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VOL. 24 / ISSUE 298 / OCTOBER 2013 / SLUGMAG.COM / ALWAYS FREEslugmag.com 1

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SaltLakeUnderGround • Vol. 24 • Issue #298 • October 2013 • slugmag.comfacebook.com/SLUG.Mag @SLUGMag @SLUGMag youtube.com/user/SLUGMagazinePublisher: Eighteen Percent GrayEditor: Angela H. BrownManaging Editor: Esther MeroñoEditorial Assistant: Alexander OrtegaOffice Coordinator: Gavin SheehanDigital Content Coordinator: Cody KirklandCopy Editing Team: Esther Meroño,Alexander Ortega, Mary E. Duncan, CodyKirkland, Johnathan Ford, Alex Cragun,Rachel Miller, Katie Bald, Liz Phillips,Allison Shephard, Laikwan Waigwa-Stone,Shawn Soward, Traci Grant, Jeff DixonFact Checker: Alex CragunCover Photo: Chad KirklandLead Designer: Joshua JoyeDesign Team: Eleanor Scholz, Lenny Riccardi,Chad Pinckney, Mason RodrickcAd Designers: Kent Farrington, SumersetBivens, Christian Broadbent, Kelli Tompkins, EricSapp, Brad Barker, Paden Bischoff, MaggieZukowski, Thy Doan, KJ Jackett, Nicholas Dowd,Nick KettererWebsite Design: Kate ColganOffice Interns: Carl Acheson, Robin SessionsIllustrators: Ryan Perkins, Phil Cannon, BenjiPierson, Maggie Zukowski, Sean Hennefer,Robin Banks, Timm Paxton, Dylan Chadwick,Eleanor Scholz, Jared Smith, Steve Thueson,Paul Frame, D. Bradford Gambles, Selma Ortiz,Natalie EdwardsPhotographers: Katie Panzer, Dave Brewer,Barrett Doran, Jesse Anderson, John Barkiple,Chad Kirkland, Melissa Cohn, Megan Kennedy,Michael Schwartz, Weston Colton, Jake Vivori,Andy Wright, Gilbert Garcia, Paul Duane, TalynSherer, Robin Sessions, Ceza Dzawala, BenMelini, Martín Rivero, Logan Sorenson, AustinBoyd, Helen Leeson, Jocelyn Bowman, GilbertCisnerosVideographers: Slugger, Brian Baade, BrockGrossl, Candida Duran, Matthew Pothier, PerrylayneDeker-Tate, Andrew Schummer, MitchellRichmondCommunity Development ExecutivesSLUG HQ 801.487.9221Angela Brown:sales@slugmag.comJohn Ford:johnford@slugmag.comNate Abbott:nate@slugmag.comTim Kronenberg:tim@slugmag.comMarketing Manager:Karamea PuririMarketing Team: Ischa B., Sabrina Costello,Kristina Sandi, Brooklyn Ottens, AngellaLucisano, Nicole Roccanova, Raffi Shahinian,Victoria Loveless, Zac Freeman, Cassie Anderson,Cassie Loveless, Shley Kinser, Matt Brunk,Robin Sessions, Carl Acheson, Chandler Hunt,Anna Johnson, Kate ClarkSocial Media Coordinator: Catie WeimerDistribution Manager: Eric GranatoDistro: Eric Granato, Tommy Dolph, TonyBassett, Nancy Burkhart, Adam Okeefe, RyanWorwood, John Ford, Matt Pothier, Phil Cannon,Tim Kronenberg, Justin Nelson-Carruth, XkotToxsik, Nancy Perkins, Nate AbbottSenior Staff Writers: Mike Brown, MariahMann-Mellus, James Orme, Lance Saunders,Bryer Wharton, Peter Fryer, James Bennett, RickyVigil, Gavin Hoffman, Esther Meroño, RebeccaVernon, Jimmy Martin, Ben Trentelman, PrincessKennedy, Sean Zimmerman-Wall, Cody Hudson,Shawn Mayer, Dean O. Hillis, Chris Proctor,Alexander Ortega, Jeanette D. Moses, MadelynBoudreaux, Gavin Sheehan, Megan Kennedy,John Ford, Cody Kirkland, Ryan Hall, Ischa B.Monkeys with Computers: Brian Kubarycz,Some Cop Dude, Nate Housley, Dylan Chadwick,Mame Wallace, Tom Winkley, HenryGlasheen, Kia McGinnis, Lauren Slaughter,Gregory Gerulat, Timo H., Alex Cragun, KendalGillett, Alex Springer, Brinley Froelich, Justin Gallegos,Scott Farley, Steve Richardson, LeAundraJeffs, Steve Goemaat, Christian Schultz, MattBrunk, Jordan Deveraux, Rebecca Frost, MikeyRiedel, Tim Kronenberg, Amanda Rock, RandyDankievitch, Michael Sanchez, Adam Fratto,Julia Sachs, Jamie Smith, CJ Morgan, AllisonShephard, Blake Leszczynski, Ashlee Mason,Eric Norris, Nick Kuzmack, Nancy Perkins,Samuel Hanson, Karamea Puriri, Katie Bald,Kamryn Feigel, Rheanna SonnichsenSLUG Magazine’s Official Podcast:Soundwaves From The UndergroundHost: Dan NailenProducer: Gavin SheehanExecutive Producer: Angela H. BrownAssociate Producers: Esther Meroño,Alexander Ortega, Dan NailenAbout the Cover: SLUG’s Nate Abbott lent us his vest, Michael Fitches did some last-minute heat transferringto create Jesse Cassar’s Shred Shed back patch, Teresa Spas of Tissu sewed it on, Chad Kirklandcaptured the energy of the venue, and Lead Designer Joshua Joye made sure it would fit on the page for thiscover shot. Check out the story by Alexander Ortega on pgs. 36–37.DISCLAIMER: 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 itis not our fault if you don’t like people. Content is property of SLUG Magazine. Please do not use without permission, orwe will hunt you down and make you pay for your sins. Now that’s a promise.Contributor Limelight: Rachel Miller – Copy EditorRachel Miller joined the SLUG copy editingteam in June of 2012, and ever since, shehas duly annihilated every misplaced commaand unnecessary apostrophe in her path! Inaddition to her dedication to proper grammarand the magazine’s fluid readability, Rachelhas goes beyond mere “punctuation,” asshe “punctually” arrives to each and everymeeting 10 minutes early—she even poweredthrough a nasty cold on a Sunday to lend herkeen editing skills. Rachel graduated with aBachelor’s in English from Earlham College,which is a small liberal arts school in Indiana,and also enjoys singing, reading comicsand rompin’ on post-apocalyptic mutants in Fallout 3 and Fallout New Vegas. To boot, she’s alwaysrocking stylish, goth-y outfits and jewelry, and adds a witty and sarcastic sense of humor to copyediting meetings amid consistent streamlining of Mike Brown’s grammar. With music faves rangingfrom VNV Nation, Depeche Mode and Tom Waits, Rachel fits right in on the SLUG team!4 SaltLakeUnderGround slugmag.com 5

Dear Dickheads,I have heard various complaints on howthere is not enough touring “Gothic” or“Industrial” music acts, and I find myselfwondering if these hermits live undera rock. In the last two months, I havegone to three shows, all of which havehad a turn out, of around 30 peopleor less. I have seen people promotingand the ads in the local magazines, so Iknow it is not due to lack of awareness.I do realize that some of them had toclean under their couch cushions toget change for their tickets to see his“Highness” Peter Murphy but theseother acts are usually under 15 bucksIt is quite possible that some of thesepeople do not know these acts becausethey are programmed to the same thirtytracks they have heard every time theyhave gone out to the club(it is almostpredictable which song will be playednext) for their weekend ritual of alcohol,exercise and debauchery. I believe thatthey just need to open their minds, orneed to hear something new, as musicevolves at a very quick pace thesedays. Look, I understand that everyoneenjoys the classics by Sisters ofMercy, Skinny Puppy, and Siouxieand the Banshees, and people canbe a “creatures of habit” but peopleare missing out on the new gothic andindustrial sound of music that is outthere now. The oldies are being played,over and over, with rare opportunityfor the fresh new track. It does not takea rocket scientist to understand that a“scene” with no progression ages anddies. –Life SupportDear Laugh Support,I don’t know if you know this… but goth is actually (gasp!)the COOL thing right now! The20-something hipsters havebeen all over this shit—theTRVST show packed Urban, andindustrial robot/man Author& Punisher made a full-housecrowd his BITCH at Bar Deluxeearlier this year. Where wereYOU? Here’s a tip: Stop hangingout in your dungeons readingLautréamont, get crunk at Twilight,put on your rubber leggingsand get way down with dryhumping. THEN you’ll be a realgoth and know what’s up.XOXO, SLUGDear dickheads, I was in slc todayand wanted to get a july issue ifslug. But alas and alak, it be august.Anyway can I convince someone thereto send me a july issue, you know theone you have laying on top of the pileover in the corner? Prettttty please, andI thank u in advance. Let me know whatI need to make this dream come true.Thank u, elise wilding.Dear Elise Swilling,Are you sure you forgot to pickup the July issue—the BeerIssue? Judging by your pirategrammar, you hit the beer trail alittle too hard. Did you try everybeer and brewery we reviewed,wake up in August and thendrunk-text us because you lostyour copy of SLUG? Sorry wetook so long to respond, butwe figured we should let youdry out a little before sendingyou something you’d just loseagain. In the future, either get asubscription in the merch sectionof our website, read the archivedissue online or seek treatmentfor your drinking problem sothis doesn’t happen again.XOXO, SLUGFAX, SNAIL MAIL OR EMAIL USYOUR LETTERS!Fax: 801.487.1359Mailing Address:Dear Dickheads c/o SLUG Mag351 Pierpont Ave. Ste. 4BSLC, UT 84101or dickheads@slugmag.com6 SaltLakeUnderGround slugmag.com 7

inSLUGramPhoto: Jeremy AndelinThe homies mob deep on the rough side of the tracks.“This was the second Summer ofDeath I have been to, and I wasdisappointed that we didn’t go tomore spots. However, it is one ofthe best comps out there … I wasreally excited, initially, because theywere keeping the spots secret andthat added to the anticipation of thewhole event.The first spot we went to wasinteresting, but it lacked the abilityto be skated by all skill levels. Thesecond spot, however, was moreopen. The gap was almost anaccidental find when we were onour way to the train, and it could’veproduced some good tricks untilsecurity called the cops on us.This pushed the competition out andon to the TRAX to find the next spot.We stumbled upon a freeway rampthat was just waiting to be destroyed.Within minutes, bangers were goingdown, Cameron and CarsonParkinson tail dropped andnosepicked into this massive bankwith Nate Brown right behindthem. Some gnarly slams went down,and then everyone mellowed outand hung out for a while. The cloudsbegan building and we could tellthat rain was imminent as everyoneheaded off for the last spot. Whenwe arrived at the manual pads, itquickly became a snake run, andthere were 20 people going at once.The rain began to fall, but peoplewere still throwing down hammers.This photo is cool because itcaptured the ‘never give up’ part ofskateboarding. Even though it wasraining and we had already beenkicked out of two spots, everyonewas stoked to keep on pushing. Thiswas right before we headed overthe Jersey barrier under the bridge,and I think that this last stop wasprobably the most fun for everybody… I’ve never seen so many tricks godown on a Jersey barrier in less time:Tanner Oliver was getting bluntpull outs, George Martinez wasgetting buck with a front 50-50 270out, and Aiden Chamberlain gotnext level with a back smith 270 …Hitting the streets with your homieshas always been an essential part ofskateboarding, and this competitionhas been able to capture that.”–Jeremy Andelin, @I_Push_WoodJeremy Andelin is the winner ofour 14 th Annual Summer of Death:Roughside of the TRAX Sponsored byScion Instagram photo contest, incollaboration with INI Cooperative.Follow us on Instagram @SLUGMagto find out more about our upcoming#inSLUGram contests and getfeatured in the mag! Read more onSummer of Death, pgs. 39–40.8 SaltLakeUnderGround slugmag.com 9

LOCALIZEDBy Henry Glasheenhenryglasheen@msn.comPhotos: Helen LeesonDark and gloomy doom is the order of the day onOct. 12. Come chill with the heavy, meandering dronerock of Dustbloom, and meditate with the melancholicvibes of Light/Black. Before all of that, get your grooveon with the driving jam punk of openers Baby Gurl.Tickets are just $5, and the 21+ show starts at 9 p.m.at Urban Lounge, brought to you by Bohemian Breweryand hosted by SLUG’s Ischa B. If you are immobileor underage, be sure to catch the show on gigviz.com.When the members of Light/Black talk about theirorigins, everything seems to circle around a singlecouch. Everyone agrees that Carri Wakefield(bass/vocals) was the first one to stake out her spaceon the couch, writing fragments of new material on anacoustic guitar. “I’ve played in previous bands whereI sang or I played bass, and I was kinda taking abreak from being in a band. I decided to [play again]because I was bored and wanted to and missed it—towrite some acoustic folk songs, like ‘singing aroundthe campfire’ kinda stuff,” she says. As the materialmatured and grew more refined, however, Wakefieldfound herself getting drawn back into writing musicmore seriously. Nowadays, Light/Black sounds like amix of drone sound textures with a sludgy sense ofmelody.Levi Lebo (guitar) joined her on the couch soon afterhearing that early material, offering encouragementand helping her to explore this new musical space.Her close friend, guitarist Danielle Marriott, laterjoined in, Joshua Asher (drums) filled out the lastspot on the couch and in early 2012, they decided to(L–R) Levi Lebo,Danielle Marriott,Carri Wakefieldand Joshua Asher exude asludgy sense of melody in theirfolk-turned-rock music.take Light/Black more seriously. “The real push is tohang out with buddies,” says Wakefield. This casualapproach drives the band in a very real way. By nottrying to take themselves too seriously, the band hasfound it easier to relax and play music that speaksto them directly. “It’s funny when you play in bandsand you really try to push it, and then that just doeswhatever it does and then ends,” Lebo says, “butwhen you’re ready to just be on the couch and not tryto push it, it’s so good that—” Asher cuts him off tosay, “It gets you off the couch.”The band tries to avoid pretense in describing theirsound, preferring to simply refer to themselves as“loud.” They shy away from being categorizedin specific genres, describing the project as darkfolk—a response to their mellower, more minimalistrock style. This simplistic, no-frills attitude seems toremind them of their humble beginnings: a couch-bornband without dreams of stardom, only a will to createsomething meaningful, personal and fun. Lebo sayshe would prefer people to listen closely to their lyricsrather than for the markers of a particular musicalstyle. He says, “I would love it if someone said, ‘Thisline in this song was really awesome.’ Most peopledon’t say that. As much as people listen to and relateto lyrics, a lot of the time they’re just ignored.” Theentire band collaborates on lyrical content, so thelyrics are especially important to everyone.Talking about their experience playing in Salt LakeCity, the subject of Ogden rises almost unconsciously.Their show at the Sand Trap on Aug. 17 seems tohave gotten them thinking about the city and itspotential future as another major music town in Utah.“We had a lot of fun playing at the Sand Trap, andI would play there again anytime,” says Asher. Theyseem confident that with more aggressive promotion,Ogden could easily support a big, successful musicscene. Lebo says, “We would like to see more ofthat in Ogden. We’d like to see more bands play outthere. They have a great all-ages scene that I’d liketo play for.”When they look beyond Utah, touring seems morelike a vague inevitability than anything else and theyare simply waiting for the right moment to do a quickWest Coast tour. Light/Black released their self-titledalbum on May 24, and the band is now focused onwriting and recording new material with the aim ofreleasing another album in the near future. Marriottnoted that the band already has new songs written,and are working on more, saying, “At our CD releaseshow, we played two songs that weren’t even on thealbum.”The members of Light/Black seem content with theproject as it stands and appear confident movingforward with new material. To them, writing musicmeans more than just putting together songs andconstructing melodies: Working together with friendsto create something fun and personal drives everyonein the band to keep working hard. “All I want to dois hang out and write things that I like to listen to,”says Lebo with a nod. “I think that’s the most importantthing.” Wakefield agrees, saying “As long as we canplease ourselves and write music we want to listen to,we’ve accomplished our goal.”Be sure to check out Light/Black at lightblackband.bandcamp.com and catch them at Localized!Sometimes a music project is too important to simplyabandon. With long stretches of band roster difficultiesand other frustrations, Dustbloom could have easilybecome a minor footnote on the pages of Salt LakeCity rock history, but Ian Cooperstein (guitar/vocals) and Cameron Jorgensen (drums/keys)kept the dream alive. The duo met playing togetherin Arches, forming a connection almost immediately.“Compared to the other guys in the band, me andCameron were closer in age,” says Cooperstein. “Wehad different goals. We wrote awesome music, butit was a little strenuous.” He describes the gradualdisintegration of Arches in plain, pragmatic terms.With half the band leaving to return to school,Cooperstein and Jorgensen decided to write andrecord an acoustic album.Of course, they never ended up finishing it. “We wereauditioning people, and we ended up settling on acouple of guys for about a year who didn’t necessarilyfit,” says Cooperstein, shrugging his shoulders, “but ithelped us at least get out there and play shows anddo music.” Their year of playing shows in the valleyhelped them to get a handle on gigging in Salt LakeCity, making mistakes and learning through trialand error. Soon, it was back down to Coopersteinand Jorgensen again—but this time, they decided tokeep an eye out for hardcore, dedicated musicians.Chris Peterson (guitar) joined the band aftermeeting them at Musician’s Friend. “We just sawhim walking around, wearing a lot of cool shirts,”says Jorgensen with a grin. They bonded over ashared interest in heavy music, discovered that theyloved a lot of the same albums and, after a briefaudition, Peterson cemented his place in Dustbloom.Now all they needed was a bass player. Theband held auditions and briefly fielded a series ofreplacement bassists. “I was holding out for Jensen,”says Cooperstein. “There was no doubt that this dudewas going to be able to do it if he wanted it.” ChrisJensen (bass) took the invitation, and he constantlybrings his classical music training and technical talentsto bear when writing for Dustbloom.Today, the band plays a loud, heavy style of postmetalthat’s full of lush soundscapes and is rich indynamics. While they could have continued with theiracoustic sound, Jorgensen pushed for a little moreheaviness as the band developed. “I just love playingheavy music live. I get way more into it. It gets myblood pumping.” He says he’s always been hyperand that playing fast and loud helps him channel thatenergy into something constructive.Dustbloom recently played Crucial Fest, one of Salt LakeCity’s premier music festivals for local bands. “I loved thewhole experience,” Peterson says. “Salt Lake has greatunderground music, but it was nice to see a festival-typeenvironment for it and to have everyone come together.”That sense of local pride gushes forth from everyoneinvolved in the project. When asked about other showsthey’ve enjoyed, they mention a series of house showsthey’ve played. “The house shows are fun because you’llget, like, 150 people crammed into one room, and thefeeling is a lot more intimate,” says Jorgensen.(L–R) Ian Cooperstein, CameronJorgenson, Chris Peterson and ChrisJensen come together to create aheavy style of post-metal full of lushsoundscapes.In the eight months since the official lineup solidified,the band has been hard at work making up for losttime. “This is kinda what we wanted Dustbloom to bethis whole time,” says Cooperstein. “Before, we werejust writing stuff that was all over the place, and nowthere’s a cohesiveness.” Utilizing Jensen’s Red LightRecording studio, Dustbloom have found it easierto channel their creativity, and with all membersof the band contributing to the songwriting, theircompositions have gotten much deeper and morecomplex. “The original split we recorded with Huldrawas basically just me and Jorgensen recording demosat home,” says Cooperstein. It wasn’t easy to make thejump to a full-length, but you can tell that the band isproud of what they’ve been working on so far. “Musicisn’t something we just throw out there,” Jensen says.“We have to really put in the work. We have to feellike we’re progressing. There’s no point unless you’removing forward.”Their plans for the future are ambitious: “More shows,more writing,” says Peterson. “Honestly, I wouldn’tbe surprised if we had another release out a yearfrom now. Maybe an EP or even another full-length.”They’re even hashing out the details for a brief WestCoast tour to support the upcoming album.Being a band isn’t all groupies and label deals. ForDustbloom, it’s been a constant uphill battle to keepthe band together. This band has worked hard to getto where they are today, and each member exhibitsa rare and enduring passion for the music they write.Keep an eye out for their new album this fall, followthem at facebook.com/dustbloom, and be sure to checkthem out at Localized on October 12!10 SaltLakeUnderGround slugmag.com 11

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By James Bennettbennett.james.m@gmail.comPhotos: Jake VivoriWhen I transferred from Arizona State up to the Universityof Utah in 2001, one of the first things I did wasseek out good pizza. The shock of living in a new placeleft me in need of comfort, and pizza had always beenmy go-to comfort food. Everyone I asked had exactlythe same answer: a basement restaurant that had longbeen the favorite of U of U students and staff—The PiePizzeria.The original Pie Pizzeria location opened in 1980 inthe basement under the University Pharmacy (1320 E.200 S.). For over 30 years, it’s consistently been votedamong the top local pizza joints by newspaper andmagazine reader polls throughout Utah. This popularityhas allowed it to expand to other locations, includingMidvale, Ogden, South Jordan and a separate delivery/take-outlocation on 1300 East, near the originalspot. In just one generation, it has become a Utah pizzainstitution.Why is it so popular? Well, one reason is size. Theirlargest pizza measures an industrious 23 inches andboasts of feeding 10 to 12 people. And it does—partlybecause of its sizable diameter, but also because of thedensity of the quality cheese and toppings that completethe massive pies. If you don’t need to feed anarmy, do not fret—they can still help you. They havethree other sizes that range from 12 to 16 inches.Where time-proven pizza options like plain cheese orpepperoni are available, one would do well to strayfrom the norm and dig into The Pie’s specialty menu.My go-to specialty option is the Stromboli Pie ($12.99– $33.99). The Stromboli starts with a hearty crust(somewhere between thin and pan style) topped with ahouse pizza sauce and piled high with a savory blendof pepperoni, sweet onions, green bell peppers, Italiansausage and mozzarella cheese. The sheer amount ofmeat and cheese atop this one borders on obscene,and I have yet to be able to eat more than two slices.That being said, it is truly a wonderful pie. The layer ofveggies cuts some of the richness of the meats, and thecrispness of the crust stands up to the weight of what’son top. Occasionally, I’ll change things up and swapout the peppers for green olives. The end result is a littleextra salty, but it brings a serious South American flairto the pizza experience.As epic as the Stromboli is, there is the need for alighter side of the menu. This past summer, the restaurantadded a new pie to the menu called the HolyShiitake ($11.99 – $15.99). This pizza cut some of itsgirth by starting with an extra-thin crust and a basilpesto sauce. It is topped with oven-roasted chickenbreast, the one-two punch of shiitake and champignonmushrooms, Sicilian-spiced tomatoes, roasted garlicand mozzarella cheese. A light drizzle of truffle oilis added at the very end. People can be reluctant tosample the lighter fare from a place that specializes inheavier cuisine, but this is an occasion where it makessense. The Holy Shiitake is a stellar pie. The mushroomsare perfectly cooked, the tomatoes and truffleoil add a rich level of sophistication and the chickenadds a familiar depth of roasted flavor. The thin crustis the perfect medium to tie it all together.As one of the most popular restaurants in the state, itwould be easy for The Pie to rest on its laurels. Thankfully,they still attempt to reach out to a diverse customerbase. One way they do this is by catering tothe vegetarian and vegan communities. With over twodozen non-meat toppings to choose from, vegetarianshave never had a hard time at The Pie, but with cheesebeing such an integral part of the pizza experience,vegans have been left with few options. In the last fewyears, The Pie has made available a brand of nondairycheese called Daiya. They could not have madea better choice. In addition to being completely vegan,Daiya cheese melts perfectly, tastes much like standardmozzarella and allows those who don’t consume animalproducts to experience the pizza in all of its glory.If you’re vegan-curious, try the dairy-free version of theCheese Pull-A-Parts—a 14-inch pizza crust stuffed withDaiya cheese, brushed with olive oil and sprinkled withgarlic and oregano ($7.99). These stuffed breadsticksare served with extra pizza sauce for dipping. The Pienow carries gluten-free dough as well, which makeseating at The Pie a possibility for almost everyone.As you venture to one of The Pie’s several locations, bemindful that it’s a busy and popular place. It can becrowded on the weekends, especially if you go in theevening. This may result in having to wait for a tableand can even mess with delivery times, but once youget your order, none of this matters. The Pie will fill youup in a cozy and relaxing atmosphere. If you’ve neverbeen, or if it’s been a while, do yourself a favor andstop in soon.The Pie Pizzeria’s Holy Shiitakerepresents a lighter side of themenu while still holding up tothis Utah pizza establishment’squality standards.The Pie Underground1320 E. 200 S.Mon – Thurs, 11 a.m. – 1 a.m.Fri & Sat, 11 a.m. – 3 a.m.Sun, Noon – 11 p.m.The Pie Delivery Salt Lake275 S. 1300 E.(Take-out and delivery only)801.582.5700thepie.com16 SaltLakeUnderGround slugmag.com 17

dEsIgNiNg( )XBehind the ScenesBy Ben Trentelman • bdkt0@yahoo.comXJoe Rogan has a great stand-up bit on technologyabout how none of us truly knows what goes intothe functionality of the things we use. He paintsa beautiful picture of a time when all engineerssuddenly vanish and a bunch of schmucks are leftstanding around trying to figure out how to keepthings like the Internet or electricity working, withlittle technological savvy beyond hitting the powerbuttons on their remotes. I think you could easilysee a similar situation unfolding in the event of thedesigners of the world suddenly disappearing.What would things look like? How would they work?Everyday items, like phones, toasters and bathmats,which we all unassumingly use daily, would ceaseto exist in the user-friendly and attractive naturethat we currently enjoy them. This is where Salt LakeDesign Week comes in: to show us what it actuallytakes to design a building, snowboard or bathmat.“Design Week was started in 2011 to create acommunity of sharing connections among designers—and to show what is happening in architecture,interior design, product design and graphic design,as well as sharing these ideas with the public,” saysSalt Lake Design Week Chair Robyn Erkelensabout the upcoming event from Oct. 14–19. Thisyear’s event is organized and hosted by membersof the Salt Lake chapter of AIGA, the professionalassociation of design, along with local designersfrom companies that specialize in everything fromoutdoor gear (Backcountry.com), letterpress design(The Mandate Press) and architecture (Meld Design).Design plays a major role in how we use everydayitems and how we decorate our lives. Witheverything this encompasses, people should havea better understanding of what goes into the thingswe utilize and depend on, or even what we usejust to express ourselves. Everything around us,from the landscaping outside your building to thecoffee mug in your hand, began as an idea of orwas influenced by a designer.“We only notice when there is something wrongwith a produc—as a designer, you don’t reallywant people to notice the design in somethingthey are using,” says Erkelens. “People want a toolthat works properly, and they don’t want to thinkabout it.” This is where Design Week strives to makeconnections for everyday consumers. Throughoutthe week, showcases, workshops and lectureswill aim to inspire and inform in different designmediums, such as product design—there is evena workshop on how to design and build your ownlamp.With the resurgence of DIY culture and recreationaldesign, Design Week is well timed, and a greatvenue to inspire individual creativity, playing wellinto a growing culture of design in the city. “Thereare a lot of great things happening in Utah and SaltLake City. Adobe, The University of Utah and BYU’sdesign programs, and architecture are growing andimpacting the community,” says Erkelens. “Evenevents like Craft Lake City give designers who maynot have any formal training an opportunity toshare their ideas or to inspire others, as do siteslike Pinterest.”Salt Lake Design Week 2013 will feature severalevents at venues spread throughout the valley overthe course of Oct. 14–19. The opening night willfeature “PechaKucha Night SLC” at the State Room.This is a showcase of designers from around theglobe who are each given 20 slides, to show over20 seconds, representing several different designmediums. Closing night, which will be hostedby the Atlas Architects at Nobrow Coffee, willfeature gourmet s’mores, finger foods and coffeecocktails (even the food you consume is designermade!),while those in attendance enjoy the viewof a distinct canopy designed by University of Utaharchitecture students.Several of the plans and events for Design Weekare still underway, but you can find updatedinformation on workshops, the schedule and venuesonline at sldesignweek.org, as well as facebook.com/saltlakedesignweek and on Instagram@saltlakedesignweek.Hopefully, after attending, you will take an extramoment to pause and appreciate the amount ofwork and thought that went into creating a designthat is attractive, easy to use, and fits perfectly intothe patchwork collection of kitchen appliances youuse when plugging your ergonomic blender intoyour Victorian-themed outlet.(L–R) Andrew Branch,David Morgan, Patti M. Cook, Tristan Shepherd, NathanSmith, Gary Vlasic, Robyn Erkelens, Candice Holman, Warren Lloyd, Tyler Bloomquist, ElpithaTsoutsounakis are all part of the team putting on Salt Lake Design Week this year.Photo: Lm Sorenson20 SaltLakeUnderGround slugmag.com 21

Illustration: Paul FrameWorking Dog is an unofficial fixture of the Universityof Utah’s highly ranked graduate creative writingprogram. Named after the phrase “working like adog,” the premise is simple: a once-monthly eveningof art, wine and students reading material from theirportfolios. Created in 2000 by then PhD student JeffChapman, the group has grown from a ragtagband of exhausted grad students to a funded andsanctioned extension of the graduate program.I was first made aware of the Working Dog seriesby Professor Kathryn Cowles, author of Eleanor,Eleanor, not your real name. She gave extra creditto those of us who attended and wrote about theexperience. My first reading was the October ScaryDog, a night whose theme contains disconcerting andjarring horror. At 19, I was mostly excited about thefree booze and pretending to be an adult, but, afterhearing someone recite a short story about killing aSaint Bernard and sewing himself into the carcass,I was hooked. I felt sick after the story, like Gutsby Chuck Palahniuk sick, like The Exorcist sick.“They’re not all spooky,” says Andy Farnsworth,the 2011-13 director of Working Dog and a PhDstudent at the U. “They’re about murder or some sortof social infraction. It’s funny to see what people comeup with and what people think is scary … It’s a goodchance for people to show the theatrics behind theirwork.” I had never been to a legitimate poetry readingbefore that night (coffee shop readings don’t count),True Horror:Thirteen Years OfWorking DogBy Alex Cragun • grant.cragun@gmail.com_________________________________________________and I was quickly sold on the importance of poeticperformance.Not all of the Working Dog readings are about guts,ghosts and violence. Most of the monthly readings—held during the fall and spring semesters—arewithout a theme and allow students to perform15–20 minutes of their material. Farnsworth saysthat even though the group is independent of thegraduate program, the U’s English department sendsat least one or two delegates to each meeting toobserve. Students aren’t looking for approval of thefaculty or a grade at Working Dog, just the approvalor condemnation of their peers.“Scary Dog is a rapid-fire reading [of five-minuteperformances] ... So you’ve got folks who are like,‘Well, I have to pick a page or section of somethingthat may or may not be scary, but I take it out of contextand no one knows what the fuck is happening,” saysMeg Day, a PhD student and the 2013-15 directorfor Working Dog. Day feels that even though visualformats like movies have taken over as the primarymedia for horror, the written word of horror doesnot have to match the intensity of visual media toconjure feelings of true horror. “The expectationsof the horror genre are mapped out in film. Whatmakes things like the Working Dog great is it showssomething broader—the space of not knowing,horror, confusion or terror. This is how much broaderit can be,” saysFarnsworth. “I lovefilm—I’m not trying to talkfilm down—[but] there are thingsthat work in the novel in a different way.Like, when you live with the horror in a novel,it’s for weeks—it’s not a two-hour thing. You live theheadspace of this insane or depraved person, whereaswith a movie, you’re in and out.”For Farnsworth and Day, Working Dog has provideda community and an audience for their work, bothas writers and performers. “I have to have the sheerthreat of humiliation of reading in front of a group andmaking them feel uncomfortable or making myself feeluncomfortable to really know what I’m doing. I try towrite on my own and I try to revise on my own and I’mterrible at it, unless I have other people there to shameme or applaud me,” says Farnsworth.Day, who is originally from Oakland, Calif., initiallyfelt put off by the lack of diversity in the Working Dogcontributors, but has since seen both its audience andreaders become much more diverse in every sense ofthe word. Day says that when she first came to Utah,she felt uneasy about the political culture surroundingthe creative writing program. After attending her firstWorking Dog, however, she was greeted warmly bythe community, mitigating her initial uncertainty. Daystated that Working Dog, unlike the Guest Writers Seriesand the City Arts Program, is a much more accessibleavenue for the public to get involved in creative writing.“There aren’t a ton of venues for literary expression,”says Farnsworth. “[Working Dog] reminds me what itfeels like to bond as a writer.”You can attend Scary Dog on Oct. 25, at 7 p.m. atthe Art Barn. For more information about the group, orto find a way to get involved, email wrkngdg@gmail.com or find them at facebook.com/w.orking.dogg.__________________________22 SaltLakeUnderGround slugmag.com 23

Sup witches!By Princess Kennedytheprincesskennedy@yahoo.comPhoto: Jake VivoriWho in their lifetime hasn’t wished theyhad magical powers? To be able tofly or ace school without ever doinganything, to obtain independentwealth, or maybe to find the perfectromance? Whatever your fantasy was,I wished to be a witch.When I was a child, my mom pulled out all thestops on All Hallows’ Eve with her own perfectlyspooktacular witch costume––I’m talking badass witch.She had the prosthetic nose, arborescent fingers, greenface, flowing black ensemble, hat, broom––all of it.As I grew into a teenager and started finding my gothside, my friends and I would go to Memory Grove tothe Witches Cabin where the Spirit Tree is located andbuild altars of flowers and fruit, burn incense, lightcandles, and, on occasion, when we felt really brave,we’d break out the Ouija board. For you mere mortalsnot in the know, the Witches Cabin is a broken-downcabin about a five-minute walk up the wooded pathof Memory Grove. Within the circumference of thestructure is a lone tree that is said to be linked to thenatives who once inhabited our city.I was never able to find out who the cabin originallybelonged to, and it seems unlikely that when theybuilt this cabin, they left a sacred tree standing inthe middle of it. However, every city has to have anurban legend about a house, hill or gravesite to giveteenagers something to do, and that is just what ourWitches Cabin is. Its paranormal beginnings startedin the ’60s with the hippies, and has provided aplayground for countless adolescents to get their acidtrip on since then.It is said that you can go to the cabin at sunset totake photographs, and orbs appear in the photos.Another legend is that a bride who was supposed toget married at the reception center in the park met anearly demise and will appear in the twilight photos. Ithink that they have only been doing weddings theresince the ’60s, so it is my guess that she is roaming theearth, pissed about her hideous 1970s wedding dress.Utah has a real connection to the occult––unmistakablelinks that, no matter who you are, directly tie us to thewonderful, wacky world of witchery, especially thosewho were raised Mormon. Our dear founder, JosephSmith, was a seer, revelator and scryer. At the time,it was perfectly acceptable to wield a couple stonesaround and translate ancient documents, and thekinda creepy part is how he and others could be right.Back in the day, all around that region of New York,these seers were hired to seek out treasure buried allover by ancient peoples, and somehow a chosen few,including Smith, were really good at finding it. Ourother unmistakable link, one that can impress the mostjaded, is the one and only Stevie Nicks, who livedhere during her teen years, spinning her magic shawlsthrough Salt Lake.I went on a witch-hunt to see what our modern-daycoven options are in the Salty City, and, as it turnsout, we have our very own one-stop pagan shopcalled Crone’s Hollow. Located at 2470 S. MainSt., they have everything one would need, fromstorefront goodies, a library, rentable meeting spacesto a myriad of weekly meet-up groups popping in,consisting of psychic readings, social gatherings andmagic studies. Check them out online at meetup.com/salt-lake-witches.I wanted to find some Halloween witch fun, so Ilooked to my friend, Trisha McBride. McBride isa yoga teacher, master belly dancer and altogetherpagan goddess who puts the chic in psychic. ThisHWIC (Head Witch In Charge) was involved withthe larger pagan communities of the East Coast, butsince moving to our state, fancies herself as more ofa solitary practitioner, weaving her spells through themagic of dance.Three years ago, she saw the need to start a WitchesBall, something that would be more of a raw partythan some of the black hat societies—and a lot moreadult than the Halloween witch events thrown atThanksgiving Point. McBride took one part witcheryand one part headbanger and came up with theannual Witches Ball, held for its third year at TheGarage on Sat., Oct. 26, doors at 8 p.m.What does a Witches Ball consist of, you ask? “Asidefrom a little cheese with your vampire wine––a moderntake on a very old tradition––dancing to old-schoolgoth tunes is one of my favorite parts of the night,”says McBride. “I ask all the DJs to pull out their mostwicked tracks to create something that feels like theearly ’90s goth clubs I used to frequent, and some livemusic to get you in the mood.” This year, L.A. bandSpindrift will be headlining, with openers FemmeMedea, DJ Selina Kyle and DJ Red Siren. Andas always, with McBride comes Salt Lake’s finest bellydancers. “Prepare to walk through woven light spellsset in the room—it’s that kind of a night,” she assuresme.The night’s crescendo is the crowning of the baddestwitch of the night, who receives a crown and acauldron filled with some serious cash and bling value.“I’m a sucker for a pretty face and a wicked costume.It’s a toss up––anyone can win,” confesses McBride.Pick up tickets for $10 through 24tix.com, or get themfor $15 at the door.Well, goulfriends, this is where I shall be celebratingmy Wiccan Christmas this year, so tune up yourbroom, polish those pointy boots and rat that hair. I’llsee you there, witches!24 SaltLakeUnderGround slugmag.com 25

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Halloween Is Ruined: Performance Life withKlaus von AusterlitzBy Christian Schultz • christiankarlschultz@gmail.comHalloween is ruined. Its most treasured sensibilities are under attack. Gothshave turned the occult into ridiculous camp and queers have turnedridiculous camp into a cult. So, if Oct. 31 is the only day of the 365 thatyou’d think of dressing yourself up outrageously, you might be a lamebrain. Fortoday’s youth, every day is Halloween—every day is a drag and every outfit acostume. For local performance artist Klaus von Austerlitz, every costume is aperformance, and every performance a carefully constructed vessel of artistryand social critique. Here’s Klaus’ advice on costumes 24/7/365, performingwith Salt Lake’s Bad Kids and showing society its own ugliness.What began as an interest in high school theater soon became a passion forexpressionism and art. “I’ve always been used to being in front ofpeople, doing something, whether it be with an instrument or halfnaked,”says the Utah native. “Klaus is a character that I madeFor Klaus,up a long time ago, kind of like an imaginary friend, but I was every costume istoo old to have one.” After living in Phoenix for three years out a performance,of high school, Klaus came home to Utah. “When I moved back and everyhere, that’s when the creativity started again,” he says. Along performance is awith Cartel Chameleon Fenicé, a friend from the same, small work of art.Utah town, the character Klaus soon became realized. “We sawa drag performance at Pure,” Klaus says, “just an average pageantgirlroutine with big hair and some dumb pop song. We had this conversation,and we told ourselves that we could do that—let’s start going out, dressingreally crazy and doing something fun.”Klaus and Cartel’s ambition only grew from there. “After the Great WhiteWhale, Nova Starr [Salt Lake’s reigning queen] left, the drag scene was kindof open,” says Klaus. Rather than being inclusive of varied gender expression,it was only “another patriarchy disguised as feminine bonding,” he says. “Wegot a show at Paper Moon, and that was our first—we felt like a bunch of bratty,naughty kids.” Attracting already established gender-benders and youngtalent alike, this small group of friends quickly grew to become the happiestfamily in Utah’s diverse gay scene. Their continued success is due largely toKlaus’ organizational skills. “I’ve worked as a dresser for Pioneer TheaterCompany, and because of my education, I know what to do, how to run ashow. I’ve done these big productions with fancy actors from New York and thewhole shebang,” he says. Klaus acts as a stage manager for the Bad Kids, whonow perform regularly at Club Metro and elsewhere in downtown Salt Lake.Photo: Paul DuaneKlaus’ theatricality developed through his studies in performing arts design atthe University of Utah. “The most basic idea of theater is an audience and aperformer, and that goes on every day,” he says. “There’s all these roles andrules that we have to perform in front of people—cultural, racial, economic.You act differently in front of your parents than you do your friends: Everythingis drag—we’re always performing.”Klaus often blends scary and kawaii imagery for a confrontational look. Onefavorite of Klaus’ is geisha-white face paint, small black lips and Mickey Mouseears. “I love taking things that are really positive but fake at the same timeand making them scary. I wear Mickey ears because Disneyland is such afairytale—everyone wants to go, but the ugly is there, too,” he says. Klaus usesperformances to take that ugliness and throw it into catatonic society’s face.“There are some times I’ve done myself up and looked in the mirror and said,‘Oh god, who are you?’ The one thing that’s gotten me in the most troublewas my Halloween performance last year. It was the second or third monthwe were performing at Metro: I had green hair, and sang ‘I Love To See TheTemple,’” he says. While deconstructing the hymn’s lyrics, Klaus found them tobe quite awful. He asked himself, “Howdo I bring that same disgusted feeling Igot into a costume and a performance?It was my big ‘fuck you.’”Being a performer year round makesHalloween a bit passé. “I’m noteven that excited about Halloweenanymore because I dress up and havethat experience all the time,” he says.Holiday or not, Klaus has some soundadvice for any occasion: “When I’mtrying to think of a look or a costume, Idraw it. For a lot of people, Halloweenis their night to dress up––doingmakeup tests is crucial,” says Klaus.“In order to not ruin Halloween,practice your look.”Let’s see some terrifying costumesthis year, SLC. You’ve still got timeto perfect your today, tomorrow,Halloween or whenever looks. FindKlaus and the Bad Kids at Club Metroon Thursdays, and check out morephotos from our shoot at slugmag.com.28 SaltLakeUnderGround slugmag.com 29

DiabolicalRecordsA Shipping Crate Full of Record Crates at Diabolical RecordsBy T.H. • empty.aviary@gmail.comdam Tye and Alana Boscan opened Diabolical Records this past July 5 in theA new Granary Row. In a short time, they’ve already established a good followingamong local vinyl enthusiasts and people eager to support any shop adding toUtah’s relatively scarce options for places to buy albums. They’re exactly the kind ofpeople who should be running a record store—kind, enthusiastic, knowledgeableand dedicated to creating a homey environment for those interested in discoveringnew music and obscure bands, or having a good conversation about records andTommy Lasorda.I went to high school with Boscan, who, at some point early in our freshman year, lentme a copy of Purple Rain—Prince has a way of cementing a friendship. We were inthe same social circle, one that basically had music to credit—or blame, dependingon who you were to ask—for existing at all. So,I was happy to hear about Diabolical opening.I’m certain that many people will be thankingTye and Boscan for recommending records thathelp to improve multiple existential conditions.Tye and Boscan married three years ago, andhad already been considering the possibilityof opening a record store. “We’d been tryingto figure out the right way to do it forever,” saysTye. “Owning a record shop always seemedlike the best life.” Optimism and ambitioncount for a lot. Tye mentioned that gettingdistributors was more difficult than he’d initiallyexpected, but they ultimately managed to workthat situation out. In the meantime, CommunityRecords sent a few free LPs to help the shopget its start. They’ve ordered directly through afew labels—Burger, Slovenly—and are in theprocess of building relationships with others,such as Sacred Bones, another label with asimilar aesthetic whose music they’d like tostart carrying. The couple name Thee Oh Sees,LCD Soundsystem and Deerhunter as somefavorite music they’re constantly listening to—but “Tom Waits tops that list,” Boscan says. Ithelps that the records found on Diabolical’sshelves tend to be those Tye and Boscan arelistening to themselves. “Personally curated” shops—done right—tend to be themost enjoyable to spend time in, because they reflect the owner’s personality andprovide a more unique experience for the customer. Diabolical holds true to thisidea —on a poster above the local music section, Tom Waits grins at customersentering the shop. A mural in the back of the space, in the listening area—whichmakes use of an upright turntable—provides more ambience, as do the film posters,courtesy of Copper Palate Press.Adam Tye (far right) and his wife Alana Boscanhave cultivated a promising record store inside theshipping crates of Granary Row.336 W. 700 S.in Granary Row,Thurs.–Sat. 6-11 p.m.@diabolicalSLCIt took about a week to secure their spot at Granary Row. “Space was available andaffordable,” Boscan says. They also appreciated the concept behind the space (seegranaryrow.org). The process for acquiring the store’s location involved providing amission statement and list of goals, which won them the spot. The two agreed thatthe public’s reaction thus far has been very positive. During my visit, Granary Row’smanager stopped by to see how everything was going, a volunteer from the HumaneSociety walked by with a dog to say hello, and families passing through looked intothe shop. All of the vendors seemed familiar and friendly with one another. Tye andBoscan agree that for new stores, an overall mentality of cooperation rather thancompetition among the owners would be more positively productive for everybody.“We want to be able to tell people that if we don’t have it, to go to Graywhale,Randy’s, etc.,” Boscan says. Ideally, that support would be reciprocated.Photo: Russel DanielsIt’s readily apparent that Tye and Boscanstrive to bring people together. They hope toestablish a trusted opinion in the community, soa band that has their support or promotion canlook forward to having more people listeningto their records and in the audience at a show.One of his main goals, beyond the shop,would be to see more obscure bands playin Salt Lake to larger audiences. The couplehope to eventually contribute to the creation ofa music festival in Salt Lake. Caddywhompus(New Orleans)—which Tye referred to as oneof his recent musical obsessions—”is a bandthat people here would like, if they couldactually be heard,” he says.One of Diabolical’s more immediate concerns,at the time of this interview, was finding apermanent location, as Granary Row closeson Nov. 3. They showed me a building withinwalking distance from the current shop thatlooked like it could be a great space for themto expand on their vision. Boscan says, “Ourbig idea, if we had all the resources possible,would be a large store, with a venue—preferably that serves beer.” On Nov. 4,Diabolical Records will be opening at a new,yet-to-be-determined permanent location, and the couple hopes to fill it with helpfrom the community via an Indiegogo funding campaign you can link to through theirFacebook. Their interest in making sure people are happy and comfortable in thespace they’ve created, along with their dedication to achieving the goals that haveled them this far, should mean great things for the future of Diabolical Records, so gohelp them out, and keep an eye out for their new spot. Find them online at facebook.com/diabolicalrecords and on Instagram @diabolicalSLC.30 SaltLakeUnderGround slugmag.com 31

Photo Courtesy Sargent HouseBy Ricky Vigilrickyvigil@gmail.comSometimes you can’t help but be blown away. On Oct. 13, 2010, I meandered intoThe Basement in Ogden and was greeted by thunderous drumming, huge riffs andfour Irish maniacs throwing themselves around the stage with their instruments. I wasdefinitely blown away. Somewhere in between Slayer and Rush, Shellac andMogwai, the band had a crushing intensity that was belied by their playful nature andthe way their songs transitioned between heavy passages and bouncy breakdowns. Iflightning could strike down from rainbows, or cotton candy spontaneously combust intofire, the sounds being created onstage would be the perfect musical accompaniment. Idiscovered that the band was And So I Watch You From Afar, and I have been a hugefan of theirs ever since. Armed with a new label, a new album and new members, theband will return to Utah on Oct. 15 as part of the Sargent House Tour. SLUG spokewith drummer Christopher Wee in anticipation of the performance.Since the release of their first album in 2009, the band has been gaining notorietyin Europe, garnering spots on prestigious festivals such as Reading and Leeds, andperforming on European TV. With a penchant for naming songs reflective of theirsound (“Set Guitars to Kill” and “If It Ain’t Broke… Break It!”), the band’sraucous performances soon brought them to the U.S. on a string of datessupporting Japanese legends Envy. “We’re well known in the independenttouring scene in Europe, but I prefer touring America, to be honest,” Weesays. “People [in America] are more open-minded when it comes to newmusic. When we did that support tour for Envy, a lot of people came upto us and told us they liked our band, and a lot of people were actuallythere at the beginning of the show to watch us open, which is somethingwe didn’t see a lot of in the U.K. back in the day—we played to nobody forso many tours.” The band was invited to perform at SXSW in 2011, andit was there that their working relationship with Sargent House (homeof Russian Circles, Boris and Chelsea Wolfe, among others)began. The label licensed the group’s second album, Gangs, forits U.S. release, and internationally released their new album, AllHail Bright Futures.at the time,” Wee says. Guitarist Tony Wright left the band shortly before the albumwas created, causing a fair amount of stress within the group. “The recording processfor the remaining three of us really saved us from that awkward time, and we came toa realization that we were intent on keeping the band going and writing new music.As soon as we got into the studio, it felt like a big freedom to do whatever we wantedthat we had never felt before,” Wee says.Primarily an instrumental band, ASIWYFA have never shied away from incorporatingthe occasional “Woo!” or other exuberant human noise into songs, but All Hail BrightFutures includes much more vocalization—“Ba Ta Bo Da Ka” features a rhythm of thosesyllables repeated over and over, and the title of “Ambulance” is joyfully spell-screamedout in something that almost resembles a chorus. “For the whole lifetime of the band,we started out as the four of us jamming and seeing what wouldcome out, and this instrumental thing just naturally came out. Wenever shunned the idea of vocals—if the song sounds likeit would sound better with vocals, we’ll do it, and that’salways been the case,” Wee says. With the increaseof vocals—which Wee considers instruments in and ofthemselves—the band also focused on incorporatingnew instruments into their sound. Piano, flute, steeldrums, trumpet and more pop up throughout All HailBright Futures, adding new elements to the band’ssound. However, it was not until late in the recordingprocess that the problem of replicating these sounds in thelive performance was considered. Fortunately, a solutionwas easily created. “We shied away from confronting thatproblem until pretty late on, but I got a drum sampler, and we wereable to load in the basic sounds of a lot of the different instrumentsand made them cymbals, so a lot of the different instruments from thenew album are live, triggered samples,” Wee says. From watching videos ofthe band playing new songs, the transition is seamless.Taste thecotton candyrainbow whenIrishmen And So IWatch You From Afartake over KilbyCourt onOct. 15.All Hail Bright Futures, released in March 2013, finds the band shifting moods, focusing Headlining the Sargent House Tour with labelmates TTNG and Mylets, And So Imore on the positivity of their sound and less on their musical ferocity. Caribbean Watch You From Afar are sure to blow more new minds in the U.S. this fall. Bringrhythms, futuristic space sounds, wind instruments, Afrobeat and fractured vocals are your dancing shoes, a gaggle of friends to convert and something you don’t mindmelded with ASIWYFA’s typical driving sound to create an album that is resilient in its getting incredibly sweaty in to Kilby Court on Oct. 15 and experience the rainbowcelebratory tone—it sounds like the coolest goddamn beach party you’ve never been lightning for yourself!to. “The new album is a lot more positive and definitely more reflective of our mood32 SaltLakeUnderGround slugmag.com 33

Photo: James RexroadBy Megan Kennedyiamnightsky@gmail.comLike a drunk supernova in the darkest reaches of space,Red Fang’s star just keeps getting bigger and brighter.It’s been two short years since the release of theircritically acclaimed and, overall, beloved sophomoreeffort, Murder the Mountains. But if you’re counting timein terms of accomplishments, then two years doesn’teven begin to cover it. They’ve played giant fests likeMayhem, Download, Sonisphere and Orion. Theycrushed European and Russian crowds beneath theirriffs—they’ve shared stages with some of the mightiestnames in the genre. For a group of friends from Portlandwho simply found themselves all “band single” at thesame time, this couldn’t be a better underdog story. Eventhough they’ve collectively been in, quote, “thousands”of bands in their lives, Red Fang have become theveritable jackpot of their musical slot machine: endlesscombinations finally lined up into the best possibleoutcome.The group has met the demands of their rising fame,becoming the kind of tour-hardened road warriors thatlesser musicians whisper about in stories to their children.They’ve come through the touring gauntlet with a newrecord, Whales and Leeches, which is already gettingheavy buzz for its first single, “Blood and Cream.” “It’skind of crazy, the attention we’re getting,” says guitaristDavid Sullivan. “The song officially first played onsome BBC radio show, which is pretty crazy for me. SpinMagazine premiered our song spinning on their site.”When SLUG last spoke to Red Fang in the summer of2012, guitarist Bryan Giles told us the band’s oneweakness—if you could call it that—is being unable towrite on the road. As such, Sullivan tells us that it tooka much-deserved sabbatical from touring for the albumto solidify. “We gave ourselves this time at home andjust focused on writing pretty much every second wecould. It was some different kind of pressure—usually,we don’t write like that. The songs kind of come moreorganically in practices or at home.” Creative processestake so much energy, and the band simply lacks a“good situation” for writing on the road: Long hours,inconsistent sleep schedules and being shoved into thetight space of a van aren’t exactly conducive to genius.But they had pieces of some of the songs waiting andleftovers from previous album writing or jam sessions,which eased the pressure the band felt writing this timearound. They had already booked recording sessionsand pushed to have the album written by the time thesessions rolled around, a challenge they crushed (withsome minor polishing during the recording processitself). The result is arguably their strongest effort to date:Whales and Leeches is 11 tracks of doom and groove,each song with its own signature catchiness. The bandeven pulled in longtime friends, like Mike Scheidt ofYob, for guest vocals on the sludgy hymn “Dawn Rising”to add to the album’s distinctive flavor—and with greatsuccess. They brought back artist Orion Landauto handle the album’s visuals and, as usual, he didn’tdisappoint, giving Whales and Leeches and “Blood LikeCream” distinctive ’70s-style horror art that perfectlycomplements the band’s old-school sonic leanings.Red Fang’s sound has always been about heavy groovebrutality with a bluesy aftertaste––like getting punchedin a New Orleans bar after a shot of whiskey. Whalesand Leeches carries this familiar banner, but there’s nodenying the air of polished maturity laced throughoutthe tracks, and with it, a new sense of confidence inthe sound. There is a great deal more atmosphere anddarkness weaved throughout the album—a lot more riskstaken and rewarded. The band feels that evolution, too.“I agree with that. It is a little bit of a new move, but I(L–R) DavidSullivan, BryanGiles, John Shermanand Aaron Beam ofRed Fang had tohunker down to writethe polished,dark album,Whales andLeeches.don’t know if it’s really a conscious thing—I don’t knowif we’re really like, ‘OK we’re going to take this to adifferent place.’ It’s more progression for us just in whatwe do. We’re still trying to do the same thing, which isbasically write songs that we like, write music that weenjoy playing and listening to. And it seems like otherpeople like it, too, so it works out.”Red Fang march to their own beat, and Sullivan definessuccess in their work: If his band is happy with whatthey’ve created, that’s a mark in the victory column, andif the unwashed masses love their output and continue tosupport their touring efforts, well, that’s just extra honeyfrom the hive. “I’m not really thinking about gold recordsor anything like that—does that even happen anymore?Success, to me, is to be able to keep doing what we’redoing. If we go on tours and aren’t losing money andpeople are coming to the shows, then that’s success forme,” he says. If the buzz around Whales and Leeches isany indication, the Red Fang supernova is only going toget brighter in the months ahead.You don’t want to miss Whales and Leeches, which dropsthe same day Red Fang hits SLC on their headlining tour,Oct. 15 at Urban Lounge. And do yourself a favor: Goto their website redfang.net and keep an eye on theirtravel blog. The band’s tour manager, Chris Coyle,maintains a text and photograph scrapbook of theband’s adventures, and it is some of the funniest shityou’ll ever read.34 SaltLakeUnderGround slugmag.com 35

Rough StuffJosh Lane,boneless over the boxes.Photo: Panzer PhotographyRoughside of theTRAXIVBy Steven Goemaatstgoemaat@hotmail.comPhoto: Austin BoydWinning Best Trick, Caleb Orton’s BSboardslide pop-over at spot #2.Photo: Talyn ShererPhoto: Talyn ShererCarson Parkinson drops off the edge ofthe overpass to come in third.Dylan Mclellan, big ol’ ollie.The 14th annual Summer of Death has come and gone, and what abanger it was. Roughside of the TRAX IV Presented by Scion was onefor the record books. Johnny Roughneck, creator of RoughneckHardware out of San Francisco, was out in the streets to throw the SaltLake version of the Roughneck BART Tour. The premise for the contest is to notbe bound to the closed-in area of a skatepark, but to be mobile and to consistof various street spots around Salt Lake, all while being in convenient enoughlocations to use public transportation. I know what you’re thinking to yourselvesright now: “Wow, that is fucking genius!” And yes, I couldn’t agree more. Withsome pretty heavy spots, this was no walk in the park for anyone involved—it wasbound to be epic. Johnny Roughneck and crew got the crowd together early, anda variety of chaos and skateboarding ensued shortly after. Between mobbing thestreets, public transportation and skating the spots, Summer of Death was sure to beon the #roughside.A noteworthy session went down at 9th and 9th skate park during registrationtime, while the 50-plus skaters gathered and got ready for the day. A heavy warmupon the down rail would foreshadow events for the rest of the day, with somebangers from Jordan Brown and Nate Brown, as well as Caleb Ortonthrowing down a plethora of tricks to get the blood flowing. The troops gatheredjust before 3 p.m. and it was off to the train station. While some bobbed andweaved on the uneven sidewalks, others took to the streets and accepted the riskof the daytime traffic. The TRAX station was packed and ready to go, with allfares paid courtesy of SLUG Magazine. With a mostly unknown scene now out inthe public eye, raised eyebrows and snickers were sure to follow from the otherpassengers, given the motley crew that was suddenly among them. The costumedfans of Comic Con threw a humorous twist on things, leaving even myself thinking,“What the fuck is going on here?”38 SaltLakeUnderGround slugmag.com 39

Mark Judd of After Dark Skateboardssupplied all the prize boards.Registration resulted in 50-pluscontestants at this year’s Roughside.Photo: Talyn ShererPhoto: Talyn ShererPhoto: Talyn ShererJohnny Roughneck cameall the way fromSan Fran to be theRoughside emcee.Photo: Panzer PhotographyPhoto: cezarynaPhoto: Panzer Photography(L-R) Nate Brown (First Place)Carson Parkinson (Third Place)Cameron Parkinson (Second Place)Caleb Orton, BestTrick winner.The North Valley boys killing itlive at the Spedelli’s after party.Our first spot brought us all to really “DiscoverGateway,” as well as the unique and skateablearchitecture within it. You could slide down theC-ledge, send a wallie off the rock over, lip slide upthe ledge, or wallie the spherical decorations of thesidewalk. The contestants were anxious to take theirskills to the streets, so the session went off from the getgo. While one skater was sliding the ledge, anotherwas popping over it, and another was sliding theother way. Cameron Parkinson had a wallie,late frontside shove-it off the rock gap while Ortonstuck it out at the spot, just long enough to pull off astylish, backside boardslide to pop over the ledgethat would land him Best Trick for the day. Once wegot wind of po-lice trying to get down on us, the mobheaded out around the corner to a sizable parking lotto parking lot gap with a tight landing. Nate Browntook no time to launch himself down the gap as wellas pulling off a ninja-like frontside 180. Orton wasnot far behind, grabbing his nose down the gap. Thespot was shortlived, but a banger for sure. From there,the Roughneck soldiers caught a train out west to ournext stop for the day, which was out there, in moreways than one.As the mob moved further west, we eventually gotto an underpass bank, with ramps on each side anda ledge going the length under the bridge. Thingsgot started here with a couple of halfway hill bombsdown the bank, which eventually turned into a dropcontest off the highway barrier above. Both CameronParkinson and Carson Parkinson charged thisdrop, leaving some skin to show for it. Brown showedoff his rough side at the spot, dropping from a noseblunt stall, into the bank from the highway barrier,which landed him ass down on the sidewalk, as wellas into the SLUG history books. After the excitementof the death drop cooled, a couple contest goers hitthe bank with some flat ground tricks, including abackside flip, nollie backside heelflip and a stylish nocomply pressure flip 180 from the homie Millhouse.As the storm clouds began inching their way closer,we trudged back onto the train and back east abit to hit the next spot. A circular, sizable mannypad roundabout would lay the groundwork for thistechnical leg of the contest. With bodies chargingthe spot from all angles, it was a bit chaotic to seewho was doing what, but tricks were going down.The transition of the sidewalls made wallie manualsand nose manuals the most attempted tricks withsome flips out on either side. Getting across the padunscathed was worth a medal in and of itself, ascollisions became more and more apparent, makingthe sidewalls an attraction to the spot as well. The rainheld for most of the day but broke out in the middleof the manny pad session, leading us all skitching,hitching and pushing like mad men and women to thenearest bridge underpass, which contained the lastfeatures for the day.With the rain coming down on either side of us, ourmob of skaters made the most out of this dry spot,hitting the transition going up the Jersey barrier andshowing off their rugged style and DIY spot skills.Jorge Martinez, winner of the am division fromthe first SOD contest this summer, tore up the spotwith a frontside 5-0 transfer and then a frontside50-50 with a same way 270 into the bank. CarsonParkinson knocked a quick backside krooked grindtap on the top of the barrier while Jordan Brownbackside nose slid the bank. There were honestly toomany tricks going down in too many places to keepup with, but the session would pretty much wrap upwith a technical backside feeble to backside tail slidetransfer on the Jersey barrier by Levi Faust.Johnny Roughneck rounded up the troops under thebridge for the announcements of the big winners ofthe day. Best Trick would go to Orton with his lastminuteboard-slide pop out on the C-ledge at the firstspot. Third place would go to Carson Parkinson, whowas followed by his brother Cameron in second, andBrown would close it out, taking home first place aswell as Best Digger from the death drop spot out inthe Wild West. The winners’ circle took home somehefty prize packs put together by all of our sponsors.Nike SB also put a new pair of shoes on the contestgoerwith the worst shoes. From there, it was off toSpedelli’s for pizza, beer and music from The NorthValley and Edguf as well as some more product tobe tossed from Johnny Roughneck and the nice peopleat Scion. Thanks to sponsors After Dark Skateboards,Saga Outerwear, SK801, Salty Peaks Boardshop,Milo Sport, Goal Zero, Arcade Belt Company, Scion,Epic Boardshop, Arize Board Shop, Board of Provo,iNi cooperative, Spedelli’s and, of course, JohnnyRoughneck and Roughneck Hardware. Thank youto everyone who came out, contributed and madeRoughside IV Presented by Scion so awesome. Untilnext year, remember to keep an eye out on theRoughside.40 SaltLakeUnderGround slugmag.com 41

Jet Pack Meets Patty the Pet PsychicBy Mike BrownInstagram: @FagatronIf you follow any of my social media channels, then you already know aboutmy affinity for my cat, Jet Pack. Since I paroled Jet Pack from the kitty prison, orHumane Society—whatever you wanna call it—I have become like most crazy catpeople: a bit obsessed with my pet who has become not just a pile of kitten gutscovered in black fur, but an extension of myself and my own life.Jet Pack’s birthday is this month, so I thought itwould be cool to get him a pet psychic readingto see what he would like for his birthday, andpick his brain about some other things, like whyhe’s been barfing so much lately and where hepoops. I let Jet Pack come and go as he pleasesoutside of my apartment, so now I don’t evenown a litter box. It’s like he knows I’d be toolazy to clean it regularly.I got ahold of Patty the Pet Psychic, and sheagreed to come over to my messy abode togive Jet Pack a reading and talk about what shedoes. I didn’t tell Patty anything about my andJet Pack’s relationship, and right off the bat, shewas able to crush any doubts I may have hadabout the authenticity of her craft by telling methings about Jet Pack that I knew but she didn’t,until she met him.Such as: He likes to go outside and fuck withother cats, we are best friends, one of myneighbors is feeding him table scraps, andhe doesn’t have a girlfriend at the moment.But ladies, if you are interested, Jet Pack isneutered. Jet Pack is also very territorial andhas my block locked down, but Patty was alsoable to tell me the exact territory. He won’t gopast the alley behind my apartment, and heunderstands the whole “not-getting-run-overby-a-car”thing, which is important to any cat’snine lives.As far as Jet Pack’s barfing and all-aroundhealth goes, Patty assured me that he is veryhealthy and active, and that he was pukingbecause he doesn’t like Friskies anymore. Ihave since switched cat foods, and he hasn’theaved since. That’s one less trip to the vet Ihave to make. Sweet! Also, it’s OK for me tocontinue to let Jet Pack drink out of my toilet.Mike Brown and Jet Pack,a match made in psychic heaven.A lot of what Patty does is interpreting a pet’s bad behaviors for people. Like, ifyour dog is chewing the shit out of all your furniture, she can tell you why and whatyou can do to fix it. Since Jet Pack is pretty much purrrrr-fect and doesn’t have alot of pet peeves, I was more interested in where he came from before the shelterand other random stuff.Jet Pack was born feral, which makes sense, seeing how much he likes to kickit outside. He doesn’t have a lot of memories before the shelter, but who wouldhave known that we both have dad issues? No wonder we are so close. Jet Pack’sfavorite color is neon yellow, so Patty said he would like a blanket of that color.That’s what I’ll get him for his birthday.About a year ago, Jet Pack got in a street fight and I had to get him stitched up abit. I asked Patty if she knew who he was fighting and why. She asked Jet Pack,and he said it was some stupid, orange tabbythat lived in one of the houses in the alleybehind my apartment. Like most gang fights,it was a beef over territory. She assured me,though, that Jet Pack definitely won the fightand established his dominance as the alphacat of my parking lot.Photo: Martín RiveroAt this point, I decided I didn’t want toknow where Jet Pack poops—in case I getconfronted by an angry neighbor, I can justplay the ignorant card. Besides, I think wheresomeone handles their business is exactly that:their business.Patty can do a lot more than just read my cat’smind—she reads all sorts of animals: horses,llamas, ferrets, snakes and one time, she evenread a spider, but it didn’t have that muchto say. I asked Patty if she ever goes to thezoo, to which she promptly said, “no.” Shesaid most of the animals there are insane fromtheir prolonged captivity. The same goes foraviaries.If you want to get ahold of Patty for a petpsychic reading, I highly recommend it.You can contact her through her websitepattypetpsychic.com or call 801-503-2599.Jet Pack had a great time getting some ofhis furball feelings off his chest and workingthrough some of his own issues.In case you are wondering, at this point, just whatkind of cat owner I am, Patty assured me that JetPack is very happy living with me and he hasno complaints. Even when I come home drunk,Jet Pack is cool with it, but he can tell when I’mwasted. Patty said that Jet Pack and I were meantto be together, and although I already knew that,it’s nice to hear it from a pet psychic.42 SaltLakeUnderGround slugmag.com 43

By Billy Ditzig • billy@slugmag.com / Photos: Brighton AnglersOver the last couple years, whilesnowboarding at Brighton, I have beenhearing more and more about fly fishing.Originally, I wasn’t that intrigued. I don’t enjoytraditional bait fishing, I’m not a seafoodeater, and just the thought of trying to fit mylarge hand into a fish’s small throat to get mypower bait–covered treble hook out of therewas enough to make me sick. But the morefish stories I heard—and the bigger thosetrout got—the more I wanted to experienceangling on the fly.So, with some hesitation, some dedicationand a little bit of money, I discovered whatthe magic behind fly-fishing was. Fly-fishing,for those unfamiliar, is the art of casting aweightless lure or fly, and presenting the bugto the fish with a natural drift, to outsmart thefish into thinking your lure is an actual bug,instead of letting the smell of the bait do allof the work for you. I have been fly-fishingfor about four months and am fully addicted.I somewhat grasp the basics, but am still farfrom what you would consider an expertangler. I figured the best resource to getinsight was from the people who inspired meto get hooked in the first place: the BrightonAnglers.Everyone knows that the best way to doanything is with a solid crew of homies. Flyfishing is no different. “The Brighton Anglersstarted as a bunch of Brighton employees andlocals telling fish stories and going fishingBrighton Park Crew leaders,Jared Winkler (center) andMouse (bottom)are cofoundersof the BrightonAnglers.together. At first, it was just a fun sticker to runon your snowboard,” says Jared Winkler,Marketing at Brighton, who works with hisboy Mouse, Terrain Park Manager, asleaders of Brighton’s park crew. As the fishstories got bigger and people wanted photosas proof, Winkler, Mouse and ParkerWorthen started expanding media outreachthrough Facebook, Instagram and a blog toshare pictures. Also, it just so happens thatUtah has some of the best rivers in the countryto fly fish for trout.Jeremy Seegmiller and I took a trip tothe lower Provo River. We had originallyintended to hit the Weber River, but theweather didn’t permit, so we hit up a nightsession just below the dam in Provo Canyon.As a newb to the fish game, I got a chanceto ask these guys some questions and learnsome of the etiquette that goes hand in handwith fly fishing. I asked about their catch-andreleasepolicy, which I guess isn’t written instone. “I would definitely eat a fish if I evergot stranded,” says Worthen, “but fly fishingis for sport and art. You put the fish back sothey have a chance to mature and grow andgive others the joy of catching them later.”This was good news to me, because nothingturns my stomach more than the smell of fishcarcass in the back seat.These pictures of ginormous trout in amazinglocations made me nervous, though. The fishon their blog appear to be 20-plus inches,and after my four months of avid fishing, Istill haven’t caught a single monster like that.When I was finally able to fish with their crew,I confronted them with my fear of inferiorangling skills due to the photos of theiroversized hogs of fish, and they chuckled. “Iwish that was the case. We spend plenty oftime chasing after big fish. Though, a lot ofthe time, we end up with only a fish or two aday, or even skunked. The trick is to take trickphotos of little fish to make them look bigger!”says Jared.I personally don’t have much experiencewith much more than dry flies or nymphs, butMouse and Worthen fished with beautifultan, white, yellow and glitter streamer fishpatterns. At first glance, you would thinkthey’re over-the-top hipster earrings on land,but they transform into small swimming fishwhen wet and in the water. As soon asMouse dropped his streamer in the water, afish jumped for it. He didn’t land this fish, butthat didn’t stop him from catching another upriver, and letting out the loudest Mouse howl Ihave ever had the pleasure of hearing!If you want to know more about local flyfishing,check out local fly shops. Just as withany other underground hobby, it is superimportant to support your local scene. Flyshops like Fish Tech Outfitters and WesternRivers Flyfisher have some of the mostknowledgeable employees on angling, whoare more than willing to share their tradesecrets to help you make the most of yourfishing adventure. Check out the BrightonAnglers’ blog to read some awesome storiesand about re-catching fish at brightonanglers.com or hit them up on the ‘gram@brightonanglers.If you want to be a Brighton Angler, the bestway to do it is just to ask these guys to go fish.If you’re a good fit with the crew, and fun tofish with, Winkler says you can be invited onfuture trips. There is really no better feelingthan “fish on.”A couple weeks ago, Mouse, Worthen,44 SaltLakeUnderGround slugmag.com 45

4FRNT’s Madonna skis,graphics designed byKawaguchi, areavailable this fall.Streetstyle to SlopestyleBy Katie Panzer • panzerphotography@gmail.comike many artists, Casey Kawaguchi has beenhoning his skills since childhood. He has developeda style all his own, creating street-inspired art witha distinctive Japanese influence. His materials ofchoice—spray paint and scavenged wood—easily lendthemselves to his style. Kawaguchi has managed to createa cohesive body of work that is instantly recognizable ashis—something all artists strive for but many fall short of.Kawaguchi’s unique style has been turning heads in thesnow community, garnering attention from some localheavy hitters, including Discrete Headwear and 4FRNTSkis. This season, he’s bringing his artistic skills to the hillswith a ski design for 4FRNT. He sat down with SLUG totalk about his art, his design process and what the skiindustry holds for him.SLUG: How did you first become interested in being anartist?Kawaguchi:That’s justsomething I wasborn doing. That’sthe first thing Iguess I would say Iidentified as. That’swhat I was goodat when I was kid,and it’s just alwaysbeen what I’vedone.SLUG: How wouldyou describe yourstyle? Who are youinfluenced by?Kawaguchi: Iwould describe mystyle as free—I’ma freestyle painter.I love to just gofor it and let it bemessy—almostlike sculpting a piece, whittling it down to the details, butleaving a lot of the mess in there. I’m influenced by a lotof people. I’d say David Choe is a huge influence. A lotof local artists––I get influenced by seeing their stuff, likeIsaac Hastings is a good buddy and fellow Salt Lakeartist.SLUG: How has the Salt Lake art community shaped youas an artist?Kawaguchi: I’ve been in Salt Lake for four or five years,but I’ve always lived in Utah. I think it’s made me workharder. I wasn’t really tapped into an art network until Imoved to Salt Lake. That changed the whole networkingaspect with my technical aspect. That’s what really startedmy art career, was tapping into a network of other artistslike that.SLUG: What’s your relationship with the snow sportcommunity?Kawaguchi: I snowboard, but I’d say professionally,I’m linked in through the ski community through SkylerThomas and Julian Carr, who owns Discrete. I wasintroduced to Julian through Skyler and started workingwith Julian, doing design work for Discrete, and justbecame friends with him. Then I ended up out in Colorado,I got invited to SIA [Snowsports International America]and I got to do a live painting at Red Rocks duringAtmosphere, and that’s where I met Paul Yih, who wasthe creative director at 4FRNT [at the time]. After we allcame back from Colorado, he got back in touch with mewhen it came time to design skis. He definitely showed alot of interest when I showed him my work at SIA.SLUG: Have you worked with any other local companies?Kawaguchi: Discrete was my first in the ski industry.Then 4FRNT was my first actual ski design. It’s still up inthe air whetherI’m doing Julian’spro model withIcelantic. He toldme he wants meto, but it’s not asure thing yet.They have a bigdesigner for theircompany that doesa lot of their designwork, so it may getpushed his way.SLUG: Do youthink your stylelends itself to theski format, andhow does yourprocess differ whendesigning skis?Kawaguchi:Certain parts ofit I would say didtransition overto doing skis really well. It’s a lot more thought out––alot more has to be planned out. The process was a lotdifferent with having to sketch it all out. Normally, I wouldjust go straight to wood and not worry about havingto transfer it over to digital. Design wise, I think it didtransition well. Working with a client, it’s two people whohave a say in the end results. It’s a back-and-forth kindof thing. Working with Paul and working with 4FRNT hasbeen awesome—they give a lot of freedom to the artiststhat they work with. It was really cool to just get to domy thing for the most part, and he didn’t have a lot ofrestrictions on me, creatively.Casey Kawaguchi’s unique artistic style has becomea favorite of the local ski industry.Photo: Panzer PhotographyYou can see and purchase Kawaguchi’s design on 4FRNT’sMadonna ski for the 2013/2014 ski season on theirwebsite, 4frnt.com, and in local ski shops this fall. Followhim on Instagram @caseykawaguchi and on Facebook tocheck out more of his art and keep up on his new projects.46 SaltLakeUnderGround slugmag.com 47

Devin York––Backside Hurricane––SLCBy Weston Colton • westoncolton.comI have been friends with SamMilianta for 16 years andDevin York for 10. Samand I both come from smallUtah towns where there wereonly a handful of skatersin the entire county. Sam’slove for skateboarding andphotography have been aninfluence and inspiration tome. On the same note, Devinhas always been down toskate the craziest stuff withme just to get a photo. Samlet me shoot this photo ofDevin with his Hasselblad—my first skate photo with saidcamera. Then Sam processedthe film in his kitchen andscanned the negative forme. I want to thank Sam andDevin for their inspirationand all they have given toskateboarding in Utah.48 SaltLakeUnderGround slugmag.com 49

etniesMarana Shoes and Hatetnies.comSummer is almost over and it is timefor new kicks. Etnies just releaseda new pair of shoes in their RyanSheckler Collection with amatching hat. With the changingof seasons, it’s time to be lookingfresh from head to toe, and withthese new additions, etnies makesthat as simple as pie. Whether youplan on tearing up the streets or juststrutting the avenue with your newshoes, they will hold up to anythingyou toss their way. Designed towithstand the rigors of skateboarding,the Maranas are built with themost durable materials available.With four color-combination options,there is no doubt that you willfind what suits you best in both theshoes and hats. I have kept theseon my “out on the town” shelf justbecause they look so good pairedwith the hat. Having skateboardedfor more than half my of my life,I can sense if a pair of shoes willhold up for more than the standardtwo weeks, and boy, will theseshoes stay in one piece for muchlonger than you are used to. Asfar as the dome piece goes, it’sconstructed out of a heavy fabricblend and the etnies “E” is thicklyembroidered up front. The hat hasan adjustable snap back, makingsure you are comfortable no matterif you wear it tight with the brimflipped or loose and flat. You canscore the hat and shoes right fromthe source for around a hundredbucks combined. –GranatoFishpondWaterdance Guide Packfishpondusa.comintelligent. This bag has a spot foreverything. There is a big foldoutfly case on the front that works likea mini table. There are plenty ofeyelets to attach floatant, clippersor whatever other little trinkets youhave. Also, my favorite feature isthe double cup holder. Flyfishing isa multi-hand sport—you don’t havetime to be relaxing, drinking a beer:You’re fishing! But when you have amoment or start to feel parched, it’snice to have the double cup holder.This product has absolutely helpedme stay organized on the river, andI would recommend it to anyone.–Billy DitzigLa SiestaColibri Travel Hammocklasiesta.com/enWe set out on our journey withtravel hammock, daypacks andman shit ready to go. As we madeour way to the SLUG Magazineoffsite wilderness testing facilities, Iwas made ecstatic by the lightnessand size of the hammock, whichcould also latch onto the outsideof my pack. Arriving at basecamp,we proceeded to tomahawk lumberand construct the parametersof camp. The hammock, beingdesigned so well for efficiency,made the process faster. Thanks tothe provided sizing hooks on theanchor ropes, I was able to easilyadjust the rope lengths to the appropriatedimensions of the two treesI’d picked. Fast-forward a bit —weburned and pillaged until we weretoo turnt, then turned in. My deputyslept on the ground, which createda good contrast to my sleepingarrangement and, I must say, myexperience ruled. I’ve never beenable to sleep in when I go camping,but when you’re sleeping on air,anything is possible. The Colibriwas strong enough to hold mysleeping bag and myself without theworry of falling out or the contraptionbreaking. The next morning, itwrapped up just as easily as it hadbeen set up. This is a solid buy.–Tim KronenbergTOOGUMSHOEPainter Hat, Fanny Packand Other Goodiestoogumshoe.comIn a world infested with snapbacks,slowly being invaded by fivepanels, TOOGUMSHOE is a local,independent streetwear companywith a fresh take on headwear andaccessories. The Painter, whichI’ve seen in a variety of colors andpatterns, is an attention-grabber. Itfeatures a large bill, which is perfectfor keeping the sun off of yourface and neck while you’re chillin’on the lake or cruising the city.The buckle-style clasp makes sureit stays on your head, no matterhow fast your boat or bike is takingyou. The fanny pack is also anotherrad piece from TOOGUMSHOE. Iuse mine, in baby blue with a pinkzipper and matching stitching, tobring my keys, wallet and phoneout to the bar so my drunk ass won’tlose everything when the night hasgone on for too long. One of myfavorite things about this company’sdown to the slap stickers and keychains, has either been handmadeor hand-drawn, and I don’t believethat quality is a second thought withTOOGUMSHOE. The stitching andmaterials are always strong and durable,and their artwork and ideasare original, which is refreshing asstreetwear becomes more and morepopular. –Carl AchesonLinksysAC 1750 Smart Wi-Filinksys.comSetting up your own media serverisn’t something that most will findeasy. This router by Linksys happensto prove otherwise. The easy setupgives even the most basic useraccess to the tools to enter theirmedia in a central location insanelyeasily. Once plugged in, you simplyinsert the provided disc to configurethe router’s access and off you go.Getting into your settings and filescan be as easy as signing into youremail account or it can be configuredthrough FTP for access whenyou’re not connected to the router.The dual USB ports enable anyhard drive to be accessible on yourserver, making all media availableto your mobile devices via theirslew of integrated applications, orvia other methods you may have setup. The included guest Wi-Fi accessalso gives you the ability to shareInternet access with visitors withoutallowing them entry into yourprivate files or hard drives, avoidingawkward conversations when theyfind your porn stash (the one onthe hard drive, not on your face).Within 15 minutes of plugging thisin, I was streaming Doctor Who effortlesslyfrom my office to my livingroom. Buying a router is generallyan ordeal that you don’t want togo through more than once every10 years. I say skip a generationand get this bad boy set up in yourhome—you won’t be disappointed.–Thomas WinkleyWhile at Outdoor Retailer, I met agentleman who owned a fishingbag company by the name ofFishpond. I didn’t know it at thetime, but Fishpond makes the mostgangster fishing bags around.The bag I received was a FishpondWaterdance Guide lumbarFind more reviews atpack—or fanny pack, for the lessproducts is that everything, rightslugmag.com!50 SaltLakeUnderGround slugmag.com 51

Illustration: Ryan PerkinsIllustration: Steve ThuesonBurn the Bra, Notthe Panties!By Esther Meroñoesther@slugmag.comThe other day, I introduced myself tosomeone who recognized my name fromthis column and said, “Oh yeah, youwrite about bikes and butts.” Oh god.Am I the Miley Cyrus of columnists?Look guys, I write about butts ‘causethey’re a pretty crucial part of cycling,being the thing you sit on and all. Well,if that’s the case, I feel like I’ve beenletting my fans (hi Mom and Dad!) downlately as my #fbg4lyfe status hasn’tbeen written about for a few months.Fortunately, I have friends (hi Colin!)who care about my integrity as a writerand female cyclist, and sent me a link toan article about a fascinating Kickstartercampaign for chamois panties.If you get nothing else out of this column,I want you to know one thing: how topronounce “chamois.” It’s “shamee.”You’re welcome. Now that you’re notgoing to mumble through the word asyou read my column aloud to all of yourfriends, let me tell you what chamoispanties are. Basically, a company basedout of Austin called Urbanist, dedicatedto “saving the world from spandex,”has more than successfully funded aKickstarter campaign (doubling theirgoal) to create sexy, padded women’scycling underwear. I’ll be honest: whenI first glanced at the campaign andsaw a skinny girl in panties sitting ona bike, I rolled my eyes and thought,“Is it really so hot in Texas that peopleare gonna start riding around in theirunderwear? Shouldn’t they be marketingthese to the nudists in Portland?” ThenI did what so many of my Facebookfriends often fail to do before posting,and actually read past the headline. Itturns out that Urbanist’s chamois pantiesare the answer to all my cycling prayers.The following is an anticipatory productreview, as they’re still in the testingstages, which must be an interestingprocess when it comes to panties ...A few months ago I bought a beautiful,cushy pink Terry saddle from SaturdayCycles that was meant to replace thesupposed size-tailored racing saddle mybutt cheeks had completely envelopedover the past few years––I blame Eva’sBakery, my serious relationship and icecream. It’s actually a really nice saddle,but it didn’t make the kind of differenceI was hoping for. I can’t speak foranyone else’s anatomy––I still don’t quiteunderstand how guys straddle anything,let alone a narrow bike seat, with allthose dangly parts––but it seems that nomatter what angle I adjust my bike seatand handlebars to, my saddle rubs inall the wrong places. When your stagecurtains start to go numb, it’s a goodindication that some crucial house lightsare being cut off, if you know what Imean. Enter chamois panties (dramaticpause).The panties come in two styles,and they look like regular women’sunderwear––ruched on the back, sheersides, patterned––but they have amagic chamois pad sewn into them. Iimagine it’s like wearing a couple ofsuper absorbent maxi pads withouthaving to worry they’re going to unstickand slide into your pant leg. Of courseI’ve considered the fact that we’re allgoing to look like Tina Fey in thatSNL Tampax commercial parody. Theydon’t look like that on the model, who’sprobably considering implants now,but my size 9 cheeks (on a good day)don’t need the extra cushion, aesthicallyspeaking. These definitely have skirtpotential, though! For the past six years,I’ve had to choose comfort over style somany times as a commuter that I don’teven bother brushing my hair mostmornings. These panties are more thanjust a genius idea––they are femaleliberators! We can finally ride bikes andbe feminine! Exclamation points!!!Whew––now I just need to get myhands on about seven pairs. Urbanistraised over $50,000 on Kickstarter––Iimagine I have enough fans (hi Momand Dad!) to fund what will ultimatelysave my nether regions from falling off.(You want grandkids, right?) Meanwhile,I’ll continue salivating over the chamoispanties over on urbanistcycling.com.I’ve even come up with a new slogan forthem: Ride long, ride free, ride girlie!Dear Copper;What the hell is up with the city’s laws onwhat constitutes “street art” and what’sclassified as “graffiti”? I can’t speak foreveryone, but I know six year old kidswho can tell the difference between asign thrown up by a shitty tagger and apiece of art someone spent hours workingon. Yet all the time I see the city takethe same white-wash treatment to wallson awesome art that isn’t offensive orvandalized anything. What’s the policyin this city, and how can artists get a wallto work on that won’t get us ticketed orpainted over a day later?Love;Downtown DabberDear Dabber,I’m sure you and I (and threefourthsof the human population)can easily agree that 6-year-oldsand the feeble-minded can tell thedifference between art and gangrelatedgraffiti, so here’s my commentand suggestion related toartistic expression.Basically, if you paint something,even if it’s beautiful (in my opinion,or three-fourths of reasonablehumans’ opinions), and it’son someone else’s property (includinggovernment property),and it’s unwanted (which willalways be the case on contemporarygovernment property),then your beautiful art becomes“graffiti” or “trash” or “ugly” or“racist/bigoted/mysogonist” or“gangster,” etc., and you can bearrested.You mention the feeling “offensive”when evaluating sometypes of “street art.” How canyou possibly define what someonecalls “junk” as treasure, andvice versa? On the east side ofthe Guthrie Building on 200 S. indowntown Salt Lake City, thereis a beautifully (in my somewhatreasonable opinion) painted muraldepicting the Blessed VirginMary. I’ll bet there are peoplebelonging to other religions (thepredominant one comes to mind… Oh yeah, and Scientologists)who find that mural religiouslyoffensive. I’ll guarantee that ifyou tried to paint that depictionon any government property, orthe predominant one’s privateproperty, it’d be white-washedimmediately and you’d go to jail.If the predominant religion forcedan Angel Moroni to the top of thefederal building, you’d be pissed,right? So, your attempt to definesomething as offensive seemsself-serving (and I’m with you—I like to self-serve, too). Anygroup, such as the predominantre-uniter, can place a graven imageof some angel, the sun, moonand stars, or some painting orcarving on their temple or wallfor the whole valley to see—aslong as it’s their property and notoutside community moral standards.Well, one church’s treasureis another’s …Salt Lake City is a Super Liberal,Save the Environment, IfIt Feels Good Do It, Hippie TreeHugger kind of place. I’m surethere are numerous bars, stores,non-“prophet” (sic—errrr profit),anti-establishment, anti-religiontypes of places whose inhabitantswould be more than happyto donate some space to your artisticdesires. I heard some dude“say” that he owns the propertyat 900 S. State Street (numbertwo corner). See him at the tacocart. Maybe the wall to the northis yours.Dabber, I’d like to see commentsto SLUG by its readers as to whatyou should paint. Hell, I’ll evenhelp you. I suggest some sort ofski racer/boarder/skater depiction––poundinggates, inverted orpool skating. Maybe a combo ofall so no one is offended.Have a question for the cop? Send yourqueries to askacop@slugmag.com.52 SaltLakeUnderGround slugmag.com 53

Take the zombie bus, painted by Kier Defstar, to find yourworst nightmares—and a beer garden—at the Fear Factory.Haunting October’sGallery StrollBy Mariah Mann Mellusmariah@slugmag.comPhoto Courtesy Fear FactorySalt Lake’s Gallery Stroll is held on the I love looking for art in nontraditionalthird Friday of every month. Most galleriesparticipate, so I find it important ing through a haunted house too freakedBohemian specializes in Old Worldplaces, and though I usually run scream-Overview: This is a wonderful beer.to prioritize. My metrics include location,duration of the exhibit and theme I can appreciate the art of haunting andcome up with a great, low-alcoholout to slow down or fully open my eyes,lagers. The brew team in Midvale hasor mood.the many talented people who createinterpretation on this festival beer.this psychologically stimulating environment.The Fear Factory on 666 W. 800You get my point? There is a shloadAn October Evening is a one-night-onlyCheck it out at the brewery andevent on Oct. 18, meaning if you don’t S. makes my October Gallery Stroll hitof great options, but I have to chooseSnowbird’s Oktoberfest.get your arse over, you’ll forever hear, list for taking the old business of hauntingand adding a contemporary andthree beers that I think are your best“Remember that awesome show? Ohbets. Here they are:Ayinger Oktoberyeah, you weren’t there.” Produced local appeal. A family business, ownersby Christel Edwards and Stephen Bob Dunfield, Rob Dunfield andFest-MärzenSimmons, An October Evening is a Keith Sharp take on over 100 actors Hoppers SteinBrewery/Brand:multi-medium event celebrating all and 20 makeup artists, such as BrettKnockerPrivatbrauerei Franzthings that go bump in the night. Held at Hamilton, a veteran from the film industrywhose close attention to detail,Brewery/Brand: Hoppers Inselkammer KG / Brauereithe glamorous and slightly spooky MasonicTemple on 650 E. South Temple, blood splatters and flesh decay can onlyABV: 4.0%Ayingthe “theater in the round” style event be described as realism. Kier Defstar,Serving Style: On TapABV: 5.8%hosts everything from fashion shows painter and all around badass, createdDescription: Orange and copper Serving Style: 500 ml Bottleand short films to musicians and performanceartists. Celebrating its eighth ral that can be seen from I-15 and 800the eye-popping, accident-inducing mu-are bright in the glass. The nose is Description: The appearance ofyear, An October Evening is taking the South. The Fear Factory provides a completeexperience, including a ride onThe taste starts with caramel malts others, with more of a light-orangeof vanilla, earthy fruit and caramel. this offering is much lighter than theaudience where the best ghost storiesbegin: the campfire. Featuring set designsby Dustin Everett, the creators by Defstar, from the Gateway Shoppingand then finish with a clean orange- very complex with apple, fruity malts,the new zombie shuttle bus, designedthat evolve to a vanilla/malt note, color. The nose on this is just amazing:have captured the feel of sitting with Center to the venue and back. If you’repeel dryness that cleanses the palate nuts and vanilla. The taste starts withyour friends around a campfire deep there on a weekend, enjoy the Fear Factory’slive music, beer garden and zipjust as the malt elements start to stickin the woods, roasting marshmallowsa malty sweetness that dominatesand trying to freak each other out. line. For cost, times and dates, visit fearfactoryslc.com.More zombies, please?and perfect.notes come next. The finish is semi-around on the tongue. It’s crisp, clean the front end. Molasses and roastedThe night’s spectacular spooks willbe dished out by many talented artists.Short filmmakers John Lyde, would last throughout the year, photog-For those wishing this haunting seasonOverview: In 2011, this beer wassweet with toasted barley, fruit, lightRoco Devilliers, Chris Larsen (of rapher Jon Diaz and the Fear Factorynamed the best Märzen in the U.S. atbitterness and some yeast notes.Kill Ship), Conor Long and Stephen artists have teamed up to create a 2014the Great American Beer Festival. Yes,This is a nicely balanced, crisp andSimmons will be freaking you out on Zombie Calendar. The images haveit’s that good, and only available atrefreshing Oktoberfest. Very nice.the big screen. Death never looked been described as Norman Rockwellmeets The Walking Dead. Calen-Hoppers.Overview: This is the only Germanmadebeer reviewed. Many considerso good than when fashion designerPretty Macabre dresses you for the dars are available at the Fear Factory oroccasion, musician Tom Bennett at facebook.com/zombiecalendar2014.Bohemianthis beer to be the original Oktoberfestsets the mood with a killer soundtrackbier. Insanely drinkable, you shouldand dancer Whitney Smith has you Until next time, stay safe, look both Oktoberfestdefinitely snag a few of these whilewishing you could dance like the dead. ways, carpool, drink responsibly,Brewery/Brand: Bohemianthey’re around.Bring a backpack, compass, flashlight, Gallery Stroll!Brewerysnacks and possibly an extra pair of un-ABV: 4.0%Prost!54 SaltLakeUnderGround slugmag.com 55derwear—whatever you’ll need for thisjourney deep into the woods on An OctoberEvening. The event starts at 7 p.m.Tickets are $10 and can be purchasedat the door. For more info, visitfacebook.com/anoctoberevening.By Mikey Riedelmikey@slugmag.comIt’s October! And what do webeer lovers do in October? Duh,we celebrate Oktoberfest! Thereare many fine beers available atthis time of year, and finding theright one for our specific needsis a bit of a no-brainer. Märzens,also known as Oktoberfest biers,are the traditional lagers served atOktoberfest in Munich, Germanysince 1810, and their roots havebeen traced as far back as the1500s.Märzens are one of my favorite lagerson Earth. They’re rich, malty andtoasty, with nice vanilla notes. Thehops are generally mild and grassy,with an ABV of 5.0% – 6.0%. Rightnow, there are many, many optionsfloating around the state. GordonBiersch makes a fine Märzen, asdoes Epic (Fest Devious), Red Rock(Autumn Fest), Desert Edge, Roostersand on and on.Serving Style: On TapDescription: The nose on this one issweet with toasted grain and breadycaramel. The taste is similar with theaddition of orange peel and grass.The grassy/floral hop bitterness isassertive enough to balance out thebeer, making it very drinkable. Themouthfeel is light to medium, mellowand delicious.

“This isn’t what I remember Seattle looking like, but I was prettydrunk last time...”Shadowrun ReturnsHarebrained SchemesReviewed On: PCAlso On: iOS/Android TabletsStreet: 07.25Shadowrun Returns is full of potential andis a testament to the power of crowdsourcing,but it ultimately ends up beingan unfinished and often-glitchy messthat falls far short of greatness. A semitactical,turn-based isometric RPG in thevein of the Baldur’s Gate series or theoriginal Interplay Fallout games, ShadowrunReturns takes place in a strangeuniverse where the megacorporate cyberpunkworld clashes directly againstthe world of fantasy and magic. I don’tknow any other game off the top of myhead that lets you play an elven magehacking into computers to shut off securitysystems before throwing fireballsat orkish security guards and their impminions. At the time of release, the gamecontains a single official campaign, afairly satisfying noir-esque murder mysteryin futuristic Seattle that remainsfascinating even when it partially derailsitself towards the end. That one campaign,however, lasts only a few hours,relying on the thoughtful inclusion of anincredibly glitchy and obtuse campaignbuilder for more productive fans to createtheir own content for the community.If it sounds like a cool idea and you’rewilling to gamble on the quality of futurecontent, you can’t do worse with $20.–Matt BrunkMario and Luigi: DreamTeamNintendoReviewed On: 3DS(Exclusive)Street: 08.11Mario and Luigi: Dream Team is the perfectcombination of RPG and platformer.This new adventure pits the bros againstBowser and the evil Antasma, who arehell-bent on kidnapping Peach and stealingthe Dream Stone. Exploring the gorgeousworld is an absolute joy in 3D,and the combat ranges from quick-anddirtyto challenging and exciting. Utilizingevery element the 3DS offers, Nintendohas found a way to keep a nichegenre available to the masses. Whileexploring the world, Mario is controlledwith the A button, while Luigi reacts to B.This means navigating the platformingparts of the game requires you to mashboth to get the bros over obstacles, orto dodge enemy attacks during combat.Mario & Luigi strays away from yourstandard turn-based combat system andblends it beautifully with timed buttonpresses to increase damage or dodgean oncoming attack. Many bosses eventhrow you into the background whereyou have to help Mario dodge in theback while Luigi is being attacked in thefront. This light-hearted yet challenginggame is the perfect addition to your collection.–Thomas WinkleyDragon’s CrownVanillaware/AtlusReviewed on: PS3/PS Vita(Exclusive)Street: 08.06Dragon’s Crown is fun wrapped in frustrationand sprinkled with addiction.The characters and environments arebeautifully illustrated, and the gameplay,although not being anything special,is wildly addicting. Following yourstandard hack-and-slash format, thisgame is a giant Golden Axe homage.The character models (specifically thedwarf and amazon) look as if they’rebased solely on the Golden Axe sprites.The unoriginal story of help the queen,kill the dragon still can’t keep me fromgrinding level after level for my next shotat the boss. The lack of crossplay on thegame is disappointing since it allowsyou to upload and download your gamesave between consoles, and the matchmakingsystem for online was obnoxiousenough that I found myself diving intorandom groups as opposed to partyingup with friends. Aside from that, thereare so many different side quests, piecesof loot and modifications that can bedone to your character as well as sidequests, you could easily burn 100-plushours. It’s time to cowboy up—drop$49.99 and start grinding your way toglory. Or grab it on sale in the comingmonths. Either way, I’ll see you online.–Thomas WinkleyAssimilate: A CriticalHistory OfIndustrial MusicS. Alexander ReedOxford University PressStreet: 06.05I believe every college music professorshould put this book in their syllabus—iteven had a sort of chapter review witha listing of tracks typical of the soundthat was being developed during eachtime period. Not only does it explainthe “who’s who” of industrial music—aswell as where, when and how it cameabout—it tells the story of what wasgoing on through the decades. I enjoyedreading how some musicians used dadaismto promote themselves with graphicimages and gestures in the late ‘60s, aswell as the rise and fall of the cassettetape, and how it assisted artists by allowingthem to produce their music withease and spread their creations acrossthe globe. I was at first concerned whenfamiliar names appeared, and I thoughtto myself, “If this is going to turn into agossip mag, I cannot continue.” I readon and was delighted to find factual descriptionsof the movements some of myfriends and acquaintances have been apart of. I suggest that anyone who hasanything to do with industrial music orits sub-genres buy this book and keep iton their bedside table. –Mistress NancyPeople of the BearMother: Periplus of theSea of Souls Book OneT. D. AustinEloquent BooksStreet: 10.22.09Both fascinating and slow, this novel byUtah native T.D. Austin (now a Californiaresident) tells the story of a teenagegirl of 30,000 years ago, as she journeysfrom self-doubting young artist totribal shaman, set against the backdropof Chauvet Cave in modern-day France.Inspired by Joseph Campbell andJean Clottes, and with a definite nodto Jean Auel, Austin tells a rich story ofgoddess-worship, hunting and multi-facetedsexuality among “primitive cultures”that might teach us a thing or two aboutaccepting differences. Beginning withan unnecessarily lengthy description ofLittle Bear’s journey into the cave whereher people worship, the story continuesthrough her life as a healer and her anticlimacticdeath, and even her journeyafter death and her many rebirths. Thenovel, while offering many interestingideas of how our hunter-gatherer ancestorsmight have lived and thought, suffersfrom the clumsy first-person narrative socommon in young adult novels (whichthis presumably is, despite its candidand detailed descriptions of sex acts).The narrator’s voice is choppy, given tooverly florid descriptions and tells us toomuch rather than showing actions andfeelings. We learn too many details,while the characters and situations neverseem to grow organically. The abundanceof formal tribal-sounding words foreverything—“sisters of the Moon Blood”or “Plains of Summer”—kept me from beingable to concentrate on the story. Thisis an LGBT-friendly book, and not a badone, but I feel that the good story getsburied under too much writing and notenough editing. –Madelyn BoudreauxSugar House Review #8:Spring/Summer ‘13Various ContributorsStreet: 04.01With its eighth release, the editors atSugar House Review have compiled a balancedcollection of poetry that explores ahealthy selection of themes, with poemsthat venture into deeper elements of humanexistence. While there were multiplepoems I wanted to revisit, a few in particularpiqued my interest enough to lookfurther into the poets’ collections. Amongthese were Christopher Anthony Leibow,currently living in Salt Lake, whosesnippets from “On Being Balthazar” hitme with its youthful sincerity and discovery,and Kathleen McGookey, whosepersonification of death in her series wasan (ironically) enlivening elegy. In additionto the poems, there are a handfulof book reviews at the end that dive intothoughtful analyses of the poetry booksincluded. Visit sugarhousereview.com,where you can download a PDF for $2or buy a yearlong subscription for $12,or find a copy at your local bookstore.–Brinley Froelich56 SaltLakeUnderGround slugmag.com 57

Behind the CandelabraHome Box OfficeStreet Date: 05.26It’s pretty safe to say that many people,whether they are subscribers ornot, are well aware of the populartelevision show programming HBO iscurrently distributing. With programslike Game of Thrones, Girls and TrueBlood, the channel has become aregular discussion around water coolerson Monday mornings. What manypeople may not be aware of is that theorganization’s original movies are highquality as well, especially their most recentrelease, Steven Soderbergh’sBehind the Candelabra. MichaelDouglas stars as the eccentric LasVegas performer Liberace, who kepthis true sexuality a secret from his fans,but always seemed to have a youngermale lover at his side. The film focuseson the final phase of Liberace’s careeras he wines and dines his latest catch,Scott Thorson (Matt Damon).Soderbergh points his camera at theglitz and glamor of Las Vegas withoutforgetting to showcase the grunge andmuck as well. Douglas delivers one ofhis greatest performances to date ashe forces us to take pity on this lonelyartist while wanting to strangle him atthe same time. While it may be hardto believe Damon as a teenager lostin the world of fame and fortune, hisacting abilities silence all doubts andconcerns as we travel with him throughaddiction and heartbreak. Soderberghclaims this may be one of the last filmsbefore his “retirement,” but it’d bea shame to lose such a gifted directorwho can deliver the goods on thebig screen as well as the small ones.–Jimmy MartinDon JonVoltage PicturesIn Theaters: 09.27With the various reports coming outof this year’s Sundance Film Festivalabout the graphic imagery embeddedin Joseph Gordon-Levitt’s fairlywell-received directorial debut, it wasonly a matter of time before an editedversion reached mainstream cinemas.While I was not able to witness theoriginal cut, I can only imagine the degreeof sexuality spewing from the celluloid,since a large amount still residesin this new edition. Along with beinga first-time director, Gordon-Levitt alsowrote the screenplay and stars in thistale of a stereotypical guido, Jon, whospends his nights looking for “dimes”(aka women ranked as a 10) in orderto keep his sexual streak alive. However,as these conquests sleep the nightoff in his silk sheets, Jon slithers awayto partake in his true love … masturbatingto online pornography. It’s anaddiction, and one he has no interestin overcoming until he meets Barbara(Scarlett Johansson). Of the threeresponsibilities Gordon-Levitt undertakes,it’s no surprise his acting reignssupreme, but it’s his comedic writingand ability to capture chaotic familyinteractions that is the most surprisingof all. While the overall plot is paperthin,the unrelenting comedy disguisesthe film’s hiccups, mainly with the helpof a great supporting cast that includesJulianne Moore, Brie Larson andTony Danza. –Jimmy MartinMuscle ShoalsEar Goggles ProductionsIn Theaters: 09.27 (Limited)You may have never heard of the ruralvillage known as Muscle Shoals,Ala., but I can guarantee you’ve heardcountless tracks of the magnetic musicalmasterpieces that have surfacedfrom the wetland region. Pressed upagainst the Tennessee River, MuscleShoals was the birthplace of RickHall’s legendary FAME record studios.Locals believe the area’s watersare blessed with spirits, and who canblame them when legends such asJimmy Hughes, Wilson Pickett,Percy Sledge, Aretha Franklin,Gregg Allman and Lynyrd Skynyrdlaunched their careers fromwithin the town’s borders. With an outstanding,soulful soundtrack consistentlyplaying in the background, directorGreg “Freddy” Camalier focuseson the benevolence of talented musicians,both black and white, who decidedto collectively create some of thegreatest music to date, rather than givein to bigotry in a time when racial tensionswere at an all-time high. Admirersof the genre will revel in the candid interviewswith musicians that reveal theincredible facts behind their creations,and newcomers will discover a wholenew world of awe-inspiring music. Camaliercaptures the highs and lows ofbusiness between friends and the bondthat is shared when stimulating theworld, even if it is from a rustic wildernessin the Deep South. –Jimmy MartinRiddickOne Race ProductionsIn Theaters: 09.06It’s hard to believe it’s been 13 yearssince director David Twohy’s filmPitch Black gained a cult-like followingand turned a then-unknown VinDiesel into a household Hollywoodname. Even though the 2004 sequelonly squeaked by, making just aboveits production budget, Twohy andDiesel felt the urge to bring back themurderous anti-hero who can see in thedark one more time. In this adventure,Riddick finds himself abandoned andleft for dead on an inhospitable planetthat is only hours away from total annihilation.In order to form some typeof escape, a distress signal is activatedand two teams of bounty hunters comelooking for our silver-eyed menace.What starts out as an elongated talebetween Riddick and an alien spacedog(yes, you get to see the pup learncutesy tricks) quickly launches into agruesome manhunt where no one issafe, and this then spirals into an intensealien attack. While the majorityof the film captures more of the style,tone and grittiness of the original story,a large portion of the first act could beremoved in order to get the storylinemoving into the more likeable moments.Unlike the asinine release ofYou’re Next in August, Twohy appearsto be successfully channeling the styleof John Carpenter’s Assault on Precinct13 and Ghosts of Mars, whichmakes for a entertaining, violencefueledthriller. –Jimmy MartinRushCross Creek PicturesIn Theaters: 09.27There’s nothing in this world more motivatingthan a personal rivalry. Sure,your parents can encourage you andyour significant other can support you,but when another individual in yourline of profession threatens your position,it’s game on. Now, to be clear,that doesn’t immediately translate intohatred for one another, and such is notthe case with the competitive naturebetween Formula One racecar driversJames Hunt (Chris Hemsworth)and Niki Lauda (Daniel Brühl).Director Ron Howard transports usback to the 1970s, as a calculatingLauda uses statistics and percentagesto secure the top spot, while a wildcardHunt uses instinct and puts his life onthe line to take the advantages othersare too scared to take. They representthe polar opposites of the sport. After ahorrific incident, the opposition is tested,and the chase for the world championshipis anyone’s game. Howardhas not offered something this intensesince 2008’s Frost/Nixon, and it’s apleasure to see him back at top speed.Hemsworth, who cloaks the entiremarketing campaign, is superb as hebrings his charm and playboy mannerwith a hint of desperation to succeed,but it’s the lesser-known Brühl whosteals the spotlight with his socially ineptdemeanor and comes across as apompous perfectionist who cares moreabout the numbers on the page thanthe people in front of him. Rush is aheart-pounding sports drama that’s asthrilling as it is inspiring. –Jimmy Martin58 SaltLakeUnderGround slugmag.com 59

AtheistTopangaSelf-ReleasedStreet: 08.08Atheist = Blue Scholars +Mac LethalAccording to his Bandcamp page,Atheist makes music to entertain thosewho don’t take hip hop too seriously.I’d say that’s an accurate description ofTopanga, which is a multifaceted lyricaljournal of Atheist’s experiences inthe saltiest city. The first track soundsquite a bit like “When I’m Gone” byEminem and introduces the idea of“Topanga,” which is “that feeling insidethat got you feeling alright.” Atheistimplements local ska band ShowMe Islands in his track “SomethingDifferent,” and raps about crazy, localparties in “Party in the Avenues.” Mostof the tracks on Topanga are in storytellingform, with samples and even afreestyle mixed in. Some of Atheist’slyrics are too cocky for me to get downwith (“I’m hotter than Atmosphere,a bottle of fine wine just shitting onyour cheap beer”), but his passion forSalt Lake, combined with the diversetracks, makes Topanga a good choice.–Kia McGinnisBeachmenSelf-TitledSelf-ReleasedStreet: 06.20Beachmen = The Drums +Surfer Blood + Washed OutI’m all for the latest generation of surfinspiredrock groups with surf-inspiredband names, but Beachmen may bethe first group I’ve seen with the staleoriginality of a surf-band-inspiredname. Beyond the name, every aspectof Beachmen seeps through myeardrums with the pleasant sweetnessof summer. Each track flows into thenext while still able to stand apart—notmeshed into an indistinguishable masslike many albums of similar genre. “IWanna” breaks the album out of areverberated space jam with a catchyline on distorted low-end (maybe keys)and a straightforward beat. The semichantedlyrics, “I wanna be young/Iwanna take stuff,” grow into somethingmore melodic, echoed by harmoniousvoices and picked guitar whilethe song periodically drops back intothe intro and keeps my head bopping.Beachmen shifts between steady beatsand floating jams while somehowholding on to the same, sunny feeling.–Steve RichardsonCoral BonesYouthemismSelf-ReleasedStreet: 08.17Coral Bones = (Bright Eyes +Radiohead) x The xxCoral Bones’ sound is best describedas “assorted.” The project’s Facebookpage lists the genre as “whatever youwant,” which really sums it all up. Amostly solo effort by ChristopherKalani Bennion, Youthemism is variedin emotion and sound—it’s no wonderthat it was influenced by Bennionbeing diagnosed with bipolar disorder.Highlights of this fantastic rollercoasterinclude “Rising Sand,” an upbeat toetapperof a number that pays tribute toCreedence Clearwater Revival’s“Fortunate Son,” and “Canyonlands,”a lovely, somber track featuring a poignantbacking vocal effort from LydiaMongie. After all of the album’s upsand downs, its simplest track, “DustyCorners” (mainly just Bennion and hispiano), is the one that sticks out. Itspain—its struggle—encapsulates whatI imagine Bennion was going throughwhen he wrote this album. The track’slast 60 seconds or so of strange soundsmixed over piano is a perfect endingto this strange but wonderful album.–Blake LeszczynskiDrew DanburryBecoming Bastian SalazarSelf-ReleasedStreet: 09.16Drew Danburry = Matt PondPA + John VandersliceBecoming Bastian Salazar is Danburry’stale of his transition between two personas,where one is sweet and theother a little more sour. While Danburrysticks with the basic elements ofa folk style that emphasizes a guy withhis guitar, he has crafted an album extravagantin its production yet homelyin its lyrical themes and simple melodies.It is this simplicity that establishesan easy connection, and although thelyrics can take you to darker places ofthe psyche, the ultimate messages thatstand out are uplifting and inspiring touse as a life soundtrack. I particularlywould have loved it if “Victoria, For allthe Girls, or Jef Logsdon” (featuringDamien Fairchild) would’ve beenreleased when I lived in Provo, in orderto boost me in that weird town, butalas... –Brinley FroelichEtherArchive: Unreleased Recordings1993–20138ctopus RecordsStreet: 06.14Ether = Grails + Sunn O)))+ CanI was unfamiliar with Ether prior toreceiving Archives for review. Fortunately,that unfamiliarity has been remedied.This double disc, 20-year retrospectivecontains some impressivelyexploratory psychedelic noise, but isbest heard over a few sittings, as theimprovisationally long-winded natureof the majority of the pieces containedin this set can be a bit tedious if runthrough without a break. I say this inthe album’s favor, as it is best heardin the foreground, rather than treatedas background music. Track nine ondisc one is a good reference point. I revieweda rough draft of Archive, wherepackaging is concerned, so I did nothave the track titles available. The setwill include liner notes on the band’shistory, flyer art and other artifacts.There is a printout of some pretty grandSri Whipple artwork depicting anoctopus and wolves (or perhaps thosewolves are tentacle ends? Wolfkraken?Wolftopus? Fuck yeah) massacring agroup of sailors and old-timey cowboys.So that happens, too. –T.H.L’AnarchisteThe TravelerSelf-ReleasedStreet: 08.20L’Anarchiste = Beirut / BonIver + Volcano ChoirThis fascinating EP was made with apurpose, and L’Anarchiste should feelgood about their direction. Its purposeis to connect their first album with theirforthcoming LP, Giant, by introducingfans to a newer sound. I found it veryeasy to enjoy, with musical influencesranging from Andrew Bird to DeathCab for Cutie. There’s great storytellingwith a well-orchestrated folk soundand a few surprises. Vocalist RobLeCheminant’s sweeping, breathyvocals resemble that of Polytype’slead singer Mason Porter, which issomething I can dig. They’re perfect forL’Anarchiste’s grandiose sound, featuringtrumpet and horn in all the rightplaces without being overdone. “Runwith the Foxes” is the most memorablebecause of its distant feeling and experimentalbut brief flute section. Thisband just won City Weekly’s covetedBand of the Year for 2013, and they’reliving up to the title. –Justin GallegosLake IslandOutermostSelf-ReleasedStreet: 09.20Lake Island = Wildcat Strike+ Colin StetsonIf I can say one thing about Lake Island,it’s that they have great potential.Just listen to “Relapse” from this newEP. It’s an instrumental landscape thatreminds me of the cold genius heardon the second half of Dirty Beaches’new double album. Then you have theclosing moments of “Wolves,” whichsound like wind being forced throughmetal pipes at breakneck speed whilea guitar wails in the background. Theseguys can manipulate sound in an intriguingand cold way, and followingthe madness of “Wolves,” you have thefolk-sounding downer, “Grindstone.”These guys should stick to their abilityto captivate listeners with jarringsounds and heavy guitar riffs like theones that close out “Birdsong” so powerfully.There’s obviously much about60 SaltLakeUnderGround slugmag.com 61

this EP I find impressive, but amore consistent approach in soundwould benefit Lake Island greatly.–Justin GallegosLight/BlackSelf-TitledSelf-ReleasedStreet: 07.01Light/Black = Chelsea Wolfe+ Goatsnake + JarboeThe individual members of this relativelynew Salt Lake drone/rock outfitboast resumes that would make mostpeople in this city salivate, but I’ll leavethe readers to search out the familytrees on their own. This self-releasedand self-titled album is absolutely mesmerizing,and from the second the firsttrack begins, it’s nearly impossible toturn the album off. The majority of thesongs are mid-tempo and brooding,while Carri Wakefield’s angelic lyricsimmediately call to mind the sheerbrilliance of artists like Hope Sandoval.It’s nearly impossible to describethe overall effect of the album in words.Some songs play as equal parts (good)Far and Triggerman riff-wise, but intruth, that explanation sells this releaseshort. Light/Black may be one of SaltLake’s best-kept secrets, but they won’tbe a secret for long. Highly recommendeddebut release. [Oct. 12 @Urban Lounge]–Gavin HoffmanMideauSelf-TitledMumbleak MusicStreet: 09.13Mideau = Florence and theMachine + DaughterRising like something out of a dream,Mideau combine soft vocals withethereal symphonic elements andmythical-sounding synthesizers to createa whimsical swirl of some of thedreamiest electro-pop you’ve everheard. “Feet to the Sun,” “Way WithWords” and “Opelika” showcase theduo’s more upbeat pop sounds, whichare fraught with delightfully sweetmelodies accompanied by misty synthsounds and sometimes the occasionalharp. The rest of the album features aslower, softer and more haunting vibe.Dark piano chords and heavier drumsmake for a melancholy addition to themore upbeat songs, while still keepingtrue to its dreamy theme. In short, thisalbum has become the soundtrack tomy REM cycle. –Allison ShephardMoonlets & Ben Q BestMoonlets/Ben Q BestHel AudioStreet: 07.12Moonlets & Ben Q Best =Teebs + Delia Derbyshire +NeoTantrikI’ve enjoyed all of the releases fromHel Audio that I have reviewed. Theyremind me of music released andsupported by labels such as Brainfeederand Andy Votel’s Dead-Cert imprint. The fact that I am ableto compare the sounds on Moonlets/Ben Q Best—in any form—to thosepromoted and released by some of myfavorite labels, is a high compliment.Best and Moonlet (Andrew Aguilera)are aesthetically well-suited toone another. Dominantly electronicinstrumentation and warm tones createa dream-like atmosphere for thelistener to drift along and take comfortwithin. Each of the 25 pieces clocks inat around or under five minutes, withBest’s tracks being the more lo-fi andcleverly titled of the two sets. Moonlet’shalf of the split is my favorite, thoughI recommend listening to Moonlets/BenQ Best as a whole. –T.H.The MothsSelf-Titled8ctopusStreet: 06.28The Moths = The Jingoes +The Wolfs + andale!The Moths are a Salt Lake band thatmerges the collective talents of MichaelSasich, Josh Dickson, EliMorrison and Greg Midgely—andholy hell is it good. It’s been a whilesince a solid rock record with this muchattention to composition has come outof our town. The straightforward versechorus-versesongwriting is refreshingand made better by quality musicianship,sharp guitar work and impeccabledrumming. “You Sold My Soul” isa standout track that takes lyrics aboutpain and dishonesty and makes themsound upbeat. “In the Shadows” doessomething similar, taking words thatdescribe an ugly situation and makingthem beautiful. The CD is packaged ina rectangular plastic bag with a toysurprise and a full booklet of artworkand lyrics. The only drawback is thatthe six-song album clocks in at just under24 minutes—leaving the listeneraching for more. Then again, leavingthe listener with a desire for more musicis a good thing. Well done, gentlemen.–Woodcock JohnsonParlor HawkSelf-TitledSelf-ReleasedStreet: 09.14Parlor Hawk = Band ofHorses + Ryan AdamsFor their second album, Provo’s ParlorHawk looked to make a slight departurefrom the sound of Hoarse &Roaming—their 2010 NorthplatteRecords release that seemed heavilyinfluenced by producer JoshuaJames—and dabble a bit more in therock side of their indie rock/folk genre.Though the self-titled effort definitelysucceeds in this, you’ll still find somemore grounded tunes here, especially“Scars” and “Save Me.” The album’sproducer, Nate Pyfer (The Moth &The Flame, Polytype), once againshows his magic touch over the solid11-track offering. Parlor Hawk feelslike an indie production without eversounding like one. Tracks like “BrokenHome” and “The Wind” seamlesslyblend lead singer Andrew CliffordCapener’s organic, hopeful voicewith distant-sounding instruments andunidentified sounds, making the LP lessabout listening and more about experiencing.–Blake LeszczynskiPink LightningThe Unbeatable Sound ofPlastic8ctopusStreet: 06.28Pink Lightning = Doo Rag +Son House + the LegendaryPorch PoundersThe Unbeatable Sound of Plastic, thesecond full-length record from SaltLake’s Pink Lightning, straddles the linethat separates gritty blues and ‘70srock, and fucking breaks everythingin between. The muffled vocals, rhythmicdrums and cyclic guitar riffs spintales of yearning for love and castinglove away—with all the lust, spite andillumination that come along with theexperiences. The disc is packaged ina plastic bag with a toy and a booklet.I’ve always thought of Pink Lightning asan Eli Morrison and Brad Wheelerproject, and it still is, but it seems likethe cast of musicians is a little morecomplete this time around. For fans ofcoarsely ground, noisy blues-rock, thisis a great listen. After nine standoutoriginal songs, the CD finishes with adrawn-out homage to a classic Bauhaustrack. As good as this final tuneis, it’s merely a feather in the cap of thealready stellar album. Catch them liveif you can. –Woodcock JohnsonStarbassSelf-TitledSelf-ReleasedStreet: 07.19Starbass = Excision & FarToo Loud + NiT GriT +ArchitectSteve Comeau, a community-involvedCanadian transplant, launchesus to Starbass with a great collectionof futuristic, danceable dubstep tracks.There is an outstanding mix of heavyelectric guitar riffs, fluttering flute andsultry feminine voice samples with hiskeyboard tracks. His dark, sorrowingand heartfelt lyrics are sung in an impressivetenor voice. Much to my surprise,even my cold heart began to stirwith passion and emotion. With lyricslike “I will love you to the end of days,”and “You’re my dark star,” it leads meto believe that this release was writtenfor a possible romantic interest of his.This artist has the ability to go into uncharteddestinations. –Mistress NancyVincent Draper andthe Dirty ThirtySAMWandering ManStreet: 07.27Vincent Draper and theDirty Thirty = Chuck Ragan+ Lucero + Nick LoweWhen it comes to Utah and musicalidentity other than the MormonTabernacle Choir, we’ve got verylittle. I’d like to propose that the VincentDraper sound become the officialsound of Utah. It’s deeply rooted infolk traditions, but somehow managesto be fresh and original—it’s definitelyearthy in its tone, and while you canhear influences from all over, it standson its own. The SAM EP is mostly slowin the going, but each song feels likea refreshing, deep breath of air withnothing rushed. Wistful and somewhatromantic, Draper’s vulnerable lyricsfeel as though he couldn’t be sayinganything more honest. Vincent Draperand his comrade Charles Ellsworthare able to tap into their psyche andreach that part of themselves that issolely theirs and bring it to the forefrontof this Americana or, hopefully, soonto-beUtah-cana music. –James OrmeSend local albums toreviews@slugmag.comto be reviewed!62 SaltLakeUnderGround slugmag.com 63

Agnes ObelAventinePlay It Again SamStreet: 09.30Agnes Obel = Joanna Newsom+ Lana Del Rey + FeistSweet as dark chocolate, Agnes Obelcombines sultry yet poppy chamber instrumentalswith whimsical vocals thatmake the Danish singer/songwriter’ssophomore album an absolute delight.Varying from dreamy music-box-esqueinstrumentals, such as “Tokka,” to eerie,minimalistic confessionals like“Dorian” and “Smoke and Mirrors,”Obel manages to seamlessly weavean assortment of different sounds intoone amazing musical tapestry. WhileObel’s vocal capabilities providea hauntingly sweet sound, it is theorchestration —the piano in particular—thatreigns supreme on this album.Somber composition, paired with preciseskill, showcases Obel’s musicianshipas not only versatile, but also creativeand well rounded. Put simply, ifyou appreciate quality classical instrumentationand enjoy soft-spoken vocals,this album will definitely becomeyour new BFF. –Allison ShephardCreepy MurdleMidnight Ghost ofCaliforniaMT6Street: 02.24Creepy Murdle = The JesusLizard + Incesticide-eraNirvanaOn their third release, Creepy Murdledeliver a sonic experience that isgrotesque and beautiful. Imagine thegrinding din of a metal shop when allthe machinery goes haywire, throw ina multicolored spark celebration arcingout of the windows and roof forvisual effect, and that’s Midnight Ghostof California. The crunch that pervadesthe album is heard most prominently insinger Richard Feinstein’s cracklingvocals—an effect innovated by Feinstein’ssplicing of a vintage headsetwith a microphone. This creates aneerie effect that heightens the alreadymacabre aura surrounding the album(see “Best Behavior” for a kidnapper’sdelight: “I want to borrow/some ofyour skin”). The energy of this albumis irresistible, and there are somehaunting gems that will get you singingalong, especially on the title track.With enough earworms and fuzz toaccommodate James’ giant peach, thisrecord will please more than just thegrunge enthusiasts. –Jordan DeverauxDavid LynchThe Big DreamSacred BonesStreet: 07.15David Lynch = Tom Waits +The Velvet UndergroundDavid Lynch is most well known forhis work in television and films, suchas the acclaimed cult TV series TwinPeaks, but his late-career foray intomusic includes similarly bizarre elements.Just like his films, it’s not foreverybody. Lynch released his first album,Crazy Clown Time, back in 2011,and his new record, The Big Dream,contains a plethora of moody soundscapesblended eerily well with hisown take on the blues. In other words,if Tom Waits made a record with LouReed and then polished it up heavily,The Big Dream would be a likely result.Much like Waits, the 67-year-old Lynchdoesn’t so much “sing” as he doesramble and moan, albeit with a moregentle, ethereal approach. The albumalso features an interesting version ofthe Bob Dylan classic, “The Ballad ofHollis Brown,” as well as a track featuringLykke Li called, “I’m WaitingHere for You,” which is only availableas a bonus track and is not included onthe album itself. Overall, this album surprisedthe hell out of me, and it seemsto get better with each listen. Don’t getme wrong: There is a lot of weird shit,but Lynch, like he’s done so many timesbefore, pulls it off. –Jory CarrollHologramsForeverCaptured TracksStreet: 09.03Holograms = Iceage + TheVicious + MetzForever uses the upbeat power of nearlyunbroken speed to avoid any clasheswith boredom while finding identitythrough unique vocals. The vocals’ flavorlies where the over-masculinepunk chants of Criminal Damagemeet the melodic cries of The Cure.The second track, “Flesh and Bone,”drops the drums but not the speed fora phased guitar and vocal intro thatbreaks into one of the album’s catchiestchoruses. “Attestupa” stands abovethe other tracks due to the synth in itschorus—a common tone scatteredthrough Forever—that complements therepeated line, “I’m so tired,” with eartinglingsmoothness. –Steve RichardsonHouse of BlackLanternsKill The LightsHoundstoothStreet: 08.12House of Black Lanterns =Enya + Faithless + RecoilIt seems that Dylan Richards, knownfor his past projects King Cannibaland Zilla, has once again tapped intohis talents to create a pulsing, relaxingand, at times, bizarre drum and basscollection. This CD was compiled witha variety of vocals ranging from a manslow rapping, to a woman singing witha Celtic-type lilt. Most of the tracks havea soft, driving bass line and mellow lyricsand vocals, which were calming andalmost had a meditative effect on me.I would be in a trance-like state—thensuddenly, I would be jarred and throwninto shock by a disturbing pipe organsound that was something along thelines of the soundtrack of the classic1974 movie, Phantom of the Paradise.Do not get me wrong, I do appreciatethat type of sound, but there is a timeand place for it, and this placement wasdisturbingly wrong. –Mistress NancyJulianna BarwickNepentheDead OceansStreet: 08.20Julianna Barwick = Enya +The xxI found it really interesting to listen tothis album and then read about howJulianna Barwick produces the music,layering samples of her voice to createan eerie, haunting vocal effect thatsounds very choral. Although some ofthe tracks on the album, such as “Pyrrhic”and “Adventurer of the Family,”create sort of a sad vibe, the albumas a whole was super relaxing andpleasant to the ears. Some of my favoritesongs on the album were “Offing,”“One Half” and “Labyrinthine,”because they set a happy yet subtletone for the listener. –Julia SachsKal MarksLife is MurderExploding In SoundStreet: 09.17Kal Marks = Federation X +PavementBoston’s Kal Marks blend anger withsincere desperation in Life is Murder.You don’t know what to expect from64 SaltLakeUnderGround slugmag.com 65

opening track “Love is a Song … Notan Answer,” as it starts with some randomviolin noises, but then, beholdCarl Shane’s odd vocals come in. Itdoesn’t take long to get over Shane’spotato-stuck-in-throat voice and feelthe sense of loneliness in his lyrics,screamed over a thick slab of bassand feedback—“I have never been sohappy with a bottle of lotion in my life”Shane squeaks on title track. The trackthat I consider “my jam” off this albumis “All I Want in Life is a Solid Porch”—it’s full of tempo changes, feedbackand traumatic lyrics. I really didn’t thinkI would grow to like, let alone love andrespect Shane’s unconventional vocals,but they make this album a solid piecethat is unlike anything I’ve heard recently.–Darcy Wouters-RussellThe Legendary PinkDotsThe Gethsemane OptionMetropolisStreet: 06.25The Legendary Pink Dots =(Pink Floyd + Coil) x NurseWith WoundYet another in a long line of releases,this album brings the number to 98,by my reckoning, not counting the 60-some solo releases by frontman EdwardKa-Spel—by a band whosename may have been pretentious in1981, but has become a self-fulfillingprophecy. Legendary, indeed. The CDis comprised of seven experimentaltracks of dreamy and hypnotic textures(which may signify mystical intent, ormay just be what they had—it’s hardto know with this band). Ka-Spel’ssing-song vocals mesh well with TheSilverman’s keys and electronics,creating a lush and introspective experience.The standout song for me is thedark, edgy “A Stretch in Time,” but therest of the album is mainly the ambient,swirly, neo-hippy vibe they producethese days. Stay up all night listening tothis with your 12 closest friends beforeheading down to Golgotha. –MadelynBoudreauxLeverage ModelsSelf-TitledHometapes RecordsStreet: 10.01Leverage Models = ImagineDragons + 3OH!3 + TheKillersWith catchy, up-tempo pop beats thatare both acoustic and electronic, LeverageModels have the ability to pleasea wide spectrum of music fans. However,their music sort of goes back into an’80s pop sound that leaves me playinga montage of Molly Ringwald moviescenes in my head (but hey, if DaftPunk can “Give Life Back to Music”by channeling the sound of the ’80s, socan they). Some of my favorite trackson the album were “Cooperative Extensions”and “Night Falls on the GeneralAssembly,” because they were the twotracks on the album that—in my opinion—setthe band apart the most fromanything I’ve heard lately. For fans ofupbeat, all-male pop bands who synthesizetheir guitars, this album willsurely be one to watch out for. –JuliaSachsLoversA Friend in the WorldBadman Recording Co.Street: 09.24Lovers = Tegan and Sara+ Thao & Mirah + ImogenHeapIt’s been a while since I’ve heard analbum with this kind of superior lyricalquality. Backed by electro-pop instrumentationwhile fusing themes of love,intimacy and a dash of feminism, AFriend in the World is truly a rare find.Songs such as “Wonder Through theTime of Hearts” and “Girl in the Grass”lament about lovers lost in an amazinglyupbeat, pop-driven manner, while“Tiger Square” and “Purple Sage” employa more beat-centered approach,complete with a variety of bongodrums. Lyrically, this is one of those albumsthat allow you to get lost in theimagery without getting confused—itsthemes are presented in an intriguingyet understandable way, all the whilespun ever so delicately by frontwomanCarolyn Berk. If you enjoy dreampopand girl power, I’m pretty sure thisalbum will make your day extra sweet.–Allison ShephardPillars and TonguesEnd-dancesEmpty Cellar RecordsStreet: 09.17Pillars and Tongues = Grouper+ DaughterWhile “Knifelike” starts out with popinfusedrock similar to The National,End-dances mixes those elements withstrange, seductive drumming andchanting that gives off a creepy, satanicfolk type of energy. This album reachesits cult-like peak during “Travel,” withchanting fit for a monastery and ahaunting violin to add to the hymn. Thelyrics start to fade come “Ends” (whichis not actually the end), with ambientvibes that lead you straight to the actualend, “Ships,” with sonic emptinesscomparable to the endless horizon inthe middle of the sea. –Brinley FroelichPop. 1280Imps of PerversionSacred BonesStreet: 08.06Pop. 1280 = Mayyors + ExModels + Mission of BurmaThe deceptive opening guitar chord ofImps of Perversion hints at another surfalbum, with its thin echo lingering asa tribal beat backs the chord’s decay.The crunchy bass, synchronized withsimple double-time picking on the guitar,cuts in and knocks the surf soundoff its board within seconds. The drumshang around the bonfire drumcirclethroughout the album, while playingstaggered beats like a 45 of The Locustplayed at 33 rpm. Without muchchange in rhythm, the use of roboticvocal effects and backing power-drillsounds distinguish “Population Control”from any other track. The vocalscome half-spoken like Jello Biafra forthe entirety of Imps of Perversion, butreally emerge in the verses of “Nailhouse”through lines like, “They blow‘em up with land mines.” It’s refreshingto avoid the flesh-searing positivity ofthe beach sun, even with the landmines.–Steve RichardsonPORCHES.Slow Dance in the CosmosSelf-ReleasedStreet: 08.27PORCHES. = Kurt Vile + TheStrokes – M. WardPORCHES. have a sound that includesa little folk, a little rock, ample keysand a touch of soul. Highlights are:“Intimate,” which is a heartfelt duetfeaturing starry synth and dreamweavingvocals (though it’s a littleshort); “Headgiving,” which has interestinglyrics and nice guitar work;“Fog Dog,” which features warm fuzzand sweet harmonies; and my favorite,“Permanent Loan,” which is the mostpowerful track and has just the rightamount of angst (Brand New comesto mind) with strong vocals and guitarthat strides along with towering tones.PORCHES. have the style down, butthey don’t quite have the passionateverve you’d hear from many contemporaries,and the vocals don’t alwayshit the mark. Slow Dance in the Cosmossounds like it could’ve fit right in on a’90s college radio station, but might’vebeen forgotten quickly. –CJ MorganRich QuickSad SongzBen Frank RecordingsStreet: 08.20Rich Quick = Grieves +Micky AvalonThis white boy from New Jersey laysdown upbeat, borderline hip-pop withgroovy samples. Quick has charismain his musicianship, offering an approachabilitythat is at his advantage.In his video for “Travelin’ Man,” heraps about his love life, and comesacross as a cool, kinda nerdy, real-lifedude. Quick was obsessed with writingraps as a kid, which has translatedwell to his career—his words aren’tcomplicated or ensnaring, just easy tohear and relate to. Throughout the EP,the snare drum and bass lines createa solid backbone for everything else,but are good enough that they couldstand alone. “Nice Guy” has a mellowreggae beat that works out andadds some variation, while “WalkOn By” kills it with ’70s-sounding keysand guest flows from Jakk Frost andChuck Treece. Most of the tracks onSad Songz are spot-on enough to becomehits if Quick gains some speed inthe scene. –Kia McGinnisShitfuckerSuck Cocks in HellHells HeadbangersStreet: 10.31Shitfucker = Motörhead +Sodom + MidnightSo they say: What’s in a name (or evenan album title)? All the profanities andvulgarities aside, and belligerent andunabashed as Shitfucker’s tunes are,they’re not quite as vulgar as the eyecatchingband name and vulgar albumtitle suggest. Take the “fuck you” attitudeof punk and other metal spawns,toss in some booze fuel, broken bonesand black-as-night bruises, and youhave an idea of Shitfucker. Great,crusty riffs are plentiful here, as wellas smacking bass lines, all of it morepunk than shiny metal stuff. This meansthat you’re not going to find a bunch ofdamn guitar noodling solos here. Imaginesome dirty science lab spliced theDNA of Lemmy and Tom Angelripperwith little Damien from The Omen,started a band and called it none otherthan Shitfucker. –Bryer WhartonCheck out more reviewsat SLUGMAG.COMFriday, October 4Pick up the new issue of SLUGanyplace cool!Peculiar Pretzelman, Folk Hogan - ABG’sA Careless Skyline, The Eli JamesExperience - Bar DeluxeJazz Brulee - BayouThe Gamma Rays, The Slick Shifters -BrewskisGreen River Thrillers, LDSO, The TuxedoTramps - Burt’sHigh Desert Blues Band - City LimitsBlue October - DepotDJ Jpan - DownstairsThriller - Egyptian TheatreLife Is A Circus, The Delphic Quorum -FalloutHappy Hollows, Son of Stan - GarageTom Bennett - Granary RowWhitney Myer, DJ Celly Cel - Green PigCandy’s River House - Hog WallowThe Pillar - KamikazesSol, Sam Lachow, BFA, Better Taste Bureau- KilbyStomp - KingsburyForeseen Exile, Dethrone The Sovereign,Machines Of Man, We The Equinox- Liquid Joe’sIcon For Hire - Murray TheaterRooftop Concert Series: After Party - MuseScientist in the Spotlight: Wildfires withPhillip Dennison - Natural History MuseumNightmare on 13th - Nightmare on 13thDiane Glover - PoplarRooftop Concert Series: The LowerLights, Parlor Hawk, The NationalParks - Provo Town SquareParking TerraceRDT: Legacy - Rose WagnerTech N9ne - SaltairWinters Iris, Alice Once Again, Stories OfAmbition - Shred ShedGlenn Tilbrook, Joe Michelini - State RoomSugar House Farmer’s Market -Sugar House ParkHour 13 - The RoyalTala Madani - UMOCATriggers & Slips, Unstrung - UnitarianUniversalist SocietyDubwise - UrbanProvo Gallery Stroll - Various GalleriesOgden’s First Friday Art Stroll - VariousGalleriesMimi Knowles, Cameron Rafati, The Fellows,Pando - VelourUnhinged Paradise - Why SoundMerchant Royal, MiNX, Sugartown Alley -WoodshedJesse Walker, Flash & Flare - ZestBad Kids Present: Honey Mahogany- MetroSaturday, October 5Power Man - Bar DeluxeLatin Jazz Factory - BayouBreakfast Klub - BrewskisDatsik, Funtcase, Antiserum & Mayhem, SubAntix - DepotWRD: Uinta Madness Roller Derby vs UtahFemale Mixup Team - Derby DepotDJ Fresh One - DownstairsThriller - Egyptian TheatreLife Is A Circus, The Delphic Quorum -FalloutHillstomp, Puddle Mountain Ramblers -GarageJack & Jill - Green PigThe Staff - Hog WallowDatsik, Funtcase, Antiserum & Mayhem, SubAntix - In The VenueLucy Rose, Hope & Tim - KilbyStomp - KingsburyAnti-Bullying Fair - Midvale City ParkThe Salt, The Sea & The Sun God, TheHappy Hollows (LA), The Son Of Stan (TX),Solarsuit - MuseDowntown Farmer’s Market -Pioneer ParkMatthew & The Hope - PoplarRDT: Legacy - Rose WagnerMonogamy Party, Sunchaser, Worst Friends, Making Fuck - Shred ShedCameron Rafati & The Public, We Are TheStrike - State RoomHVDD: Molly Morbids vs. Grand JunctionRoller Girls - The HiveYoung Galaxy, Mister Lies, Conquer Monster- UrbanIce Hotel - VelourJoshua James - VelourCoin In The Sea, Little Barefoot - Why SoundSunday, October 6Thriller - Egyptian TheatrePeople’s Market - InternationalPeace GardensStomp - KingsburyWe Came As Romans, Dangerkids,Silverstein, Chunk! No Captain Chunk, TheColor Morale - Murray TheaterUtah Undie Run - SLC Main LibraryMonday, October 7GMO OMG - BrewviesWitches, Math, Magic, and More; TheSaintanne, The Crook & The Bluff - KilbyMatt Nathanson, Joshua Radin - MurrayTheaterTuesday, October 8Happy Birthday, Nick Ketterer!Bronze Radio Return, Graham Colton,Watches - Bar DeluxeCrazy Eyes - Burt’sJaws - City LibraryFilter, Red, Otherwise, We As Human -DepotRadical Something, Down With Webster,Gio - KilbyWVV Wine Dinner - MeditrinaTwiztid, Madchild, Blaze Ya Dead Homie,Aqualeo - Murray TheaterKathleen Frewin, Nathan Reich, Lady &Gent, Nicholas Ottley - MuseKT Tunstall, Brian Lopez - State RoomTim Kasher, Laura Stevenson - UrbanWednesday, October 9Happy Birthday, Brad Barker!Talia Keys, Gemini Mind - Hog WallowAndrew Maguire’s Art Project, JP Krein,Millie & The Moths - KilbyBig Shiny Geek Show Pub Quiz - Lucky 1330 Seconds To Mars, New Politics - SaltairCurse, Clark!, Delphic Chorum, Temples -Shred ShedCafé Night: Salon + Open Mic - UMFAMan Man, Xenia Rubinos - UrbanAvalon Landing, Jake Farney - VelourA Good Ole’ Time: An Evening of FolkMusic - ZestThursday, October 10Turned To Stone, Dead Revelator, Huldra -Bar DeluxeHymn For Her - Burt’sFree Form Film Festival - CUCAGary Clark Jr. - DepotLeon Russell - Egyptian TheatreThe Chickens - Green PigRandall Lake - GuthrieChristian Coleman - Hog WallowYou Me At Six - In The VenueTriggers & Slips, Roe & Spenser Revue,Jason Dickerson - KilbyThe Porch - Storytelling - MuseSamba Fogo Presents: Elementos- Rose WagnerThe Maxies, The Beat, Save The World Getthe Girl - Shred ShedAfro-Brazilian Dance Workshop- SLC Arts HubCelebrate The Bounty - Union PacificDepotBluetech - Urban“Chronicle Of The Country” Film Premier,Taylor Olson, Jenessa Buttars - VelourThe Fission Breakers, Nostalgia- Why SoundFriday, October 11Joe Buck Your Self, Viva Le Vox, Hymn ForHer - ABG’sWarren Miller’s Ticket To Ride - AbravanelHomewrecker, Tiger Fang, Riffs - Bar DeluxeDouble Helix - Bayou10th Annual Courtney “White Shoes”Florence Memorial Fundraiser - BrewskisTwo Dollar Gray, Names Divine, WildcatStrike - Burt’sFree Form Film Festival - CUCAHieroglyphics - DepotDJ Dolph - DownstairsLeon Russell - Egyptian TheatreJosh Groban, Judith Hill - EnergySolutions ArenaGroup Art Show/Charity Event- Evergreen GalleryHa Ha Tonka, Samantha Crain - GarageThe Pillar - Green PigMatt Bashaw & The Hope - Green PigTony Holliday - Hog WallowThe Lonely Forest, Cumulus - KilbyLondon The Band, Cereal Killer, Network -Liquid Joe’sCoral Bones, Paul Clonts, Aaron Pusey –MuseTerrence Hansen - PoplarSamba Fogo Presents: Elementos- Rose WagnerCanvas - Salt HausDay Hymns - Shred ShedJake Shimabukuro - State RoomSugar House Farmer’s Market -Sugar House ParkFrank Turner & The Sleeping Souls - UrbanSugar House Art Walk - Various GalleriesRusty Maples, The North Valley, RoadsideSoul - WoodshedSaturday, October 12Warren Miller’s Ticket To Ride - AbravanelGet your event listed for free in print, onlineand on our iPhone app! Sign up for a free SLUGcalendar account at slugmag.com/calendar.Mr. Lucky Blues - BayouMullet Hatchet - BrewskisHorse Lords, Pentagraham Crackers - Burt’sBoris Lukowski, Downside Up - City LimitsFree Form Film Festival - CUCAThe Roadkingz - Deer Hunter PubWRD: Beehive Brawl - Utah Home TeamTournament - Derby DepotMiss DJ Lux - DownstairsLeon Russell - Egyptian TheatreRadiata - GarageBrother Chunky - Green Pig3rd Anniversary Party - Heart Of GoldWicked Affair - In The VenueA-Rodge, Scott & Bendo - KilbyWe The Equinox, Dethrone The Sovereign,Machines Of Man, Smile For The Captain- MuseIndian Art Market - Natural History MuseumNightmare on 13th - Nightmare on 13thDowntown Farmer’s Market -Pioneer ParkChris Bender - PoplarTablado Flamenco - Rose WagnerZeds Dead, Krewella, Paper Diamond,Seven Lions, Candyland, Green Lantern,Branchez - SaltairReal Friends, Mixtapes, Pentimento, ForeverCame Calling, Heartless Breakers- Shred ShedJerry Joseph & The Jackmormons- State RoomSLUG Localized: Light/Black,Dustbloom, Baby Gurl - UrbanMurieta, Muzzle Flash - WoodshedSunday, October 13Happy Birthday, Ben Melini!Urban Flea Market - 600 So. Main St.Beethoven Violin Sonatas: Part I - Art BarnSupersuckers, Hellbound Glory, Tough Tittie,Life Has A Way - Burt’sPhantogram, Future Islands - DepotLauren Begent - GaragePeople’s Market - InternationalPeace GardensRestorations - KilbyWrath Of Vesuvius, Aristeia, Forsaken -Shred ShedThe Waterboys, Freddie Stevenson- State RoomHoly Ghost!, Midnight Magic - UrbanMonday, October 14Happy Birthday, Ashley Kinser!Widower, Destroyer Of Light - Burt’sSir Sly, The Chain Gang of 1974 - KilbyMuseum Free Day! - Natural HistoryMuseumThe Clayton Brothers Quintet - Rose WagnerCarbon Leaf, Brian Wright - UrbanSalt Lake Design Week- Various VenuesTuesday, October 15Chrome Sparks - Bar DeluxeHuntress - Burt’sUrbanized - City LibraryAnberlin, The Maine - In The VenueAnd So I Watch You From Afar, This TownNeeds Guns - KilbyJunip, Barbarossa - State RoomRed Fang, Helms Alee, Gaytheist - Urban66 SaltLakeUnderGround slugmag.com 67

Salt Lake Design Week - VariousVenuesWednesday, October 16Happy Birthday, Michael Schwartz!Eagle Twin, UZALA, SubRosa, Mike Sheidt- Bar DeluxeTheories - Burt’sTimeflies, Chiddy Bang, T Mills - Club SoundPassion Pit, The Joy Formidable - ComplexKevyn Dern - Hog WallowTimeflies, Twin Forks - In The VenueTwin Forks, Matrimony - In The VenueBuilt To Spill, Slam Dunk, Genders - KilbyBig Shiny Geek Show Pub Quiz - Lucky 13The Square - Rose WagnerTheories - Shred ShedSpirit Family Reunion, Hurray For The RiffRaff, Deslondes - State RoomSecret Chiefs 3, Nik Turner’s Hawkwind -UrbanSalt Lake Design Week - VariousVenuesA Good Ole’ Time: An Evening of FolkMusic - ZestThursday, October 17Rules Of Attraction - BrewviesRook & The Ravens - Burt’sDark Star Orchestra - DepotPink - Energy Solutions ArenaDJ “V” - Green PigU.S. Royalty, The Glass Gentleman, The2:13’s - KilbyJason & The Astronaut, Seacats, DreamEater - MuseBaby Ghosts, Posole, Moneypenny, TheSinisters, Wasatch Fault - Shred ShedSurfer Blood, Team Spirit, Andy Boay -UrbanSalt Lake Design Week - VariousVenuesWest Elm Presents Bath Bombs withThe Land of Salt - West ElmFriday, October 18Bad Jacks, Tuxedo Tramps - ABG’sStrauss’ Salome Opera - AbravanelLatasha Lee - Bar DeluxeA.M. Bump - BayouSideshow Ramblers - BrewskisLorin Madsen & The Hustlers - Burt’sAnime Banzai - Davis ConventionCenterMiss DJ Lux - DownstairsThe Rocky Horror Picture Show - EgyptianTheatreBoots & Brews Night - FreshHarry Lee & The Back Alley Blues Band -GarageTerrance Hansen - Green PigThe Rugs - Hog WallowA Skylit Drive, For All Those Sleeping,Wolves At The Gate, Pvris - In The VenueThe Blow, Love Inks - KilbyAn October Evening - MasonicTempleMathom House, After Nations, AlienLandslide, Cootie Catcher - MuseFire Ecology with Mitch Power - NaturalHistory MuseumChris Bender - PoplarFilth Lords, Die Off, Subrosa, Jetty - ShredShedKing Khan & The Shrines, Hell Shovel,Breakers - UrbanSalt Lake Gallery Stroll - Various GalleriesSalt Lake Design Week - VariousVenuesSean Renner, James Shepard, Curtis Wardle- Why SoundBastard John, Michelle Moonshine -WoodshedHot Doggin’ - BonnevillainsSaturday, October 19Happy Birthday, Chad Kirkland!Tim Kidder Quartet - BayouBoho-Fest - Bohemian BreweryNigel & The Metal Dogs - BrewskisLord Dying, Oldtimer, Muckracker - Burt’sTina Fergusson - City LimitsAnime Banzai - Davis Convention CenterAni DiFranco, Toshi Reagon - DepotDJ Politik - DownstairsThe Rocky Horror Picture Show- Egyptian TheatreThree Bad Jacks - GarageLady Murasaki - Green PigSLC Blues Society - Hog WallowWatain, In Solitude, Tribulation October- In The VenueAustin Lucas, Lee Bains III & The GloryFires - KilbyGabriel Iglesias - Maverik CenterBad Kids and Robbie Rob Present:Dipped in Honey - MetroCyber Cowboy & The Flying Coffee Beans,Bat Manors, Hi, Bright Whistles - MuseDowntown Farmer’s Market -Pioneer ParkPablo Blaqk - PoplarMichelle Moonshine, Katia Racine, GeorgeNelson, Pablo Blaqk, Crook & The Bluff,Matthew & The Hope, The Saintanne - RailYard Community Art GardenAFLA & Sweet Salt Records Fall Fundraiser -Railyard Community Art HardenDuskone, Atheist, Muscle Hawk, Giraffula -Shred ShedHVDD: Zombies vs. Vampires(Halloween Bout) - The HiveThird Saturday: Masks - UMFABoy, Jeremy Messersmith - UrbanCan’t Stop Wont Stop, House Of Lewis -VelourFerocious As They Come - Why SoundMatthew & The Hope - WoodshedSunday, October 20Happy Birthday, Sabrina Costello!Strauss’ Salome Opera - AbravanelLa Fin Absolute Du Monde - Burt’sAnime Banzai - Davis Convention CenterSuicideGirls: Blackheart Burlesque- In The VenuePeople’s Market - InternationalPeace GardensMelt Banana, Kinski, Baby Gurl - UrbanMonday, October 21Two Cow Garage, I Can Lick Any Son Of ABitch In The House - Burt’sAttila, Upon A Burning Body, The Plot InYou, Fit For A King - Club SoundCity & Colour, The Hurry & The Harm - InThe VenueMudson - Masonic TemplePortugal. The Man, Crystal Fighters- Murray TheaterBattle of the Bands - Night 1 - MuseGladiators Eat Fire - Shred ShedGrayskul - UrbanTuesday, October 22Piss Drunk & The Whiskey Pistols - Burt’sNorth of the Sun - City LibrarySleigh Bells, Doldrums - ComplexCocoRosie, Busdriver - DepotA Loss For Words, Handguns, MajorLeague, The Sheds - In The VenueJacuzzi Boys, Color Animal - KilbyBattle of the Bands - Night 2 - MuseKMFDM, Chant - Park City LiveDustin Wong, Takako Minekawa- Shred ShedSleigh Bells - The GrandJohn Vanderslice - UrbanWednesday, October 23Teach Me Equals - Burt’sCrime After Crime - City LibraryMichelle Moonshine - Hog WallowThe Beam Me Up Ska-Ts! - KilbyBig Shiny Geek Show Pub Quiz - Lucky 13Articulate Hand: Introduction to Calligraphy- Marriott LibraryBattle of the Bands - Night 3 - MuseJoe Pug, Vandaveer - State RoomShigeyuki Kihara - Taualuga: The Last Dance- UMFAFuzz, CCR Headcleaner, Night Beats,MaxPain & The Groovies - UrbanAttic Wolves, The National Parks,Westward The Tide - VelourUnhinged Paradise - Why SoundA Good Ole’ Time: An Evening of FolkMusic - ZestThursday, October 24The Limousines, MONA, Dresses- Bar DeluxeUAC Sledfest 2013 - BrewviesEversoandroid, The Wasatch Fault, Hikes- Burt’sRunning Wild - City LibraryHot Toddy Improv Comedy- Egyptian TheatreThe 1975, Linus Young - KilbyTNA Impact Wrestling - Maverik CenterBattle of the Bands - Night 4 - MuseThe Bunny The Bear - Shred ShedShigeyuki Kihara in Conversation - UMFAHonor By August - VelourWretched Bones Halloween Show,Atomica, The Rompstompers - Why SoundFriday, October 25Ghost Writer, Gerber & Roe - ABG’sMozart’s Piano Concerto No. 25 -AbravanelScary Dog - Art BarnPost Paradise, The 2:13’s - Bar DeluxeChalula - BayouBanshee Bones, The Outcome - BrewskisAli Spagnoli - Burt’sThe Roadkingz - Cheers To YouR3hab, Timone, Highjack’d, Ross K - Depot5th Annual Devil’s Basement: DJ Skribble- DownstairsMotherlode Canyon Band - EgyptianTheatreHectic Hobo - GarageDJ Celly Cel - Green PigMarinade - Hog WallowJeffrey Lewis, Alexis Gideon, Schwervon- KilbyBattle of the Bands - Night 5 - MuseFamily Sleepover - Natural History MuseumMatthew & The Hope - PoplarOf Meat & Marrow - Rose WagnerThe Pillar - Sand TrapVictory Heights, Below The Skyline,Covendetta, The Stranger Beside Me- Shred ShedMenomena, The Helio Sequence - UrbanPark City’s Last Friday Gallery Stroll -Various GalleriesRhyme Progression, Evolutionarie Rebels -WoodshedSaturday, October 26Mozart’s Piano Concerto No. 25 -AbravanelThe Number Ones - BayouJuana Ghani - BrewskisCan’t Stop the Serenity! - BrewviesDie Monster Die, Kieran Strange,Alexander France - Burt’sIntra Venus & The Cosmonauts - City LimitsDJ Reach - Depot5th Annual Devil’s Basement: Miss DJ Lux- DownstairsOld Time Square, Contra Dance, LooseShoes - First Unitarian ChurchThird Annual Witches Ball - GarageJCRD: Trainwrecks vs. FoCo Girls GoneDerby, Loco-Motives vs. Flathead ValleyRoller Derby - Golden Spike ArenaMarinade - Green PigThe Neighbourhood - In The VenueThe DayLates - Johnny’s On 2ndKevin Devine, Now Now, HarrisonHudson, Matthew Quen Nanes - KilbyMacklemore, Talib Kweli, Big K.R.I.T. -Maverik CenterMacklemore, Ryan Lewis - Maverik CenterHawkWatch: Birds in the Lab! - NaturalHistory MuseumDowntown Farmer’s Market -Pioneer ParkBurritos & Heroes!, Legacy Initiative -Pioneer ParkTerrence Hansen - PoplarOf Meat & Marrow - Rose WagnerSkalloween - Shred ShedDisco Drippers - State RoomWidowspeak, Pure Bathing Culture - UrbanThe Moth & The Flame, Strange Family,Swimm - VelourTarantino Halloween Party - WoodshedHeaven & Hell Halloween Party- Park City LiveSunday, October 27Happy Birthday, AndrewSchummer!Happy Birthday, Mason Rodrickc!Geek Show Movie Night - BrewviesPeople’s Market - InternationalPeace GardensOf Meat & Marrow - Rose WagnerMonday, October 28Rubblebucket - UrbanTuesday, October 29A Superhero Halloween Concert -AbravanelKiss The Water - City LibraryHoodie Allen - ComplexLiving Colour - DepotRaccoon Dog, Creature Double Feature- KilbyStreetlight Manifesto, Mike Park, DanPotthast - Murray TheaterSwells - Shred ShedDave Mason Band - State RoomDeer Tick, Robert Ellis - UrbanWednesday, October 30Ninth Moon Black - Burt’sFinch, Dance Gavin Dance - Club SoundCut Copy, Larry Gus - DepotAtlas Genius, The Colourist - In The VenueCherub, Con Bro Chil - KilbyBig Shiny Geek Show Pub Quiz - Lucky 13The Chariot - Shred ShedTerakaft - State RoomChamber Music Series - UMFAMike Doughty, Moon Hooch - UrbanThursday, October 31Temples, Mortigi Tempo, Mystery Ship -ABG’sBonobo, Real Magic - ComplexJuicy J, DJ Juggy - Depot5th Annual Devil’s Basement: Shields -DownstairsGamma Rays - Green PigSon Of Ian - Hog WallowRed Telephone, Dead - KilbyHe Is Legend, Breaux, Collin Creek- Shred ShedMarinade, Stonefed - State RoomVile Blue Shades, The Future Of The Ghost- UrbanAll-Star Halloween Show!!! - VelourFriday, November 1Pick up the new issue of SLUGanyplace cool!Brian Stokes Mitchell - AbravanelNervous Curtains, The Saintanne- Bar DeluxeMokie - BrewskisMat Zo - DepotScott Long, Charlene May - EgyptianTheatreWooden Indian Burial Ground, Max Pain& The Groovies - GarageStonfed - Hog WallowPeriphery, Born Of Osiris, Dead LetterCircus, Twelve Foot Ninja - In The VenueThe Firebird - KingsburyThe Moondoggies, The Quick & Easy Boys- State RoomDubwise - UrbanProvo Gallery Stroll - Various GalleriesOgden’s First Friday Art Stroll- Various GalleriesKris Kromple, Student Acoustic -Why Sound68 SaltLakeUnderGround slugmag.com 69

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