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SaltLakeUnderGround • Vol. 24 • Issue #296 • August 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 SheehanCopy Editing Team: Esther Meroño,Alexander Ortega, Mary Enge, Cody Kirkland,Johnathan Ford, Alex Cragun, Rachel Miller, KatieBald, Liz Phillips, Allison Shephard, LaikwanWaigwa-Stone, Shawn SowardCover Artist: Audrey PattenLead Designer: Joshua JoyeDesign Team: Eleanor Scholz, BJ Viehl, LennyRiccardi, Chad Pinckney, Mason RodrickcAd Designers: Kent Farrington, SumersetBivens, Christian Broadbent, Kelli Tompkins,Maggie Call, Eric Sapp, Brad Barker, PadenBischoff, Maggie Zukowski, Thy Doan, KJJackett, Nicholas Dowd, Nick KettererWebsite Design: Kate ColganOffice Interns: Carl Acheson, Robin Sessions,Alex Cragun, Chandler HuntIllustrators: Ryan Perkins, Phil Cannon, BenjiPierson, Maggie Zukowski, Sean Hennefer,Robin Banks, Timm Paxton, Dylan Chadwick,Eleanor Scholz, Jared Smith, Steve Thueson, PaulFrame, D. Bradford Gambles, Selma OrtizPhotographers: Katie Panzer, Dave Brewer,Barrett Doran, Jesse Anderson, John Barkiple,Chad Kirkland, Melissa Cohn, Megan Kennedy,Michael Schwartz, Alex Pastucha, WestonColton, Jake Vivori, Gavan Nelson, AndyWright, Gilbert Garcia, Paul Duane, Talyn Sherer,Robin Sessions, Ceza Dzawala, Ben Melini,Martín Rivero, Logan Sorenson, Austin BoydVideographers: Slugger, Brian Baade, BrockGrossl, Candida Duran, Matthew Pothier, PerrylayneDeker-Tate, Andrew SchummerCommunity Development ExecutivesSLUG HQ 801.487.9221Angela Brown:sales@slugmag.comJohn Ford:johnford@slugmag.comNate Abbott:nate@slugmag.comMarketing Manager:Karamea PuririMarketing Team: Ischa B., Sabrina Costello,Kristina Sandi, Brooklyn Ottens, Angella Lucisano,Nicole Roccanova, Raffi Shahinian, VictoriaLoveless, Zac Freeman, Cassie Anderson,Cassie Loveless, Shley Kinser, Matt Brunk, RobinSessions, Carl Acheson, Chandler HuntSocial Media Coordinator: Catie WeimerDistribution Manager: Eric GranatoDistro: Eric Granato, Tommy Dolph, Tony Bassett,Joe Jewkes, Nancy Burkhart, Adam Okeefe,Ryan Worwood, John Ford, Matt Pothier, PhilCannon, Tim Kronenberg, Justin Nelson-Carruth,Xkot ToxsikSenior 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 Ashley Paul,Gregory Gerulat, Timo H., Jory Carroll, AlexCragun, Kendal Gillett, Alex Springer, BrinleyFroelich, Justin Gallegos, Scott Farley, SteveRichardson, LeAundra Jeffs, Steve Goemaat,Christian Schultz, Matt Brunk, Jordan Deveraux,Rebecca Frost, Mike Riedel, Tim Kronenberg,Amanda Rock, Randy Dankievitch, Davey Davis,Adam Fratto, Julia Sachs, Jamie Smith, CaseyMorgan, Allison Shephard, Blake Leszczynski,Ashlee Mason, Eric NorrisSLUG Magazine’s Official Podcast:Soundwaves From The UndergroundHost: Dan NailenProducer: Gavin SheehanExecutive Producer: Angela H. BrownAssociate Producers: Esther Meroño, AlexanderOrtega, Dan NailenAbout the Cover: As a Craft Lake City DIY Festival veteran, Audrey Patten’s vintage take on pop cultureclassics, sense of humor and creepy-but-cute illustrations led us to seek her out as this month’s cover artist. Shedescribed the cover piece as “Sally Draper meets The Scarecrow,” which couldn’t be any more accurate. Find outmore about Audrey in our feature on pg. 34, and don’t forget to seek her out at the DIY Festival!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 it isnot our fault if you don’t like people. Content is property of SLUG Magazine. Please do not use without permission, or wewill hunt you down and make you pay for your sins. Now that’s a promise.Contributor Limelight:Nate Abbott – Community Development CoordinatorIf you’ve popped in the SLUG officelately you may have noticed a new,moustachioed face around—none otherthan the visage of Nate Abbott, whomyou may have previously recognizedas the store manager of the SandyGraywhale before he made the move tobe a Community Development Executivewith SLUG Mag. Along with his fun andendearing sense of humor, Nate has arefined taste in music, à la bands likeDeafheaven, Black Marble, SigurRós and his fave, Joy Division, andso we’ve been spoiled with his greatin-office music picks paired with ours. Nate gets the team smiling with en masse calls andresponses to Master P’s “Make ’Em Say Uhh,” and when one of us is feeling down, he’ll goout of his way to turn a frown upside down with a Koka Moka Probar. Out in the field, you cancatch Nate rendezvousing with local businesspeople, rousing up positive interaction within ourburgeoning community to keep it growing. In his off time, Nate will probably be playing PS3 orwatching Back to the Future, but if you see him about, buy this friendly dude a beer!4 SaltLakeUnderGround slugmag.com 5

Dear DickheadsA few months ago, Madball wassupposed to come here with SuicidalTendencies but ended up dropping offthe bill because a certain promoter toldthem that “hardcore had been bannedfrom SLC.” Now, anyone with a fewbrain beans to mash together knowsthat this is just a hair short of hogwash(and that if he knew his history, he’dknow that ST was a HC band too),but evidently the band didn’t, and theyposted a lengthy diatribe about it ontheir Facebook page.What appears to be happening is that acertain promoter (I won’t say his name,but it rhymes with “dick snooze”) isfreaked out at the prospect of hardcore/punk basement shows happeningwithout his involvement, and knowingthat he’s an aging dinosaur with noreal connection to that “scene,” tried tothrow his weight around on this show hebooked in an attempt to salt the groundand scare those type of bands fromplaying here altogether. He knows that ifthey do come, they’ll probably do showswith someone (since he’s a general ripoffartist) who ISN’T him, and he doesn’twant the competition.While I can respect his Gordon Geckoapproach to doing “business” (it’s areference bro, look that shit up), I’m notsure he understands the damage he’sdoing. It’s hard enough to get goodhardcore bands to come to this fuckingcity, and propagating a rumor just soyou can hold some bullshit monopoly onbooking bands seems childish and silly.There’s very little money to be made inHC, and more often than not, 40% ofthe show attendees are going to sneakin without paying anyway.If he cared about music in SLC, he’dknow that basement hardcore showswith a 50-60 person turnout aren’t hisreal competition anyway. He should stickto booking shitty Alkaline Trio shows.-D. WyndorfDear Dick Wyndorf,I stopped reading at Madball,then listened to somethingbetter to cleanse my auralpalate (an old Casualties albumwas closest, so I grabbed thatand popped it in my computer).Yeah, I’ve definitely heard tellof the Dick Snoozy–soundingname of a promoter ripping offfans and bands. Kind of funnyhow two-step HARDCORE wasthe only thing that played at theOuter Rim some time ago, too.I guess there was somethingthat got slipped into a bill inthe state legislature! At anyrate, it sucks. I remember, backin the day, there was a certainpromotion group that wasalso notoriously hard to workwith—I think they were called“The Hollective.” At any rate,I’ve already heard of peoplestarting to be conscientiousas to who’s putting on showsso they can pick and choosewhom to support and whom toboycott until all the promoterdicks wise up and stop fuckinghardworking people over. It’snot fair to the bands, the fansor our city. Also, by the way:Nice gym shorts, bruh.XOXO SLUGFAX, SNAIL MAIL OR EMAILUS YOUR LETTERS!Fax: 801.487.1359Mailing Address:Dear Dickheads c/o SLUG Mag351 Pierpont Ave. Ste. 4B SLC,UT 84101or dickheads@slugmag.comcraftlakecity.comANNUALCRAFT LAKE CITYCRAFT LAKE CITYDIY FESTIVALPresented by#craftlakecityOver 200 Artisans, Vintage Vendors, Craft Foodies,Science & Technology Exhibits, Live Music, Bike Valet,Activities for Kids of All Ages & FREE AdmissionAUGUST 95PM - 10 PMAUGUST 1012PM - 10 PMAT THE GALLIVAN CENTER 239 S MAIN STREETAcme Camera • Catalyst • Centered City Yoga • City Home Collective • Edible WasatchGoEngineer • Iris Piercing • KCPW • Skinworks • Wells Fago • Winder Farms • XMission •Yelp6 SaltLakeUnderGround slugmag.com 7

LocalizedBy CJ Morgan • c.j.morgan@utah.eduPhotos: Logan SorensonStarting with the crunchy licks of everyman band The Pentagraham Crackers, SLUG Localized will heatup with the running beats and toothed refrains of Wildcat Strike before surf-rockers The New ElectricSound cast their net of sensual grooves over every man and woman in the crowd. This 21+ show happensFriday, Aug. 16 at Urban Lounge, and doors open at 9 p.m. If you’re a sad, lonely ragamuffin stuck at home,check out the show through the live stream on gigviz.com.Two members of Wildcat Strike (WillTuddenham, keys and JordanMendenhall, guitar) arrived for theinterview on time and greeted me warmlyat Mendenhall’s home and band practiceplace. Soon, the rest (Tony Lake, leadvocals/guitar; Jake Rosevear, bass; JoePlummer, drums) arrived, and the fullensemble took seats around a table in theliving room, cracking jokes and snappingopen the beers we had nabbed from thecorner store. The band settled in as the coldbooze dissipated the heat, and Tuddenhambegan by explaining that their band formedquite organically two years ago. “We werefriends beforehand. Tony got a new guitarand thought of a cool name for a band—Jordan built a music room in his house andwe thought, ‘Let’s make a band,’” he says.Tuddenham, in fact, had never been ina band. “I’d never even played bassbefore,” he says. But as the first members(Lake, Mendenhall, Tuddenham andRosevear) grew and improved, they shuffledinstruments around (Mendenhall went fromdrums to guitar and Tuddenham switchedto keys), added Plummer on skins andstarted honing their sound. After their timetogether, they feel like a real band. “Are wea proper band?” Lake wonders with a laugh.Tuddenham replies, saying, “We’re gettingthere.”The band acknowledges that some soundcomparisons are strange, but they agreethat Cursive seems to be the most closelyrelated—though they had difficultydescribing their sound, which is at timesromantic and piano driven, at times purerock and sometimes even touches on punkand metal. Whatever it is, it’s always agood time. “We don’t want to be the bandthat’s like, ‘Yeah, you can’t compare us toanything,’” Mendenhall says. They try to behonest, throw a bunch of things on the wall,and see what sticks. “We just like to call itrock n’ roll,” Tuddenham says.Wildcat’s sound is nothing if not direct. Theydon’t waste time on flashy guitar solos orlengthy instrumentals, but prefer great riffsand powerful refrains. “You lose momentum[with long solos],” says Rosevear. “There’s(L–R) Jordan Mendenhall,Tony Lake, Joe Plummer,Jake Rosevear and WillTuddenham of Wildcat Strikekeep their songs directand driving to maximizetheir appeal.always a good guitarist, but a 20-minute solo on theradio just forces you to want to change the song.”Instead, they start with the firm foundations of solid songs(many are written acoustically by Lake before the bandcollaborates), throw in immense drive, pure vigor and,by the end, they’ve got something completely different.Their songwriting approach is very fluid and open: “Weknow what we like to sound like, but we don’t have alot of direction,” Lake says. Rosevear states, though,that everyone abides by their songs: “Each individualmember’s purpose is to serve the goal of having a goodsong. That’s what we shoot for.”Mendenhall also explains that their sound isn’t alwaysplayed loud—it translates well into many formats. Hesays, “It sounds good whether it’s just pianos and vocalsor a full band.” Rosevear elaborates, saying, “Weplay a lot of our stuff instrumentally at restaurants andstuff, which helps us learn what our songs sound likein different contexts. We can understand how it reallysounds—sometimes, when it’s loud, it’s just loud. [Playingquieter venues] teaches us a lot of discipline.”They keep it simple, dial it in and aim wildly for yourthroat after dancing with your heart. “Our songs arereally direct. As long as we know our parts, we cleanit up and trim the fat. We try to be energetic, but it’simportant that we nail our parts. We’re very much aboutcontrol,” says Lake. Wildcat Strike rely heavily on energyfrom the crowd, and disdain artists who simply press playon a laptop. “How do you work with the energy of acrowd when it’s preset?” says Lake, wondering. “Some ofwhat we do might be sloppy sometimes, but it’s becausewe’re feeding off the energy of the crowd. If that sounds‘hippy,’ then so be it, but there’s a real element there.”The band wants nothing more than to play good music.“Regardless of the bands we’re in, we’d still be playingmusic. It sounds cliché, but we do it because we love it,not really because we worry about what other peoplethink,” Mendenhall says. Lake laughs in agreement as hesays, “We love the excuse to have something to do onthe weekends. We never had much more ambition thanaiming to have some drinks and play some music.”Listen to Wildcat Strike on their website (wildcatstrikemusic.com), Bandcamp, Spotify or iTunes.(L–R) Tony Carlson, ScottVance, Nigel Goodwin, BenZabriskie and Tom Brintonbust out easygoing, funloving,straightforwarddance rock in The NewElectric Sound.you’ve got are über-catchy vocals that splash over tube-amptones, like cool ocean waves.The New Electric Sound don’t just keep it simple with themusic, either. They also have straightforward philosophies.Their motto, “good enough,” summarizes their goal, whichis to write good music and have a good time. “When you’rewriting music, you can beat a dead horse, but sometimesyou’ve just got to call it good enough,” says Carlson. “Wejust try to write a good hook and give people a good time.”Vance noted that they feel that it’s important to keep thingseasy and free. He says, “We don’t want to take ourselvestoo seriously. That’s partially why we have the cardigansand old, vintage mics.”More than anything, the band is true to itself, andapproaches its sound and lyrics with the same, strippeddownhonesty that frontrunners like Holly and BrianWilson perfected in the ’50s and ’60s. “The songs back inthe day were so simple. They were often about love, but youdon’t get that in the same way today. People try to mask itand be cool while singing about love. We try to be upfrontabout it,” says Vance.Love, it seems, is contagious. The band has enjoyedmoderate success, due in some ways to the supportivecommunity of musicians in Provo, where the band playsmost of its Utah shows. “There are a lot of people helpingout and telling you to keep it up, and you see lots of peoplebeing successful around you—it creates synergy,” explainsBrinton. According to Carlson, fans in Provo tend to be alittle more devoted: “People aren’t embarrassed to enjoythe music—they get into it more,” he says. In any case, theband is energetic, and provides audiences with a powerdriven,high-energy show that is, above all else, fun andenjoyable.Of course, having a great live show is one battle for aband. Promoting the music itself is equally important.Sometimes, Goodwin explains, you’ve got to share musicfor free: “I don’t think money should prevent a person frombeing entertained and to enjoy a song.” Vance agrees,noting that a band’s music must stand up to the test. Vancesays, “If your music is good and people like it, they’ll buy it.We, as artists, need to make money as well, but hopefully,our music can stand up and be strong enough.” Overall,the band is optimistic about the shifting landscape of music.“It’s a cool and exciting time to be a musician,” says Vance.“Things are changing—the record labels are changing. It’slike a new frontier.”Share the music (and the love) with The New ElectricSound on Spotify, iTunes and their Bandcamp page:thenewelectricsound.bandcamp.com.10 SaltLakeUnderGround slugmag.com 11Since most members had traveled ninehours from LA to Salt Lake, The NewElectric Sound were a little late toour meeting at the sleepy Kokopelli’s Koffeein Millcreek, but they more than made upfor their tardiness with charming smiles,courteous handshakes and even a few kindgifts. The five sat down, laughing and jokingbefore diving into their stories.The New Electric Sound got together in Provonearly two years ago when Scott Vance(lead vocals and rhythm guitar) and TomBrinton (bass and backup vocals) decided tomake music. “We wanted to create a surf rockband,” Brinton says. “It was just us at first, thenwe got everyone else to come along. We gotTony [Carlson] to play drums and we gotBen [Zabriskie] to play guitar.” The lineupremained consistent with the exception ofkeyboard players, who seemed to disappear.“We were like Spinal Tap with keyboardplayers,” says Vance, laughing. However,the third keyboard player, Nigel Goodwin,explained that he’s here to stay—barringunforeseen spontaneous combustion.The band has a variety of musical tastes,though they all share an affinity for vintagesounds. They started off fairly basic with afoundation of surf rock and ’60s-inspiredmusic as they solidified their lineup, but soonoutgrew the simpler, Buddy Holly–inspiredsound, which wasn’t quite danceable. Theyneeded something fresh. “Our sound shiftedfrom a super–surf rock sound, and we triedto just save the vintage tone and feel fromolder songs and incorporate that into a newsound. Hence, The New Electric Sound. Westarted developing [our sound] so that peoplecould dance to it and get into [it]. I think that’swhat really brings the ‘new’ part into it—justbeing able to see people get excited andstarting to dance,” says Brinton. Given theeasy danceability and wildly catchy hooks ontheir eponymous 2012 release, it’s clear thatthe band has forged its eclectic tastes into asound all its own.The music isn’t the only thing that brings tomind the good ol’ days. Because of their slickimage onstage (they wear matching cardigansduring performances) and vintage sound,they’ve often been compared to The BeachBoys, but as Carlson puts it, “We go for thatclean-cut, ’60s California image, and thereare elements of that sound, but it’s not superprevalent.” More accurately, the band seesitself as a conglomerate of older sounds likeThe Beach Boys and The Kooks, cut with adash of newer bands like The Strokes. What

French Authenticityin the Heart of Salt LakeBy James Bennett • bennett.james.m@gmail.com155 S. Main Street •evasbakeryslc.com801.355.3942 •Mon–Sat, 7 a.m.–6 p.m.ver the past few years, one of my favorite Downtown restaurantsOhas been Eva. The small-plates restaurant serves a diverse selectionof foods in portions manageable enough so that you can order half adozen things and still not break the bank. Imagine my excitement whenI, as SLUG Magazine’s Resident French Master TM , became aware thatEva Chef/Owner Charlie Perry had plans to open a French-style bakeryjust a few blocks away. The simply titled Eva’s Bakery has been providingfor SLC’s cafe and baked goods needs for several months now, and asthe food and service have found theirfooting, it has come time for us to givethe place a proper visit.The vibe surrounding the bakerybegins before you even get in thedoor. The conventional French woodfaçade is painted a traditional lightblue, with old-style lettering thatspells out boulangerie—the Gallicword for “bakery.” This attentionto detail continues inside, withcustomary glass cases for pastries,a counter-to-ceiling display of freshbread, white Paris Métro wall tilesand intimate tables and lighting. Fromthe outside, it looks like an ordinarybakery. Once you come through thedoors, its double life as a restaurantcomes into focus.If you’re looking for quality coffee, espresso and tea, you need not lookany further. They serve products sourced through Caffe Ibis and the TeaGrotto—companies with local ties, which are known for their fresh andsustainable approach to beverage making. The drinks range in pricefrom $1.50 for a small drip coffee to $4.50 for something as elaborateas a large caffè latte. However you take your caffeine, they’ve got youcovered.The Wild Mushroom Croque at Eva’s Bakery isan authentic take on the French favorite.The food is equally awesome. For the busy worker on a short break,they offer several pre-made, savory options that just take a moment towarm up. There are pizza slices for $3 each in flavors like chicken pesto,ham and mushrooms, and pear with walnuts and blue cheese. The pearvariety is especially satisfying, with the sweet fruit and sharp cheesecompeting for dominance in every bite. They also offer a selection ofcroque sandwiches for those on the go. The term “croque” is derivedfrom the French word for “crunchy,” and these traditional sandwichesare the mainstay of many a busy Parisian eatery. These differ from thestandard preparation in that they’re served open-face, but the flavoris spot on. The best and most authentic version of the sandwich is theirtake on the Croque Monsieur (Mr. Crunchy), made with a thick slice ofhouse-baked bread topped with béchamel sauce, gruyere cheese andham. It is broiled until the cheese is bubbly and served warm—a bargainat only $6.If you have time, though, take a seat and order from the menu. Apopular lunch staple is the Wild Mushroom Croque ($9), a spin on theiropen-face sandwich that swaps out the traditional ham for a moundof gently cooked mushrooms. It is more knife-and-fork-worthy than aregular sandwich, and it’s served with organic greens and a balsamicvinaigrette. While they offer several noteworthy breakfast selections,salads and sandwiches, I think the restaurant really excels with theirtreatment of standard French fare. The case in point would be the FrenchOnion Soup ($3/$5). According to legend, a French cook invented onionsoup the morning after a raucous party, when all he had left were boiledscraps of meat, onions and flat champagne. Though the broth-onionwinemixture can be hard to really mess up, it’s even trickier to get right.Eva’s Bakery pulls out all the stops. The broth is rich and savory, theonions are tender and caramelized, and the added topping of croutonsand melted cheese really knock this one out of the park.Having touched on the role the bakery plays as a coffee shop and lunchdestination, let’s also touch on its role as a bakery. French bread is ahigh art, and not many are successful at it. Old French law limits theingredients to just water, salt, flour and yeast, and even regulates thefinal weight of the loaf. While I’m not exactly sure how closely the bakeryfollows these old rules, the breadthey create in house is nothing shortof exemplary. Much French breadyou find locally is too airy, too tough,and lacks much definition betweenthe interior and exterior. The HouseBaguette at Eva’s is crusty on theoutside and tender on the inside, withan ever-so-slight sourdough kick. It’sperfectly crafted and a good buy for$2.50 (or try a half loaf for only abuck). The sweets are also top-notch.Something as simple as a ChocolateChip Cookie ($1.50) benefits fromrich chocolate and browned butter.Photo:Logan SorensonÉclairs and Paris-Brests coupleperfectly formed choux-pastry withvarieties of velvety pastry cream.The croissants are buttery and flaky,and stand up well to being filled withalmond cream and baked a secondtime. The pastries range in price from $2 to $4, and some of the popularones sell out early in the day.Some of us wander Downtown looking for a good coffee shop. Othersare in need of a quick but satisfying lunch destination. Lately, I’ve beenlooking for the spot to satisfy my sweet tooth. The cool thing is, with Eva’sBakery, you’ve got all three.12 SaltLakeUnderGround slugmag.com 13

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Ryan Ottley:Draw LifeBy Trevor Hale • trevorhale@gmail.comPhoto: John BarkipleLocal, full-time Invincible comicartist Ryan Ottley will be at thefirst-ever Salt Lake Comic Conthis September.When Rob Liefeld, Jim Lee and ToddMcFarlane (among others) founded ImageComics, they revolutionized the comic bookindustry. The artists were treated like—and actedlike—rock stars everywhere they went. It was thatattitude that put the creator-owned mindset of Imageon equal footing with Marvel and DC.Twenty years later, Image Comics is still a force ledby some of the most famous creators working today.Its continued success is thanks, in large part, tobooks like Invincible—illustrated by local artist RyanOttley. Ottley may not have the bombastic, rockstar personality of some of his Image peers, but heis every bit as talented. His line work is some of thecleanest and most detailed in the industry, and thelevel of gore he reaches at times is a stark contrast tothe personality of the mild-mannered Utah resident.Since 2004, when he began penciling Invincible on aregular basis, Ottley has been attending Draw Nightat Nobrow Coffee. It’s a low-key, weekly tradition inwhich a group of local artists get together for a fewhours and sketch, chat and just be creative. “I met[local artist] Derek Hunter online, and he used todo Draw Night,” says Ottley. “They’d been doingit for years, but stopped for a while. I said I’d beinterested in doing it, so we got together and startedagain. We’ve been doing it like clockwork eversince.”The number of people attending varies from weekto week. Sometimes it’s small, but on this particularnight, there were nearly 10 people packed in, allworking on various projects. For Ottley, it’s just anice break from the daunting task (but still a bettergig than most jobs, of course) that is illustrating amonthly comic. He uses Draw Night as an exercise insketching, where his mind can wander and he can lethis pencil do the talking. “I have no clue what’s goingto happen here,” says Ottley. “I just start drawing.”Ottley held a number of different jobs while harboringdreams of becoming a comic artist. After he was firedfrom a warehouse, he saw an opportunity to actuallygo for it. He began posting his work online and tryingto find writers he wanted to work with. He contributedto various anthologies and illustrated a numberof short stories, including Ted Noodleman: BicycleDelivery Boy, until his work was discovered and hewas asked to fill in on an issue of Invincible. “I didpencils and inks in two weeks, which is way too fast,but I was really hungry at that point,” says Ottley. “Iactually finished [Issue 8] before Cory [Walker,Invincible co-creator] finished his pages for Issue 7,and then they asked me if I’d come on full time.”Since then, Ottley has penciled nearly 100 issuesof a book that continues to be a refreshing changeof pace from other superhero comics. With adedication to characters and a strong focus on familydynamics, it still manages to contain some of the mostimaginative—and sometimes brutally realistic—takeson traditional superhero tropes.Since Invincible is on a monthly schedule, Ottleyworks six days a week to make sure the book shipsregularly, which leaves little time for anything else.That’s not to say he doesn’t try. He and fellow artistJames Harren have a site called The Bog (the-bog.tumblr.com), which is mostly for fun, brain-dumpingsketches. He also has his own book with JasonHoward (artist of Super Dinosaur) called Sea Bearand Grizzly Shark. Ottley promises that they havemore in store, but want to make sure they can getthem out on a regular basis before any officialannouncement is made.While Ottley may not get recognized on the streetyet, that could all change if the upcoming inauguralSalt Lake Comic Con is any sort of success. Ottley is aveteran attendee of conventions all over the country,most notably San Diego Comic Con and EmeraldCity Comic Con in Seattle. Dan Farr, the hometownconvention’s organizer, has been working hard atpulling together some of the biggest names in theentertainment industry to make sure it’s a memorablefirst year. “We’ve had some good ones here andthere, but this one feels like it’s going to be thebiggest,” says Ottley. “I really hope that it’s good,and that it’s huge and that it lasts. That would begreat to do a convention and then just drive home.”The convention is on the same weekend as BaltimoreComic Con, which Ottley had already committed to.He will have a presence on at least Thursday of theSalt Lake show, which runs September 5–7 at theSouth Towne Expo Center in Sandy. You can purchasetickets and find more info at saltlakecomiccon.com.The next year is looking to be just as busy for Ottley,with Invincible showing no signs of slowing down.He’s excited about the direction the book is goingand the popularity it has. He’s also looking to branchout a little bit more to some of his own projects, likeGrizzly Shark, but it’s just a matter of finding timewhile trying to keep some semblance of a normalfamily life. Well, as normal of a life as you can havewhen your job is to draw immortal beings punchingholes through people’s stomachs.Keep up to date with Ottley’s work at ryanottley.com.16 SaltLakeUnderGround slugmag.com 17

Photo: Doug SeymourUnbroken RemainsBy Ricky Vigil • rickyvigil@gmail.comOn Aug. 15, 2012, Baroness’ tour bus plunged30 feet from atop a viaduct near Bath, England,injuring all nine passengers. Miraculously,everyone on the bus survived, though no oneemerged unscathed. Guitarist Peter Adams onlyspent one day in the hospital, but vocalist/guitaristJohn Baizley broke his left arm and left leg,and both bassist Matt Maggion and drummerAllen Blickle suffered fractured vertebrae. Theaccident effectively ended Baroness’ tour cyclefor their third album, Yellow & Green, less than amonth after it was released and without any U.S.shows promoting the album. “For the time being,it’s only realistic that we be identified with thecrash. It was pretty dramatic, and it is the guidingforce behind a lot of the decisions, attitudesand behaviors we have right now,” Baizley saysin an interview with SLUG. “But in an effort tomove past that and get to somewhere a bit morerewarding than pitiful, our goal is, quite simplyput, to be known as a good live touring band.”After more than six months of rehabilitation, theband re-emerged as a live entity in May. Eventhough Yellow & Green has now been out forover a year and the band is in a very differentplace than when the songs were written, Baizleylooks at their unique situation as an advantage.“What we’re trying to do right now is just touron the record. It’s kind of weird [playing oldersongs live for the first time], but it’s awesome in away because these songs are more or less brandnew songs for us onstage, but everybody knowsthem already,” he says. Upon the album’s release,reaction from fans was mixed, as the band’semphasis on crushing, sludgy riffs was lessened,and a more meditative mood and influencefrom ’70s rock emerged. However, Baizley saysthat crowds have been incredibly enthusiasticthroughout the first leg of the band’s toursupporting the album. “Any thought pattern thatstarts off as, ‘I wish we could’ve toured last fall,’is trumped by the fact that we are operationaland outperforming and out-touring our precrashselves. I think the crash was a kick in thepants to a lot of our audience and, in somecircumstances, has made the record a bit morepoignant for people,” he says.Earlier this year, Baroness announced thatMaggion and Blickle had left the band.Their departure was amicable, and the bandintroduced Nick Jost as their new bassistand Sebastian Thomson as the drummer.“[Having two new members] has beenawesome, simply put. Nick and Sebastian areunbelievable musicans and great people. Thefortunate thing [about Maggion and Blickleleaving] is that we don’t have a band thatshares this tragedy in common, so we don’thave to talk about it. It doesn’t have to be thecornerstone of every conversation and mood,”Baizley says. The band’s new lineup hasn’twritten any new music yet, but Baizley saysthat Jost and Thomson have breathed a new lifeinto the band and a new energy into the liveperformance.SLUG spoke with Baizley in between legs ofBaroness’ U.S. tour, and with every mentionof touring, he seemed more and more antsy toreturn to the road. He has made it clear that,for him, music was the driving force behind hisrecovery from the horrific accident that befellthe band. “I think you can certainly make thecase that without this music in our lives, wewouldn’t have experienced the crash that wedid, and that’s fine—most of the job is adventureand travel—that’s the allure of it,” he says.Even with the ever-present danger that touring(L–R) Sebastian Thomson, JohnBaizley, Peter Adams andNick Jost of Baroness havereinvented themselves on thistour, breathing new life intotheir latest, Yellow & Green.musicians face and the fact that realitycan rear its head in any number of ugly waysfor lifers like Baizley, the passion far outweighsthe risks. “Regardless of my life as a musician, ahuman being or an artist, I have these outlets thatI’m drawn to that I can express myself within andthat help me with any number of windfalls, fromphysical pain to mental anguish to social anxietyto homesickness to broken bones … anything. Theact of playing music, writing music and performingit become the reason that I get up in the morningwith a little pep in my step,” he says.The very fact that Baroness still exist as a bandis nothing short of a miracle. From the horrificfirst-person account Baizley posted on the band’swebsite a few months after the accident, though,it was clear that he was not going to simply bedefeated. After the band’s performance atBonnaroo earlier this summer, a photo was postedon their website of Baizley standing in front ofthe crowd, his arms raised and mouth open ina scream of triumph as thousands of onlookersraised their fists in front of him. One can’t helpbut think of some lyrics of Yellow & Green as astrange prophecy: “Take my bones away, I’ll findthem every day.” This is a band with purpose anddedication, and a band reveling in the reality oftheir existence. Baroness will perform at the UrbanLounge in Salt Lake City on Aug. 30.18 SaltLakeUnderGround slugmag.com 19

Photo: Alex GibbsAtlanta-based experimentalrockband O’Brother hasgained an amazing amountof traction in a short time, releasingtheir first EP, The Deathof Day, with the current lineupin 2009, and their first full-length,Garden Window, in 2011. Touring with bandsas big as Manchester Orchestra, Thriceand even Alice In Chains, these guys are finallytaking on a headlining tour of their ownin support of their sophomore release, the excellentDisillusion. We hooked up with vocalistTanner Merritt to find out exactly what it’sbeen like recording the new album, and howthese dudes manage to consistently keep puttingon such show-stealing live performances.I still remember the first time I saw O’Brotherwith Biffy Clyro and Manchester Orchestra. Ipicked up a copy of The Death of Dayafter the show, and they stuck with me long after.I was beyond stoked when they finally announcedGarden Window. I think their debutalbum has weathered amazingly well in the coupleyears since, and Merritt agrees. “[We’ve]definitely come really far. There were some darkdays when we started booking our own tours,never knowing if people were going to showup, but we’ve gotten to do a lot of things thatwe never thought that we’d be able to do. Theresponse has been awesome—greater than weexpected,” he says.Instead of returning to Favorite Gentlemen Recordings,headquarters of their close friends inManchester Orchestra and recording studio forGarden Window, O’Brother enlisted the aid ofan old friend, producer Mike Sapone. “MikeSapone mixed our last record, and we were reallyhappy with the way it turned out. It made ahuge difference. We kind of built a relationshipwith him because of that,” says Merritt. Recordingin Long Island at Sapone’s studio, MerrittDisillusion Tour 2013:O’Brother takes the spotlightBy Matt Brunk • milesletham@mindoverfate.comsays that they enjoyed the comforts of an isolatedcreative environment, away from the distractions ofdaily life, free to focus wholly on the new album.“[It’s been] my favorite by far. It was the first timethat we got to leave our home and go somewhere [torecord],” he says.Garden Window had a very different sound from TheDeath of Day, much more upbeat and earthy, andDisillusion is a much darker, more somber album thaneither. “I think it was more of a natural progressionin the direction that we’ve been heading since thefirst release. I think we just kind of realized what wedo best. Garden Window was all over the place asfar as dynamics and tempos, and I think Disillusion ishoning in our sound,” he says. The recently releasedsong “Context” is a good example of the album’svibe, marrying the darkness and sweet melancholyof The Death of Day with the richness of Garden Window,but taking both in a more refined direction.Though I’d expect that playing such incredibly complexand atmospheric songs live would lend itself to alot of difficulty and a lot of compromises, Merritt saysthat such rich dynamics are the easy part: “None ofus are extremely technically proficient musicians, soI think our sound has always been built around layersand dynamics rather than technical riffing. I thinkit just comes naturally to us.” With that in mind, healso says that a lot of Disillusion was written aroundbeing able to translate well to a live show. “We’veonly played a couple songs from the new record, andonly at a handful of shows, and that was really fun.Usually, I’m most excited about what’s new, and it’srefreshing to play new songs. We’re all excited toplay a lot off this new record,” he says. For my part,I can definitely say that I’m excited, too.Touring with asolid new album,O’Brother embarkon their first headliningtour this August.While Disillusion marks the next step in theirmusical progression, O’Brother are also takingthe next big step in their career by headliningtheir own tour this summer. “The thoughtof headlining has been terrifying for a while,although it’s something that we knew we’d haveto do inevitably,” says Merritt. While they’vebeen touring pretty much non-stop for a while,it’s usually been supporting other bands, andUtah fans of Thrice will definitely recognizethem from Thrice’s farewell tour last year. In aslightly more intimate show, they also playedKilby Court twice last year, once during theirco-headlining tour with Junius (Junius didn’tmake that particular show due to getting stuckin the snowy mountains, but O’Brother enjoyedplaying to a packed room regardless), andagain during last year’s Crucialfest. Fitting,then, that Kilby Court is going to host them oncemore during this year’s tour in August.Fans of both O’Brother and vinyl are also ingood company, as Disillusion will also be releasedin record form on Aug. 20 via TripleCrown Records. The band is extremely excitedfor the release after going all-out with thepackaging, a collaboration by artists YaroslavGerzhedovich and Ian Rowan. As aproud owner of one of the 500 limited-editioncopies of the Garden Window vinyl release, Ican speak firsthand to the significant love andattention given to an O’Brother record, full ofgorgeous, full-frame artwork. Don’t forget tocatch O’Brother in person during their Salt LakeCity stop at Kilby Court on Aug. 30, supportedby Native and Daylight.20 SaltLakeUnderGround slugmag.com 21

Colton Reeves Ericksen1993–2013Photos Courtesy Dark SeasColton Reeves Ericksen, often called “Toner,” was a19-year-old beacon of light whose passion for life, musicand his friends was tragically cut short. He passed onJuly 15, traveling to Chicago with our band,Dark Seas, in a freeway accident.Colton joined our band in December 2012, and becamethe key ingredient to the band’s rebirth and new soundwe had been looking for two years prior to him joiningus. Without him, we would not have been the same. Hesoon became the driving force to our music and cause,writing the songs, guiding us through them and havingthe passion and energy onstage that a lead guitaristshould have. He captivated the crowd with his talent;he spoke through his guitar and we all understood––thiswas his love and his life, and he wanted to share it withthe world.Being on the road with Colton, there were so manymemories and good times we all shared with him. Hewas never angry, and when he wasn’t sleeping, he waseither playing his guitar, thinking of ways to improvethe songs, or making us laugh. He was always willingto share whatever he had, from his food to the shirt onhis back.He is in our hearts forever––his spirit and legend willnever die. We miss him so much, but know he’s outthere, playing his guitar and smiling on us all.RIP Toner. –Dark SeasI remember making the long drive out to Copper Hills todo some outreach for our programming and, specifically,to meet a couple of potential film students a coupleof years ago. That drive brought Colton to the FilmApprenticeship program at Spy Hop, and so was veryworth the commute, even though it is farther than weoften travel looking for students.Colton brought his positivity to our programming,and quickly forged friendships with all of his fellowapprentices. His zeal for all things creative wasinfectious, and his easy going attitude made him theeasiest guy to get along with for everybody.He also graced us with his musical talents, helping lenda score to a couple of different projects. Based solely onwhat the filmmakers were looking for, Colton could justsit down and play more than we ever could have hopedfor. He stretched out to challenge himself in the class.He was the only student in the history of my mentoringwho chose the laborious process of shooting a projecton 16mm film.I was very impressed and excited to have a student withsuch strong passions for creativity in all forms. It is truly ashock that he is gone so soon, as we at Spy Hop lookedforward to watching him go on to great things. I canhonestly say that my eight months as Colton’s mentormoved me, as he is the kind of student we all hope for.He leaves many friends behind who will remember himfondly, and I am not alone in counting myself lucky forhaving known him. –Josh Samson, Film Instructor,Spy HopColton Ericksen was the kind of young man that youwould like immediately, and then want to try to get toknow better. He had a warm, genuine and winningsmile that would make you want to smile in return. Hewas kind and gentle, humble and unassuming, politeand grateful. Honesty and integrity were an integral partof his demeanor and persona. I never heard him say anunkind word, or utter a word in anger. I believe thesecharacter traits are a tribute to his parents, and I hadpreviously tried to imagine what they might look like. Ihave never met them, but saw them in my mind’s eyethrough their fine son, Colton.After Dark Seas returned from their previous concerttour, I noticed a new level of maturity in Colton. Whilehe originally seemed to me to have an “old soul,”he now exhibited an even higher level of personalrefinement, inner strength and self-confidence. You couldsee it in his eyes and body language. I commented tomyself that Colton had really “lived and learned” on thattour. He seemed to have aged several years in only afew short months.I noticed a new level of maturity in his guitar playing aswell––he wanted to make sure that he played his guitarparts as good as they possibly could be played. Hehad a real “knack” for playing guitar, the kind of raregift that few people receive. His unique style, sense ofmusicality and personality really came out in his music,and people enjoyed sharing it. When he played, heexpressed his love for music and his genuine joy inperforming with his bandmates.The tragic loss of a young and talented life is so hard toprocess and accept––the mind and heart strings scream,“NO, it can’t be true.” But then, it is true, and it can’t bechanged. I can only find solace in honoring his memoryby trying to live a better life, and be the kind person thatColton would respect and want to know.The great circle of life holds us all in its grasp and itsometimes seems very strong, yet, at the same time, alsovery fragile, and it promises none of us a tomorrow.But we can embrace thecircle and believe andtrust in the moments ofjoy it provides and liveour often too short liveswith grace and honor, asColton did.Thank you, Colton, for beingone of the good guys! –KentRigby, Utah Arts Alliance,Midnight Records ProductionsDark Seas will be playingtheir final show, a tributeto Colton and a CD releaseparty for the album they recorded with him, at The 5thAnnual Craft Lake City DIY FEST on Friday, Aug. 9at 9 p.m. on the 90.9FM KRCL Stage.22 SaltLakeUnderGround slugmag.com 23

By Weston Coltonwestoncolton.comIt had been five yearssince I shot a photo withDanny Souk. Thanksto the miracle of Instagram,I was able to see that hewas skating Downtown byhimself at the same time Iwas. A quick comment later,and we were looking forspots with enough light toskate. Social media is useful(sometimes).Danny Souk––Switch Crooked Grind–––SLC 10:36 p.m.24 SaltLakeUnderGround slugmag.com 25

Photos: Russel DanielsEnjiGo’s resident Robot Fanatic, Michael Anderson, began leading a class in July for students of all engineering skilllevels, instructing them how to build their own Sumo Bots with an inexpensive materials package.Sumo BotsRobot Fanatics UniteBy Thomas Winkleythomas.winkley@gmail.comWhether you’ll admit it or not, you’vewalked the city wondering why giantrobots aren’t pouring out of alleywaysbattling to save the galaxy. Sumo Botsat Craft Lake City DIY Festival are givingyou the opportunity to witness this on theminiature scale. Contestants who haveconstructed their own miniature monsterswill drop them in a ring with the goal ofpushing the enemy out of the circle, forall of the cyber glory this city has to offer.Michael Anderson of Robot Fanaticsis the man behind bringing this movementto light.Anderson has also been heavily involvedin MakeSLC since its beginning, initiallystarting as a community endeavor to getcreative minds unified. In a warehouse,they have since mutated into EnjiGo andmoved into their new shop in South SaltLake. Hack spaces like EnjiGo are prevalentoutside of Utah: “You can find onein every city in the larger areas,” Andersonsays. “Silicon Valley has them everywhere—Utahis a new opportunity.” Outof hack spaces, new ideas, technologyand business can emerge. The sense ofcommunity also gives people a creativesounding board when up against difficultproblems with their projects. You cansee his surprise at the amount of energyaround Robot Fanatics: “It’s grown fasterthan I imagined,” he says. “Since August,we’ve already reached 35 members.”two-inch Plexiglas.” Anderson’s hobbysnowballed into a workspace, club andnow, the passion to teach others to construct.Though he may not be Rock ’EmSock ’Em’s biggest fan, he is quite thePC gamer, or was until he began thesearch for making robotics easier for thepublic. In his search, he has developeda circuit board and parts kit that can beassembled in four to five classes. Thefirst series of these classes is just wrappingup and more will definitely follow.“We’ll be programming the robots usingArduino. It has basic commands we’ll beproviding, and you can, of course, takeit further with enough research.” With hisbackground in software development,Anderson can lead someone of any skilllevel into programming his or her bot forbasic behaviors. Once the robots arecompleted in the inaugural class series,the students have the opportunity to enterthem into the Saturday Sumo Bot competitionat CLC DIY Fest happening Aug. 9and 10. The robots in question will havethe ability to sense an object in frontof it, and then push with all the powerthey can muster. Anderson describes theSumo Bots’ abilities, saying, “You’ll wantthem as low to the ground as you cango, so they don’t tip over during the fight.They’re powered by this little motor andtwo wheels, and they’ll move in a straightline to push out their opponents.” Amongother Sumo Bot competition applicants,should anyone’s bot have the power topush all other’s from the ring, the creatorwill be heralded as the CLC DIY FestSumo Bot champion, a title which is surePhoto: AHBMichael Anderson of EnjiGoextends his passion forengineering to robot construction.to attract hordes of the opposite sex totheir metallurgic prowess.If you wish to become a more in-depthAs I walk into the front office of EnjiGo,participant at EnjiGo, you can becomepreparations for their new setup area member for $50 a month. Benefits include:access to the facility, tools, classesclearly under way. In a storefront underconstruction, there is a bright-red,and a workspace for various projects,When all is done, Robot Fanatics willhave a full-service shop where enthusiastscan find a place for discussion, ad-humanoid robot on a shelf waiting towhich also allots free entry to any classesgreet me. Next to the desk, there is anat their campus. Check out Sumo Bots atvice and part kits to build their mechanicaldream. “We should have the retailempty display case and a paper signthe CLC DIY Fest and be sure to have ataped to a chair that reads, “EnjiGodiscussion with the folks from Robot Fanatics—you’llfind yourself in good com-shop up by the end of August. Our goalthis way.” Heading into the back office,is to provide the excitement and environmentthat RadioShack doesn’t,” saysI am introduced to an entirely differentpany and witnessing the beginning offeel. Once you make your way past asomething incredible.Anderson.jukebox (that could only have been takenfrom a 1950s diner) and around theCheck out EnjiGo at enjigo.com for informationon future classes and membership,Anderson’s fascination with robots beganin the ’90s after reading an articlepool table, you find out where the realwork gets done. Shelves full of tools andand Robot Fanatic at robotfanatic.com forin Popular Science. He says, “I watchedparts surround work benches lined withinformation on how to make your owna lot of Robot Wars, and eventually attendedRobowars in California. Theyvarious projects. Three men are talkingrobots. The Sumo Bot competition will bein the back while they unload a truck intoheld 10 a.m.–4 p.m. on Sat., Aug. 10had some crazy stuff. It would take athe shop. Among them, I find Andersonin the Science & Technology building onlot to bring that to Salt Lake—I rememberone giant chainsaw-like robot hadexcitedly discussing what it will take to200 S. at the Gallivan Center.create more “hack spaces” in Salt Lake.its cutting arm fly off, and it pierced the26 SaltLakeUnderGround slugmag.com 27

The Maxwells (L-R: Wyatt, Angela, Cole, Shane Kiel and Duke)continue in their passion for music as Mad Max & the Wild OnesPhoto: John BarkipleBy James Ormejames.orme@slugmag.comhe standard order of things is that, when we findTrock n’ roll, we use it to piss off our parents—not tostart a family rockabilly band with Dad playing uprightbass and Little Brother taking on lead vocals at the ageof 4. But “standard” and “normal” are not words thatanyone would use to describe the Maxwell family.When Wyatt Maxwell turned 8, he asked for aguitar. His brother, Cole, followed soon after withdrums, and the music began to pour right out ofthem. Looking to get in on the act, the youngestbrother, 4-year-old Duke, took over lead vocals,gaining the position by learning a ton of JohnnyCash lyrics. Wanting to involve their dad, DonnieMaxwell, the boys gave him an upright bass forChristmas and began helping him learn to play it.“Dad was just cooler than us,” says Wyatt. “I wentthrough a punk rock phase, and I’d bring home aSex Pistols CD, thinking I was all rebellious, andhe’d bust out some G.B.H. and Exploited CDs forme to check out, and I was like, ‘Who are you?’”Under the watchful eye of Angela Maxwell, theirmother, the boys began playing live. They started witha car show put on by family friend and hot rod legendBo Huff, who was impressed by what he heard aftervisiting the family. Angela says, “They didn’t evenhave the name for the band yet, and Duke was only 5.We weren’t sure how he’d react to the crowd, but hejust loved it, and after it was over, he told me that themore people there are, the better he plays.” The bandbegan picking up gigs as Mad Max & the Wild Onesfrom then on.Each one of the Maxwell boys has uncanny naturalmusical ability. Wyatt’s playing is so impressive, hebecame the youngest guitar player to ever besponsored by Gretsch Guitars, who approached himafter seeing a show. Cole seemed to be destined to sitbehind a drum kit: “Cole was always thumping outrhythm on something,” says Angela. “He’s become anexcellent songwriter.” Now 13 years old, Duke haspicked up guitar and, recently, the harmonica. Withhelp from local blues harp luminary Brad Wheeler,Duke has become quite adept with the instrument, justas he has always been with learning lyrics.As Mad Max & the Wild Ones played more shows,the legend of this family band with rockin’ young kidsspread throughout the rockabilly and roots musiccommunities, making touring the U.S. possible, andeven allowing them to travel to New Zealand to playshows. “The whole thing has been kind of anadventure that none of us expected,” says Angela.“We played that first show at Bo Huff’s, and peoplejust started to contact us about playing different placesall over the country.”While the band gained popularity, Wyatt’s guitarplaying grew in demand as well. He has toured withWayne Hancock, and is often hired by rockabillypiano man Lance Lipinsky to record and tour. It washis relationship with Lipinsky that landed the youngguitar slinger on The Late Show with David Letterman,backing up top Elvis tribute artists for an entire week’srun of shows this last February. “It was nuts,” saysWyatt, “hanging out with Paul Shaffer and BonesMalone from the Blues Brothers … I got to godown in the basement and explore all the tunnels, andI got to know the guy that does the sound effects who’sbeen there for, like, 35 years, and he told all sorts ofcrazy stories.”Unfortunately, about a month after Wyatt was hitting thenational television stage, on March 19, 2013, Donniepassed away due to complications from diabetes. “Fromthe outside, it may have seemed weird for some people,”says Wyatt, “seeing us kids in a band with theirdad, but it was always more cool than anything. I had afriend whose house reeked of macaroni and cheese allthe time, and he thought that was normal. Playing thismusic and having fun at shows became normal for us.”Even though family and band have suffered a massiveblow, they have decided to keep the music flowing. “Iknow he would want them to keep playing,” saysAngela. “It was Donnie’s favorite thing to spend timewith his sons playing music, and that was what hepassed down to them.” Shane Kiel, a longtime friendof the family, has filled the role of bass player, evenspending time with Wyatt while they both were on tourwith Hancock. “Shane’s a great fit,” says Angela.“We’ve known him for such a long time––it’s still likehaving a family band. He’s like a little brother to me,so to the boys, he’s like Uncle Shane. He might as wellchange his last name to Maxwell.”The Maxwell family has been through the worst of itthis year, but they are determined to come out on theother side maintaining the passion and energy Donniehad for making music with his family. Look for somevinyl 45s to be released soon, and a full-length recordout sometime next year. Catch a live performancefrom Mad Max & the Wild Ones at the Craft Lake CityDIY Festival on Friday, Aug. 9 at 8:30 p.m.28 SaltLakeUnderGround slugmag.com 29

trio complements each other, and their focus is easier to maintain, as they canbalance hanging out with working on their songs. This came as a surprise to them,but as Gentry says, “The way that our harmonies form when it’s just the three of usin a room figuring out a song gives you goosebumps, because there’s nothing elsethat can distract you from the three voices coming together, besides the guitarand maybe a fiddle here and there. It’s been really cool to see how the harmoniesdevelop, because that’s what we focus on.” Buehner adds to that, saying that she“was surprised to realize, when we switched back to just the three of us, that a lotof the harmonies I was doing were the same as [Bradshaw] or [Gentry]. I had tochange a lot of things because I didn’t notice them—I didn’t have the time to reallydig that deep before.” With the simplicity and intimacy of the trio, the songs arelyric-heavy and will come as a delight to deep-music listeners. Catch them on the90.1 FM KUER Stage Friday at 5:30p.m.On Saturday, you’ll find a showcase of Vincent Draper and the Dirty Thirtyand Worst Friends, who all boast of great chemistry between their respectivebandmates, enabling each set of musicians to progress and grow as a band. Thename “Vincent Draper” (his real name is Carson Wolfe) is an homage to two menthat he admires: Vincent van Gogh and his grandfather, named Draper. Their newalbum, SAM, released on July 27, was created as a tribute to his grandfather.By Brinley Froelich • brinleyfroelich@gmail.comPhotos: Gavan NelsonItmay be presumed that the Craft Lake City DIY Festival on Aug.9 and 10 is limited to showcasing handmade crafts to hold andtake home. However, joining the surplus of local artisans and DIYEngineers are 50 local musicians and performers who will show off theirtalents in the form of instrumentation. These DIY bands work on their craftwith the intention of inspiring their audience, and the handful we spoke toall shared the same sentiments of interacting with other talented musiciansand artists to propel their motivation.The Soggy Scots will kick off the festival with a march through Gallivan Plazaand some epic piping. The two friends, Zach Lees and James Moyar, fromPayson, Utah have played bagpipes together since high school, and withthe variety of events and venues they’ve performed at in the past, they’recertain to initiate the activities on a monumental note. “We’ve playedpretty much everywhere you can think,” Lees says. Their Facebook page(facebook.com/TheSoggyScots) boasts of playing at “funerals, birthdays,committee meetings, celebrations, weddings; indoors, outdoors, in thesun and rain, on street corners, in forests, and even once atop a barn.”There is one event they haven’t played, and the two find it regretfully so:Know anyone throwing a bar/bat mitzvah? Expect to see kilts and hear“Scotland the Brave,” but don’t expect everything to be traditional: “Zachhere will make up stuff as we’re playing. He’ll start to play a harmony,and bust it out … I follow him—he’s the piper extraordinaire,” Moyar (thealleged “fashion sense” of the group) says. While the two have no bloodtiesto any clans in Scotland, that doesn’t stop them from hearing all aboutthe history of bagpipes. “A lot of people walk up to you, even if you’rejust warming up in the park, and they’ll tell you it’s beautiful, and thankyou, and they’ll tell you their whole Scottish lineage, which sometimescan get a little tedious because you just want to play, but it is rewardingbecause then they might even cry about it … It’s a nostalgic sound for alot of people,” Moyar says. For the two of them, playing bagpipes hasdeveloped into a fun activity to share time with each other. Since thetwo of them grew up together, they had plenty of tales of adventuresin cemeteries and belting their pipes around their neighborhoods lateat night. Although they predominantly play bagpipes, the pair may pullout the banjo, didgeridoo, drums, bell horn or even whistle. Make sureto catch them opening the DIY festival on both days, and see them in thebusking area Friday at 5 p.m. and Saturday at 12:30 p.m.(L–R) Zach Lees and James Moyar of The Soggy Scots meld traditionaland quirky aspects into their bagpipe playing, and willsound the call at the CLC DIY Fest.Friday also features the sweet harmonies of The Souvenirs. This sisterlytrio(Marie Bradshaw and Kiki Buehner are sisters, and their close friend,Corrine Gentry, might as well be) has recently parted from their previousproject with The Folka Dots to focus on their three-part harmonies. “TheFolka Dots actually started with just the three of us initially, and we addedmembers as time went on. It seemed natural to go back to our rootsand play with each other,” Bradshaw says. With this new transition, the(L–R) Corinne Gentry, Marie Bradshaw and Kiki Buehner havecrafted beautiful harmonies in their trio, The Souvenirs.30 SaltLakeUnderGround slugmag.com 31

(L–R) Carson Wolfe (aka Vincent Draper), Alex Terry, JonRobertson and Eric Lund evoke nostalgia for an older time inVincent Draper and the Dirty Thirty.Themes of nostalgia permeate their folk-rock sounds, and as EricLund, the guitar player, says, “There’s a lot of heart in it, andsometimes it’s good and sometimes it’s heartbreaking, and I hopethat people can kind of relate with it.” When asked what he isnostalgic for, Wolfe says, “I look at the way my great-grandparentslived and loved, and the things that were important to them—theydidn’t have distractions in their life. I’m very lucky to live rightnow, with technology and medicine and SLUG Magazine, but I’moften envious of earlier times.”The Dirty Thirty started as a side project from a previousband, Small Town Sinners, which included Lund, and the rest ofthe band came together through word of mouth. The five of them(which includes bassist Jon Robertson, drummer Alex Terry andoccasional member, keyboardist Aaron Martell—not pictured) worktogether hand-in-hand, although Wolfe usually brings the mainmelodies and lyrics to the table. Terry says, “I think we’re prettydiverse as a band, but we come together just fine. If I could putit simply, we’re a pretty good representation of our demographicin the state, because we all come from different backgrounds, butI think we work together really well. When we all get togetherto collaborate on the songs, there’s never any sort of problems—no ego or anything like that. It’s pretty straightforward.” Wolfeagrees, saying, “We are lucky in that respect.” Catch their set onSaturday at 1 p.m. on the 90.1 FM KUER Stage.mutual I suppose.” The two wanted to keep jamming andwriting together, Loom notwithstanding. Bischoff says,“So, sort of as a sarcastic joke, we called the band WorstFriends because […] everyone thinks that we butt headsor whatever.” Cundick adds, saying, “Now we’re justtrying to figure out ways to piss off Elliot enough to jointhe club.” Elliot Secrist, their bassist (who also is a part ofa number of projects, notably God’s Revolver and now DayHymns), joined this past year, which was “an easy decisionto make,” according to Bischoff, after Secrist approachedthe pair to see if they wanted to add a bass to their lineup.Unlike a majority of bands who focus on a guitar player orsinger to do most of the writing, the trio come to the tablepretty evenly with their experience to work on their riffsand transitions until it makes a cohesive whole. While thereis hardly a lack of material, Secrist says, “The problemwith so many options and ideas is that we have to cut a lotof the fat and narrow it down. Otherwise, we have these10-minute songs and we’ll just look out and the crowd is justglazed over.” The clearest sentiment between the musicianswas one of admiration. “For most things I’ve been a partof, I kind of get things first and then help other people getit, but ever since I’ve been in this band, it feels like I’m theone that’s trying to catch on and catch up with these two. It’s a new experience—it’shumbling and it helps me grow,” Cundick says. They look forward to playing at the CLCDIY Fest, and hope the crowd will be receptive. Be sure to catch their set on the 90.9 FMKRCL Stage Saturday at 7:30 p.m.With two stages and various busking areas, there’s no better place to see the meldingof local music and art this summer than the Craft Lake City DIY Festival at the GallivanCenter on Aug. 9 and 10. Find the full lineup at craftlakecity.com.Bringing sludgy, math-rock jams to the festival, Worst Friendsplays on Saturday evening. Band members Jarom Bischoff andMike Cundick have a long history of playing in various bandstogether, most notably in Loom. While Loom still exists, it’sbecome a backburner project as they focus on this newer project.As Bischoff says, “At a certain point, there were just too manycooks in the kitchen, and Mike and I had issues because wewere both in charge of everything, so that naturally happensin a band. I ended up leaving/getting kicked out—it was pretty(L–R) Elliot Secrist, Jarom Bischoff and Mike Cundick ofWorst Friends produce a large of amount material thatthey hone to audial perfection.32 SaltLakeUnderGround slugmag.com 33

“I tend to pull from things that resonatewith me because they represent a partof my childhood, or a specific momentin my life that I know other people willfeel a connection to,” says Audrey Patten,speaking of her artwork. The subjectivenature of visual art often renders itintroverted and inaccessible, but Pattenhas managed to transcend the self inher work and illustrate an emotion thathas become the defining keystone of ourgeneration: nostalgia. We long for thesimplicity of the past as we dive headfirstinto our inheritance: a wireless world oftangled social issues. Patten’s artworkpulls the brake on our plunge and reachesbackward to fill our walls and mailboxeswith warm reminders of childhooddaydreams.Patten was that kid in elementary schoolfrom whom you’d commission portraitsof your favorite cartoons. “I would drawthe characters I saw on TV and what I’dread in books,” she says. Spending mostof her life as a resident of Indianapolis,Patten moved on from recess doodles tothe city’s Herron School of Art and Design,where she began creating original work,still referencing the pop culture she hadgrown up with, and melding it with herpassionate love of animals. “I relate tothem more than I do most humans,” shesays. “I would draw an animal’s head on aperson’s body, and have been continuingthat theme throughout the years I’ve beendoing art.” Patten’s art is creepy but pretty,like a dream during a picnic nap—ajuxtaposition of contemporary themes withvintage aesthetic—”Sally Draper meets theScarecrow” is how she succinctly describesher work on this month’s SLUG cover.Graduating on a high note from Herronwith a successful senior show, Pattenmet Casey Hansen, drummer for nowdefunctlocal band Gaza, while the groupwas on tour. After maintaining a longdistancerelationship with him for sometime, she made the decision to sell allbut a few of her belongings, and bravelymade her way to Salt Lake, romanticizingwhat life would be like out West. The moveserved as a growing-up experience thathas had a significant effect on Patten’s art.“I think the whole ‘Midwest Meets West’thing is more of a coming-of-age for me,”she says, “hitting that switch and becomingan adult, and finding myself because, now,you’re out of your comfort zone and youhave to find out what’s going to makeyou happy, and what you want to do.”An artist whose work is deeplysaturated in Midwest imagery, Pattenturned to her art to soothe herlonging for home. “You get kindof sad, you get homesick—you get bummed aboutMidwestMeets WestBy Esther Meroño • esther@slugmag.comPhotos: Chad KirklandAudrey Patten’s love of animals and everything vintage arereccurring themes in her beautiful, nostalgic artwork.Her art hints at nightmares, but surfaces as a beautiful,childhood daydream.your life sometimes, but you make workthat makes you laugh, that makes youfeel good in order to be therapeutic, so itdoesn’t drag you down more,” she says.Though her preference and focus in schoolwas etching, Patten currently uses a mixof graphite and light washes of ink andpaint on soft rag paper to create themany variations of her work. Many ofher more recent pieces have includedoriginal images from Wes Andersonfilms, including a wonderful collage ofRushmore references. “One of the reasonsthat I connect with Wes Anderson’s stuffis that it has the nostalgic kitschiness to itthat I really like,” says Patten. I scoopedup her “T. Hanks” thank you cards, printedwith a portrait of actor Tom Hanks, themoment I first saw her work. “Most artists,whether they admit to it or not, tend tobe influenced by a particular style, of themoment or because of the artists aroundthem,” she says. “Stuff gets recycled,trends happen—as long as I’m enjoyingthe work I’m putting out and other peopleenjoy it, that’s what’s important to me.”Currently, Patten has a full-time job thathas required most of her time and energy,which she admits temporarily dried up hercreative well. “Ideally, I’d like to be in aposition that would ignite more creativeparts of my brain, so when I come homeat the end of the day, it’s still running,instead of brain-numbing,” she says,confessing a struggle that many artistswithout trust funds tend to face in theircareers. She works quickly, though. In theshort time between our interview and thewriting of this article, Patten had wrappedup an endearing “homesick” piece,inspired by a bizarre children’s book shewas often read as a kid, along with theSLUG cover. She was also working onan unsettling piece based on the sistersfrom The Shining. Patten has talent and,perhaps more importantly, an attitude thatovercomes the challenges she’s had toface. She says, “What’s the point in livinglife if you can’t enjoy it and enjoy the stuffthat you do, and make work that makesyou smile and makes others smile?”Patten claims she is a lone wolf in boththe art community and her social life,but she’ll be present at the Craft Lake CityDIY Festival on Aug. 9–10 at the GallivanCenter. In addition to creating art, Pattenis also a passionate vintage shopper,and has returned from adventures inthrifting with a few spoils she will alsohave available at the festival. If youcan’t catch her in person, take a peekat some of her art at audreypatten.bigcartel.com, her vintage wares atetsy.com/shop/blackfoxvintageslcand follow her on Tumblr:audreypatten.tumblr.com.34 SaltLakeUnderGround slugmag.com 35

Photo: Talyn ShererMarie Brian of The Cotton Floozy sharesher brilliant sense of humor throughembroidered epithets.Another year of craft explosion is right aroundthe corner. Four seasons of preparatoryfunctions have led up to a fifth year of artistry,which is sure to be the most successful and fulfilledCraft Lake City DIY Festival yet. Artisans from aroundthe Salt Lake valley will coincide at the GallivanCenter from August 9–10 in a smorgasbord ofhandmade objects and mind-melting performances.The Craft Lake City DIY Festival, brainchild of SLUGEditor Angela H. Brown, brings out the quirkiestand often most impressive elements of the saltycity’s underground DIY culture. This year, I waslucky enough to quiz four distinctly different artisansparticipating in the event.First, I chatted with Lars Burrows of Lars LoveLetters, a fully recycled set of unique paper andcards. Burrows began making cards about threeyears ago, and the most impressive aspect of hiscreative process is his involvement in the entireoperation, from making the paper to the finalembellishments on the masterpieces. “I love makingmy own paper for projects—it gives me reallyunique paper for my cards and prints,” Burrowssays. “All of my cards and posters are made fromjunk mail and scrap paper. I make notebooks fromreclaimed ledgers out of day planners and framesfor my art from old fences.”Even with a name like Lars Love Letters, don’t expectthe typical greeting card mentality here. This projectis full of original and refreshing snippets. “The cardsI make are mostly just things I would say: usuallynice, if not a little off the wall. All the artwork isPhoto: Nick PriceNick Price of Bolt Lighting designs steampunkstyledesk lamps using vintage light bulbs.WorldofMoreCraftBy LeAundra Jeffs • u0615922@utah.edumy own,” Burrows says. His themes are varying anddependent on the feel you’re trying to go for, fromlove and friendship to thank yous and get wells. “I’mtrying to open things up more and make cards youcan give to a friend as well as a girlfriend. Lately,space has been an influence. It quiets the mind andbroadens the perspective,” Burrows says.This is Burrows’ third year at the DIY Fest, and assuch, he has a good grasp on its social impact.“This festival is one of my favorites because it’s agreat venue for local artists that’s so accessible.After my first year attending, I decided it was timeto start creating. I’m sure there’s a lot of people,like me, who are more involved in the DIY andcraft community because of it, adding more uniquecreativity and awesomeness to our culture,” he says.As a card-making hobbyist, I was extremelyimpressed with the drive and inventiveness ofBurrows’ paper products. Cards have a propensityto be tawdry or cliché when mass produced, butfinding a perfect one from a local artist puts thehuman back into the card, and makes for a genuineand rare gift. For more information, or to purchasewares outside of the festival, go to larsloveletters.com, facebook.com/larsloveletters or etsy.com/shop/larsloveletters.Next, I conversed with Marie Brian of The CottonFloozy about her intricate embroidery work. Withmany years of experience under her belt, Brianhas one thing to say that sets her apart from otherstitchers, other than her fantastic sense of humor:Lars Burrows of Lars LoveLetters makes his own paperfrom recycled materials to createcustom greeting cards.Meg Frampton of Chandler The Robotcrafts quirky metal robot necklacesinfused with their own personalities.Craft Lake City Spices Up The ValleyPhoto: Talyn ShererPhoto: Meg Frampton“My embroidery is more badass than other artists’embroidery,” Brian says. “I mostly make subversiveneedlepoint samplers, either finished in woodenhoops or in traditional frames. I have a fear ofsewing machines called bobbinphobia, which is inno way a made-up phobia.”Cotton Floozy is open to requests if you’ve hada perfect sentence or portrait for embroiderymulling around in your brain, just waiting for anoutlet. “About half of my needlepoints are custommade.One of my favorite customers asked me tostitch, ‘Calm your tits. –Buddha.’ At the bottom, Iembroidered a picture of a very serene Buddhawith man boobs,” Brian says. Along with silly andfun pictures and sayings, the style of fabrics used ishumble. “The majority of the fabrics I use come frommy mother’s craft room closet. I have found somewonderful, vintage fabrics while hand-trawlingthrough her stash. Fabrics that are weird or fuglyare my favorite,” Brian says.As another third-year veteran, Brian has a planand a lot to say about this year’s DIY Festival. “I amconsidered to be a ‘CLC Alum,’ which I take veryseriously. I plan on wearing full academic regalia tothis year’s [DIY Fest],” she says, teasing. “My favoritething about CLC is that it celebrates counterculture.The artists, crafters and DIYers challenge the socialnorms of Utah. Everywhere you look at CLC, thereare crafts and artwork promoting diversity, peaceand marriage equality. The most creative, talentedand funny people share their work at Craft LakeCity.” Check out Brian’s embroidered sense of humorat the festival, or go to cottonfloozy.comor facebook.com/thecottonfloozy.Nick Price of Bolt Lighting creates asteampunk-style line of desk lamps. BoltLighting has been up and running sinceJanuary, but Price has been inspired bylight fixtures from a young age with helpfrom his father. More recently, Price wasdrawn toward industrial interior designthrough an experience with a tradeshowtechnician. “My journey startedwhen a lovely woman [CLC artisan MegFrampton] traveling to New York fora trade show asked me to build her adisplay for her jewelry for sale,” saysPrice. “Her jewelry is made of variousmetals, the majority of which are shapedinto robot characters, so this is where theindustrial flare came in.”Even with a high demand for exactstyles of fixtures, Price still makes aneffort to use recycled materials. “A smallpercentage of my supplies are froma recycled source. In the beginning, Iwas using all recycled pipe, but as thedemand for specific fixtures grew, sodid the need for exact parts instead ofwhatever recycled pieces I could digup,” Price says.Bolt Lighting focuses on small-scalelamps usually meant for a desk, featuringvintage, Edison-style bulbs. “My currentfixtures are all desk/table lamps. Thelargest is the Three Amigos, which is 20inches tall and fit with three vintage tubelights,” Price says.This is Price’s first year at the DIY Fest,and he is happy to be participating thisseason. His outside perspective on CLCgives an interesting viewpoint: “Salt Lakeseems like a pretty crafty place, maybebecause of all those scrap-bookingMormon mothers. When people arecreating unique things that intrigue andinspire others, that’s always a benefitto our culture!” Price says. To readmore or purchase products online, goto boltlightingdesign.com or facebook.com/boltlightingdesign.Last, I spoke with the aforementionedMeg Frampton of Chandler the Robot, alineup of metal jewelry focusing mainlyon robot designs. Frampton has beenworking with metal jewelry for threeyears, after being inspired by a randomclass of female metal workers she walkedinto. It seems that Frampton’s entireexperience leading up to her currentrobot jewelry project has been a seriesof wonderful freak chances. “I wish Icould say I had some sort of elaborateplan, but the reality is, I saw a similaridea in a magazine and I recreated myown version. I’ve always enjoyed art thatwas a little off the cuff, and I wanted tomake something unique,” she says. “Isuppose since the medium I was usingwas metal, it seemed kind of natural tome to create a little robot guy.”Chandler the Robot is customizablewhen it comes to the type of metal sheuses. “When I first started out as ajeweler, I wanted to create crazy-lookingengagement rings using white gold andplatinum. I very quickly realized howexpensive those kinds of materials are,and I didn’t have the cash handy in thebeginning. So, that’s why I chose to workwith aluminum, nickel and real copper.Copper is great because I can changethat raw, bright copper into any shadeI want using a sulpherizing technique,”Frampton says.Currently, Frampton is working on anew line of robot-style jewelry with anew medium. “I’m working on a newcreature series out of polymer clay.They are supposed to be robots, butmy boyfriend [CLC artisan Nick Price]commented that they didn’t look muchlike robots based on how I did thedetail work,” Frampton says.This season will be Frampton’s firstexperience as a vendor at the Craft LakeCity DIY Festival. As a customer of thefestival for a few years, she has a goodoutlook on the entire experience: “I thinkCraft Lake is fantastic for the community!It gives artists a chance to step out oftheir studios and interact with peopleand get some great feedback. It makesthe city more connected on a deeperlevel, and the art community in SLC isfantastic,” she says. To find Frampton’swork on the net, go to chandlertherobot.com.After speaking with four interestingartisans who will be present at the DIYFestival this year, I am feverish withanticipation to see what else the 2013festival has in store. From handmadepaper and embroidered axioms, tometallic lamps and jewelry, CLC is abreeding ground for incredible artistryand imaginative collaboration. “Craft”means anything made with your hands,so even if you aren’t participating thisyear, stroll by and check it out at theGallivan on Friday, Aug. 9 from 5–10p.m. and Sat., Aug. 10 from noon–10p.m. You might just find yourself inspiredlike these crafters and surprised at howfar your crafty inspiration can takeyou. At the very least, you can findsome early Christmas presents for afriend and revel at the expansive DIYcounterculture in Salt Lake.36 SaltLakeUnderGround slugmag.com 37Photo: Talyn ShererPhoto: Meg FramptonPhoto: Talyn Sherer

Photo: Sam McGuireCAIRO FOSTERKeeping It FunCairo Foster, ollie in Las Vegas.By Steven Goemaatstgoemaat@gmail.com38 SaltLakeUnderGround slugmag.com 39With a couple of decades ofskateboarding under his belt, CairoFoster is a guy who will indefinitely godown as one of the best and most consistent inthe sport. Going from a technical skateboarderto a burly speed hound who will jump downanything, Foster has put in some serious workover the years, and has no intention of slowingdown. Based out of San Jose and now a prorider for Etnies, Foster started skating whenhe was 13 as a means of doing his own thingand, in full rebellious style, getting away fromhis parents. Landing a part in Thrasher’s Rawvideo back in ’96 was just the beginningto Foster’s career, which would blow up inmore ways than one. He has jumped aroundthe industry, and even had part ownership inPopwar Skateboards from 2004 to 2008.Along with Etnies, Foster has settled downwith companies such as Enjoi, Krux, Spitfire,Mob Grip, Diamond and Swiss bearings, andis also a part shareholder of Eswic Clothing.His laidback attitude and inspiring passion fordoing what he loves are what ultimately makehim so likable.With a good crew of guys to skate with andconsistently great weather, Foster says San Josehas treated him well. “San Jose is a mellow,central spot. It’s not too far from Oakland,Santa Cruz or San Fran, so there’s tons ofplaces to skate and a lot more parks than therewere years ago,” he says. “I usually skate withall the Tiltmode dudes like Louie Barletta andZack Wallin, and all the guys that are still inthe Bay area. I’ll go up to San Fran and skatewith Keegan Sauder, too.” Before choosingCalifornia as a place to call home, Foster spentthe winter of ’97/’98 in our very own Salt LakeCity, and even tried his hand at some snowsports. “Salt Lake is awesome!” says Foster. “I’vereally been fond of Salt Lake ever since I livedthere, and I really like the skate scene there.”Foster found a lot of inspiration in the Plan Bteam from “yesteryear,” as he put it. “All thedudes from Questionable, which came out in’92, I think: Rick Howard, Mike Carroll,Pat Duffy, Kris Markovich and WillySantos were all killing it back then.” Fosterwas lucky enough to work with a handful ofhis childhood heroes in the Spike Jonze epicFully Flared. The video starts off with an intro ofmonstrous proportions that involves guys fromthe team being blown up mid-trick on variousobstacles. Foster was chosen to be the guineapig for the pyrotechnics. “The pyrotechnicsguys showed us an explosion before we startedskating, so we were like, ‘OK, cool, whatever,’”Foster says. “So I go first and nose grind thishubba for a second, then Rick or Ty [Evans] orSpike hit the button a little too early and blewme up. It was fucking gnarly, way gnarlier than Iexpected! After that, they just wanted me to 50-50 it. Instead of blowing me up a little bit later,like we had talked about, they hit the button justas quickly, if not earlier. I was like, ‘Shit … I’mgoing to be the only one who didn’t land mytrick. Mike Mo and Alex Olson got theirsfirst try. [Brandon] Biebel saw it and was like,‘FUCK THAT!’ It was pretty funny.”Foster made the switch from Lakai to Etnies backin 2010, with an offer to travel more and bea part of another core, skater-owned companythat is 25 years strong. “I’m psyched on it,” saysFoster. “Being on a team with Jose Rojo andTyler Bledsoe is rad. Sheckler is amazing,too—love him or hate him, that dude can deliveron a skateboard. We are really focusing on theproduct and getting everything right with that, soit’s been good.” As far as the future goes, Fostersees himself being a part of skateboarding forthe rest of his life. “I think every skater reachesthe point where they realize skating is in theirblood,” he says. His appreciation stems not onlyfrom being a pro skater, but also from beinga part of the industry as a team manager forKrux, and an investor and team rider for EswicClothing. Foster also talked of future videos andsome other projects to look out for. “There is talkof putting an Enjoi video together in the future,but I don’t have many details on that yet. Mygoal for this year is going to be getting a coupletrips together with Kenny Reed and try to dosome more homies trips. Maybe filming a mashupvideo with anyone who is down,” he says. AsI concluded my conversation with Foster, he leftme with a closing line: “Just keep it fun!”No better words could have come from aguy like Cairo Foster. He is undoubtedlyan incredibly talented skater with the videoparts and magazine spreads to show for it.Do yourself a favor and check out one of themany Cairo Foster parts that are out there.From Thrasher’s Raw to Fully Flared, Foster hasdelivered for years, and it is apparent that heis still having the time of his life. Follow him onTwitter @cairofoster.

SummerSome people believe skateboarding to be anart. Others would say that jumping around ona wooden toy is a monumental waste of time.I say, every minute you are skateboardingis a minute that you aren’t stealing an oldlady’s purse. In celebration of not makingan octogenarian your prey, the 14th annualSummer of Death Presented by Scion had itsfirst contest of the year on Saturday, July 20,paired with the Urban Arts Festival. The festivalwas held at the Gateway Mall where the streetswere blocked off to make way for art boothsand the skate contest. We Are One Skateparkprovided the ramps, which were set up all dayfor skaters to bounce off of and rearranged forthe contest at 3 p.m. The obstacles included inthe course were: a flat bar, two different sized,tranny-able quarter pipes, a double step boxand a cheese wedge. The contest took centerstage at the festival, with all kinds of spectatorscrowding around the intersection to catch aglimpse of skaters hucking themselves in the airwhile on their way to look at other forms of art.As the contest was being set up, with 45people registering, I was able to speakwith Mark Judd. Judd is the owner ofAfter Dark Skateboards, which has been inbusiness since 2010. Judd handmade thetrophy boards being given away as prizesin the contest. He doesn’t just screen-printhis graphics on blank decks––he actuallypresses and shapes the boards himself to hisstandard, which is AA grade wood from topto bottom sheet. His boards can be found vialocal companies such as Sk801, BC Surf andSport, Blindside and Milo, among others.Needless to say, After Dark was a Summerof Death sponsor, and Judd had a tent withsome product for sale at the competition.ofUrbanSurfin’By Michael Sanchezsanchoss88@gmail.comPhoto: Talyn ShererJorge Martinez shows off his newAfter Dark and Sk801 decks.Aaron Gailey, nollie flip.Jeff McGrath, boned-out melon.Photo: Talyn ShererPhoto: cezarynaPhoto: cezarynaThe contest began set to the beats of DJ BoYork, whose booth was solar-powered byGoal Zero, pumping out green energy in threedigittemps. The 15 and under division startedthings off with 20-minute heats, giving some ofthe younger kids a chance to compete withoutthe fear of being smashed by a full grownman. Eric “Spock” Uquillas, the founder ofSpock’s Skate Camp, brought out some of theyounger kids to compete—you could tell whothey were because they were wearing helmetsand elbow pads, and were about three feettall, as some of them looked no older than 5years old. Longtime SOD vet Dino Porobiclanded an ollie and an early grab back 180,securing him a Third Place position. JordanMohr was skating like a man with his cleanbackside flip off the kicker, which landed himinto the Second Place position. Another pastcontestant, Jorge Martinez, was skating thecourse well before the contest started.Open divison First Place winner Gabe Spotts, backside boardslide.40 SaltLakeUnderGround slugmag.com 41

Martinez landed a front bigspin off the kicker, back50-50 on the box and a foot plant to tail on the quarterpipe—these tricks guaranteed him First Place in the 15and under division.For the open division, the flat bar was moved on topof the box in order to step up the difficulty. As soonas the contest started, the skaters were hucking theirbodies. Some tricks landed, some not—either way, itwas fun to watch. The appointed judges were LauraHadar, Kordell Black, James Atkin of Goal Zeroand Christian Jensen. The judges were not onlylooking for the number of tricks landed––they wantedto see good use of all the obstacles in the heat. AaronGailey landed a scarewalk, front tail to bigflip out anda shuv-it benihana, which didn’t earn him Best Trick,but he was compensated for a hard hit later on, takinghome Best Digger. Chandler Seipert almost stompeda shuv-it over the box––there was a rogue board inthe way that caused him not to roll away from it. Theskaters landed many tricks, but only a few could moveon to the final round.A barrier was put in front of the cheese wedge forthe final heat to add even more difficulty. This did notscare Jeff McGrath one bit, who blasted a back 180melon, benihana, backside flip off the wedge andollied from the kicker to 50-50 on the lower end of thebox—all of these tricks got him Third Place. McGrathshared Third Place with Gailey, who landed a back180, kickflip to back tail on the box and a tre flip to tailgrab over the barrier. Second Place went to JordanBrown, who did a backside lipslide on the flat bar,nollie 360 off the kicker and a kickflip over the box.Seipert landed the shuv-it he was trying earlier and wonBest Trick for a smooth backside smith to back 180 out.Finally, Gabe Spotts landed a tre flip, frontside flipand a nollie backside heelflip off the cheese wedge.These tricks secured Spotts, who was recently featuredin SLUG’s July issue, the First Place position, right infront of one of his sponsor’s booths (Board of Provo).After the contest, product was tossed from the secondlevel, where even more spectators had congregated,and into the hands of the people who stuck around untilthe end of the competition. Along with the usual freedecks and swag, Goal Zero handed out solar-poweredpanels and speakers.Summer of Death Presented by Scion and the UrbanArts Festival gave many people a reason to enjoy aday outside. Instead of sitting at home watching JudgeJudy, attendees were able to draw some chalk art onthe sidewalk, look at psychedelic paintings of KatyPerry, spray paint on a wall without getting bustedand watch an epic skate contest. Much thanks to oursponsors: Scion, who was our presenting sponsor,Goal Zero, After Dark Skateboards, Arcade Belts,I.N.I Cooperative, Unhinged Boutique, Slingshot PopClothing, Milo, Salty Peaks, Board of Provo, ArizeBoard Shop, Epic Board Shop, Sk801, Saga, Spock’sSkate Camp and We Are One Skatepark for supportingthe contest. You can find more photos of the contest atslugmag.com.Don’t miss the next contest of the series, Summer of Death:Rough Side of the Trax 4 Presented by Scion, featuringfamed San Francisco ripper Johnny Roughneck onSept. 7. Find details at summerofdeath.com.Cody and Tristan from Arcade Belts came all theway from California to be a part of the contest.Jordan Brown, blunt slide.Photo: Katie PanzerPhoto: Katie PanzerSara from Slingshot Pop and Unhinged standswith the crowd of spectators next to the GoalZero powered DJ station.Photo: Talyn ShererPhoto: Katie PanzerPhoto: Talyn ShererPhoto: Talyn ShererAm Divison Winners (L–R):First Place Jorge Martinez,Second Place Jordan Mohr,Third Place Dino Porobic.Open Division Winners (L–R):Third Place tie Aaron Gailey andJeff McGrath,Second Place Jordan Brown,First Place Gabe Spotts.Board of Provo came out with some team riders,including First Place Gabe Spotts.42 SaltLakeUnderGround slugmag.com 43

The Wise-TranComethBy Princess Kennedytheprincesskennedy@yahoo.comPhoto: Logan SorensonStarting this month through January, the UMFAis featuring the photographic work and videoperformance art of Samoan-born artist ShigeyukiKihara, aka Yuki.During research while in college, Yuki cameacross Victorian photos of Fa’afafine (fa-AH-fafeeneh),which is how she identifies herself, innot only traditional island drag, but in Victorianmourning costumes. Both have heavily influencedher art, which largely centers around Samoanculture. Oh, you don’t know what a Fa’afafine is?Well, darling, let me fill you in!Many cultures across the globe had/have a termand purpose for what translates to the “thirdgender,” or “tranny,” as I say. In Samoa, they don’tuse the terms “gay” or “homosexual,” becausethose of the third gender––free to have sex withboth males and females––are called Fa’afafine.Before I go on, I must pass on the news that ourAmerican term, “tranny,” is no longer a wordwe are supposed to use––some find it offensive.The Evil Kennedy says fuck ‘em, and the Princesssays we have to respect that ever-tiresome PC thatfollows us around like a big thundercloud on apool day. I get that some straight guy at Cheersto You (or the like) calling me a “fucking tranny”is impolite, but I helped bring the term tranny intothe regular vernacular of this Salty City, and nowthey’re taking it away?!In my research, I found several cultures who havehad this understanding of the third sex. Most of thePacific Islanders and a good percentage of NativeAmerican tribes had the berdaches, or Two-Spiritpeople: female and, in some cases, male tribemembers with reversed gender roles. They tookon the responsibility of the alternate sex, havingthe widowers of the tribes marry trannies so theyPrincess Kennedy is our very own Fa’afafine, paying tribute to Samoan artistShigeyuki Kihara.could raise the children and not produce more. Inone case, I found that sleeping with them beforebattle would bring new warriors good luck (I die).They were largely considered the wise people,or the shamans and medicine people, until theCatholics came, were freaked out by the fagsin the dresses and burned them as witches. Thatpretty much built the path to the mental disorder ithas become today––mmmm, history.I long for those days that we were revered as thewise people. My Instagram tag is @sumdumtrannybecause I overheard one gay explain to anothergay in a coffee line that my column belonged to“some dumb tranny.” You have to spin these sortof putdowns because if you don’t, the bullies win.Initially, I had a pretty sterile start to this month’scolumn, planning to have Yuki dish on her art andform, but being the wise Fa’afafine that she is, shesparked a whole new direction for me. I told herof my interest in writing about the show, explainedmy column and how part of it was the photoincluded—a re-creation of one of her photos—andthis was her response: “I suggest an interestingconversation between us would be: What does itmean for a non-indigenous queer person to dressas an indigenous queer person in a portrait?Because your country lives in an era where it is nolonger acceptable for white people to appear inblack minstrel make up, then how does this applyto Pacific Islanders?”I was completely fascinated by the openness in herprompt, and, at the same time, I was taken abackby the fact this had never crossed my mind. Wasit racist for me to imitate her photo? I understandhow our country’s politics are a little baffling andhypocritical, especially to someone who is lookingin from the outside. I’ve definitely been subjectto the kind of discrimination that results from ourcountry’s skewed perception of social norms. Asa result, I understand the importance of turninga negative into a positive, and taking the hateout of it. In answer to Yuki’s question, I believeit’s possible, if done tastefully. At Trannyshack,the club where I performed for years, our showswere based around shock value and taking backnegative terms and stereotypes. After beingpicketed by the NAACP for doing “WetbackNight” (hosted by a Mexican person) and“Mammyshack” (hosted by a black queen), theshows were packed to the rafters every Tuesdayfor 10 years from the publicity.I refuse to live my life under an umbrella of politicalcorrectness. With it, we lose art, expression anda certain amount of freedom. Long live the tranny(and the Fa’afafine)!In my correspondence with Yuki, I asked, “In thisworld of political drag and people exploring theirart, where do we draw the line?” As simply as herwise ancestors would answer this, the Fa’afafinereplied, “That is not for me to decide, but withinthe artist themselves.” Don’t be a dumb tranny. Seeher art at the UMFA and make sure to catch theopening performance on Oct. 23, with an artisttalk on Oct. 24, both free to the public. You canalso get glimpses of the exhibition for free if youshow up to the UMFA on Aug. 21 from 6 p.m.–8p.m. for Equality Utah’s town hall series, wherethey will be discussing transgender issues in ourcommunity.44 SaltLakeUnderGround slugmag.com 45

Mike Brown’sMonthly DirtBusking a NutBy Mike BrownInstagram: @FagatronDo you know what busking is? If you are a regular toreading my column, I’m guessing you are too drunk orlazy to Google it, so allow me to do that for you.According to the app on my robot phone, to busk is toentertain by dancing, singing or reciting on the street orin a public place. It’s a goddamn street performance.It was suggested that I try some busking myself, but Idon’t know how to play an instrument, and I’m all out ofmime makeup. Someone said to me that I should standin the street and tell jokes. I knew instantly that wouldn’twork—if there’s two things I definitely shouldn’t do inpublic, it’s tell my jokes or masturbate.I decided to hit the not-so-vibrant streets of Salt Lakeand do a quick interview with a seasoned busker. Eventhat proved to be a bit daunting. I didn’t want to showup at the Farmers Market, where busking is totallylegal. This is SaltLakeUnderGround, folks. So, I wantedthe nitty-gritty, DIY, semi-gutter, punk busker, if there issuch a thing, telling me stories of getting robbed andtrying to scrounge up enough change to throw his doga biscuit.I thought about interviewing the bagpiper who blowshimself on 200 South. If anything, an interview withhim would get him to stop his terrible toots for a fewminutes, probably making him more money frompeople who would tip him just for stopping. But, alas,his fair Scottish skin wasn’t cut out for this heat wave,so on to Plan B.Plan B was to interview a mime, just to make myassignment easier, but finding a mime in SLC is liketrying to find someone who’s been laid more than onceat a Star Trek convention. And the only solid question Icould come up with was, “Hey, Mime, how long haveyou been trapped in that box?” (Mime pretends not tohear me, then flips me off.)I randomly found the perfect subject while driving down500 South. There was a busker with his girlfriendplaying out-of-tune songs on a cheap acoustic guitar onthe corner of the parking lot entrance to the Smith’sMarketplace. My first thought was that this is a terribleplace to busk. With seemingly no one giving a shitabout what he was doing, I pulled over to ask him afew questions.His name was Randy, and I explained to him what Iwas writing about. I tossed him a dollar and told himthat I didn’t want to take up too much of his time,because time is money, people, especially if you are abusker. I skipped the boring “How long have you beendoing this?” questions and started off by asking why hepicked such a seemingly bad spot.Randy informed me that he wasn’t from the City of Salt,nor the State of Deseret, and that he and his girlfriendwere road tripping and on their way home to Portland.It made sense, seeing how we were close to thefreeway. He said that if you don’t know a city too well,grocery stores are always a safe bet to busk. You knowthe people going in and out have some money and,who knows, someone might even buy you a tall boy orsome groceries.He liked busking because you can do it anywhere, atleast until you get kicked out of a spot. He preferred toplay his own songs on his own terms, as opposed to buskingan arts festival where it’s encouraged, but you alsohave to register and pay an entrance fee—kind of likeskating a legit illegal street spot as opposed to pushingaround the skate park.Randy also mentioned that it was a great way to get gasmoney on any road trip, which instantly had me thinkingabout every tour I’ve been on where everyone in theband is complaining about pitching in on gas. Why thefuck didn’t we just pull over and busk a nut?Tip him a tall boy and Mike Brown will NOT masturbate in public—we hope.Photo: Jake VivoriOn top of that, it’s a great way to get some practicetime in if you are in a band like Randy is back in hishome of Portland—killing two birds with one stone.That’s how I feel when my band, The Fucktards,plays shows at Burt’s Tiki Lounge. There are usuallyabout five people there and, instead of promoting theshow, I just tell my friends I have band practice at Burt’sand they can come and watch if they want. Most of myfriends these days don’t really go past 400 Southunless they need to buy some drugs or something,though.After talking with Randy for a few minutes, I bought hima beer from the store and tipped him an Abe Lincoln. Iwished him luck on his journey and thought aboutgoing to the hardware store to buy some silver spraypaint. I always like those dudes that make themselveslook like silver robots and only move when you tipthem, but I don’t think I, nor Temple Square, have thepatience for that—and I wouldn’t want to get stabbedby someone who’s trying to prove to his buddies thatI’m actually a statue and not a real person.46 SaltLakeUnderGround slugmag.com 47

The Craft Lake City DIY Festival onAug. 9–10 features over 200 vendors,selling everything from handmade artto craft food. These are some of ourfavorites. Check out the full lineup atcraflakecity.com.Blue Copper CoffeeRoastersWhole Bean and Cold-BrewedSingle-Origin Coffeesbluecopperslc.comSalt Lake locals Patrick Andrewsand Justin Bush roast Blue Copper’scoffees in small batches in a convertedbarbecue drum roaster in Andrews’garage. The whole bean Organic EcuadorZamora looks like it was roastedto full city or full city plus, which isthe middle of the road, roast-wise.Brewed in a Clever Dripper, it has abrown sugar and orange blossom fragrance,plum skin acidity and a heavyhoney backbone, finishing very drywith lemon cream. As a French press,it reveals a chocolate and jasmine fragrance,an amplified creamy mouthfeeland a dark molasses finish. The EcuadorZamora’s strong, sugary sweetnessmakes a great morning cup, butits lack of balance beyond the sweetflavors leaves me wanting more depth.The unlabeled 750 ml flip-top bottle ofcold-brewed coffee I received turnedout to be the Colombia Pedregal AguaBlanca, which was misspelled on BlueCopper’s website and whole beanbags as “Columbia,” like the university.The iced coffee was brewed bucketstylefor 48 hours. The thin, orangecopperliquor opens with light pearand jackfruit sweetness, and finisheswith a roasted marshmallow aftertaste,without much in between. At first, thecoffee seemed too light for my liking,both visually and on the palate, but aftera few cups, I appreciated the lightnessand drinkability on a 106-degreeday. Overall, I’m impressed—this isn’tthe best coffee I’ve ever had, but it’s farbetter than anything you would find ina grocery store, or all but a handful ofSalt Lake coffee shops. –Cody KirklandCrowSLCHandmade Black Leather Clutchcrowslc.comDanielle DeLucia founded her ownleatherworks company after she closelyinspected the seams of a designerbag and realized that she possessedthe skills to recreate something not onlysimilar, but better. CrowSLC productshave a stylized stitching pattern thathas become an identifying characteristicin the brand’s purses, totes, sunglasscases and iPad protectors. This patternis made when the leather seams are intentionallysewn outside of the product,creating a raised area similar to theletter V. The result is a clean, simple,line-based look. I chose a plain-blackclutch purse from the CrowSLC collection.The V pattern remains hidden—until the purse is opened. The design ofthis clutch may look simple, however,it is not to be confused with a designthat is easy to make. I believe thetough part of creating this underarmpurse was conceptualizing the pattern.It’s handcrafted in just two pieces ofleather, a creative design choice thatrequires premeditation and skill fromthe maker. I debuted this clutch at awedding and received numerous complimentson both the style and size.It’s 12 inches wide and 5 inches tall,allowing me to cram in all of my essentials—aniPhone, mom-sized wallet,lipstick, chewing gum and my key ringthat looks like it should be a janitor’s.Thank you, CrowSLC, for making affordable,high-quality and handmadeleatherworks that are not made inItaly, but in our own backyard. –HarrietAmelia FolsomGlitterGutterGlamourNecklaceetsy.com/shop/glittergutterglamourI really love a good statement piece.Little trinkets are fun, but there is justno accessory I love like a big, fabulousnecklace—the kind that is so fabulous,you practically have to build your outfitaround it. Luckily, I was wearing plainblack when I got my hands on thistreat, so I put it on immediately, let thenecklace do all the work and spent therest of the day loving the extra attention.The vibrant, turquoise color andgeometric patterns of the focal piecemake eyes happy, and the presentationon the simple and neutral bronzechain is perfect. I happened to haverimmed my own eyes with a turquoiseeyeliner that day as well, and I got severalcompliments on the sweet match.Love it—I want more! So, I poppedover to crafter Shley Kinser’s Etsyshop online, and not only are there awhole slew of statement necklaces ingreat colors and shapes, there is a reallyfun “Ghetto Blasta” pendant on achain that I need in my life. They arenew favorites for sure! –Ischa B.Maeberry VintageMermaid Jumper and Retro Dressetsy.com/shop/MaeberryVintageI’ve always dreamed of being a vintage-wearingfashionista. Somethingabout venturing out into the depths ofthe consignment stores and DIs of SaltLake City seems exciting and adventurous.But, when I actually make an attemptto do so, I fail miserably. It takesa patient, knowing soul to want to siftthrough the endless racks and binsof “vintage,” and, when it comes tovintage fashion, I am neither of thosethings. Luckily, there are people—likeRachael Skidmore of MaeberryVintage—who are. It takes a keeneye to find pieces that are in decentto excellent condition, and Skidmorehappens to have an online store fullof just that. One thing I really appreciateabout her shop is her attention todetail. Anyone can sell “vintage,” buta true seller gives you the rundown ofeach piece from the lining to the measurementsto the “would best fit” so thatthe buyer is not led astray. Her talentas a buyer landed me the mermaidblue jumper, which is in excellent conditionfrom top to bottom, and checkout how alluringly colorful that retrodress pops out on SLUG Office InternRobin Sessions. The Internet is full ofvintage shops, but once you find onethat you love and trust, such as MaeberryVintage, your closet will be set.–Karamea PuririScatterbrain Tees“Tangled Forest” T-shirtscatterbraintees.comMichael Phipps of Scatterbrain Teeshas demonstrated his attention to detailwith his beautiful and eerie linework on his T-shirt, “Tangled Forest.”This Tee, which I got in black as thebackdrop for the olive-green illustration,has done nothing short of gettingprolonged observation and secondglances. Amid the bark of the treesin this forest are animals, like a snakeentangled in the antlers of an elk, acoy elephant, a beastly eye shroudedby sea-like foliage (Is that an octopustentacle?!) and a human skull. A littlefroggy and his buddy tempt fate asthey enter this morass—maybe theycan perch on the tortoise shell. Phipps’designs don’t stop at this eye-catchingpiece, though—his “Atonal Apocalypse”features Phipps’ inspiration bythe meticulousness of the great AlbrechtDürer with end-of-the-worldhorsemen bearing an accordion, abanjo and bagpipes, which, Phipps“reports,” Dürer dreaded. Ladies, haveno fear—his designs are available forthe fairer sex as well in flattering cutsand V-necks. Phipps additionally chosehis T-shirt fabric from a company calledAlternative Apparel, which is soft and,foreseeably, will hold up through manywashes. Whether you’re sporting fashionablefrogs or a dapper fox in a suit,Scatterbrain Tees has something thatwill catch your eye … and those whosurround you, too. –Alexander Ortega48 SaltLakeUnderGround slugmag.com 49

By Mike Riedelmikey@slugmag.comI don’t have to tell you all that it’sbeen a brutally hot summer. Aswe enter the most intense part ofthe summer’s heat, you may thinkit’s time to push aside the moreflavorful beers in your arsenal inlieu of lighter, more “refreshing”beers. You could do this, but whysacrifice taste when you can haveyour beer and drink it, too? I’ve puttogether three quite different––butrefreshing––beers that will keepyour tongue happy, while keepingthe Heat Miser away.Sláinte StoutBrewery/Brand: AvenuesProper Restaurant & PublickHouseABV: 4.0%Serving Style: On TapDescription: Pronounced(SLAHN-chuh). One of the firstthings you’ll notice about this nitrostout is the cascading curtainof falling nitrogen in the glass.After it settles, you’re left with adense ebony color with a thickmeringue of white foam. The nosehas dark malts, chocolate and abit of cream alongside a mineralelement. The body is very light forbeing so dark. It starts with chocolateand firm, dark malts. Next,the minerals come through with atouch of earthy-hop bitterness tocomplement. Coffee and chocolatenotes emerge in the finish.Overview: You’d think, bylooking at it, there’s no damn waythis could be refreshing on a hotday. Think iced coffee, then you’llunderstand.Free Roller Pale AleBrewery/Brand: BonnevilleBreweryABV: 4.0%Serving Style: On TapDescription: I have a fondnessfor the pale ale: I consider it to beone of the more well-rounded beerstyles you’ll ever find. This one islight copper in color with greatclarity and a bit of white foam ontop. The nose isn’t overwhelming,but is really enjoyable. You getboth biscuity malt and pine/citruszest in the same whiff. The tastestarts with sweet malt, tea leaf, citrusand floral hops—overall, maltywith no real fruity sweetness, butstill pretty good. Lingering leafyhops round out the finish.Overview: This is a very cleanale. The citrus flavors and nicegraham-cracker malt notes addgood balance. It is light-bodiedand very sessionable.Noble HefeweizenBrewery/Brand: BohemianBreweryABV: 4.0%Serving Style: On TapDescription: This is one of myfavorite locally produced wheatbeers to come around in quitesome time. It pours a hazy, cloudy,light orange with a moderate capof foam. This brew exhibits wheatand plenty of spice with someclove and light banana notes.There is some citrus and yeastcoming through, too, along with ahint of bubblegum. The taste startswith wheat and spice with a nicehelping of clove, but the main tasteis a mix of banana, stronger thanin the nose, and a fruity, citrusflavor that is backed up with sometart lemongrass. Good carbonationgives the beer a lively andrefreshing mouthfeel. There is alight citrus tang and a fruity sweetnessin the finish.Overview: The Noble is anall-encompassing beer. If you likehefeweizen-type beers, you arereally going to enjoy this! The fruitundertones are very subtle andbalanced just right with the spiceand other flavors.Cheers!Dear Officer,There are so many horrifying storiescoming out of different corners of theworld, and plenty right here withinour country, of police brutality. Just thismorning read about another incidentinvolving the California HighwayPatrol who allegedly beat a 33-yearoldman to death. They were called toaddress a possible intoxicated personand allege that he fought them. Theythen confiscated the cell phones of allwitnesses to the man’s death.Under what circumstances can a policeofficer LEGALLY confiscate your cellphone and/or camera? Do we ascitizens have any procedure to follow ifwe find ourselves in a situation where wefeel the police are hurting someone andchoose to document it? Don’t the policehave to file requests for evidence theydidn’t directly obtain from a crime sceneor suspect? Can we simply say “no”when told to give up our cameras?This brutality is getting ridiculouslyterrifying, and I would feel betterknowing where my rights are, and beingable to spread the word to others so thatwe can stand up for each other if theworst should come to pass.Thanks for your service,Megan Kennedy50 SaltLakeUnderGround slugmag.com 51Dear Megan,Illustration: Sean HenneferSince someone only needs a GEDto be a cop, vs. a Juris Doctordegree to be a lawyer, take myadvice for what it's worth.Cops can legally seize evidenceby warrant or consent.Additionally, courts have beenvery accommodating of police“securing” cell phones orrecording devices while obtaininga warrant, as digital evidencecan be easily altered, damaged,destroyed, etc. However, asyou imply, when cops “secure”a cell phone that probablycontains evidence documentingtheir own actions after aquestionable encounter, this canbe troublesome.No cop should ever be concernedthat he’s being recorded. Ifhe’s a professional in all hisactions, who cares? In fact, copsthemselves, most of the time, arerecording everything anyway.Very soon, all over Salt LakeCounty, you’re going to see copswearing expensive recordingglasses, courtesy of your taxdollars. Recording is not a badthing—for cops and citizens—andmost of the time, it confirms theirexcellent, professional work.What it sounds like you’reconcerned with is that smallpercentage of the time when copsweren’t professional or obviouslydid something wrong. All I canstate is, if cops did confiscatecell phones because of theirquestionable actions, and theythen destroyed, altered, damagedor concealed that evidence,they’re fucked, and always willbe—at least in this country.I will tell you that your beliefregarding “police brutality”becoming “ridiculously terrifying”is wrong. You can look up thestatistics yourself, but the levels ofviolence in this country, includingby the police, are at historiclows. There have been doubledigitdecreases since before 1980.[Editor’s Note: According to USAToday and The New York Times,police brutality has increased 25percent in the last seven years.]What we’re all experiencingworldwide is a phenomenonknown as social media. I’m goingto make a guess that you haveat least a Facebook account, orTwitter, Instagram, Pinterest and acell phone with push notificationsgoing to Internet news sites everyminute. We have a very in-yourface,social society, where youhear and read about everythinginstantly. Look how it affectedthe “Arab Spring.” Just becauseyou see and hear everythingimmediately doesn’t mean thatit’s true or that things are worse,and that the opposite is actuallytrue. Cops are now trained withthe mindset that they are beingwatched and recorded all thetime. Consequently, instances ofunlawful police violence are athistoric lows.Whether you should give up yourcell phone at a police officer'sdemand, well that’s for lawyersto argue. Just like cops, if you dowhat’s right, you’ll be fine. If not,just like cops, you’re fucked.Have a question for the Cop?Email askacop@slugmag.com

Livin’ The DaydreamBy Esther Meroñoesther@slugmag.comWhen I was in high school, I lived in apodunk town where good little Mormonkids like me had to come up with“creative” social activities. We had theobvious options available to us: Watchthe popular kids at school wave pompomsand bash their heads together, loiter atthe super Wal-Mart, make somethingdumb and girly with hot glue guns atmutual … but those of us with moremotivation (who would eventually leaveCedar City and its mindless inhabitantsbehind) had different ideas of fun. Fromwater ballooning, toilet papering andtumbleweeding (ask me sometime) totrampoline sleepovers, sneaking outand making out––my friends and I foundevery possible angle for trouble thatdidn’t require drugs and alcohol.I really can’t complain––I have had anadolescence full of good stories that Iwouldn’t trade now (except maybe toadd some cool bike gang activities), butback then, I was always daydreaming ofsomething more. These daydreams wereperpetuated by the music videos we’dwatch over and over in my friend Zach’sbasement. You see, before Zach’sbasement, I was listening to BackstreetBoys and the Titanic Soundtrack. ThoughI moved on to the post-hardcore trend ofthe early-’00s, which isn’t much better, Ireally owe him and a handful of otherfriends for the direction my life has taken.Other than the unspoken competition wehad going on “who heard this band first,”which kept me looking for new music, themusic videos we’d spend hours watchingalways had me aching for beachside firepits and underwear parties. I wanted tospend the rest of my life with my handhanging out the window of the back seatof a vintage car on Highway 101 duringan endless sunset while someone with aresolute timbre in their voice called outinspiring, patriotic phrases about life andlove. It’s taken over a decade, but all mydaydreams came true a couple of monthsago at the Monthly Mystery Ride.Maybe it was the starting location on thesteps of the eerie Masonic Temple; maybeit was the yards of tin foil wrappedaround the cyclists, who had madethe most of the “Leftover Disco” theme;maybe it was the blinking red lights,pulsing life into the bicycles around me;maybe it was the drugs (my mom doesn’tread this)––but everything came togetherthat night like a Jimmy Eat Worldmusic video––or a Levi’s commercial.The night concluded with a fitting danceparty under an overpass, completewith music videos (mise en abyme?),beverages, daredevil light dimmers anda handsome boy. I was so overwhelmedby the scene, I could only watch from thesidelines while I stuffed my face with aburrito. They don’t ever show the guy inthe corner with the munchies in the musicvideos …Jacqueline Lopez and BrandonSmith of Led By Lite organized thisdaydream of mine, and fortunately, forthose of you looking to realize someemo fantasies, the Monthly Mystery Rideis every third weekend of the month.These actually happen in other placesacross the country––I bet you can guesswhich overrated bike mecca it started in,though it’s called the Midnight MysteryRide there. I’ve been told that the reasonwhy it starts at 9 p.m. in Salt Lake isbecause people are too drunk to show upat midnight. Maybe the theme of the nextride should be “Intervention” and we canall wear plaid button-ups with sobrietypamphlets in the front pocket.Different people sign up to organize aride each month, and the destination isthe “mystery” part of it, which is kind ofneat, ‘cause I’m down for any plan thatdoesn’t require too much commitment––though I do hate surprises. The nextMonthly Mystery Ride will take placeAug. 18. The theme has to do withsummer camp, which means some ofyou will get to relive other adolescentfantasies (or nightmares), and I hearBouncin Bins is even supplying blow-uptoys for children 18 and up. Join theSaltCycle group to stay in the loopon the ride and all other urban cyclingevents in Salt Lake. I’ll tell you what“tumbleweeding” is if you show up.52 SaltLakeUnderGround slugmag.com 53

Crystal FairyIFC FilmsIn Theaters: 07.13Jamie (Michael Cera), an Americanliving in Chile, and his Chilean friendChampa (Juan Andrés Silva) havemade plans to go on a road trip into thedesert and ingest the psychedelic SanPedro cactus with Champa’s youngerbrothers (Agustín and José MiguelSilva). While at a house party the nightbefore the trip, Jamie smokes weed,snorts coke and accidentally invites thehippie girl he just met to go on the tripwith him. By morning, Jamie has forgottenabout the previous night and theboys hit the road. But the girl (GabyHoffmann), an American who callsherself Crystal Fairy, hasn’t forgotten—she’s on a bus to the desert and callsJamie, asking to be picked up. Throughthe rest of the drive and into the night,Crystal Fairy irritates Jamie and bafflesthe three brothers with her new ageramblings and unabashed nudity—thelatter of which earns her the name“Crystal Hairy.” The Silva brothers,all amateur actors, have a natural onscreendynamic that, combined with thelanguage barrier and culture clash ofCera and Hoffmann’s characters, makesfor some genuine laughs. With a tinybudget, improvised dialogue and a castmade up largely of his brothers, writerand director Silva tells a true story fromhis past with believability, comedy andskill. –Cody KirklandCutie and the BoxerRADiUS-TWCIn Select Theaters: 08.16One of my favorite films of Sundance2013, Cutie and the Boxer, more thananything, is a beautiful love story. In thisfantastic directorial debut, ZacharyHeinzerling captures the tumultuousand oftentimes dissatisfying relationshipbetween Japanese artists Ushio andNoriko Shinohara. Meeting in NewYork in the early ‘70s, Ushio and Norikohave been together for over 40 years,enduring the typical struggles that comewith being artists in NYC: financialstress, wavering success and (Ushio’s)ego. The story focuses on Noriko’s disappointmentin, but unrelenting love forUshio (who is known for his “boxing”painting and is now 80 years old), andher gradual freedom from the weight ofhis artistic condescension. Heinzerlingmelts into their present lives inconspicuously,including Noriko’s comic-stylewatercolor paintings as animationsalong with vintage video footage tonarrate the couple’s past, combiningall mediums seamlessly into a narrativefilm that is fresh and bright, and alwaysengaging. –Esther MeroñoFruitvale StationThe WeinsteinCompanyIn Theaters: 07.12Directed by Ryan Coogler, a 27-yearold,first-time feature filmmaker, FruitvaleStation is a near-perfect, emotionallydriven drama with a strong-hittingpolitical agenda. Based on true events,the film attempts to recreate the last 24hours of Oscar Grant’s life beforehe was executed by a police officerat a BART station in Oakland on NewYear’s Day in 2009. Grant, played bythe talented Michael B. Jordan, ischaracterized as a down-on-his-luckyoung father, who can’t get out of thehabit of “fucking up,” though he’s tryingto turn his life around and has all thebest intentions. The day leading up toGrant’s death is marked by heartfeltconfessions to his girlfriend, lifechangingcareer decisions, affectionatemoments with his family and juvenilefun with his friends, which sympathizesthe audience with his character fromthe get-go. This is where Fruitvale Stationstarts to get shaky. There are twosides to every story, and then a hellof a lot of gray in between. The filmclaims to reside in this liminal space,but it becomes a little unrealistic inits commiserating depiction of Grant,which makes his character unbelievableat times. Regardless, this film will sparkaction and emotion, and I sincerelyhope to see more from Coogler. –EstherMeroñoOnly God ForgivesRADiUS-TWCIn Theaters: 07.19Two years ago, I was the biggestadvocate for Nicolas WindingRefn’s Drive—so much so that I wasone of the lobbyists to help it win theUtah Film Critics Association’s BestPicture Award. With that said, you canimagine my excitement to witness Refn’snext project that once again partnershim with Ryan Gosling. In this tale,Gosling stars as Julian, a drug-dealer inThailand who seeks revenge for the murderof his violent, sex-crazed brother.With the pressure of his commandingmother (Kristin Scott Thomas)breathing down his neck and his affectionfor a local prostitute (YayayingRhatha Phongam), Julian spiralsdeeper and deeper into the madnessof Bangkok’s underground crime world.First off, Refn’s reunion with his Bronsoncinematographer Larry Smith bringssome of the most gorgeously capturedimagery in years, but that’s where thepositive elements of this project beginand end. As simple as this tale shouldbe, Refn convolutes it with filmmakingstyles made notable by David Lynch,which only forces one to immediatelythink of unoriginality. Let’s hope that thiswas only a passion project for the gifteddirector and that the next adventure willemulate his earlier works. –Jimmy Martin58 SaltLakeUnderGround slugmag.com 59

Θæ ωHel AudioStreet: 01.07Θ = Lustmord + Scapegoat +Bad SectorWhy? Why do you hate music journalistsso much? Not only do I haveto toggle between Latin and Greekcharacter views on my computer to spellyour non-name, but you also make mesit through an hour-plus of rudderless,dark ambient noisescapes, with poorapproximations of a Goblin soundtrack.In fact, I don’t hate this. I usually likethis kind of stuff. I especially like thebottom-scraping low end, the way it justdraaags its claws against the bottomof my listening periphery. I also reallylike the extreme high frequencies in thesecond track, when sequels of noisestreak through the sky like some kind ofevil Aurora Borealis. I also really likethe dead, slow thud of industrial beatsnearing the middle of æ ω. There is a lotof good stuff here, but the pretentiousnessof the symbol-name prematurelytriggered my gag reflex. –Ryan HallThe 2:13’sSelt-Titled EPFairchild StudiosStreet: 12.24.12The 2:13’s = Black Rebel MotorcycleClub + RushGet your tickets to funky town ready,‘cause The 2:13’s are gonna take youthere for a night that’ll keep you grooving!Just listen to “Party People” andTRY to sit still (if you do, you might wantto reevaluate a few things in your life).This EP has some serious potential forbecoming a solid LP, and I look forwardto hearing what this trio releases next.David Nelson delivers the vocals witha punch, with Spencer Moore onbass and Brandon Patrick Barneskeeping the beats refreshingly robust.“Glass Head” is sure to get your headshaking, and in all honesty, the entire EPis filled with solid rock n’ roll that avoidsany sort of artificiality. –Brinley FroelichDeny Your FaithEnd of DaysSelf-ReleasedStreet: 01.02.12Deny Your Faith = AvengedSevenfold + HalfordDeny Your Faith are Salt Lake localmetalheads doing an earnest mix ofOzzfest style noodling and a dose ofoperatic '80s power-metal. Competentguitar playing bolsters this throughout(check “Shadow of Doubt” and “ShotDown in Flames”), while a rippling doseof melodic crooning takes this beyondthe confines of “one, two, feck you”death-foolery, and delivers white-heat,hard rock, radio-inspired alt-thrashto your heart. Maybe the whole “endof the world” bit seems a tad shticky,but, if there’s one thing we’ve learnedfrom decades of Mel Gibson films,Def Leppard records and c-c-c-c-ccocaine,it’s that no matter how hot theskyline’s fires are burnin’, there’s alwaysa place for red-hot American love and afew guitar solos. –Dylan ChadwickDark SeasHawkes CourtMidnight RecordsStreet: 04.12Dark Seas = moe. + Janis Joplin/ Steve Miller BandMe: “Jesus, this guy sounds like …goddamn … The Doors. Is this along-lost track?” My friend: “No, CJ,it’s Dark Seas, and why are you drunkon a Sunday morning?” Dark Seasvocalist Kyle Wilcox has a deep voicethat slurs influences into a potent andpowerful sound. A dash of Morrison,a sprinkle of Scott Weiland and asmidgen of ’80s David Gilmour sloshtogether for warm refrains that are a bitsweet and a bit spicy—music’s Jack andCoke. The vocals are shaken with coolbluesy riffs that inspire dancing (“It’sAlright”), surfing and bong hits (“CaliBud”), and even relaxing hammocknaps (“This is Love”). The album soundsgreat and often has more polish than alot of local rock I’ve come across. Catchtheir last performance and tribute totheir recently passed guitarist, ColtonEricksen, at Craft Lake City on Aug.9. –CJ MorganGene Swift BandZinjanthropus ManSwift Music, Ltd.Street: 12.21.12Gene Swift Band = Neil Young –Crazy Horse + Jimmy BuffetI don’t know whether this album byLehi-native Gene Swift is a ballsy effortto recapture a long-forgotten sound, ora compilation of nostalgic Americanaclichés. Swift and his ensemble tacklesongs about Harleys, open mountainskies and the folksy concept of “notall who wander are lost,” but they doso in a way that feels too familiar.Thematically, the album doesn’t veertoo far from its classic rock roots. Whenit does, it’s thanks to an ever-changingcrew of local musicians like Jill Sisselland Leraine Hortsmanshoff,whose talents help diversify an albumthat could have easily been nothingmore than an homage to Dylan-esqueprotest-folk. Regardless, anyone whohas a serious hankering for somecirca-1968 American folk-rock will bewell pleased with Swift’s sophomorealbum. –Alex SpringerHurris & GigAs Good As It WasSelf-ReleasedStreet: 02.18Hurris & Gig = (Brother Ali -politics) + CommonThis flow is severe. Hurris & Gig haveseasoned spitting skills that, I can tell,have been honed over many practicesessions. They’ve found their style andpronounce perfected syllabic resonancesright on time. As Good As It Wasis a well-rounded effort with bluesy andjazz-infused tracks. Most are litteredwith local cultural references such asthe Park Cafe and Mormonism. Otherthan that, however, the lyrics are oftenlacking. This creates a strange contrastbetween the intensity with which theyare articulating and the words theyare actually voicing. Too much of theirlyrical focus is spent on themselves, andit comes across as hollow. There are stillmany geodes to find, though “CaptainCrunch Time” and “Morbid” havewitty moments and exceptionally goodbacking tracks. I’m excited for the futureof this duo and will be looking for anynew and possibly more mature music.–LeAundra JeffsIndian HeadsetSkin Of Your TeethSelf-ReleasedStreet: 03.20.12Indian Headset = Fleet Foxes +Laura GibsonAfter releasing their debut self-titledalbum around four years ago, localband Indian Headset returns with thisshort, but really great, six-song EP. Thealbum stays mostly faithful to a blend ofindie-folk rock, with some strong musicianson board—most notably RyanSchoeck, who formed the band backin 2008. Schoeck’s voice and guitarplaying mesh very well together, andthe sound is among some of the bestI’ve heard from local bands. At certaintimes throughout the album, Schoeck’sset of pipes reminded me a little bit ofMy Morning Jacket’s Jim James.The opening track “Bourdeaux” putsSchoeck’s chops on display from theget-go, and the tune also benefits fromsome eerie pedal-steel guitar echoingin the background throughout the song.Other songs, such as “Canoe” and“Mother’s Words,” are great as well,and follow a similar musical theme.Overall, this is a fine EP, with lots ofsimple chords and mellow soundscapes.–Jory CarrollMaking FuckSelf-Titled 7”Self-ReleasedStreet: 03.05Making Fuck = Sound Garden +ConvergeMaking Fuck, Salt Lake’s latest crusadersfor atheism, want to make one thingperfectly clear: They will be heard.They are Kory Quist (guitar and vocals),Jeff Wells (drums), and JessicaBundy (cello). The opening salvo of “ASlave To The Lazy Boy” recalls SoundGarden’s Louder Than Love. Quist’sguitar, a veritable percussion instrument,leaves space between power chords forringing and droning upstrokes. Well’sdrumming sacrifices commotion forblunt impact. What distances MakingFuck from classic grunge is hardcoreshouting in place of expressive vocals,and the rejection of conventional songstructure for minor variations on abasic riff. The sound, much indebtedto engineer Andy Patterson, is asheavy as grunge, but more relentless.Bundy’s minimalist cello offers a respitefrom Making Fuck’s monolithic brutality.One only hopes to see her more fullyintegrated into Making Fuck, turning avery competent band into a unique one.–Brian KubaryczMiNXGoldenSelf-ReleasedStreet: 03.29MiNX = Pink + Alicia KeysLiving up to their reputation as one ofSLC’s more prolific bands, vocalist/rapperIscha B. and multi-instrumentalist/vocalist Raffi Shahinian return afterlast year’s MixTape with an album ofnine new tracks. More emphasis onsinging versus rapping helps to solidifythe duo’s strengths, even if they don’tseem to know what their sound is yet.The exotic-sounding title track and thecool keys of “Down” lead to an out-ofplacesounding (despite it being pretty)song called “A Slow Parked Death.”But maybe that was just to buffer themore spoken than sung ill-advised duoof tracks “Crazy, Different” and “JustSayin’.” I will say, however, that “LoveLove” is quite palatable and features thestrongest chorus of the set. This cut alsohighlights another of the duo’s strengths:their great drumming, which truly enhances“Give it to Me” and the ominouscloser, “Got to Live.” –Dean O HillisSend us your local releaseand we'll review it in print!60 SaltLakeUnderGround slugmag.com 61

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Alison MoyetThe MinutesMetropolis RecordsStreet: 06.11Alison Moyet = Lou Reed +Annie LennoxUsually, it takes the first phrasingfrom Moyet’s lips to hook me into aspecific song, but as Guy Sigworth’selegant electronics start on“Horizon Flame,” it is apparent thatsomething exciting is at play. There isnothing specifically radical going on,per se—other than a great producerunderstanding what works best for thevocalist he’s collaborating with—butthat in itself sounds revolutionary. Thedynamic start/stops of “Changeling”give way to the seemingly simplistic“When I was your Girl,” a gem ofmany layers, and it is sad that Moyetremains one of our most unappreciatedlyricists. The percolatingbackgrounds of “Love Reign Supreme”echo an earlier jam from the beggingto-be-remixed“Right As Rain.” Butthrilling as those are, it is the slowertracks—especially the closing quartetof cuts—that leave the most lastingimpact, showcasing more facets toMoyet’s unique oeuvre. –Dean O HillisAll Pigs Must DieNothing Violates ThisNatureSouthern LordStreet: 07.23All Pigs Must Die = (Converge/BoneDance) + Wolfbrigade- ScandinaviaAll Pigs Must Die initiate NothingViolates This Nature with the thrashy“Chaos Arise”—and it does! Thesong’s lyric “What man creates, mandestroys” sets the theme for an albumthat paves the way for post–D-beatmusic. “Silencer,” onset by four gruntsinto said D-beat, exhibits this band’spenchant for rhythmic changes thatfurther imbue crusty hardcore withextreme metal—whether it be guitaristAdam Wentworth’s black metalesque,single note tremolo strummingor motherfucking Ben Koller’s insaneblast beats and fluid beat changes.APMD still hearken to His Hero isGone crust-sludge with ensuing tracks“Primitive Fear” and “Bloodlines.”The one-minute “Aqim Siege” featuresring-outs, and “Faith Eater” includesdiscordant guitar work, both aboveenraged D-beats. Closer “Articlesof Human Weakness” combines thealbum’s forerunning elements to roundit out as a release that is more blisteringthan God Is War, simultaneouslydiverse and innovative. –AlexanderOrtegaAmon AmarthDeceiver of the GodsMetal Blade RecordsStreet: 06.25Amon Amarth = Arch Enemy+ Hypocrisy + VikingsAs one of my friends so cleanly sumsit up: “It’s an Amon Amarth record.”Not much has changed in the soundof this Viking horde through the years,aside from their slow descent intomuch more mainstream-friendly lands,which is where we find ourselves onthis new record. Guitars are softerand more melodic—production iscrisp and clean. Compare any trackon this album to “Death In Fire” andwitness the change from gratingbrutality to the more generic territorythey’re conquering now. These arenitpicky points, though, and plenty offans should enjoy the reliable, Norsemythology–based, melodic deathmetal that Deceiver brings. It’s notthat any band member is failing in hisperformance, of course—these dudesare consistently talented, and it’s afun listen. But, between you and me, ifyou want this type of battle metal withoutthe compromise, turn to Starkill,who are raping and pillaging throughthe scene with steel and not plastic.–Megan KennedyAndy KaufmanAndy & His GrandmotherDrag City RecordsStreet: 07.16Andy Kaufman = RARE BSIDES! + Jerky BoysIf this half-hour-long collection ofrandom conversations that Dadasong-and-dance comic Andy Kaufmanrecorded between ’77 and ’79 is thebest anyone could do to drum up renewedinterest in whether he faked hisown death, then I guess no one reallycares anymore. I mean, if Andy appearedout of nowhere and surprisedme with lunch, I’d be like, “AHOY!”But that’s not the case, and so we’reall stuck with these barely audiblerecordings chronicling him being aprogressively meaner and meaner assholeto those close to him as time goesby. I’m sure some basement-dwellingconspiracy theorists might appreciatethese never-before-released tracks justas much as those schmucks that shitthemselves when yet another posthumous2Pac album hits the shelves,but in my view, there’s plenty of livingcomics and performance artists youcan devote your time to, so do that.Do just that. –Ashlee MasonThe Builders and theButchersWestern MedicineBadmanStreet: 07.02The Builders and the Butchers= Murder by Death +The Devil Makes ThreeThe Builders and the Butchers channela dustbowl-era feeling in this itinerantcarousal of the post-apocalyptic West.All the elements of nu-folky gospel arethere —Jesus-y redemption, moonshineand a banjo. The sense of distancemay be due to the fact that WesternMedicine boasts a more orchestralflair than the band has previouslyembraced. This album might notbe enjoyed by very many peopleoutside the folk community because(maybe I’m just an asshole), to me, itseems like a never-ending elegy for acowboy combined with frantic stringsections. But for all the folksters whocan’t get enough of this kind of stuffand are looking for something a littlemore than buskerish acoustic music,check this one out. –Jordan DeverauxThe DodosCarrierPolyvinylStreet: 08.27The Dodos = Fleet Foxes /Cave SingersDull vocals and repetitive drums makeCarrier more like reading a book thanlistening to music. That’s not to saythere’s no musical life on the album.Standout track “Substance” has a hornsection and big drums during the chorusthat suck me in with my head bobbing.The ending is a smooth acousticsection that leaves me reflecting onthe song’s power to captivate me. Inaddition to great instrumentation, thewords of the chorus, “the commonman wouldn’t give up his throne,”epitomize folk music’s message. Thereis a slight resemblance in this songto the latest album from locals LesSages. While this speaks volumes fora local band, it most likely leaves TheDodos on the shelf in a record store.–Justin GallegosDog PartyLost ControlAsian Man RecordsStreet: 08.13Dog Party = Groovie Ghoulies+ The Go-Go’s + Karen OI wish I was as cool as these girlswhen I was a teenager. At the time ofrecording, these Sacramento sisterswere only 14 and 17 years old—Icould barely pluck out a Nirvanariff when I was 14, and this is theirthird full-length record. Their drivingguitar-and-drum sound is straightup ’77 punk with snotty and sweetlyrics about lame lovers and flamingoencounters. “Best Friend” is at themost earnest and sentimental side oftheir poppy punk spectrum, and thefast and fierce “Box of Handkerchiefs”counters with a big dose of DGAF.They flaunt punk credibility with acover of X’s “Los Angeles,” and theminimal tin-can singing and lonely guitarin the finale “Alright” will melt yourheart after they’ve already rippedit out and pogoed on it. Lost Controlis Dog Party’s most fun, mature andbadass release yet. –Cody Kirkland64 SaltLakeUnderGround slugmag.com 65

The FallRe-MitCherry Red RecordsStreet: 05.13The Fall = Swell Maps +WireIf there’s a curmudgeonly rottenbastard shouting at everybody to getoff his lawn, Mark E. Smith is nextdoor, shouting at him to just quietdown already—because he’s doing itwrong. However, Smith sounds to bein a relatively decent mood throughoutRe-Mit. He’s recorded the last four albumswith the same lineup. This consistencyin bandmates is unusual for TheFall/Smith, so that may be a reason.By now, I’m not entirely sure if it isnecessary to review an album by thisband. It has a dedicated fanbase andis fairly consistent—mildly abrasivein sound, often irate in mood, vocalsbecoming increasingly slurred witheach album. A phlegmy cough is audibletoward the end of “Hittite Man,”and doesn’t sound at all out of place.“No Respects Rev.” and “Loadstones”are solid reference points for Re-Mit’ssound. –T.H.GrisÀ l’Âme Enflammée, l’ÄmeConstellée...Sepulchural ProductionsStreet: 07.09Gris = Godspeed You! BlackEmperor + Sombres ForêtsDepressive suicidal black metal ishardly a genre one would associatewith innovation and variety, yet Griscontinue to defy expectations on Àl’Âme Enflammée, l’Äme Constellée...Divided not-so-evenly between calm,meditative acoustic passages andprecisely the sort of aching blackmetal riffs that give the genre its name,Gris both embrace and defy theirgenre. While I’m not as much a fanof the black metal end of Gris, theiracoustic segments are extremely wellarranged, and their sparse instrumentationconveys a sense of lonelinessand loss far more effectively than theirtremolo-picked guitars. In a sense,this album understands that theremust be a balance between these twoelements, peppering each song generouslywith examples of both sides oftheir sound. I’d sooner listen to thisalbum than any other DSBM albumreleased in the last five years. –HenryGlasheenHoneyslideDrippin/Deep ArchitectureCritical HeightsStreet: 07.23Honeyslide = Weed Hounds+ JAMCThis double A-side bucks most retrobrainnu-gaze trends by not tryingtoo hard to ape MBV, and just sortof arrives there nonchalantly. Drippincomes from the garage, and not strictlyLoveless—a discordant twee punctuatesthe occasional stretch of bliss,particularly on “Deep Architecture,”which drives itself into oblivion withthe same guitar warbling of the indierockaxegods Mascis and Moore.Four songs cuts it a tad short—thesethings generally need an hour tounfold—but cogent songwriting andenough sprawl to beckon consciouslisteners into its shallow K-hole meansthe record is catchy and replayablewhere it needs to be. Though it alwayscomes back to Earth in the end, it’swilling to stray from its own path for atitch. –Dylan ChadwickLa MachinePhases & RepetitionCastle Face RecordsStreet: 07.16La Machine = The In Soundfrom Way Out + Booker T +Man or Astro-Man?I can’t help but imagine these tracksbacking a David Lynch film—something along the lines of a blackCadillac racing through the desertnight pursued by creepy-looking palecorpses in dark suits. I speak first ofthe imagery that comes to mind whenI listen to this because the music itselfis minimal in execution—heavy bass,steady drums, ambient noise. Theseelements come together in phasesthrough repetition (yup, exactly likethe name of the album!) to createseveral tracks that manage to tapdifferent musical styles to give usa little industrial, a little reggae, alittle psych, etc. The mind can’t helpbut conjure up these obscure avantegarde scenarios as the repetitious andcatchy tunes allow the listener a gooddeal of mental stimulation. If I wasn’twriting this review right now, I wouldprobably listen to this album whilepurging my brain into some other projectwith great fervor. –Ben TrentelmanLord DyingSummon The FaithlessRelapseStreet: 06.28Lord Dying = High On Fire +Fucked UpLord Dying, a Portland quartet featuringformer stalwarts of the SLC metalscene, remind us why we first fell formetal. This album features startlingclarity for their debut recording. Thisdoes no discredit to the musicianship,which is highly adept—rather,the immediacy of both vocals andinstruments present Lord Dying as aconnoisseur’s band—metal focusedon quality of sound, not just gain andvolume. Yes, the album recalls theexpected influences, but more impressive—indeedworthy of delectation—is the grain of the band’s total voice,which includes actually intelligiblelyrics. Their songs leave breathingroom for the burn of vacuum tubesand the scrape of human tissue. LordDying retrieve everything jettisonedwith the advent of overproduced,gagging, and silly, black and ambientmetal. If metal can be organic, LordDying is precisely that. Indeed, theband’s correlative fascination withdeath and putrefaction makes actualsense—nothing can rot which was notfirst alive. –Bryan KubaryczNunslaughter/AntiseenSplit 7”Hells HeadbangersStreet: 06.26Nunslaughter = Midnight +Nifelheim + NekrofilthAntiseen = The MurderJunkies + Motörhead +SpeedwolfAfter my initial thought of “What thefuck?” regarding Nunslaughterand Antiseen releasing a split 7”, Iimmediately realized how much senseit actually makes. Nunslaughter is oneof my personal favorite bands, andpairing their sleazy brand of deathmetal with the sheer nihilism andgrime that is the punk outfit Antiseenis absolutely brilliant. Of course,Antiseen is probably one of the onlybands that Nunslaughter haven’talready done a split of some sort with.Regardless, the two Antiseen trackson this beautifully grotesque slab arepure, filth-ridden, up-tempo punk rock,and they complement the fly-blowndeath metal of Nunslaughter perfectly.While neither band is doing anythingnew—for themselves or for theirrespective genres—they are two of thebest at what they do. –Gavin HoffmanO’BrotherDisillusionTriple Crown RecordsStreet: 08.20O’Brother = Isis + ThriceHailing from Atlanta, Ga., O’Brotherare a five-piece sonic powerhouse.Fans of Thrice and ManchesterOrchestra will probably recognizethem as the openers that stole theshow during their last few, respectivetours, particularly notably opening forThrice’s recent farewell tour. Disillusionmarks their sophomore effort, followingup their 2011 debut, and it’s onedamn fine step forward. Slower thanGarden Window, much more broodingand somber, it harkens back to themood on their EP, The Death of Day,with all of the same, beautifully heavythree-guitar soundscapes that they’vebecome known for. It isn’t as easy forme to settle on a favorite as it waswhen I first heard “Lay Down” or “Lo,”but this isn’t an album made for singleseither. “Parasitical” almost does thetrick, but I recommend starting fromthe beginning and enjoying the wholeride. It’s well worth it. –Matt BrunkOathbreakerEros|AnterosDeathwish Inc.Street: 08.20Oathbreaker = Converge +Birds In Row + Young AndIn The WayEros|Anteros should be more enjoyablethan it is—it’s like going to arestaurant where the menu looksamazing and the food is decent, butyou won’t recall what you ate the nextday. That’s where Oathbreaker’s latestfalls. Maybe it’s that it sounds tooclose to Converge at times—perhapsthis is Converge’s Kurt Ballou’s fault.Oathbreaker’s riffs are blistering,and the drumming pumps out someraging D-beat, but it just doesn’t stick.Eros|Anteros is adrift in a sea of bandsworking within the sludge/hardcore/blackened metal realm, which is toobad because there are interestingmusical ideas to be found. “The AbyssLooks Into Me” marks the high point ofthe album, finding a balance betweensludge, clean vocals and a build toa satisfying catharsis. It finally givessome bite to an album which shouldbe a kick in your teeth from the start.–Peter FryerVisitslugmag.com for morereviews.66 SaltLakeUnderGround slugmag.com 67

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