Wednesday, May 6, 2015

Indie Third Thursdays feat. Demitasse

Come join us for our second installment of the Indie Third Thursdays Concert Series! We'll be teaming up for Local Music week to feature some great veteran San Antonio artists. Demitasse is the softest band you will ever hear and they will definitely be serving up some great tunes. They will be playing along with More Eaze, the R&B project from experimental artist Marcus Rubio and Michael J. and the Foxes, the ever humble country project of Mikey from Deer Vibes. Make sure to leave your calendar open for a great night of local music, food and beer, right here in the Alamo City. 


We just had K Phillips come down for Austin to do a live session here at the studio. As another installment of our Plugged-In Sessions, Phillips brought with him a sense of the acoustic singer-songwriter twang that we have not yet had in the studio. Following on the tones of the blues-americana style that has been a long standing tradition in the south, the ease of his voice and the rhythms of his guitar make him hard to ignore. Phillips is already a veteran of the performing world and has seen the ropes of the music business, especially coming from Austin. He has a very personal style of songwriting that is easy to connect to, and we had a great time sitting around listening to him. Check out some of the videos from the session and check out our bandcamp to download the whole session!

Bandcamp Recordings

Wednesday, April 8, 2015

Indie Third Thursdays with Skating Polly

KRTU Indie Overnight is kicking off the start of our series with Oklahoma rock goddesses Skating Polly! They will be joined by heavy hitters Blithe and Filthy from San Antonio, along with some local food trucks and plenty of locally brewed Alamo Beer, to top off the evening. Come get your faces melted free of charge at the Alamo Beer Garden.

Filthy 7:00
Blithe 8:00
Skating Polly 9:00


Facebook Event

Born from an impromptu jam at a Halloween party in 2009, Skating Polly is a sister duo made up of Kelli Mayo and Peyton Bighorse. They recorded their first album Taking Over the World in their living room. Their second album Lost Wonderfuls was produced by Exene Cervenka and mixed by Flaming Lips drummer Kliph Scurlock. For their most recent release, Fuzz Steilacoom, Skating Polly traveled up to Olympia, WA and recorded at Dub Narcotic Studio with Calvin Johnson (K Records/Beat Happening). Prolific songwriters who are constantly recording when they are not on the road, the duo is finalizing two new releases for 2015.

 Raised on '70s punk and early-'90s alt-rock, Mayo (age 15) and Bighorse (19) mine inspiration from artists as disparate as Johnny Cash, The Ramones, Nirvana, Neutral Milk Hotel, and Bikini Kill and saturate their own songs with a raw energy reminiscent of their musical heroes. Skating Polly takes a minimalist approach to songwriting, with the two largely self-taught musicians (Bighorse plays guitar, Mayo plays a guitar/bass hybrid called a basitar, and both girls play drums and piano) crafting super-catchy melodies mainly by "messing around with our instruments and figuring out how to make cool noises," according to Bighorse. But despite their stripped down aesthetic, their songs contain a rich emotionalism that's at turns brutally in-yourface, gut-wrenchingly tender, and irresistibly fun.

Along with earning the adoration of Cervenka (whom they befriended after attending one of the X singer's 2010 solo shows and playing their demos on a cell phone), Skating Polly has found fans and supporters in Rosanne Cash, Lori Barbero and Kat Bjelland (Babes in Toyland), Sean Lennon, John Doe (X), KROQ DJ Rodney Bingenheimer, and actor Viggo Mortensen. They have also shared the stage with punk legends like Mike Watt and opened up for such indie heavy-hitters as Deerhoof, The Flaming Lips, Band of Horses and Kate Nash. The stepsisters typically optimize their travel time by making up songs on their ukulele.

Both Mayo and Bighorse are intent on ignoring what's fashionable and staying true to their passion for challenging music with long-lasting appeal. "The musicians we're most inspired by are the ones who keep on going and going, who devote their entire lives to coming up with new and different stuff," says Mayo. "A lot of times at our shows people will come up to us and tell us, 'Keep on doing what you're doing, don't ever stop' and we're just like, 'Yeah – we weren't planning on ever stopping.'

Wednesday, January 21, 2015

Migrant Kids in Studio B

We recently had the pleasure of Migrant Kids coming into the studio and put on a live performance. If you weren't there, you now have the opportunity for a glimpse of the smoke machines and purple LED lights that enveloped the walls of synth-keyboard and MIDI pad sounds that filled the night. If you were there, you can relive the glory again and again and again.

Sunday, January 4, 2015

Trinity University's Professor Rando's Top 10 Albums of 2014

One of the super cool professors at Trinity University, Dr. Rando of the English department, has published a list of his top ten favorite albums of 2014 complete with descriptions as to why they made the list. Take a look below!

Honorable Mentions (no particular order):

  • Soused - Scott Walker & Sunn O)))
  • Nothing New - Gill Scott-Heron
  • Gamel - OOIOO
  • Crystal Palace - Ernst Reijseger
  • The Alchemist and Fragmentations, Prayers and Interjections - John Zorn
  • Meshes of Voice - Jenny Hval & Susanna
  • LP1 - FKA twigs
  • The Great Lakes Suites - Wadada Leo Smith
  • Overdrive- Shonen Knife
  • Pom Pom - Ariel Pink
  • Run the Jewels 2 - Run the Jewels
  • Divide and Exit - Sleaford Mods
  • Thumbscrew - Mary Halvorson, Michael Formanek, and Tomas Fujiwara

#10: Electric Brick Wall - Black Bananas

The five best words to describe this album are the five words that comprise Jennifer Herrema’s post-Royal Trux, post-RTX band’s name and its 2014 album title: black bananas, electric, brick wall. That’s because the album is gleefully electric, stubborn as a brick wall (and also “brick walled,” that is, loud), and, like black bananas, an overripe combination of syrupy sweetness and downright scuzzy rottenness.

#9: Imagine Your Self in a Free And Natural World - B L A C K I E 

This time out, abrasive noise rapper B L A C K I E (always all caps with spaces) makes an abrasive jazz noise record. Here B L A C K I E eschews rapping and instead mostly howls over a cacophony of loud layered horns and driving bass, exploring the outer limits of jazz, where, as it turns out, it does not get quieter, but much louder. This is a kaleidoscope of jazz noise, something like what you would get if you crossed Sun Ra with… B L A C K I E.

#8: Lone - Ai Aso 

Ai Aso’s face on the cover of this live album is so light that it almost threatens to fade out of existence. The music is ghostly in just this way: the songs are slow and brittle; they could fall apart after any note, yet they hover on the verge, just like the cover image. Be careful: I think this delicate record aims to haunt you.

#7: Lese Majesty - Shabazz Palaces

Lese Majesty (which means “an offense against the king or state”) doesn’t affront in the way its title might suggest. On “#Cake,” Ishmael Butler repeats, “I’m having my cake and I’m eating cake,” and that’s exactly right: Shabazz Palaces takes an unconventional route—spacey beats, freedom from the verse-chorus-verse tonics—but so consistently and abundantly satisfies its own established conventions that it gets to have its cake and eat it, too.

Perpetual Motion: A Celebration of Moondog - Sylvain Rifflet and Jon Irabagon 

Jazz musicians Sylvain Rifflet and Jon Irabagon chose a children’s chorus for the songs with vocals included on their loving tribute to the singular Moondog. The children’s voices capture the kid-like playfulness of Moondog’s compositions. The musicians stay true to the meticulously fugal quality of Moondog’s minimalist music, which draws as readily from European classical and American jazz traditions as it does from nursery rhymes, simple ditties, and sea chanties, while leaving themselves room for improvisation. They capture the spirit of Moondog’s music perfectly.

#5: Benji - Sun Kil Moon

Benji is an emotion-drenched folk album about love, sex, and—mostly—death (from cancer, working-class accidents, mercy killings, moped accidents, aneurysms, serial murders, school shootings). It is especially about class experience and death, and about Mark Kozelek’s feelings about his home in rural Ohio. So many of the songs reference Kozelek’s travels in order, it seems, to emphasize how far he’s gone from home. Yet deaths in the family have and will keep drawing him back to the place he’s tried to leave. There is one song for each of his parents, one that anticipates and dreads the loss of his mother, and the other, the sunniest song on an otherwise elegiac and melancholy album, records the better and worse, mostly better, of his relationship with his father.

This is the most weirdly literal album I’ve ever heard. I doubt Kozelek uses a single metaphor. Instead, he details and enumerates everything, even to the point of overload, annoyance, and discomfort. The album seems to want to test the listener’s limit for personal revelations and to test his or her willingness to hear the names of aging and death stripped of the consolations of figurative language.

#4: Heartleap - Vashti Bunyan

This is Bunyan’s third album of her 45-year recording career, and apparently she has said it will be her last. Just Another Diamond Day (1970) created an otherworldly English fairyland, full of glowworms, dragonflies, lily ponds, and cottages that Bunyan painted with her breathy voice and nursery-rhyme rhythms. Now, improbably, Bunyan’s voice sounds even better than it did in 1970, but the scenes she sets are more serious, quotidian, poignant, and intimate. Back then it was “just another diamond day,” but now, “Every day is every day / One foot in front of the other / Learn to fall with the grace of it all / As stones skip across the water.” All we can do is fall with grace.

Particularly striking is the track, “Mother,” in which Bunyan sings about being a child and secretly watching her mother dance, “briefly unbound,” when she believed that no one was looking. Sometimes her mother would sing, “Songs long learned / So long untuned.” She wants to tell her mother’s story, but it slips away like smoke or water. On “Shell,” she sings, “In the telling of your story / You say there's so much more / Then you curl away from me / To some deeper sea.” 

Now older than her mother had been then, Bunyan, whose own career has seen such long stretches of songs “untuned,” can reflect on those rare freeing moments when music gives relief from duty and responsibility. Like her mother, however, she realizes how difficult it is to share such moments, which is always somehow to part with them. And this is the main struggle on Heartleap: between the desire to share and to withhold, to communicate with others and to be alone, to tune the song or leave it untuned, to sing or be silent. Bunyan wishes to retire to a “blue shed,” but fears, “I might emerge to a sunny day / With everybody gone away.” 

Here there are no glowworms or lily ponds, but rather memories of small moments, of her mother, and of her conflicting desires and fears. These are the “heartleap” subjects that only come from long experience; they tally the losses one must accumulate through life, which over the decades of her career Bunyan was almost magically able to preserve her voice in preparation for finally singing.

#3: Nothing Important - Richard Dawson

I spent much of 2014 listening to Dawson’s 2013 album,The Glass Trunk, which consists of seven largely a cappella folk songs based on reports of deaths and accidents recorded in the archives of Dawson’s native Newcastle, with noisy and inventive guitar and electric harp improvisations spaced between them. Dawson blows into these largely found stories in the way an avant-garde jazz musician might blow into a saxophone. When he sings the ballad that recalls how the village men put an old horse to a slow and brutal death, the suffering of the horse comes through Dawson’s voice until it threatens to burst the ballad form. Rarely have I heard an album more historically and locally grounded, with so much invention brought to its subject, that also seems to touch a nerve at every painful and lovely turn. Nothing Important is like a pendant to The Glass Trunk, two long songs bookended by two short guitar pieces. It is almost like zooming in on a small portion ofThe Glass Truck and recognizing that its shape is a fractal. In these songs one recognizes the intelligence and experimental energy that Dawson brings to folk music.

#2: Syro - Aphex Twin

Syro is a selection of music Richard D. James has made in the 13 years since his last album, but it might as well be a greatest hits collection. Everything that has made James the most inimitable and virtuosic electronic musician in the world since the 1990s can be found on this album, but in a more integrated, condensed, and controlled form than he has ever achieved before. Somehow Syro encapsulates the vast and brilliant range of ideas that James has developed over the decades and integrates them together on Syro in a masterpiece of synthesis. Yet the maestro is impatient. Ideas that once would have played out in the course of an entire song are breezed through here in two or three measures. It is only a slight exaggeration to say that every minute of this album could be the germ of another album. Syro represents the richness that only comes from long practice and mastery of form. But put all of that aside: this is also music that winks and jokes. Syro is the funniest album of the year.

#1: Ruins - Grouper

For me, the most magical musical moment this year comes during “Labyrinth,” a slow and contemplative piano piece whose variable tempo keeps the listener hanging on each successive note. Like Satie, Harris’s piano pieces are strangely beguiling and often outright beautiful. At the end of the track we hear the incongruous beep of a microwave, as though unexpectedly coming back on after a power outage. It breaks the spell of the night and of the album, catching and exposing us at our most entranced. Wonderfully, when the beep breaks the illusion that we are all alone with Harris and her piano and her room in Aljezur and its surroundings, it also strangely reinforces the feeling of intimacy: it is simultaneously a self-destructing and self-perpetuating illusion. 

Harris uses subtle effects and her arrangements are deceptively complex. Her voice rarely rises above a whisper; the frogs outside, a thunderstorm, and the tape hiss from the portable 4-track are neither background nor competition, but complementary tones and shades. The “ruins” of the album title are ruins of love (“Maybe you were right when you said I’ve never been in love”), but it is also about sweeping the ruins away. The song title, “Clearing,” could describe any track here. 

This is the opposite of headphone music. It is environment music. John Cage insisted that a cough or a baby crying could not ruin a good piece of modern music. Ruins fills any room it enters, yet space for the ambient sounds in your room and outside of your house seem already to be factored into this record. Like the microwave beep that at once pushes the song away and pushes it closer, Harris gives us music that generously lets you live inside of it, even as it slowly settles inside of you.

Wednesday, November 26, 2014

FFF Fest Review

FUN FUN FUN fest 2014

Several of our interns had the good luck to make it to Fun Fun Fun Fest in Austin, TX earlier this month. Check out some of the things they had to say about the shows! 

Fat White Family

When I think of Fat White Family, sophisticated is not the word that comes to my mind. In fact, whatever you consider the opposite of sophisticated would probably work best. For me, it’s punk. The word ‘punk’ first originated as a derogatory slang for prostitute, degenerate, or really anybody that you considered to be a filthy, low-life human being. Once bands like The Stooges or The Sex Pistols started coming out with their gritty, ear-numbing style of rock, they took on the term punk rock. Over time, many bands have started misappropriating punk rock, and those who were punk took on a lifestyle and music that disillusioned punk rock and has left us wondering where are the punks? What happened to Rock'n'Roll? Now, I can take comfort in knowing that Fat White Family exists. They live and breathe as the physical embodiment of punk rock; however, most of this can only be seen in their live show. They had every awkward quality that seems necessary of a rock band from the UK, and their performance at Fun Fun Fun Fest was incredible. From the jerky, arrhythmic pelvic thrusts, to the shirtless corduroy pant combo with missing belt loops, tucked-in T-shirt, long, greasy sideburns
and platform shoes, every member of the band took part in the irreverent worship of punk-rock past. Or maybe themselves? Either way, they looked the part, and they’re neck-vein-popping, spine-writhing, sunken-dead-eye style of performance only made it more enjoyable to watch. Their performance made it clear that they live the punk rock lifestyle, and are most likely the most authentic Rock’n’Roll band out there today. Is that a good thing or not? I have no fucking idea. Do they give a shit? Probably not. And because of that, I will remain in steadfast prayer to the newborn son of punk.
- Joseph Erik


Though the will call line was half a mile long the first day of Fun Fun Fun Fest 2014, everyone was definitely there when alt-J took the stage Friday night. alt-J’s set began with the blinking of a red light to the opening notes of “Hunger of the Pine,” as the audience eagerly awaited the arrival of our English friends. As soon as they took the stage, the crowd immediately erupted then quickly silenced, as front man Joe Newman began to work his magic on the mic. The band then continued to play both favorites and deep cuts from their latest album This Is All Yours with many throwbacks from An Awesome Wave mixed in. For me, alt-J has always been more of a mellow band perfect when accompanied by rainy drives or last minute term papers. However, after seeing this show, I can now say they are quite the opposite. alt-J commanded the stage like no other band I saw at Fun Fun Fun. They didn’t get on stage and talk to the audience. They didn’t headbang, jump around, or exaggerate notes. They got on stage and performed, and it sounded perfect. It was like I was listening to their albums in full surround sound, each drum beat shaking Auditorium Shores, and each note resonating in the mass of people.  Tack on the amazing light display, and the stunned, speechless, deer-in-the headlights look from concert-goers at the closing note of “Breezeblocks” was completely understandable.
- Benji Gomez

Courtney Barnett

From the singer-songwriter/rock mixed genre, to the clever lyrics and deadpan singing, I have been a fan of Courtney Barnett’s music for a while; however, I was not prepared at all prepared for her performances at Fun Fun Fun Fest. Although there was plenty of acoustic guitar and piano in her record, they were not to be found with her on stage at all. Instead, she exchanged these for a well loved fender telecaster with a single distortion pedal plugged into her overdriven fender combo amp. I am still in shock from the heavy and grungy set that Courtney would perform both for her show at the Belmont and on stage at the festival. In fact, only next to Fat White Family, she performed one of the strongest sets at the festival for the weekend. Rather than starting soft with a piano, like the album, A Sea of Split Peas, they started hard with overdriven bass, pounding drums and surprisingly noisy guitar riffs from their guitarist. Several times, Courtney would cover the mic with her mouth and growl at the ends of phrases, while the show
ended with her turning the gain on her pedal all the way up and placing it in the crowd to play with and destroy their ear drums. In fact, the resemblance between Courtney at her performances and a young Kurt Cobain are uncanny. The long dangling hair, the plaid flannel shirt, worn-in jeans and converse hi-tops made me wonder if Courtney did all of this in tribute; however, it is clear that Courtney is her own person. She is a powerful frontwoman, able to expose other acts for the mainstream fluff pieces that they are. She is able to establish a strong identity through her music and now has shown us that she can work that identity however she pleases. Courtney Barnett’s performance has made me reimagine her album and work everytime I listen to it, and now leaves me anxious to hear more from one of the few powerful and grungy frontwomen that we have in the music scene today.
- Joseph Erik

Fred Armisen

What I thought was going to be a stand up comedy sketch turned out to be an easy going set by Fred Armisen, main protagonist in IFC’s Portlandia.  Being the comedian that he is, Armisen started the set by pretending to be Ian Rubbish and the Bizarros. Complete with a blonde wig, Cockney accent, and cheeky remarks, Armisen was reminiscent of Russell Brand. The first song was called “Hi Police Man,” a parody of Ian Rubbish’s “Maggie Thatcher” and the second song in the set was called “Livin’ In the Guttah,” both overflowing with a brand of sarcasm and attitude you can only find in the UK. After a few more Brit-pop tunes, Mr. Rubbish went backstage to change and out came Fred for real this time. Performing as himself, Fred and his band delivered a short thirty minute set of danceable tunes. He wasn’t wild and crazy, rather a rhythmic bounce and lean to each song. No crazy strobes or fog machines or other bells and whistles, just a man and his guitar accompanied by bass and drum. Fred also invited Tim Kerr from the Big Boys to perform a tune with him.  This is significant for two reasons: 1. The Big Boys are native to Austin, Texas, and 2. this is Fred’s long time favorite band.  After their performance together, Tim left and Fred punctuated his set with a song he loved listening to growing up from The Big Boys called Sound on Sound.  Overall, Fred’s set had the amount of comedy, fun, and energy one would expect from the SNL and Portlandia star.  I was so elated to see one of my all-time favorite actors in person, performing some pretty awesome tunes.  Until next time Fred!
- Bria Woods


I spent most of my time walking through downtown Austin on my way to the festival wondering why the UK band from the 70’s was performing at Fun Fun Fun Fest, and why they were performing so early on the second day; however, as I walked up to the stage, and heard flying cymbals and rolling toms, I knew that this could not be the same analog-synthesizer-exclusive group that I thought it was. They weren’t. And I am glad they weren’t. Zorch is an analog synth and drum kit duo that gives an unending energy and an unbelievably full sound through the illusion of their music. Stage presence is hard enough to pull off when you have three guitarists running around on stage, so the thought of having one keyboard player and one drummer astounded me. It was through their music that the energy came to life on stage. The employment of live triggered sound rather than pre-recorded loops, and their mirrored set-up on stage allowed them to communicate effectively. The push and pull of their rhythms and the dynamic phrasing convinced the audience to sway to the music with them. They did not need a light show or dancers or an alcohol-induced rage to provide a great show; instead, the combination of their constant communication and their driving pseudo-electronic-pop-noise songs made them a powerful ensemble, even with only two players. And for that, I will be eternally grateful I saw Zorch and not the two old dudes from the UK.
- Joseph Erik

First Aid Kit

Staying true to their folk and bokeh-infused niche, First Aid Kit brought all of these elements with them on stage. Sisters Johanna and Klara Söderberg made a charming duo, decked out in sequined jackets and performing every song with a combination of excitement and earnest focus. They managed to join sultry power in their vocals with genuine happiness at being on stage. Most songs came off their latest album, Stay Gold, but favorites, such "Emmylou" and "The Lion's Roar" bookended their set. They also included a cover of Jack White’s “Love Interruption.” The sisters managed to stay true to the original song while including more of their signature harmonies and emphasis on folksy guitar. Klara’s guitar added more elements to the White’s simple version, while their all-female version of the harmonies made for an interesting variation on the original. Whether Johanna and Klara were singing a cover or an original song, their distinctive voices were the main focus, which has always remained consistent in their albums. Though their talent is evident in recordings, the power and energy behind their voices was especially clear on stage. Often, their live renditions added emphasis and power behind certain words that were glossed over in the studio versions, adding more insight into song meanings. With their first albums focusing mostly on Klara’s guitar and the sister’s harmonies, their music has continued to add elements over the years. However, hearing their live performance with these special moments of emphasis brought the focus right back to their vocals. Their songs typically showcase both sisters’ voices but performing live also allowed them to display their individual personalities as well. Johanna hair-flipped her way through the set while Klara stood quietly at her mic, but the combination made for a fun and endearing show. Clearly, these Swedish sisters have evolved from a charming child duo to powerful performers who command attention while remaining true to their sweet, harmonic roots.
- Elena Souris

Yo La Tengo

Yo La Tengo is a band that always leaves me confused. I always revisit their music, hoping to find the value that many people see. Their performance at Fun Fun Fun Fest didn’t help. Performing as their usual 3-piece set up, they struggled on stage to maintain a full sound throughout the show. Whenever Ira Kaplan would drop from maintaining the harmonic phrase, there was a clear drop in the sound, even as he added noise. And when they performed three, 8+ minute tunes that consisted of 2 minutes of song material with the rest being a noise jam where the drums and bass would maintain a monotonous riff and rhythm, the thin sound made it difficult to remain attentive. I found this difficult to believe for a veteran band such as Yo La Tengo, especially when Kaplan had two guitars doing feedback on stage and he somehow found a way to make it quiet and unimportant. There were some moments where the sound was full, and there was a catchy riff placed in there, but the performance’s tendency to drift into ambling jam sections reaffirmed their lack of harmonic and melodic direction. The final straw for me was when was when Kaplan started swinging his guitar in an attempt to create feedback and ended up making zero sound. I love listening to the same riff 30,000 times as much as the next guy, but I am not gonna pretend that their use of quiet, almost inaudible noise jams lived up to their cult reputation. Keep swinging, Kaplan. Keep swinging.
- Joseph Erik

Modest Mouse

Day two of Fun Fun Fun Fest closed with Modest Mouse, and it was clear from the massive huddle of Mouse followers that I was not the only fan to arrive early and wait through hours of other shows just to get the best spot possible for Isaac Brock, Jeremiah Green, and Eric Judy. I was very excited to hear the band open with my favorite song, “The World at Large,” since they skipped over it when I saw them at Coachella 2013. They were wildly energetic, mirroring their dancing and lively fans. In the past, Isaac Brock has been known to go a bit psychological on his fans - for example, at a show last year he repeatedly discussed the tricks the mind can play on us all in between songs. With that habit of the lead singer in mind, it was surprising and unexpected to see the band abandon their deep life advice performance for one that was carefree and featured more music, less talk. Although this approach was better for fans that only wanted to hear music and dance, it took away from the fans who were interested in the personality of the band and the beliefs that define Modest Mouse’s band culture. They kept the mood lively by skipping slower, sentimental hits such as “Little Motel” in favor of upbeat songs that kept the crowd moving. Bonus magic moment: during “Dark Center of the Universe,” a huge meteor could be clearly seen flying across the nighttime Austin sky. Their set included tunes from across their discography, such as “Custom Concern,” “Fire it Up,” and the ever popular “Float On.” They also played several newer songs from the past few years, such as “Sugar Boats” and “Lampshades on Fire,” that are rumored to be on their upcoming first full album since 2007’s We Were Dead Before the Ship Even Sank. Finally, the band encored with crowd favorite “The Good Times are Killing Me.” All in all, it was (as always) a terrific live show from Modest Mouse.
- Elyssa Garza


Failure was an alternative rock band from the 90’s that only performed for about seven years before disbanding. They developed a strong cult following that apparently has remained trued for a decade and a half. And I think all of their followers were there at their performance for Fun Fun Fun Fest. Many people sung along strongly for this long awaited reunion, and I even think someone next to me started crying at the end of their set. Even with all of this, I could not help but feel like their performance was as artificial as their reunion this year. Frontman Ken Andrews looked Rivers Cuomo trying to sing like Kurt Cobain while playing what looked like a mirror plated Gibson Les Paul. All members remained completely still, while the sound was so modified that the drum kit sounded like it was electric. And most distant of all was the lack of any amplification on stage. I am almost positive that the guitarist and bassist were playing directly into the sound system, and Ken Andrews was using an iPad for his digital guitar effects. After every song, Andrews would walk off stage to adjust the levels on his guitar and voice. This lead to several sound problems where Andrews’ guitar would just cut out and there would no longer be any guitar. The bass was so loud that the notes were indistinguishable. And ultimately, the sound of the performance was only a reflection of the distance that they had from the audience and maybe even their own music. The same effect probably could’ve been had if you went to your car stereo, played the song at full volume with the low end turned all the way and the high ends all the way down. Either way, it was clear that others around me were very happy to sing along to a band that has been gone for almost twenty years, even though all I could see was a fake performance of the band formerly known as Failure.
- Joseph Erik

Friday, May 23, 2014


Check out some of the videos from our session with Islands & Tigers. You can find more on our Youtube channel at