The hex dispensers and King Tuff PLuS: Scion garage

Scion A/v ScheduLe
jAnuArY 2011
26th
27th
Scion garage Show, Austin: The hex dispensers and King Tuff
Scion garage Show, chicago: The hex dispensers and King Tuff
PLuS:
CHECK
IT OUT!
23rd
Scion garage 7”: The Strange boys/Sex beet
Scion A/v remix: The dirtbombs
FebuArY 2011
Scion garage Show, Austin: Thee oh Sees and cola Freaks
currenTLY AvAiLAbLe
STAFF
CONTACT
SCION PROJECT MANAGER: Jeri Yoshizu, Sciontist
EDITOR: Eric Ducker
CREATIVE DIRECTION: Scion
ART DIRECTOR: Ryan Di Donato
PRODUCTION DIRECTOR: Anton Schlesinger
CONTRIBUTING EDITOR: Brian Costello
ASSISTANT EDITOR: Maud Deitch
GRAPHIC DESIGNERS: Cameron Charles, Kate Merritt
For additional information on Scion, email, write or call.
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Online Chat: M-F, 6am-6pm PST
CONTRIBUTORS
PHOTOGRAPHERS: Derek Beals, Tyler Bjerke, Sean Connaty,
William Hacker, Sandy Kim, Kara McMurty, Bryan Sheffield
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STREAMING
NOW AT
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Scion gArAge 7”
The SPiTS
Scion gArAge 7”
Kid congo Powers
& The Pink Monkey birds /
hunx & his Punx
haunted Fang castle
nobunny /
jacuzzi boys
WATCH!
MuSic videoS To WATch incLude:
The dirTboMbS
hunx & hiS Punx
The SPiTS
“Sharevari”
“Too Young To be in Love”
“Scary Swamp”
ASK Scion
QueSTion:
is there any reasoning behind the artist matchups for each Scion garage 7” or is it completely random?
AnSWer:
every 7” pairing is thought out in advance of reaching out to bands. The pairing has to make sense or the 7” just won’t work. The
oblivians and Andre either used to be in a band together called the deadly Snakes. For black Lips and Pierced Arrows, the Lips have
spent their entire careers looking up to Fred cole and cover a couple dead Moon songs. Kid congo and hunx also stand out as an
important matchup since both artists are truly fans of each other’s work and have the same ethos in their music.
—christopher roberts of vice records
Since their beginnings as a two-piece in Dallas, the Strange Boys have relocated to Austin, expanded
their line-up, brought in LA-based members, recorded the song “American Radio” for the Scion A/V
Garage 7” series and released their phenomenal second LP, 2010’s Be Brave, on In the Red Records.
While on tour in Europe, bassist Philip Sambol answered some emails about where the Strange Boys’
sound comes from and where it’s going.
In most genres, and particularly in garage rock, bands get subjected to lazy comparisons to older
bands, where those making the comparisons ignore the nuances. Beyond the influences of records
and bands, what are some examples of sounds, lyrics, rhythms, etc. that have found a way into
your music?
The sound of town square bells and church bells on the hour, boots on a hard floor hotel hallway, jet
engines, the sun and the smell of fall and winter.
Comparisons to Highway 61-era Dylan keep popping up with what you’re doing. On one level, that
seems as generic a comparison as saying a metal band sounds like Black Sabbath, and yet it keeps
coming up. What are your thoughts on this comparison?
It doesn’t really bother me. Dylan is one of the greatest songwriters ever. There are a lot worse
people to be compared to.
Interview: Brian Costello
Photography: Tyler Bjerke
Do you think “musical influences” in general are given too much emphasis when discussing bands,
and when discussing the Strange Boys in particular?
Yes. Influences mean nothing, it’s what you do with them. And it doesn’t matter where you get
them from.
How did you guys start working with Calvin Johnson?
Calvin came to a show of ours in Olympia and introduced himself. We happened to need somewhere to stay that night and he offered his place, so we went. The next morning he asked us if we
wanted to record at Dub Narcotic, the K Records studio, so we said yes. The song we did didn’t
have any lyrics yet, so when we left I said he should put lyrics to it and sing them himself. When
we went back to Olympia a few months later he had finished it, and that’s what’s going to come out
in 2011. Calvin’s great.
Do you have a backlog of unrecorded songs dating back to your two-piece origins, and if so, do you
return to them, building on what you know now and who’s now in the band?
We have a lot of old songs, but we don’t really go back. A song has to be really good to rework it,
and almost all those real old songs are not good enough to go back to. It feels likes a waste of time
if the song isn’t good enough.
Do you get the chance to work on new material while touring?
Oh yeah. We use every soundcheck to work on new stuff and we’re constantly trying out new
songs in the sets. Since the band is split up between cities [Los Angeles and Austin], we use tour to
practice for our recordings.
On page 96 of The True Adventures of the Rolling Stones, the author Stanley Booth quotes Shirley
Watts as saying, “And it’s just a tour, after all, just a group of people going around getting up on
stages and playing music for kids to dance.” Does that sound about right to you?
Sounds right to me. Because that’s what it is. Except sometimes people don’t dance, but that’s okay too.
myspace.com/thestrangeboys
Hear the Strange Boys’ contribution to the Scion A/V Garage 7” series at scionav.com/garage
Photography: Kara McMurtry
The Cola Freaks
On October 2, 2010, nearly 30 bands from the international garage rock community descended on the college oasis of Lawrence,
Kansas, for the totally free and totally insane Scion Garage Fest. Showing the breadth of the lineup, some of the bands didn’t
even have albums out while others have been touring the world for more than 20 years. Since the show took place at four
different venues in downtown Lawrence, it was kind of impossible to catch every act, so we checked in with some of the bands to
find out who their favorite performers at the Fest were.
I guess I should start off by saying I did eat that day, but not a lot, so it was a pretty epic day for me. You know who the best
band of the whole thing was? The Cola Freaks. They just killed it. They didn’t really fit in because they’re not really a garage
band, but they play this really frantic version of punk rock and the singer looks like Frankenstein about to strangle someone the
whole time he’s playing. It’s madness. I don’t think anybody knew what to expect, and people were freaking out and dancing
when they were playing, but I don’t think they knew why—it was just happening.—Jesse Smith, Gentleman Jesse & His Men
I’d say Cloud Nothings were my favorite band. I love their record, their songs are super melodic and awesome and they’re not
really your standard, run-of-the-mill garage rock songs, they toe the line with a lot of other things. They’re all really young and
energetic and whenever they play you can tell that they’re really enjoying themselves. It’s really fun watching them freak out
onstage because when you talk to them they’re all relatively shy people.—Zach Campbell, Rooftop Vigilantes
Photography: Derek Beals, William Hacker, Kara McMurtry
My favorite performance was definitely Thee Oh Sees. I loved that John Dwyer’s guitar would go massively out of tune during every
song but it still sounded fantastic because the rhythm section was so tight on that consistent dun, dun dun dun that happens in every
Oh Sees song. The energy was great. It was awesome to see a crowd of nerdy Lawrence, Kansas, students thrashing around to the
kind of music that people in Cleveland would stand there and stare at. Just a really great set overall.—Dylan Baldi, Cloud Nothings
Photography: Sean Connaty
Timmy Vulgar of Human Eye
I think I could speak for the rest of the band too in saying we were all really blown away by Human Eye. I remember there
was one moment that really stuck out to me. There was a guy in the audience a couple rows back, and he was an older guy. He
looked like an old time soul guy or jazz guy. I don’t know if he was in the entourage of one of the bands or if he was just there
for the festival, but he had his eyes closed and the way he was just kind of grooving to things was so old and jazz-inspired, and
you would think that was the kind of music being played if you didn’t know what was happening in the room. At that exact
moment I looked on stage and [Human Eye’s lead singer] Timmy Vulgar had on a giant paper-maché alien head that was split
open and there were plastic bats and Halloween candy spraying all over the crowd. That was my favorite moment of the whole
festival for sure.—Salvatoré, Teenanger
Human Eye were my favorite performance of the festival. Not only can they make Fruity Pebbles a psychedelic experience, but
they just keep getting better and better, even with the freshly stitched hand of Timmy Vulgar. I think the most amazing thing that
happened at the whole fest was when Tim locked himself in his hotel room and called the front desk and told them someone was
trying to break in. They basically wound up calling the cops on their own security. Having the Shrines back up Gino Washington
also made me really proud.—King Khan, King Khan & the Shrines
As told to Maud Deitch
For photos and videos from Scion Garage Fest 2010, go to scionav.com/music/garagefest
new
o r l
e a n
s
For years now, sherry Cardino has been a
tireless Champion oF garage roCk bands
From austin and beyond. every marCh,
she sets up Countless unoFFiCial shows
around town during the sXsw Festival.
Cardino gives us a guided tour oF some oF
the more distinCtive plaCes and sounds
that make austin so diFFerent.
beerland
Beerland is located on Red River, a street that became part
of the rock & roll live music district starting around 2000.
Until that time, the only two existing garage/punk venues
since the early 1990s were Emo’s and the Blue Flamingo,
located a half block north of famous 6th Street and Red
River. Live music finally crossed Red River north to 7th
Street, where Beerland and many other live music venues
hatched. Bands such as Black Lips, Jay Reatard, King
Khan & BBQ, the Strange Boys, the Spits, the Box Elders, Harlem and Thee Oh Sees have all played
there and most, if not all, have gotten too big to play there for a few years now. Some other notable garage
greats that have played Beerland are Guitar Wolf, Pierced Arrows, Angry Samoans and Reigning Sound.
scene re port
loCal bands
Some of the more notable current local garage-type bands worth checking out are Golden Boys, Rayon
Beach, Flesh Lights, A Giant Dog, OBN III’s, Shapes Have Fangs, Women in Prison, Stuffies, Love
Collector, Manikin and Hex Dispensers.
trailer spaCe
Trailer Space is heaven on Earth, or the Magical Island of Misfit Toys, for rock & rollers everywhere.
You go to TS to hang out; play dice, Yahtzee, pinball or video games; watch a game on TV; look at girls
or boys; and eat pizza from East Side Pies next door. The owner is Spot Long, who I believe has been
given the key to the city. He’s everywhere—charming, sarcastic, outspoken and probably the best uncle
to every rock & roller that has ever crossed his path. He was a longtime employee of Waterloo Records
who decided to open his own store. Trailer Space also has in-store music performances about 20 days
a month, where locals, friends, touring bands all play equally. They’ve hosted many, many benefits for
great causes over the years, in addition to hosting more notable showcases for labels such as Burger
City and HoZac Records.
91.7 Fm
Visit scionaV.com
for original videos of interviews & performances, exclusive & free
music downloads, live event photos, streaming music on
Scion Radio 17 & much more
KVRX and KOOP share the same airwaves. Community-supported 91.7 FM KOOP is on the airways
weekdays from 9AM to 7PM, weekends 9AM to10PM. And KVRX is the University of Texas’ student
(also community-supported) radio, on the airways all the other times and streaming 24 hours a day. On
KOOP, Saturdays from 8PM to 10PM is Scott Gardner’s “Stronger than Dirt” show, and it is all things
garage—heavy on garage roots like Back From the Grave comps but featuring all current garage artists
too. Scott has been the garage guy in this community since KOOP first went on the air in 1995. For
KVRX, Fridays from 7AM to 9AM is “Jammy Jams” with Rebecca. She plays anything under the sun,
especially in the realm of new wave and post-punk, as well as lots of newer stuff, like Blank Dogs, Ratas
de Vaticano and bands on the HoZac label.
To find out what bands are coming to Austin during the monthly Scion Garage Shows, visit scionav.com/garage
WaTcH vIdeos from THe scIon a/v vIdeo serIes
aT scIonav.com/musIc/scIonavvIdeo
THE
ART OF
L
A
M
M
JEFF
Story: Brian Costello
Hairy one-eyed monsters, skull-faced greasers, space-travelling junk robots, collegiate types
dreaming of Frankenstein…these characters created by Jeff Lamm (and many more) have found
their way into the artwork for the Scion A/V Garage 7” series and more than 170 show posters.
IncludIng
Hunx & HIs Punx’s “Too Young To Be In love”
Lamm started doing artwork for bands when he was a student at the Art Institute of Pittsburgh. “I
went for commercial design,” he says, “but ended up doing more stuff for my band and dropped out.”
Afterwards, Lamm “floundered around,” working in a record store and eventually joining the Army
before returning to artwork five years ago.
Lamm’s creations are equal parts Japanese movie monsters, anime and the hot rod culture conceived
by Ed “Big Daddy” Roth. These influences stem from both his hobbies and his childhood. “Growing up,
my older brother was into ‘Big Daddy’ Roth, and he used to draw Rat Fink for me,” he says. “Roth’s
artwork would show up in punk magazines, and it sort of subconsciously comes out in my art in the big
eyes and the crazy tongues and the teeth hanging out.”
greasebat.com
To see Lamm’s artwork for the Scion A/V Garage 7” series and to hear the music, visit scionav.com/garage
WWW.ScionAv.coM/FiLM/neWgArAgeexPLoSion
Art by Jeff Lamm for the Scion Garage 7” Series
& the influences on Haunted Fang Castle
As the longtime reigning masters of garage rock that sounds like the soundtrack to an post-apocalyptic skate
punk film from the 1980s, the Spits seem like unlikely candidates to record a children’s album. But for the recent
Haunted Fang Castle, released through Scion A/V, they created a five-song EP and book that tells the tale of a
group of travelers on a journey to save a princess from certain doom. Spits drummer Lance Phelps breaks down
the childhood influences behind this one-of-a-kind project.
Scooby-Doo
Scooby-Doo was a huge influence on Haunted Fang Castle. In the original Scooby-Doo, they were these groovy
teens hangin’ out in a van, and they always had these great musical interludes when they were getting chased.
There would be these montages right after Scooby would yell, “Rets get outta here!” But in the style of the artwork, they did a really good job of capturing a moodiness and darkness that was very much for kids. We liked
how they would always have these blurry backgrounds, and the colors and the tones were very subdued. That
makes my hair stand on my head even now. I always liked the one episode where there was the glowing green
deep-sea diver. Oh, and that Tiki episode was great, when they were in Hawaii and there was the scary witchdoctor, and Shaggy and Scooby pretended they were barbers and sat him down in the chair and put a cloth over him
and went through a whole skit and then took off bookin’.
Scooby-Doo and all related characters and elements are trademarks of Hanna-Barbera.
ThunDarr The barbarian
After the original creators of Scooby-Doo kind of folded their hands, their next project was Thundarr the Barbarian. Seeing it now, you notice the same style of animation. It was a huge influence on Haunted Fang Castle,
because of its post-apocalyptic setting. It’s set after a nuclear war—thousands of years later—in this world of
swords and sorcery coming up from the chaos. After technology is destroyed, magic comes back into the world. It
was only on for two seasons in the early 1980s, but because it was done by the same team that made Scooby-Doo
it had a much older feel to it. The backgrounds were almost like they used watercolors. Cartoons now are in these
simple, primary colors. It’s amazing to watch Thundarr as an adult and see how tripped out it was and that this is
what they were showing kids. So many of the cartoons from that time are actually way more intelligent and show
more artistry than what’s going on today.
Thundarr the Barbarian and all related characters and elements are trademarks of Ruby-Spears Productions.
SCION GARAGE SHOW PRESENTS
STory bookS anD recorDS From chilDhooD
At first we knew we wanted to make Haunted Fang Castle childish, and it developed from there. We first wanted
to do a coloring book, but then we got into the idea of these record books from when we were kids that would
ding when you turned the page. I had one called Spiderman vs. The Wolfman that was really freaky and scary. Of
course, there was also Dungeons & Dragons. I never played it, but I liked going through the monster manuals and
reading about the different spells and creatures.
PoST-aPocalyPTic FilmS From The 1970S anD 1980S
Movies like Class of Nuke ’Em High, Mad Max and The Terminator are a constant for us. We reference this
stuff a lot, even if it’s not referenced verbally. Growing up, those movies had a pretty big impact. Mad Max
and The Road Warrior—they’re both classics—but the second one, The Road Warrior, is when the bad guys
are really mutated. But yeah, anything dystopic, like A Boy and His Dog kind of stuff that talks about the ravaged wasteland of the future.
PSycheDelic muSic, PSycheDelic arTwork anD kiSS
We wanted to tie in a late-1960s psych rock influence with this children’s book. There was all kinds of artwork
from this era. We sent the artist [JJ Rudisill] a bunch of black light posters. We sent him David Mann stuff, the
guy who did the biker posters for Easy Rider, and Peter Max stuff from Yellow Submarine. With the music, 13th
Floor Elevators are always gonna be a big influence, as well as any Roky Erickson stuff. We’re all huge Dead
Moon fans, and Fred Cole’s earlier stuff like Lollipop Shoppe definitely played into this. Music Machine was
another influence. KISS was a definite influence, because they had action figures (they had everything) and their
own comic book. For us, this was a chance to do something outside the regular Spits repertoire and draw from
our childhoods of the late ’60s and ’70s.
THE HEX DISPENSERS
KING TUFF
WEDNESDAY, JANUARY 26, 2010
10:00 P.M. – 1:00 A.M. 18+
MOHAWK
912 RED RIVER ST. AUSTIN, TX
THURSDAY, JANUARY 27, 2011
10:00 P.M. – 1:00 A.M. 21+
THE EMPTY BOTTLE
1035 N WESTERN AVE. CHICAGO, IL
As told to Brian Costello
myspace.com/thespits
Listen to The Spits’ Haunted Fang Castle and download a PDF of the accompanying book at scionav.com/thespitsep
FREE WITH RSVP!
RSVP IS STRICTLY REQUIRED AT WWW.SCIONAV.COM/GARAGESHOW
EARLY ARRIVAL IS SUGGESTED AS SPACE IS LIMITED.
ENTRY IS NOT GUARANTEED. LINE UP SUBJECT TO CHANGE.
Story: Brian Costello
Photography: Sandy Kim
INTRODUCING...
SEX BEET
There’s a frenzied caterwaul to the music of Sex Beet. Death ray surf guitar solos coupled with trashed-out/
blown-out/fuzzed-out chords. Trillly, frilly, squealy organ wails. Dude squad gang shout vocals. Oh, and they do a
fantastically mangled version of the Beach Boys’ “I Get Around.”
And yet, the beaches of their English homeland aren’t really known as the stuff of inspiration (unless you’re Pete
Townshend writing Quadrophenia). “We dig partying on beaches, which is kinda hard, living in England,” says
vocalist/guitarist Luke Lust. “The beaches in the UK are awful: really cold and full of semi-naked ugly people. We
really don’t suggest ever going to one. The rest of Europe is better, though.”
Joined by drummer Tom Lust and keyboard player Just William, they believe what really defines Sex Beet is what
they don’t have. “For a start, we don’t have a bass player,” says Luke Lust. “We usually get at least one person
after each show telling us how much better we’d be if we had a bass player, and that kinda puts us off the idea
even more.”
facebook.com/sexbeet
Hear “Alone,” Sex Beet’s contribution to the Scion A/V Garage 7” series, at scionav.com/garage
Sex Beet in New York City
THE DIRTBOMBS
Photography: Bryan Sheffield
Though Mick Collins is primarily known as the leader of the Dirtbombs and a founding member
of the Gories, this champion of garage rock has also been fan of and occasional participant in
Detroit’s techno community since its beginning in the early ’80s. On the recently released Party
Store album, the Dirtbombs recorded covers of classic techno songs, including Cybotron’s
“Cosmic Cars,” Derrick May’s “Strings of Life” and A Number of Names’ “Sharevari” using live
instrumentation. Here, Collins discusses the connections between garage rock and techno, and
making them work together.
Garage rock and techno music have always been one thing to me, and it’s like that even in
the larger Detroit scene. The techno guys would go see rock shows, and at least a few of the
garage folks and I would go see techno. I went to see Rolando every chance I got, DJ T-1000
used to come see the Gories play and Carl Craig likes the Dirtbombs quite a bit. There was
never any real separation there. In the larger world, there does seem to be huge separation
between the two, but really the only group of musicians that tend to not go to other types of
shows in Detroit would be the hip-hop guys. You see country guys and reggae guys and punk
guys at everybody else’s shows. It’s all Detroit music.
Doing Party Store was a spur of the moment idea that I had: Release a single a month over
the summer, just to have something out for people to buy and know that we’re still alive and
kicking. They would be covers of techno songs. One would come out in June, one would come
out in July and one would come out in August. I have to admit, it was really a half-formed idea.
All the songs were recorded live. There were no edits. I could very well have played a chunk of
it, or had one of the musicians play a chunk of it, and loop it, but I thought it would be much more
interesting to see if we could make it through the entire song, or come up with an arrangement
that was different enough but still worked as a live recording. It got to be extremely repetitive.
“Strings of Life” and “Jaguar,” they were extremely repetitive, because in the originals they’re
just synth loops that come in and out. Trying to do that as a live act was very nearly impossible.
I have a short attention span, so it’s difficult for an album to really hold my attention for an hour.
I get bored. The best albums are usually singles comps anyway, or the greatest hits comps.
Those are the most interesting songs, and they put them all together. And even with those, I’m
usually gone after 40 minutes. So all of the Dirtbombs LPs have been a challenge in some way
to hold my attention. I’m one of those weirdos where as soon as the album is done, I’m on to
the next project already.
All the albums are exercises. In general singles for me are much more immediate, but I don’t
really have a problem with the concept album because you can do a concept album made up of
two-minute pop songs. So to an extent, every Dirtbombs record is a concept album. They can
be pretty tenuous or nebulous, but there’s always something there.
As told to Eric Ducker
Listen to Scion A/V Remix: The Dirtbombs—featuring songs from Party Store
remixed by Detroit techno artists Omar S, Ectomorph and Kyle Hall—at
scionav.com/thedirtbombs
Party Store by The Dirtbombs is available on In The Red Records.
The Dirtbombs in New York City
thedirtbombs.net
sCion a/v garage 7” series at n.y. hed
Photography: Bryan Sheffield
Every month at N.Y. Hed studios, two bands record a song for the Scion A/V Garage 7” series.
Located on New York’s Lower East Side, the studio is run by Ivan Julian and Matt Verta-Ray, two
garage rock devotees and veterans (Julian was a member of Richard Hell & the Voidoids and VertaRay is in Heavy Trash! along with Jon Spencer). Verta-Ray explains what makes N.Y. Hed the ideal
home for the 7” series:
Greg Cartwright from the Oblivians steered [the Scion Garage 7” series] our way. Greg was like, “Whoa,
whoa, whoa, hold on. We should go analog with this, this is garage music!” Now we’re recording all
the bands, some I’ve never heard of and some legends. They’re all really special and each has such
a unique sound.
The music is so tailor-made for the kind of equipment we have here at N.Y. Hed. We have all kinds
of tube gear and old compressors, and the whole place looks like a 1950s science lab. We have a
computer that we sometimes record on and we use it for the automation of mixes once in awhile, but
overall the general feeling is that we’ve all been students of the history of recording, and when you
listen to music recorded from 1950 through 1970, there is a quality to it that music recorded in, say,
1997 just doesn’t have. We try and get that lost quality back.
[The recording process] changed because of the music business and musicianship and taste, but
there is an actual qualitative difference in sound that comes from analog recording, and that is what
we strive to achieve.
As told to Maud Deitch
nyhed.com
To hear songs from the Scion Garage 7” Series, go to scionav.com/garage
Cole Alexander of The Black Lips at N.Y. Hed in New York CIty
TOP PICKS:
LARRY HARDY
Larry Hardy, owner of beyond-respected record label In the Red and host of “In the Red Radio” on Scion Radio 17,
spotlights the music he’ll be listening to in the coming months.
THE DIRTBOMBS PARTY STORE (IN THE RED RECORDS)
The next Dirtbombs record will be all covers of Detroit techno. In the Red is releasing it as three 12-inches, like
Public Image Limited’s Metal Box. Some of it sounds kind of like German music from the 1970s. There will be a
20-minute instrumental on it. I think it’s going to surprise a lot of people. I’ve heard it so much I’ve lost track of
the fact that it’s something put out by the Dirtbombs. I think it’s really great, but it is also really weird.
TIMMY’S ORGANISM RISE OF THE GREEN GORILLA (SACRED BONES RECORDS)
Timmy Lampinen sent me a bunch of their music, and I know this album is gonna be awesome. He’s done some
amazing bands in the past, bands I’ve put out, like Clone Defects and Human Eye. At some point I’d like to do
Timmy’s Organism as well. The Clone Defects were more of a straight-ahead punk/rock & roll band, though they
had hints of Timmy’s arty weirdness. Human Eye took that arty weirdness and made it the foundation of the
band. They took their music into more of a psych/prog direction. Timmy’s Organism, to me, sounds somewhere
in between the two previous bands.
DAVILA 666 TAN BAJO (IN THE RED RECORDS)
This is coming out in February. They’re from Puerto Rico, and the songs are in Spanish. I did one album with
them before, and this new album is a bit darker and weirder than what they’ve done. With this album, they’re
working with samples. The results aren’t even remotely hip-hop, they are still more of a garage band thing. It’s
somewhere between Jesus & Mary Chain and Black Lips. Also, they’re an amazing live band.
THE GREENHORNES **** (THIRD MAN RECORDS)
This will be out on Third Man, Jack White’s label, and The Greenhornes’ rhythm section also plays in the
Raconteurs. They’re a band from Cincinnati. This will be their first album in a couple years. They have kind of a
British style, sounding like a modern take on the Yardbirds.
WHITE MYSTERY
This is my favorite of all the bands Alex White has done. I put out the two Miss Alex White & the Red Orchestra
albums. White Mystery is a two-piece with her brother Francis, and they have matching big curly red hair. When
they played in Los Angeles, their cousin got on the stage, and she had similar hair to Alex and Francis, only it was
brown. They looked incredible together.
intheredrecords.com
Listen to “In the Red Radio” at scionav.com/music/radio17
ForThechiLdren!
buddYheAd.coM
Never afraid to say what they really think, the
folks at buddyhead.com offer hilarious—and
occasionally brutal—blog posts, reviews and
interviews covering the legends and failures
of the music world.
As a comprehensive music
site,conseqeunceofsound.
net offers news, reviews and
features on the music both
in your consciousness and
far outside your mind realm.
conSeQuenceoFSound.neT
viceLAnd.coM
The online comPanion To Vice magazine, VicelanD.com iS a
culTural craSh-lanDing ThaT TellS The STrange STory oF moDern
TimeS Through muSic, ViDeoS, youTube rounDuPS, FeaTure-lengTh
DocumenTarieS, reViewS, inTerViewS anD much more.
Strange Boys at Scion Garage Show, Brooklyn
Mannequin Men at Scion Garage Show, Brooklyn
Bad Sports at Scion Garage Show, Brooklyn
AbouT ToWn
Nobunny at Scion Garage Show, Brooklyn
Guest and Director Ace Norton at The 2010 Vice Photo Show at Scion Installation LA
King Khan & The Shrines at Garage Fest, Lawrence, KS
Mick Collins (The Gories) at Garage Fest, Lawrence, KS
Jack Oblivian at Scion Garage Show, Brooklyn
Jack Oblivian at Scion Garage Show, Brooklyn
Photographers and Curator from The 2010 Vice Photo Show at Scion Installation LA
Human Eye at Scion Garage Show, Brooklyn
Ed Emberley at the Ed Emberley and Friends exhibition at Scion Installation LA
Saelee Oh at The 2010 Vice Photo Show at Scion Installation LA