10/1 All them Witches @ Zanzabar

Rock & Roll is alive and well and living in Tennessee. Nashville Bands like Megajoos are keeping the torch fires burning for the time when the rest of the country decides to return to the church of rock n roll. a relatively new Nashville rock band, All Them Witches, will be playing on oct. 1 at Zanzabar.

Editorial: Record Store Day 2014

Last year, Record Store Day officially claimed Jack White as their ambassador to the masses. Now this makes sense due to the man’s accomplishments with the vinyl medium (pioneering the triple decker record, the liquid record, and the 3rpm record), but it seems to me like all he did was walk around URP and touch stuff. This year, the ambassador is Chuck D, who challenges independent record stores to start their own pirate radio stations.

It’s noble enough of a proposal, and while RSD boasts impressive releases every year and continues to enrich the record store community throughout the country, the list on their website is the standard that people follow when drafting their picks for the holiday. This year had plenty of great releases on the list including pieces from LCD Soundsystem, Pharaoh Monch, Built to Spill, Christian Death, Sam Cooke, The Yardbirds, Devo, and everything inbetween; the only problem is that the list is incomplete year after year, excluding most of the country’s independent label releases (don’t worry though, there’s a link to Warner’s online store on every page of their website). In order to consider this flaw effectively, one has to acknowledge the duality of RSD’s existence: there is Record Store Day the organization, and Record Store Day the third Saturday of April.

The organization was founded in 2007 when a coalition of record stores met to discuss an event similar to Free Comic Book Day, the following year spawned the first RSD celebration at Rasputin Records in San Francisco. Since then it’s been an annual event, expanding to most of the independently owned record stores in the country.

I started observing Record Store Day in 2010 when the Flaming Lips released their version of Dark Side of the Moon with Henry Rollins, Peaches, and Stardeath and White Dwarfs. Since then it’s been a ritual; I think I’ve only missed it once but I could be wrong. Every year it’s the same people at the same record store, Toxic Beauty in Yellow Springs, Ohio. The event’s created quite a loyal community, none of us even live in Ohio anymore but for some reason we all make the trip up and camp out in front of the store the night before. Likewise, when the sun rises there is a line down the block and store owner Josh Castleberry sprints with a smile to open up for his best business day of the year.

The campers.

The line.

I never can buy much but it’s always fun and I’ve been able to add a little flare to the collection. This year my little brother Hayden camped out with us and we were the first two in line. He was the only one who's ever thought to bring a deck of cards. I just picked up the Ramones’ MELTDOWN 10” and Nirvana’s Pennyroyal Tea 7” at the store and saved the rest of my money for Culture Cringe’s Megajoos/Roman Polanski’s Baby split 7”.

Just trying to kill those last couple hours.

As the event continues to strengthen, the presence of the independent record store in the US and abroad, one must ask “what are they doing for the independent record label?” With hundreds of releases each year and thousands of participating locations, why is it that the majority of the pieces on the official website are put out by major labels? In an interview with NME, Chuck D said “The record stores are sonic libraries that can offer the curation that the record companies cannot and will not do.” Though the ambassador’s speech is on point in exposing the major labels’ exclusive pursuit of profit, the organization still caters to them.

Music retail has been on the decline in the past decade and the independent record label is gaining an audience through online and small-run releases; the money in the music industry is shifting toward live performance and merchandise sales. So with such a powerful presence in the record community and such goodwill for the future of music, why is it that releases like Gubbey’s New Brovado single isn’t an “official” RSD release, and bands like The Pass and Megajoos are having their singles postponed by pressing plants to make way for said “official” RSD releases? Would it be so hard to draft a regional, submission-based list and send out stickers to the small labels who self-distribute? I still love record store day and will continue to attend as often as possible, but the true spirit of the event remains lost in its organization. 

New Brovado's RSD single "Sol Similar" may still be available at better record stores near you.

Review: Megajoos, Roman Polanski's Baby, Thelma and the Sleaze at Keghunters (Lexington)

After a fiasco that resulted in The Haymarket canceling the March 22 Megajoos, Roman Polanski's Baby, and Vibrolas show just two days prior to the scheduled date, we at 37flood were worried that there wouldn't be a chance to catch some of Nashville's finest before they headed further North on tour. Luckily though, they were able to score a couple slots at Keghunters MCC Clubhouse in Lexington. With only a small handful of promotions online, one telling attendees to "bring your own bullwhip," we knew we were in for an experience. Good or bad, it's a story to tell, right?

Immediately upon entry to the clubhouse backyard all doubt was devoured, we were greeted by a single member taking money at the gate and throwing in "free limited edition beer koozies while supplies last." 

With such a small audience and most of the bands showing up early to get situated before the performance, the atmosphere was more like a community cookout than the conventional show dynamic where artists and audience are separate at all times. Everyone was just hanging out by the fire and having a good time, which provided a very intimate environment for performers and spectators alike.

Lexington natives Tenth House performing in an early slot

There were five bands total performing, including Lexington natives Tenth House and The Jive Hounds. Megajoos took the stage right as the sun was setting, opening their set with "Salads and Greens." Immediately the presence of this band was overwhelming. Similarly to their studio work, Megajoos' live performance had an energy and depth that is rarely achieved by a two piece band. We've never understood how they get such a huge sound. In a rare move, the frontman removed his mask after the second song, which added an unusual amount of familiarity to this performance. They even shared "Hungry for Souls and Funyuns" from their upcoming Culture Cringe split 7" with Roman Polanski's Baby.

Megajoos (sorry. all identities protected on 37flood)

Up next was Roman Polanski's Baby, and at this point Lexington was in the low forties with strong winds. However, this didn't deter guitarist Rachel Warrick from delivering a knockout performance with supercharged punk riffs and precision accuracy. Lead singer Katie Miller set the trend for the rest of the evening, deciding to forego the stage altogether and sing from the audience, running back and forth with a presence reminiscent of Darby Crash (sans self mutilation). RPB also shared new material from Culture Cringe's approaching split single.

Roman Polanski's Baby

For those who believe showmanship is a dying art, I submit Thelma and The Sleaze. Adorning less-than-insulate stagewear, these girls played for nearly two hours into the night with temperatures steadily declining. Vocalist and lead guitarist LG was stationed in the audience with the rest of the band playing from the stage accompanied by an illuminated nativity angel that had its face painted like King Diamond. Their sensually natured subject matter and explicit stage presence combined in a manner that was both speculative and engaging for the audience. In true rock n' roll fashion, they kept jamming until the cops arrived to break up the party.

LG rides Chase's bass drum while shredding

In all, this was a unique experience that I've never found anywhere else. Shoutout to Keghunters MCC for knowing how to have a good time, and shoutout to all the bands for being genuinely cool people.

Megajoos and Roman Polanski's Baby Spring tour dates:

3.20 Athens, GA at The Caledonia Lounge with SHEHEHE

3.21 Asheville, NC at The Skanktuary with The Dimarcos
3.22 Louisville, KY at The Haymarket with The Vibrolas
3.23 Cleveland, OH at Now That's Class Matinee show
3.23 Bowling Green, OH at BLV House with Don't Get Bored and Dog Bosser
3.24 Detroit, MI at Garden Bowl with Peach Pit
3.25 Chichago, IL at The Burlington Bar with The Holy Alimonies
3.26 Minneapolis, MN at Eagles Club 34 with Vellhouse, Blood Cookie, & Kitten Forever
3.27 Omaha, NE at O'Leaver's
3.28 Kansas City, MO at Mills Record Company matinee in shop
3.28 Kansas City, MO at Vandals with The Bad Ideas & Faultfinder
3.29 St. Louis, MO at Foam with SKULL & Kenshiro's

Logan's Best of: 2013

We’ve been in the new year for a little while now and I may be a little late on this, but 2013 was a huge year for music and there’s so much amazing material to sift through. So here’s a short comprehensive list of the best music the year had to offer.

• Chance the Rapper: Acid Rap-

         This is the most original rap album I’ve heard in years. Imagine Andre Benjamin but as a 20 year old Chicago kid instead of a southern gentleman. He's had two mixtapes so far and both are available for free on his website. Acid Rap is both a tribute to Chicago's history and a leap into its future. 

• Eminem: The Marshall Mathers 2 LP-

            Don’t call it a comeback... because it's almost certainly his last album. It's definitely his best album since his real comeback in 2009. Unlike his more uplifting albums Relapse and Recovery, what makes the MM LP 2 stand out is that he's gone back to doing what he does best- being angry.

• Sunn 0))): Black One-

            Technically it was just an unofficial RSD re-issue, but this was one of my favorite records I picked up all year. Really good album to listen to if you don't want to go outside or if you don't believe in electric lights.

• Gubbey Records: Head Cleaner-

            This compilation is over two hours long and features fourty six Louisville acts. Read our Full review here.

• Vampire Weekend: Modern Vampires of the City-

            After a three year break, Vampire Weekend went back into the studio with producer Ariel Rechtshaid (known earlier in the year for Snoop Lion's album, Reincarnated). This was the first time they've ever brought in an outside producer since keyboardist Rostam Batmanglij usually produces their albums. It seems like a weird combination, but they're exploring a lot of new territory with this record.

• Portugal. The Man: Evil Friends-

            I was really excited to hear that Danger Mouse was in studio with Portugal. the man. Immediately I thought they'd go back to the synth-heavy styles of Censored Colors and Church Mouth, but this listens more like one of those collaboration albums Danger Mouse is known for. 

Nick Cave and the Bad Seeds: Push the Sky Away-

            This has been a constant listen since its release in February. Push the Sky Away is mainly built on a set of loops Warren Ellis made that the Bad Seeds played over to bring structure and depth to the sound. Lyrically, it's some of Cave's most ominous work.

• Megajoos: Mega Deuce:

            Megajoos (pronounced: mega-juice) is an experimental drum and bass outfit from Nashville. Some guy flagged me down in a Post Office parking lot and gave me their CD, and judging by the cover I didn't know what to expect, but these guys bring the fuzz. They kind of remind me of the Pixies' good stuff.

• Zorch: ZZOORRCCHH-

            I'm not sure how they got the name Zorch, I'm sure there's some sort of agreement with the older band by the same name. As I said in an earlier review, Zorch has everything it takes to be America's next big two piece, but their psychedelic electronic prog style might be too much for the masses to handle.

The Flaming Lips: The Terror-

            The Lips turned a new leaf with their 2013 release. Since keyboardist Steve Drozd is 100% sober now, it seems that Coyne gave him the wheel and let him steer the ship. The happy go lucky "it's great to be alive" band that you've grown to love is still in there somewhere, but now they're saying something more like "it's terrifying that I'm alive." 

That's all folks. Enjoy the tunes and good luck out there in 2014.