thereis no denying that these kids listen toand love Joy Division, but instead ofsulking around about it, they madea ferocious album with a raw energyonly high school kids could pulloff. Songs like “Broken Bone” and“Count Me In” stay in the classic punkstructure, and barely slow it downon the last track, “You’re Blessed,”which sounds almost exactly like TheClash, albeit angrier, and heavier.The whole album is only 24 minutes,so if you’ve ever liked punk at all,listen to this. It might be the best halfhour of your day. –Kyla G.Jackie-OMotherfuckerEarth Sound SystemFire RecordsStreet: 05.03Jackie-O Motherfucker = RollingStones – Mick Jagger – KeithRichardsChallenging your audience is onething—giving them absolutely no reasonto listen to your record is another.While Jackie-O Motherfucker comesvery close to the latter on Earth SoundSystem, they actually do manageto make something interesting bytaking the inherent repetition of theblues and extending it to somethingtrance-inducing on “Dedication.”However, the random drums ofindistinguishable companion pieces“Raga Joining” and “Raga Separating”sound like a lethargic vertebrateplaying with a sampler for 17 minutes.Sometimes challenging proves itselfover time to simply be ahead of thecurve. This is not the case with EarthSound System. –Nate HousleyJello Biafra and theGuantanamo Schoolof MedicineEnhanced Methods ofQuestioningAlternative TentaclesStreet: 05.31JBATGSM = Lard – Al Jourgensen+ Bedtime… era Dead Kennedys+ Last Scream of the MissingNeighborsJello Biafra has the most distinctivevoice in punk and his “evangelicalwith-a-bullhorn”vocals have yieldedsome of the most caustic recordsof the genre. Boasting an explosiverhythm section (á la Faith noMore’s Billy Gould), gargantuanriffs (“Invasion of the Mind Snatchers”)and that familiar barn animalwailing, JBATGSM continues heavyon Biafra’s time-tested method of juxtaposingthe sacred with the absurdbeneath a deafening sonic wall. Still,it’s notably streamlined, ditching mostof the space-rock weirdness of yore,and opting for a more focused attack(though the CD version features an18-minute extended Deviants coverwhich sounds like a Monster MagnetB-side). It’s a ferocious five-songEP that’s tight, devoid of filler, andpolitically outraged—but it’s slightlystale and resembles just anotherby-the-numbers Biafra project. Maybeit’s a testament to the dude’s longevity.Or maybe it just means we reallyhaven’t made any political progresssince the Reagan Era. –DylanChadwickLos VigilantesSelf-titledSlovenlyStreet: 05.17Los Vigilantes = Wau y LosArrrghs! + The Oblivians + LosSaicosSomehow, these snotty garagecretins managed to disentanglethemselves from the sinister tendrilsof San Juan, Puerto Rico’s monstrousreggaetón oppressors to releasethis mind-knifing, cerveza-gulpingmasterpiece. Los Vigilantes’ guitaristJorge Mundo played lead on thelast Davila 666 record, and it’sobvious that our heroes take someserious cues from the Davilas onthis LP full of songs about girls andguilt. Growing up in Puerto Rico, asteamy place influenced partiallyby the US and partially by the restof Latin America, seems to havemade Los Vigilantes cling to theirown, strangely unique cultural andmusical identity influenced by heavyhitters from both worlds. They drawas much inspiration from the classicLatin American garage sound ofColombia’s Los Yetis or Chile’s LosJockers (“Me Imagino”) as they dofrom West Coast frat and spookysurf kings like The Sonics or, morerecently, The Ghastly Ones (“AElla”). Occasionally, the driving,melodious punk anthems descendinto weird, Leary-esque wanderingsof hallucinogenic madness á la ThePsychedelic Schafferson Jetplane(“Eres Tu”). Get ready to shake yourculo, punx, because these hijueputasget my vote for the best release of2011. –Nate PerkinsNigeria 70Sweet Times: Afro-Funk,Highlife & Juju from1970s LagosStrutStreet: 05.20Nigeria 70 = Tunde King + FelaKuti + Harry BelafonteWhereas most African music I’veheard from this era generally dealswith serious writing styles and subjectmatter, this collection includes anumber of super care free tracksthat instantly differentiates itself fromothers. This departure is due to tracksfrom bands specializing in a mixtureof highlife, which stresses jazzy hornsand multiple guitars, and juju, adistinctly Nigerian style of64 SaltLakeUnderGround SaltLakeUnderGround 65


popular music that combines funk,reggae, and Afrobeat. I was struck bya couple songs on the album, suchas Moneyman and the Super 5International’s “Life,” that seemed tohave a strange Caribbean feel, albeitlayered with traditional African drumsand percussion. Tunde Mabadu’s“Viva Disco” sounds like The BeeGees gone Afro funk, Soki OhaleUzzi’s “Bisi’s Beat” is straight 70sR&B, and Eji Oyewole’s “Unity inAfrica” expresses the passion of thePan-African political movement of thetime with driving ferocity. Overall, agroovy comp. –Mike AbuProtagonistStatesPaper + PlastickStreet: 05.17Protagonist = Saves the Day +Hot Water Music + YellowcardDeep inside, underneath your SpecialDuties T-shirt, Gorilla Biscuitshoodie or Venom back patch, isthat pubescent soft spot that wouldburn until you masturbated to BrodyArmstrong after Warped Tour. Protagonistreminds us of that area—ina good way. At first listen, Statessounds like another Paper + Plastickmelodic hardcore release that comesacross as emo—the nasal vocalsseem too melodic to really be “punk.”If you spin it a couple times, though,the EP may grow on you. Protagonistshines with their aggressive songslike “Destination Desolation,” whosegang vocals complement the song’spounding guitar chugs. “Sirens”strides with a mean D-beat, despondentlyrics and a catchy breakdown/solo combo. The best approachto peeping this EP: Wait until yourroommates leave and sample eachtrack on iTunes to see which songssuit you … You can unearth your oldBrody poster if you want, too. –AlexanderOrtegaSebastiAnTotalEd Banger RecordsStreet: 05.31SebastiAn = James Brown + DaftPunk + Led ZeppelinWith the release of SebastiAn’s debutalbum, Total, I was reminded onceagain why I trust Ed Banger Recordswith my ears. There are not enoughways, words, phrases or handgestures that could describe the epicnessthat is Total. From beginningto end, I felt like he grabbed me bythe hand and took me on a magicalcarpet ride of bassy epic proportions.It was if the album was a film from the’60s, like “My Fair Lady” or “The Kingand I” with intermissions cloakedas interludes. It was a story of love,passion, desire and really, just life.The sounds, or rather, the synths hechooses almost hold a voice of theirown and when mixed in with samples,it takes on a life of its own. On “Yes,”it feels as if SebastiAn’s led you to aprivate Caribbean island. I would liketo say yes to “Yes” all summer or atleast before it’s overplayed, becausea track like this goes on repeat for atleast a week. SebastiAn showcaseshis endless talents as a producer andmusical connoisseur on this album.On the cover of SebastiAn’s album,Total, he’s shown kissing himself. Inow understand why—if I was thisgood, I couldn’t help but touch myself,either. -Mama BeatzSet Your GoalsBurning At Both EndsEpitaphStreet: 06.27Set Your Goals = New FoundGlory + The Wonder Years + FourYear StrongEven though they’re responsible forthe mostly-horrible resurgence ofearly 2000s radio punk in and aroundthe hardcore scene, it’s hard to hateSet Your Goals—at least, for somepeople. The band’s third full-length isless influenced by hardcore than theirprevious material, but it’s surprisinglyun-shitty. Pseudo-breakdowns filledwith chug n’ stomp guitars and gangvocals still pop up here and there, butfor the most part, this is straightforwardpop-punk. There are somecringeworthy moments (the chorusof “London Heathrow,” the spokenword interlude of “The Last AmericanVirgin” and every single fuckingsecond of “Product of the ’80s”),but nothing nearly as bad as the lastalbum’s Paramore cameo. “CureFor Apathy,” “Happy New Year” and“Trenches” more than make up forthe album’s weaker moments, andthere is definitely much, much worsepop punk out there. Burning at BothEnds probably won’t win back anyold SYG fans, but it is a fun summeralbum that deserves at least a fewspins. –Ricky VigilSol InvictusThe Cruellest MonthAuerbach Tontrager/ProphecyStreet: 07.12Sol Invictus = Current 93 + Deathin June + In Gowan RingThis offering of an epic journey (thefirst album in five years) is Sol Invictus’17th full-length studio offering,The Cruelest Month. Sol Invictus aredescribed as one of the innovatorsof neo-folk or apocalyptic folk, butthe band, helmed mostly by TonyWakeford, is beyond pigeonholingand beyond stirring up the sameemotional response within each listenfor every person that gives it a try.The songs are mostly backed by theloudest sound in the mix: The mightyacoustic guitar/Wakeford’s grizzledvoice (but also accompanied by flute,violin and bass guitar manipulations).They can either derange your mind,giving you the feeling to questioneverything and anything you thinkyou believe in, or just flat out hauntyour mind and draw out differentmoments of contemplative thoughts.There’s a gross myriad of types ofinstruments recorded, ultimatelyending in an album where no onetrack sounds the same. The CruellestMonth is essential for anyone thatstrives to be challenged by the musicthey listen to in the instrumental andlyrical sense (intensely poetic and rifefor interpretation). While at its core,TCM is a pessimistic, dark, sorrowfulalbum. Once you peel back the initiallayers, you’ll be mesmerized andcompelled to listen, and listen more.–Bryer WhartonThurston MooreDemolished ThoughtsMatador RecordsStreet: 05.24Thurston Moore = Neil Young +Lou BarlowEvery few years, Sonic Youth’s leadingman, Thurston Moore, steps awaymomentarily to release a solo albumshowing off his softer side. DemolishedThoughts has Moore teamingup with the producing skills of BeckHansen. Some have comparedthe results to Beck’s Sea Change,which isn’t a bad thing. You won’tfind bold experimentation, blasts ofnoisescapes, or sublime hooks, butthat’s OK. Instead, you’ll find songsthat are universal, timeless, and fullof beauty and reflection with lyricsthat are deceptively complex andtwisting. Every track on DemolishedThoughts unfolds naturally in perfectsynchrony sending the listener downa scenic route with a wise man yougreatly revere. (Pioneer Park: 08.04)–Courtney BlairTyler The CreatorGoblinXL RecordingsStreet 05.10Tyler The Creator = GG Allin +Cage + NecroThe 19-year-old in me is pissed, asusual. Goblin is five years late for me,but that doesn’t mean that I can’t stillappreciate it. Anything that is thisloved by some and so hated by manyis doing it right in my eyes—thinkhip hop GG Allin with a trendy fivepanel. I want to tell you this album isradical and everyone should go pickit up, but that’s not completely thecase. In all honesty, the album as awhole is slow-rolling and a bit long:Like a snuff film, this is not an easysit-through. Songs like “Sandwiches”and “Analog” have lost some serioussparkle and energy in the recordingprocess. However, if you are able topioneer your way through the album,you can find some nuggets of metaphoricalgold. The album is what it is:angry kid music. If you’re still on that“can’t tell me nothing/no fucks given”attitude, this is for you.–Jemie SprankleUnknown MortalOrchestraUnknown MortalOrchestraFat Possum RecordsStreet: 06.21Unknown Mortal Orchestra =Brian Jonestown Massacre + earlyBeckAlbum opener “Ffunny Ffrends” is deceptivelysimple, instantly hummable,and a great introduction to an albumthat revolves around a concept (guitar-basedpsych pop songs playedover tape-deck breakbeats) withoutsounding gimmicky. The band’squirks never overshadow the catchinessof it all, even though the soulinfluence combined with lo-fi guitarpop gives Unknown Mortal Orchestraa faint resemblance to joke-popstersWeen. Just when you’re ready tothink the album’s readily digestiblemelodies sound a bit thin, repeatlistens reveal layers that stick to yourribs. –Nate Housley66 SaltLakeUnderGround SaltLakeUnderGround 67


Friday, July 1John & The Deers, Nathan Spenser &The Low Keys, Hekyll N’Jive, When TheFight Started – Bar DeluxeGlitch Mob, Ballyhoo, The Bastard Suns,Sober Down – ComplexStand Up Like An Egyptian – EgyptianTheaterSoggybone – Hog WallowOld World – KilbyMorrow Hill, Someones Mom – LiquidLovecapades – MuseRoby Kap – Pat’s10 th Mountain – SpurMarc Broussard – State RoomUtah National Guard 23 rd Army Band –Temple SquareFilm: The Breakfast Club – TowerDoomtree – UrbanSaturday, July 2Kinetix, Samuel Smith Band, The Vision,The Brumbies – Bar DeluxeWasatch Roller Derby Picnic Scrimmage– Derby DepotIMPROVabilites – Egyptian TheaterDJ Curtis Strange – GarageBackwash – Hog WallowDoomtree – KilbySpazmatics – Liquid Joe’sTerry Lynn Tschaekofske – Miners ParkSwindlers – MuseSLUG Booth at Farmers Market –Pioneer ParkGirls Guns and Glory – SnowbirdMarinade – SpurFilm: The Breakfast Club – TowerSpell Talk, Max Pain & The Groovies– UrbanThe Brocks, Cody Rigby, Bearcats,Ultraviolet Catastrophe – VelourKarsyn Robb – VerticalFucktards – Willie’sThe StereoFidelics – WoodshedSunday, July 3Soulistics, Fireworks Display – TheCanyonsVoices Of Freedom – Ed KenleyAmphitheaterSalty Streets Flea Market w/ TheSpins and Mountain Hymns (noon),We Are The Union, I Call Fives, Handguns,Blinded By Truth (7 pm) – KilbyArienette, Windwood – People’s MarketFilm: The Breakfast Club – TowerTed Dancin’ – UrbanMonday, July 4Yob, Dark Castle, Eagle Twin – VegasMoto Monday – EsteLonestar, Josh Gracin, The BellamyBrothers, Jared Ashley, Jagertown –Lindquist FieldRotting Out, Expire – Murray TheaterTuesday, July 5Machine Head, A Balance of Power,Reaction Effect – VegasCurse of the North – ComplexSlajo – KilbySugarTown, Triggers and Slips – LibrarySquareOne Voice Children’s Choir – TempleSquareWednesday, July 6DJ ChaseOne2, DJ Godina – GarageSlug Bug, Prince Polo, A SometimesArmy, Mountain Hymns – KilbyHekyll N Jive – Liquid Joe’sHella Air Horns – MusePink Martini – Red ButteHighlights of the Collection Tour – UMFASEND US YOUR DATES BY THE 25 OF THE PREVIOUS MONTH: dailycalendar@slugmag.comThursday, July 7Toad the Wet Sprocket – GallivanStaks O’Lee, Izzy and the Kesstronics– GarageSKPz – Hog WallowHistoria, Redford – KilbyCat Fashion Show – MuseScotty Haze – Pat’sDarrell Scott & The Brothers – StateRoomRed Bennies, Birthquake, Plastic Furs– UrbanStankBot Tyranny – Why SoundFriday, July 8Flourish – AvalonGypsy-The Legendary Musical – EgyptianTheater2 ½ White Guys – Hog WallowYoung Yet Brilliant Sleuths, Merit Badge,Lilly E. Grey, Blood Blue Avenue – KilbySplit Lid, Signam AD, Reaction Effect –Liquid Joe’sJ. Wride, Wild Apples, Bus People,Gigawhat? – MuseRoby Kap – Pat’sSteve McDonald – Sandy AmpitheaterSugarhouse Farmers Market – 2100 S.1100 E.Kelly & Laura Griffiths, All That Jazz –Temple SquareFilm: The Birds – TowerCraft Lake City Reception: Group ArtShow – UAA Main StreetThe Gene Pool – VerticalGallery Walk – Why SoundSLUG Localized: Muckraker, Maraloka,Dwellers – UrbanHappy Birthday Cody Hudson!Happy Birthday Peter Fryer!Saturday, July 9Blackguard – ComplexPaper Bird, Marcus Bently & The Dalles– GarageMarinade – Hog WallowSKPz – Johnny’sMaus Haus, Alpha Syntauri, Grey Bear– KilbyAlt Press Fest – Library SquareSpazmatics – Liquid Joe’sThe Moth and The Flame, Waters Rising,Grey Fiction – MuseMarinade – Pioneer ParkHoward Jones – Sandy AmpitheaterChris Isaak, Blues Traveler – SpringMobile BallparkNatural Roots – SnowbirdFilm: The Birds – TowerMaus Haus, Palace of Buddies, NightSweats – UrbanKenny Chesney, Billy Currington, UncleKracker – UsanaClarksdale Ghosts – VerticalCombined Minds – Why SoundRiksha – WoodshedAndre Williams @ The Garage on 07.22 & 07.23Sunday, July 10Mars, Psycho Jesus, FTL, Miss Kisa,Growroom Family, G.F.C., Dead Poets,Deadwalkers – VegasTime River – Ed Kenley AmphitheaterLady Fest – Free Speech ZoneAvett Brothers – GallivanYourself and the Air, Discourse – KilbyOtter Creek, David Norton – People’sMarketFilm: The Birds – TowerPrincess Kennedy’s “ME!” party –Ulysses GalleryMonday, July 11Flourish – AvalonSecrets and Space Studs – Burt’s23 rd Army Band – Draper AmphitheaterTommy Gunn, Exit of the Envious,Revulla, Secret Abilities, Hello Sky!,Lothariam – KilbyThe 5 Browns – Thanksgiving PointElectric Talk Show, The Flow, Big Ern– UrbanSoundwaves From the UndergroundPodcast – SLUGmag.comTuesday, July 12Alkaline Trio, Smoking Popes – In TheVenueYesway, The Range of Light Wilderness,TaughtMe, Jay William Henderson –KilbyMatteo, La Decollatage – Library SquareTimeRiver – Temple SquareDope Thought, P-Chill, Lumis – UrbanWednesday, July 13Lady Murasaki, Whisperlights, UndergroundCities, I hear Sirens – Bar DeluxeDJ ChaseOne2, DJ Godina – GarageCorey Smaller – Hog WallowLiturgy, Eagle Twin – KilbyGeorgelife, Bloswick, Reaper the Storyteller,Untytled, Fleetwood – Liquid Joe’sUtah Symphony – Sandy AmpitheaterOwl City – UCCU CenterThe Fresh & Onlys, Bad Weather California– UrbanThursday, July 14Purging The Promised Land, CorneredBy Zombies, Dethblo, Deadvessel,Toxic Dose, Brute Force – ComplexSpell Talk, Mighty Sequoya – GarageDrop Top Lincoln – Hog WallowBus People – KilbyDavid Gray – Kingsbury HallBack to the Future – MuseScotty Haze – Pat’sExplosions In The Sky, No Age – PioneerParkMichael Franti & Spearhead – RedButteBen Folds, Kenton Chen – SaltairParty Babes – UrbanOlive Juice, McKay Harris, Bric Slade –Why SoundFriday, July 15Jon B, Heavy Hitter – ComplexGallery Stroll – Downtown SLCTwo Year Anniversary Sale – FreshKnow Your Roots – Hog WallowBox Paper Scissors Fundraiser – KayoGalleryOff With Their Heads, Dead To Me,Riverboat Gamblers, Endless Struggle– KilbyRoyal Bliss, American Hitmen – LiquidRoby Kap – Pat’sHerman’s Hermits – Sandy AmphitheaterBlack Francis – State RoomSugarhouse Farmers Market – 2100 S.1100 E.SunShade n’ Rain – Temple SquareFilm: Godfather Part II – TowerRosebuds, Other Lives – UrbanResistor Radio – Why SoundPhilip Gibbs, Fox Van Cleef, Sam Vicari– WoodshedSaturday, July 16Great American Taxi – CanyonsLarry Hernandez – ComplexGrace Potter & the Nocturnals – GallivanBuddah Pie, Kristi DeVries, SamuelSmith Band, Long Distance Operator,Jeremiah Maxey – GarageLegendary Porch Pounders – HogWallowFaune – Johnny’sNew Years Day, It Boys!, The Material,Goodnight Sunrise, Stereo Breakdown– KilbyAlex Boye – Layton AmphitheaterSpazmatics – Liquid Joe’sLife Elevated – MuseDowntown Farmers Market, Gary Stoddard& The Usual Suspects – PioneerParkJon Schmidt – Sandy AmphitheaterSummer of Death Skate Contest:Pajama Jam – Skate 4 Homies WarehouseChuck Mead – State RoomFilm: Godfather Part II – TowerOrnate Frames – UMFASamba Fogo – UrbanKris Zeman – Vertical DinerWaving at Daisies, Matthew QuenNanes, Lovecapades – Why SoundUncle Scam – WoodshedHappy Birthday Maggie Poulton!Sunday, July 17Inna Vision – Bar DeluxeDavis County Symphony – Ed KenleyAmphitheaterSalty Spokes Ride – GallivanDavid Lane, Semi-Sweet – People’sMarketSharon Jones & The Dap-Kings, BuckwheatZydeco – Red ButteFilm: Godfather Part II – TowerMonday, July 18Anarbor, Valencia, You Me At Six, Conditions– KilbyIndigo Girls – Layton AmphitheaterTim Pourbaix, Will Sartain, Sea Monster– UrbanSoundwaves From the UndergroundPodcast – SLUGmag.comTuesday, July 19Josh Fletcher – GarageDear Hunter, Kay Kay & His WeatheredUnderground, O’Brother, Naïve Thieves– KilbyLyrical Mindset, Hurris & Gig, BurnellWashburn – Library SquareJosh Ritter & The Royal City Band, BlindPilot, The Devil Makes Three – Red ButteShanahy – Temple SquareBlitzen Trapper, Ages & Ages – UrbanDandy Lies, Daffy Dealings – Why SoundWednesday, July 20DJ ChaseOne2, DJ GodinaOnward to Olympus, Before There WasRosalyn, Creations, The Burial – In TheVenueDirty Mittens, Bearclause, SpookyMoon, Boots to the Moon, Fox and theBird – KilbyFilm: The Music Never Stopped – RedButteRebirth Brass Band – State RoomBattles, Birthquake – UrbanJodi James – Why SoundThursday, July 21Lizzy Borden – Club VegasHooten Hallers, Staks O’Lee – GarageJoy & Eric – Hog WallowGenerationals, Garden & Villa – KilbyScotty Haze – Pat’sThe Decemberists, Typhoon – PioneerParkFilm: The Music Never Stopped – CityPark (Park City)Education Open House – SkinworksLeConte Stewart: Depression-Era Art– UMFAHappy Birthday James Orme!Friday, July 22Terry Lynn Tschaekofske – GallivanAndre Williams & The Goldstars, TheRubes – GarageLos Hellcaminos, Ray Rosales – HogWallowPlein Air Art Reception – Holladay CityHallGreeley Estates, The Plot In You,Everyone Dies In Utah, Life On Repeat,Miracle At St. Anna – In The VenueRoby Kap – Pat’sFleet Foxes, Alela Dane, Wild Divine –Red ButtePeter Breinholt – Sandy AmphitheaterFilm: Pee Wee’s Big Adventure – TowerThe Future of the Ghost, The DevilWhale, Spell Talk – UrbanKarsyn Robb – VerticalYYBS, New Heirlooms, Merit Badge –WoodshedSaturday, July 23Anders Osborne – The CanyonsOne Foundation, Natural Roots,Daverse, Makisi, Ak Malianoa, Josh“WaWa” White, David Thomas, KonnekEnt. – ComplexHelloGoodbye, A Great Big Pile ofLeaves – ComplexAndre Williams & The Goldstars, TheRubes – GarageHonest Soul – Hog WallowKozmic, Glow, DJ Italian Sensation, DJRowdy A, Koz, Get Smacked – In TheVenueBrooksley Borne Band – Johnny’sThe Spins, Nathan Spenser & the LowKeys, Blackhounds – KilbySpazmatics – LiquidCJ Boyd – MuseDowntown Farmers Market, The FolkaDots – Pioneer ParkThe Elders – Sandy AmphitheaterDave Alvin, James McMurtry – StateRoomSugarhouse Farmers Market – 2100 S.1100 E.Film: Pee Wee’s Big Adventure – TowerMike Brown Fest – UrbanThe Movement, Pacific Dub – WoodshedSunday, July 24Matisyahu – ComplexPie and Beer Day! – The Beer NutSaddle Strings – Ed Kenley AmphitheaterHellbound Glory – GarageJohnny Durango, Arienette, David Norton– People’s MarketSteve Miller Band – Red ButteJames McMurtry, Dave Alvin – StateRoomFilm: Pee Wee’s Big Adventure – TowerMonday, July 25Dr. Sketchy’s Alt Life Drawings – BarDeluxeRX Bandits, Maps & Atlases – ComplexKaty Perry – EnergySolutionsFight The Quiet, Charles Ellsworth, Runthe Sky is Falling – KilbyOrgone – State RoomSoundwaves From the UndergroundPodcast – SLUGmag.comTuesday, July 26Red Jumpsuit Apparatus, Taddy Porter– ComplexLionheart, I Declare War, Molotov Solution,Armor For The Broken – In TheVenueScattered Trees, Sam Burton, TheWayne Hoskins Band – KilbyIt Foot it Ears, Futr Kids, Nolens Volens– Library SquareAlameda, BottleShip, Wolves and ProjectFilm – MuseJunior Hubrich – Temple SquareRed Dog Revival – UrbanWednesday, July 27DJ ChaseOne2, DJ Godina– GarageTalia Keys, Gemini Mind – Hog WallowAxe Murder Boyz, Mindshot, F.L.O.W.S.– In The VenueRed Rongo, Sally Yoo – KilbyBruce Hornsby, The Noisemakers, BelaFleck & The Flecktones – Red ButteBlackhounds, Mason Jones & SpookyMoon, Small Town Sinners – UrbanTally Hall, Speak, Casey Shea – VelourThursday, July 28Endless Struggle, Against the Grain,Vena Cava – Burt’sNorma Jean, Sleeping Giant, TheChariot, War of Ages, Close Your Eyes,Texas In July, I The Breather, The GreatCommission, As Hell Retreats, SovereignStrength – ComplexJukebox Romantics, Buster Blue –GarageBrian Thurber – Hog WallowThe Dark Past, Freedom Before Dying,Numbered With The Dead, My FinalEstate, DeadGates, Face The Tempest– KilbyScotty Haze – Pat’sEdward Sharpe & The Magnetic Zeros,Entrance Band – Pioneer ParkCornmeal, Elephant Revival – StateRoomGiraffula – UrbanFriday, July 29Cupcake Social – Frosty DarlingLipbone Redding, Lipbone Orchestra –Hog WallowSpy Hop Night – KilbyRoby Kap – Pat’sGrand Opening Event – PhotoCollectiveThe Music of Abba – Sandy AmphitheaterMother Hips, Holy Water Buffalo – StateRoomSugarhouse Farmers Market – 2100 S.1100 E.On The Air – Temple SquareFilm: Jaws – TowerCold Cave, Austra – UrbanJodie James, The Linen Closet FastCompany – Why SoundHappy Birthday Shawn Mayer!Saturday, July 30Alejandro Escovedo – CanyonsButcher Babies – VegasWasatch Roller Derby Picnic Scrimmage– Derby DepotMuckraker, Oldtimer, Jesust – GarageThe Velvetones – Hog WallowTha Show, Hopsin, Prozak, Windchill,Apocalypse, Eli Ace, Young Dymn,2-4-1, Ceonscyde, Jeese James – InThe VenueSofa Sly – Johnny’sStomping Grounds – KilbySpazmatics – LiquidDowntown Farmers Market, MaggieBeers and Julie Mark – Pioneer ParkWhiskey Fish – SnowbirdPride Softball League Family Night– Spring Mobile BallparkFilm: Jaws – TowerJoe Nichols, Lonestar – Uinta CountyFairgroundsFree Form Film: The Land Alone – UMFACornered By Zombies – UrbanMad Max and The Wild Ones – VelourLogan Hip Hop Series #10 – Why SoundSunday, July 31Happily Ever After– Ed Kenley AmphitheaterYoung Dubliners, The Wild Celts, Swagger,Slaymaker Hill, Heathen Highlanders,The Rocky Mountain Irish Dancers– Ogden AmphitheaterJohnny Durango, Utah Slim – People’sMarketLyle Lovett & His Large Band – RedButteFilm: Jaws – TowerPaleo, The Awful Truth, Boots To TheMoon – UrbanMonday, August 1Ludo – In The VenueA Perfect Circle – Kingsbury HallGrey Matters – Tin AngelThe Hague, Michael Gross & The Statuettes,Small Town Sinners – UrbanSoundwaves From the UndergroundPodcast – SLUGmag.comTuesday, August 2This Century, Austin Gibbs, CarterHulsey – The BasementTorche, Big Business, Helms Alee –Club VegasHappily Ever After, Laura Bedore – EdKenley AmphitheaterBonjour Fanny & Nick Neihart – LibrarySquareK. D. Lang and The Siss Boom Bang –Red ButteWednesday, August 3Billy Dean – Sandy AmphitheaterThursday, August 4Slightly Stoopid, Rebelution – GallivanScotty Haze – Pat’sThurston Moore, Kurt Vile and The Violators– Pioneer ParkDavid Mayfield Parade, The Wilders –State RoomPage 9, The Great Valley, Nescience –Why SoundFriday, August 5Deadbolt, Utah County Swillers – BurtsDJ FRESH, Liquid Stranger, Havoc NDeed, Drumlojik – ComplexSmooth Money Gesture – Hog WallowRoby Kap – Pat’sJoshua James, Saydie Price – ProvoRooftop Concert SeriesInfamous Stringdusters, Ben Solee –State RoomDriftless Pony Club, The Moth and TheFlame, Dacia Chant – VelourPick up the new issue of SLUG –Anywhere Cool!68 SaltLakeUnderGround SaltLakeUnderGround 69


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