Human EyE · natural CHild · King tuff JaCuzzi Boys · HEx ...

GARAGE ZINE
scIoNAv.com
vol. 2
Human EyE · natural CHild · King tuff
JaCuzzi Boys · HEx dispEnsErs · Cola frEaKs

STAFF
Scion ProjecT MAnAger: jeri Yoshizu, Sciontist
ediTor: eric ducker
creATive direcTion: Scion
ArT direcTion: mBF
ProducTion direcTor: Anton Schlesinger
conTriBuTing ediTor: Brian costello
ASSiSTAnT ediTor: Maud deitch
grAPhic deSignerS: nicholas Acemoglu, cameron charles,
Kate Merritt, gabriella Spartos
conTriBuTorS
wriTerS: christopher roberts, Adam Shore
PhoTogrAPherS: Miguel Angel, clayton hauck, Leslie Lyons,
Kara McMurtry, Stephen K. Schuster, rebecca Smeyne
conTAcT
For additional information on Scion, email, write or call.
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Fax: 310.381.5932
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Scion and the Scion logo are trademarks of Toyota Motor corporation. 00430-Zin02-gr
cover PhoTogrAPhY: Stephen K. Schuster
CHECK
IT OUT!
Scion A/v ScheduLe
APriL 2011
27th Scion garage Show in Austin, Texas
28th Scion garage Show in chicago, illinois
MAY 2011
3rd Scion garage 7”: King Tuff / hex dispensers
june 2011
7th Scion garage 7”: cola Freaks / digital Leather
WATCH!
BLAcK LiPS
“Modern Art”
Scion gArAge 7”
The Strange Boys /
natural child
now AvAiABLe
MuSic videoS
dAviLLA 666
“esa nena nunca regresco”
ASK
SCION
Scion gArAge 7”
human eye /
Sex Beet
STREAMING
NOW AT
SCIONAV.COM
TYveK
“4312”
QueSTion:
The range of types of artists that Scion works with on garage rock projects is pretty broad.
what classifies a group as “garage”?
AnSwer:
garage rock isn’t an aesthetic and it isn’t a fidelity. garage rock is just straight up, no chaser rock & roll. it’s just guys and
girls getting a band together and having fun, conveying as much emotion as possible in as little as possible. it’s that simple.
— christopher roberts of vice Music
if you have a question, email us through the contact page on scionav.com

www.ScionAv.coM/FiLM/newgArAgeexPLoSion
Danny Gonzalez of the MiaMi-baseD trio Jacuzzi boys recalls
soMe of their Most MeMorable shows so far.
San Francisco, California
In 2008, while on tour with King Khan & the
Shrines, we played the Great American Music
Hall. The show was great, the people enjoyed it,
the Shrines killed and the next thing we know
Jello Biafra’s hanging out with us backstage. At
that time, the Shrines would always finish it with
“Rebel Rebel,” and we’d go onstage with them
and I’d play percussion. It was this whole experience
of playing San Francisco for the first time,
and ending it with Jello Biafra and Gris Gris, onstage
singing “Rebel Rebel.”
New Orleans, Louisiana
On our first tour in January 2008, we get to
New Orleans and there’s no one at the show. No
promoter, no nothing. Our friend Matt shows
up and tells us the show wasn’t promoted and
nobody knows what’s happening, so we decide
to leave. As we’re on the highway, we get a text
from Matt telling us to come back because he
got people to come out. We play for like seven
people, which was fun, but as it turns out, LSU
is in town playing for the national championship
of college football, and then it becomes the most
insane partying on the street.
Miami, Florida
Some time last year we were gonna play a
show in Miami at a place called the Electric
Pickle. We had never played there before, so
we show up and they don’t have a sound guy
and there isn’t really a PA. And just our luck,
Gabriel’s amp breaks and my bass amp breaks.
We don’t play a single song. Instead we play
15 to 20 minutes of noise with Diego’s drumbeat.
There’s this homeless dude we call Little
Richard who introduced us, and he gets so excited
he doesn’t want to give up the mic, so it’s
him screaming and us making noise until they
tell us to stop. It was an ultimate disaster.
Bloomington, Indiana
On our last tour, we played Bloomington. It
was the summer and usually with college towns,
when all the kids are gone, it’s sleepy. We play this
pizza place, and the kids keep showing up, and
we’re in the corner playing and everyone goes
bananas. Afterwards, we drive up to this house
and inside is the ultimate dance party. Michael
Jackson’s on, everyone is sweating, people jumping
on the couch. First we’re dancing with one
girl, then another. Then we walk three blocks to
a pool and everyone starts jumping in the water,
and we’re like, this is absurd.
as told to brian costello
myspace.com/jacuzziboys
hear “coral Girls,” Jacuzzi boys’ contribution to
the scion a/V Garage 7” series at scionav.com/
garage

interview: brian costello
Photography: rebecca smeyne
We can all agree that the word surreal gets
thrown around way too much, but if anyone’s
making it mean something again, it’s
Hamtramck, Michigan’s reigning King of
Weird, Tim Lampinen, a.k.a. Timmy Vulgar.
Vulgar is a visual artist and musician known
for his part in bands including Human Eye
and Clone Defects. In the following interview,
Lampinen gives clear answers that make
total, rational sense… on Opposite Day.
You seem to have always had this fascination
with planets, even going back to your Clone
Defects days. What’s your favorite planet in
the solar system and why?
The planet of Venetia. It’s a planet of women. I’m
trapped on it, and I’m the only dude there. My
other favorite, I’d have to say, is the sun.
In 2006, Pluto was reclassified as a dwarf
planet. Do you agree with the scientists who
made this controversial decision?
I think Pluto is still a major planet if you think it is.
Those scientists are jerks. Mr. Know-It-Alls. I
wrote a song called “On the Surface of Pluto.”
It’s also a planet full of ladies, like Venetia.
What effects pedals are your favorites to use
to get that distinctive Timmy Vulgar guitar
space noise?
The phaser gets the atmospheric sound, the
reverb brings out the sustain, and I won’t tell
what the other two are, because I won’t give out
my secrets. But if you’re searching for a crazy
guitar sound, and you’re into any kind of weird
noises, I’m sure you can find it if you set your
mind to it. I don’t know if I even have my own
guitar sound. It’s awesome people think I do.
I’m just going for something raw and loud and
outrageous. Like the Kinks, I used to poke holes
in my amp back in the Clone Defects days. You
don’t want to use too many pedals. I try to keep
it minimal. I don’t want ten pedals on a board
and not know what they all do.
You were recently awarded an arts grant
through the Kresge Foundation. How did
that come about?
A local artist friend of mine told me I should
apply. I looked into it and followed the directions
on their website: filled out the questionnaire,
submitted two letters of recommendation, an
artist statement, a bibliography, write-ups and
interviews. I submitted four songs—two Human
Eye songs and two solo songs. I got it in fifteen
minutes before the deadline. They called me
four months later and told me I got it, and I was
blown away. It’s touching to be appreciated for
something musically. You don’t think a
sophisticated arts foundation would support
what I’m doing. I’ve never felt like I’ve struggled
with punk rock, but it has been trying to keep
jobs while sustaining a band. This helped pay for
the album.
Talk about the new Human Eye album,
They Came From the Sky.
Sacred Bones is putting it out. It’s the
same sound—heavy, freaked out psychpunk—but
not as noisy as the other stuff.
Some songs are more in a classic-style
psych. It’s my favorite record that we’ve
done, even though all bands say that. It’s
how a third album should be: really loud,
really broad, like how we sound live.
How do you come up with your lyrics?
Do you free-associate or write a bunch
of verses and pick your favorites?
Lately I’ve had writer’s block. I don’t want
to write about the same things. I start
writing about stuff like salamander brains
and I’m like, I already wrote about that.
Usually I come up with the music and jam
the song, then some inspiration comes
into my head and I’ll scribble down a few
words and go from there. It’s usually pretty
spontaneous.
timmyvulgar.blogspot.com
myspace.com/humaneyedetriot
hear human eye’s contribution to the scion
a/V Garage 7” series at scionav.com/garage

story: brian costello
Photography: Miguel angel & clayton hauck
When describing the essence of the Hex Dispensers’
sound, vocalist/guitarist Alex Cuervo says, “Take the most
basic punk rock traditionalism and tried-and-true garage
punk maneuvers and inject just this tiny bit of dissonance
or discomfort into them so they’re recognizable and fun, but
there’s some kind of darker underbelly going on.” Indeed,
over the course of two albums, three 7-inches of their own
and a split 7-inch with Haunted George, Hex Dispensers
have delivered instantly accessible, ridiculously catchy
garage rock in two to three-minute bursts. But when your
songs have titles like “Doomsday Romantic” and “It’s Your
Funeral, Minion,” you know there’s something more going
on than the typical bubblegum teen drama expressed
by bands working on the poppier side of the spectrum.
“The music aspect of what we do is pretty basic. It’s not
surgery,” says Cuervo. “There’s a deep, deep well of
bands who have done the simple, catchy, direct style of
punk rock to draw inspiration from.” Fair enough, but pulling
it off is a lot harder than it looks, and when you hear
a band like the Hex Dispensers, you realize and appreciate
when songs are done right, and when they’re digging
deeper for ideas.
The band’s latest album, Winchester Mystery House,
takes its name from a mansion/tourist attraction in San
Jose, California. According to Cuervo, “Sarah Winchester
believed that the house was haunted by the ghosts of
people who had been killed by Winchester firearms.
She kept obsessively building onto the house for 38
years so that the spirits would get lost in this maze of a
house and never find her. It’s weird and fascinating.”
After releasing more 7-inches in 2011 (including
a Scion A/V split with King Tuff), Hex Dispensers
plan on writing material for another LP. “Hopefully
we can get that recorded this year and release
it in early 2012, before the world ends,” Cuervo says.
thehexdispensers.bandcamp.com
hear the hex Dispensers’ contribution to the scion a/V
Garage 7” series at scionav.com/garage

The BAndS in chicAgo’S gArAge Scene conTinue To creATe
An ecLecTic, dAngerouS And genre-deFYing noiSe Borne ouT
oF A TighT-KniT SuPPorTive coMMuniTY oF oBSeSSive rocK &
roLLerS. Since 1999, MATT wiLLiAMS hAS BooKed counTLeSS
ShowS For LocAL And Touring BAndS, in LocATionS rAnging
FroM The ciTY’S MoST noToriouS diveS To iTS MoST reSPecTed
venueS. ALL whiLe druMMing in BAndS incLuding The BASeBALL
FurieS, Lover! And hoT MAchineS. wiLLiAMS giveS uS A BrieF
gLiMPSe inTo whAT MAKeS chicAgo one oF The BeST PLAceS To
See (And PLAY in) BAndS.
tHE Empty BottlE & HidEout
When the Horizontal Action guys and I started to independently book and promote shows around
Chicago in ’97, the only places that would really accept lo-fi, no name garage rock were dumps like Big
Horse, Pops and Roby’s. Those were great lawless times. We brought in such acts as the Reatards
and Persuaders for their first tour through Chicago, and bands like the Clone Defects. The mid-size
clubs that did/still rule are Lounge Ax (RIP), Hideout, Fireside Bowl and my all time favorite, the Empty
Bottle (I might be a little biased here, since I work there). The Bottle and Lounge Ax did a lot of late
1990s garage rock at the time, such as Oblivians, Guitar Wolf, Mono Men and New Bomb Turks
with fests like Bottle Shock. The Bottle and the Hideout seem to still hold the reins with the garage
scene today, and the Bottle was kind enough to allow the Horizontal Action crew do our last three
annual Chicago Blackout Fests there, which were some of the biggest shows we did at the time, with
such bands as the Testors, Oblivians with Quintron, the Reatards and the Pagans. Aahhhhh, fond
memories...
loCal Bands
There are always literally dozens of great bands happening in Chicago, but off the top of my head,
some of the bands I really like are Outer Minds, the Runnies, the Ponys, Tyler Jon Tyler, Radar
Eyes, Paul Cary, Tiger Bones, E.T. Habit, Nones, VEE DEE, Heavy Times and Disappears.
pErmanEnt rECords & rECKlEss rECords
Two of the best record stores in town are Permanent Records and Reckless Records. Lance and
Liz opened Permanent about five years ago, and have been killing it since. It’s one of the best small
independent stores in the city. They specialize in new garage/punk, psych and weirdo stuff. They
have a great selection, and they’re big supporters of the live music scene. Also, they have live instores.
C.H.i.r.p. radio
C.H.I.R.P. came around about a year ago, if I remember correctly. They’re only online right now, but
hope to broadcast soon since the FCC laws just changed for smaller stations. Great programming
and DJs!
emptybottle.com
To find out what bands are coming to Chicago during the monthly Scion Garage Shows,
visit scionav.com/garage

TYVEK
WATCH THIS VIDEO, PLUS OTHERS FROM
DAVILA 666, BLACK LIPS, CHEAP TIME AND MORE
SCION A/V MUSIC VIDEO SERIES
SCIONAV.COM/MUSIC/SCIONAVVIDEO
4312
COLA
FREAKS
Interview: Adam Shore
Photography: Kara McMurtry
Last year Cola Freaks came from
Demark to Lawrence, Kansas for Scion
Garage Fest. We made them answer
some questions. Here’s what they said.
How did listeners in Denmark first
respond to Cola Freaks?
Anders Thode Illum Rasmussen [bass]: At
home a lot of people didn’t like it because
they were used to our previous hardcore
bands, so they thought it was a bit soft.
The first demos were made with computer
drums and it really sounded weird.
Mads Stobberup [vocals]: And we recorded
it in one take in the middle of the night.
You went on tour with Jay Reatard and
the Pixies. Those must have been the
biggest venues you’ve played in. What
was that like?
Rasmussen: It was scary, but it was really
fun too.
Jacob Elvig [drums]: It was a pretty cool
experience to do those shows, but it’s
just like doing any other show, just bigger.
Everything is bigger, catering is bigger and
really good…
Rasmussen: And no spitting. You’re not
allowed to spit on stage. They gave us
towels to spit on. I have to spit because I
have asthma so I produce a lot of slime. It
was really weird.
What are your lyrics about?
Stobberup: Horses. Whatever comes up.
My own paranoia, and life in general. It’s
just lyrics.
What should people expect from a
Cola Freaks live show, besides a lot of
spitting?
Rasmussen: I don’t know. Fighting?
Stobberup: No!
Elvig: Ten to 15 songs played with
energy.
Stobberup: Us against them. That’s
pretty much what it is.
Rasmussen: Sometimes it’s like a riot,
other times it’s pretty peaceful. It’s all
about how much people want to fight.
But mainly it’s music. Genesis played
fast.
myspace.com/colafreaks
for a video of this interview and footage of
what Genesis played fast looks like, go to
scionav.com/music/garagefest

Pablo
Espada
Carlos
Larrieu
story: Maud Deitch
Speaking over the phone from his house in San
Juan, Puerto Rico, director Pablo Espada matter-of-factly
describes his music video making
style: “It’s kind of a trashy natural thing that’s
more about what you can put together with
what you have than trying to get something really
clean and perfectly photographed.” Working
in partnership with Carlos Larrieu, the duo
have been doing music videos, tour visuals and
generally chronicling the band Davila 666 since
2007, when, according to Espada, they were
“just talking, partying one night, and [the idea of
collaborating on a video] just sort of came up.”
Those resulting early videos—grimy, staticky
things shot on VHS and Super-8—are a perfect
compliment to Davila’s frenetic and dirty brand
of garage rock. However, the years the directing
team has spent with the band have also given
them time and experience to begin exploring
other media. “Now that technology is a bit better
with high definition, I’ve been doing some animation,”
says Espada. “These last eight months,
everything we’ve done has had a lot to do with
animation and green screen and special effects.”
Espada and Larrieu have been documenting Davila
666 as they transition from Puerto Rican rockers
to a major force on the US garage rock scene.
By touring with them, Larrieu says, the two have
not only gathered enough footage for a full-length
documentary, but they have also acquired “a really
good education in American garage rock & roll.”
And after all these years of collaboration and
documentation, how will the directors know when
its time for the Davila film to finally be released?
“The idea would be to stop after this tour and see
what happens,” say Larrieu. “I have a whole storyline
that changes and changes and changes. I
already have the ending that I want, but I want
to see what happens to see if there’s something
I should add.”
vimeo.com/user2379619
watch “esa nena nunca regreso” by
Davila 666, directed by Pablo espada and
carlos larrieu for the scion a/V Video
series, at scionav.com/music/scionavvideo

Happy Birthday, Happy Birthday (Sub Pop, 2010)
Released after the band had played only a few shows, Happy
Birthday’s sound is an irresistible mix of fey glam, a lo-fi imitation
of ELO and Thomas’s distinctive brand of crazy-yetvulnerable
quirk, the one quality that links all of these disparate
releases together. Happy Birthday is one of those albums
that grows on you from the third listen onward, strengthened
by the 1990s alt-pop of “Too Shy,” the roller rink coupleskate
of “Maxine the Teenage Eskimo” and the stone heartbreak
of the album’s closer, “Fun.”
Witch, Witch (Tee Pee Records, 2006)
Metal, in all its permutations and offshoots, ain’t the most
subtle of genres, and on this debut album from Thomas’
band with Dinosaur Jr. guitar legend J. Mascis, Witch fully
embraces the epic grandeur needed to pull off songs with
titles like “Soul of Fire,” “Black Saint” and “Hand of
Glory.” While you’d expect Sabbath sludge on the guitars
and Bonham bombast on the drums, what you don’t expect
(even with the Mascis involvement) are Neil Young moves.
The result combines a deep appreciation of the form with
the experience to know what works in these songs and when.
The album is another example of Thomas’ ability to fully
immerse himself in whichever style he’s working in.
Feathers, Feathers (Feathers Family, 2005)
Thomas’s foray into airy, lush T. Rex/Donovan neo-folk is
the late-night smooching soundtrack for errant knights everywhere.
These are the kinds of jams you’d like to hear
story: brian costello
Photography: clayton hauck
the magic of smaller towns is that the weirdos tend to hang out
together, and they don’t strictly adhere to one subgenre of music.
brattleboro, Vermont’s Kyle thomas fully embodies this spirit, getting
involved in projects that include the freak folk of feathers, the sludge
metal of witch, the alt-pop of happy birthday and the straight-ahead
rock & roll of King tuff. here are six of the wildly divergent albums that
thomas has played on.
while eating roasted mutton with your bare hands at the
Medieval Times in Schaumburg, Illinois, as warriors joust
in front of you on flying ostriches. This album also features
Ruth Garbus, who plays drums in Happy Birthday.
King Tuff, Was Dead (Colonel Records, 2008)
For those more focused on the garage-punk world, Was Dead
was their first introduction to Kyle Thomas’ music. Gentlemen
Jesse & His Men covered the King Tuff song “Connection,”
which is one of the more perfect pop songs to come
out in recent memory. In the King Tuff context, Thomas’
voice has a nice Tom Verlaine cool to it (with enough Hell
exuberance thrown in to keep it from being big city blasé).

Witch, Paralyzed (Tee Pee Records, 2008)
Paralyzed picks up where Witch’s debut left off, and added the influence of the Sabbath-infused Side 2 of Black Flag’s my War.
In fact, Paralyzed sounds like it could have been on one of the more obscure releases from SST from the mid-1980s—part
of the label’s “Blasting Concept” challenge to hardcore kids to push beyond the rigid definitions of punk rock. And though
Thomas’ singing can get a little too elfin for this kind of gig, a noisy freakout like “Psychotic Rock” perishes such silly thoughts.
King Tuff, Mindblow (Spirit of Orr, 2006)
This is the hard-to-find debut of King Tuff. Some of the songs reappear either in different or exactly the same versions as on
Was Dead. The raw attack take on “Laserbeam” on mindblow definitely has more of a Television vibe to it, while songs like
“Black Zelda, “Hands” and “Staircase of Diamonds” are, quite simply, some of the finest examples of contemporary rock &
roll (genre, schmenre) to be heard in recent years.
myspace.com/kingtuff
hear King tuff’s contribution to the scion a/V Garage 7” series at scionav.com/garage
THE SPITS
WATCH THIS VIDEO, PLUS OTHERS FROM
THE DIRTBOMBS, HUNX & HIS PUNX, PIERCED ARROWS AND MORE
SCION A/V MUSIC VIDEO SERIES
SCIONAV.COM/MUSIC/SCIONAVVIDEO
SCARY SWAMP

Sex Beet in New York City
EXT HER
GENTLEMAN JESSE & HIS MEN, THE CARBONAS , BOBBY UBANGI, PREDA
GENTLEMAN JESSE & HIS MEN, THE CARBONAS , BOBBY UBANGI, PREDATOR, GENTLEMAN JES
The Carbonas , “Frothing at the Mouth” 7-inch (2004)
This thing started it all. Greg King told me at a
bar one night that he wanted to do a single with
songs from the LP, so we scraped together all the
money we had and sent off for 200 copies. It took
two or three months to sell those records, and
then we sent off for another 300. It was during that
pressing that the record caught a buzz, and it kept
selling. We wound up selling about 2,000 copies.
We realized we were bringing in enough money to
sustain more releases. If we had known we were
going to sell more than 200 records, we probably
would have given a little more thought to the label’s
name.
GENTLEMAN JESSE & HIS MEN, THE CARBONAS , BOBBY UBANGI, PREDATOR, GENTLEMAN JESSE & HIS MEN, THE CA
GENTLEMAN JESSE & HIS MEN, THE CARBONAS , BOBBY UBANGI, PREDATOR, GENTLEMAN JESSE & HIS MEN, THE CARBONAS , BOBBY UBANGI, P
Gentleman Jesse & His Men, Gentleman Jesse
& His Men (2004)
Up to this point, the label was still a hobby. The
Cheap Time and Hex Dispensers singles were
very popular, but they did not prepare me for this.
I announced the release of the record, then went
to work. When I got home that night I had roughly
300 pieces of mail order to tend to on top of the
wholesale. We had no online postage printing
system at the time either, so all those labels had
to be handwritten from invoices printed off a single
computer. After a friend made it clear that I was an
idiot for doing things that way, he set me up with
some pretty liberating technology. It’s been our
most popular release by far and has really helped
keep us afloat.
douCHEmastEr
OBBY UBANGI, PREDATOR, GENTLEMAN JESSE & HIS MEN, PREDATOR
REDATOR, GENTLEMAN JESSE & HIS MEN, PREDATOR, THE CARBONAS, PREDATOR, GENTLEMAN JESSE & HIS MEN, THE CARBONAS , GENTLEMAN JESSE & HIS MEN, THE CARBONAS , BOBBY UBANGI, PREDATOR, GENTLEMAN JESSE & HIS MEN, THE CARBONAS , BOBBY UBANGI, PRED
GENTLEMAN JESSE & HIS MEN, P
RBONAS , BOBBY UBANGI, PREDATOR, GENTLEMAN JESSE & HIS MEN, PREDATOR, THE CARBONAS PREDATOR,
rECords
Since the middle of last decade, Atlanta’s Douchemaster Records has been a steady source for the best
in power punk releases. They’ve put out music from artists including the Carbonas, Gentlemen Jesse
& His Men, King Louie, Livefastdie and Lover!, among many others. Douchemaster’s Bryan Rackley
discusses four key releases in their discography, and the stories behind them.
ATOR, GENTLEMAN JESSE & HIS MEN, PREDATOR, THE CARBONAS PREDATOR,,
Bobby Ubangi, “Another Girl Like You” 7-inch (2009)
After B Jay got sick, he dedicated the rest of his
life to writing songs and being around the people
he loved. When I got a call that he was in the
hospital and that his cancer had spread, I had just
submitted the masters and art files, so I got on the
phone with United and Imprint, explaining that
B Jay was sick, and those guys got it all pressed
immediately. He was really proud of this record
and the LP that Rob’s House got out a few weeks
later. I felt like these records gave B Jay a sense
of accomplishment that made dealing with the
sickness a little easier. I miss him, and I’m really
glad that we got the opportunity to do that record.
Predator, Predator (2011)
It’s dark, and it’s not pretty like all the other trendy
stuff right now. It’s punk, and I don’t have to use
words like “pop” or “power” to describe it, which
is a real treat for me. There have been some gems,
but overall I think I’d like punk to be punk again. This
Predator record is going to be pretty refreshing to
a lot of people.
douchemasterrecords.blogspot.com
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Nashville’s Natural Child sets its tales of fear and
loathing to a distinctly Southern garage sound that’s
packed with the driving howl of shifting moods. We
got the trio to gather around the computer and collectively
answer some questions via email, but we don’t
know when they were telling the truth and when they
weren’t.
“Nobody Wants to Party With Me” from the recent
Bodyswitchers album seems like the kind of story
that’s happened to rock & roll people before. In fact,
a few of your songs have that late-night-turned-ugly
vibe to them. Do you write these songs the morning
after these things happen? Kid Rock wrote those
songs. We’re not really allowed to say anything
else about it. We chill with him as much as we
can.
Tell me about “The Jungle,” the song you recorded for
the Scion A/V Garage 7” series. This real nice guy in
New York recorded it. We all met him. We wrote
it late one night together. We like to party. It’s
about that, but you know, in the jungle.
You make references to classic rock like Pink Floyd
and the Stones. Are you fans of those bands? Pink
Floyd kinda suck, but the Rolling Stones are our
favorite band.
What are some other bands in Nashville worth
checking out? What are some of the better places
around town for garage punk bands to play?
D. Watusi and Denney and the Jets. They’re
both awesome and real hot right now. We
like to play at Glenn Danzig’s House and
the Springwater and other houses and stuff.
myspace.com/naturalchildband
interview:
brian
costello
Photography:
leslie lyons
hear “the Jungle,” natural child’s contribution to the
scion a/V Garage 7” series at scionav.com/garage

Story: Maud Deitch
The cassette enjoyed 20 years as
one of the most popular audio
formats, but it’s spent nearly
as long fighting extinction.
Tapes first suffered a major hit
when CDs became the dominant medium
at the start of 1990s, then
nearly got put out of commission
at the end of the decade following
the online proliferation
of mp3s. Since then, tapes have
been mostly forgotten by everyone
except a fringe few who collect
cassingles at second-hand
stores and pillage the deep sale
bins of rapidly closing music
retailers.
Still some independent labels
never stopped releasing their
bands on cassette, most notably
Olympia’s K Records. Putting
out music on tape remains cheap
and easy, making it a great way
for bands to have something to
sell at shows when they don’t
have the money to press up vinyl
or CDs. The format’s signature
hard, warm hiss and crackle also
hold particular appeal to garage
artists.
And so, more tape-centric labels
have begun cropping up, run by a
new breed of DIY music distributors.
Burger Records, based out
of a storefront between some
railroad tracks in Fullerton,
California, was founded in 2005.
Burger has emerged as the goto
label for garage bands looking
to put out music on cassettes.
They have done releases
by Nobunny, King Tuff, Ty Segall,
Black Lips and more, often
releasing albums that larger labels
may have put out on vinyl,
but have sold out of.
Another tape label is Kevin
Greenspon’s Bridgetown Records.
Greenspon put out tapes from
artists including Cleveland garage
poppers Cloud Nothings, and
considers tapes to be more of a
listening philosophy than a medium.
“A strong personal connection
can be formed because it’s
not an easy format to dump the
hit single onto an mp3 player,
and you can’t skip through the
tracklisting.” Greenspon says.
“The actual tape and the album
become one and the same.”
Greenspon also gets where the
detractors of tapes, who complain
about poor sound quality,
are coming from, but offers that
they have the same advantages
and drawbacks of any other format.
“In the end, tapes are just
like CDs or records,” he says.
“They’ll keep people coming back
if they’re executed well and
turn people off if they’re not.”
burgerrecords.webs.com
bridgetownrecords.info

OUT NOW...
Kid Congo...
Gorilla Rose
LP/CD
Thee Oh Sees
Castlemania
LP/CD
TV Ghost
Mass Dream
LP/CD
...debut LP coming soon.
Dirtbombs
Party Store
LP/CD
Davila 666
Tan Bajo
LP/CD
www.intheredrecords.com
chriSToPher roBerTS
ChriStopher roBertS, of ViCe reCordS aNd hoSt of
ViCe radio oN SCioN radio 17, SpotlightS the muSiC
he’ll Be liSteNiNg to iN the ComiNg moNthS.
off! firSt four epS (ViCe)
featuring la punk rock royalty Keith morris (Black flag,
Circle Jerks), mario rubalcaba (hot Snakes, rocket from
the Crypt), Steve mcdonald (redd Kross) and dimitri Coats
(Burning Brides), this is a tour-de-force of hardcore punk
rock. it features completely undeniable one to two-minute
songs served up in a box set featuring art by raymond
pettibon, who’s famous for the original Black flag cover art
and those iconic black bars—which is probably one of the
most tattooed images in the world next to ships and girls.
the raVeoNetteS raVeN iN the graVe (ViCe)
the danish duo is back with their fifth studio album. this
is probably their darkest masterpiece yet. it features their
new single “recharge & revolt,” which i have yet to be able
to get out of my head. it’s infectious, it’s brooding and it’s
garage pop at it’s finest. Not to be missed. the band goes
out on tour with tamaryn this spring, so look out for that.
they’re also releasing this nugget with a limited edition
poster, 180gm vinyl and some other goodies only available
from the pre-order on their website theraveonettes.com.
TOP PICKS
Kurt Vile SmoKe riNg for mY halo (matador)
When i first heard Kurt Vile’s Constant hitmaker, i almost
had to throw out my Cass mcCombs records. this guy just
writes great songs. period. he has an undeniable sense of
the subtle, quirky charms that make music interesting and
relatable on an artistic level. put this on every Sunday for
the rest of your life and you’ll thank me when you’re 75
and the happiest, most inwardly stable person in the world.
i’ve been looking forward to every release Vile’s put out
and he has always served up more than i expected him to.
Craft SpellS idle laBor (Captured traCKS)
this band really caught my attention with the track “after
the moment.” it’s a mellow beast of a pop song. these guys
got picked up by mike Sniper’s cred-heavy Captured tracks
label, which means they’re still cool even if they make
songs your girlfriend will fall in love with immediately.
QuiNtroN SuCre du SauVage (goNer)
legend of the Nola music scene, mr. Quintron has played
on records with oblivians, and has inspired everyone
from the Black lips to the Spits, and probably even Big
freedia. this record is a particularly interesting outing
for the New orleans garage-dance-funk organist, because
he recorded it while actually living in an exhibition at the
New orleans museum of modern art. people could walk
right up to the studio he set up and collaborate with
him. it just doesn’t get any more real than that, people.
vicerecords.com
listen to Vice radio at scionav.com/radio/channel1

aquariumdrunkard.com
Aquarium Drunkard features
a truly eclectic mix of genres, seen through a Los Angeles-focused lens. With
a radio show on Sirius XM and daily offerings of downloads, videos, sessions
and interviews, Aquarium Drunkard is the spot to learn more about your
favorite independent artists that you haven’t heard of yet.
gonerbLog.bLogSpot.coM
the gonerblog is the online presence of iconic
Memphis label goner records. the folks at
goner have made it their mission to keep you
up to date with the latest news and tunes from
garage acts from Memphis and beyond. they
don’t miss a beat.

KinG tuff at scion GaraGe
show, chicaGo, il.
heX DisPensers at scion
GaraGe show, chicaGo, il.
heX DisPensers at scion
GaraGe show, chicaGo, il.
Guests at scion GaraGe
show, austin, tX.
Guests at scion GaraGe
show, austin, tX.
Guests at scion GaraGe
show, austin, tX.
KinG tuff at scion GaraGe
show, austin, tX.
KinG tuff at scion GaraGe
show, austin, tX.
Guests at scion GaraGe
show, austin, tX.
Guests at scion GaraGe
show, austin, tX.
Guests at scion GaraGe
show, austin, tX.
KinG tuff at scion GaraGe
show, chicaGo, il.

scIoN’s commItmENt to ARtIstIc ExPREssIoN PRovIDEs A
PlAtfoRm foR PAssIoNAtE ARtIsts to focus oN DEvEloPING tHEIR
ARt AND ExPloRING tHE ENDlEss PossIBIlItIEs. to lEARN ABout
cuRRENt AND PAst PRojEcts fRom scIoN AuDIo/vIsuAl (sA/v),
PlEAsE vIsIt scIoNAv.com.