Jack Lewis, Laura Gibson are at maybe to probably status.

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Ahhh, a light at the end of our proverbial tunnel. After the amazing show in New-Asshole, we were all ready for a final blowout in the Drugs hometown of Sydney. This was going to be HUGE. The venue itself was very spacious with a great sound system and Thai restaurant attached to the back of the venue. We all get sound checked and grab some food. While people are starting to crowd in, we finish our creams (beers) and watch as people flock around the merch stand and wonder who is this band from the States with all this shit for sale. The first band went on around 8:30 called FAIL, two girls and a guy (not a cup) who were really good.

After them was our pals the Traps who we played with in Wollongong. It was nice to see them perform to a large crowd and actually HEAR what they were doing as the sound at the Oxford sucked. Next up was us and we delivered a blistering 40 minute set with the sound cutting out from our minidisc on our last song, “Cuz We’re the Best.” I don’t know if it was the minidisc itself or if soundy accidentally fucked something up, but we skipped over that and went right into “International Rock Stars.” A good song to leave ‘em with I guess. The Drugs show was one of its best probably because everyone was glad the tour was over and we all went out with a bang. Actually more like an explosion. We sold out of nearly all of our stuff and only came back with a hand full of cds that we could easily put into our suitcases instead of shipping that junk home. As the crew van loaded up and took all our stuff back to the practice space, we all went in our own different directions. Darryl (drummer for the Drugs), his wife and I went up the street to some bar that had a live band playing what I could only guess as some sort of jazz shit. Only 4 people were there and we just sat there drinking our drinks until this couple came over (drunk) and started to tell us how much they liked this Reggae band (huh?) and how professional they all were and wouldn’t shut up about them. If this was an actual conversation with dialogue, I would have chimed in but when someone is throwing words around to describe something they don’t know what the fuck they’re talking about, I just let it continue to be her monologue which we all laughed about afterwards. Reggae? Really?!

The next day I spent in Darling Harbour trying to find the most tacky souvenir shops without much luck. The shit was bad but not as bad as I wanted it to be. We ate at a restaurant that sat on the 2nd floor with an open balcony overlooking the waterfront. I needed to find an ATM so I went looking for one. Along the way I see this guy sitting at another restaurant with a silly looking floppy blue kind of pimp hat on with some blond lady. This dipshit stopped me in my tracks cuz he was a) really dumb looking and b) oddly familiar. I was trying to rack my brain as to who this guy was (or looked like) then said fuck it and kept going till I found an ATM.

On the way back to my friends I saw this guy getting up and then walked in front of me. He was really pasty and had on tight rocker pants, dumb rocker hat and a retarded unbuttoned shirt. I figured he must be American and I was right. It was fucking Scott Weiland. Velvet Revolver was playing that night and I saw posters for it everywhere, but I didn’t expect to see that prick right in front of me. Oh well, I could care less and went back to my table, finished my food/drinks, forgot to tell the people I was with (that’s how much I cared) because we were talking about floor covering or caulking or something that was more interesting than that asshole.

Now we’re back home finishing up the next album, which should be done by summer. What did we learn from our travels? Australians are funny cunts that live on an expensive island, girls are genetically bred to be uber-hot, douche-bags extend beyond any given border/country and lamestream radio is everywhere. But within all that are some awesome people and were glad to have made friends with them all.

It’s good to be home!

Links:
Punk GroupSpace

“Manly” photo courtesy of the Punk Group

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Our ride is a big old 15-seat Club Wagon van, with “UNIVERSITY PARK BAPTIST CHURCH” painted on the side in faded lettering. The car in front of us is a little SUV with “NOMADS” mysteriously printed on the spare tire, driving painfully slow through the curves. We finally reach a short passing lane on a rare straight stretch of road, and Paul punches it. The van blows by—er, slowly chugs—past the little SUV just in time for the next corner.

“Yeah NOMADS, that’s how the Baptists do it”.

Ah, the life of a touring band. I’m not in one, so I’d never experienced it, despite that being a major goal of mine since I started this music photography nonsense. Fortunately, Point Juncture, WA was heading out and I managed to get a week off of work to tag along with them through Colorado, New Mexico, Arizona and California. I got closer to these people than I ever imagined I would (i.e. shared beds and floors). I laughed a lot, drank a lot, and played a lot of travel scrabble.

Spend all day in a van with five other people and everything becomes a lot funnier than it should be. For example, the above opening anecdote was, at the time, totally hilarious. We met tons of awesome people and saw a lot of the country I’d never seen before. I also gained a healthy respect for the countless musicians who tour the country playing music, particularly the ones who should be famous but barely break even by the end of the tour. It’s exhausting, frustrating and rewarding all at once, and I tip my hat to all of you who keep doing it for the love.

There have been a lot of great tour diaries on LocalCut, but I’m not a writer, so I prefer to tell the story through pictures with the occasional humorous captions (hold your mouse over the photo for those)—hope you enjoy.

Links:
The entire photoset on Jason Quigley’s Flickr page
photojq.com
Point Juncture, WA

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I got a lot of responses, many of them sarcastic, but I even had to cut a few good questions from our 20 minute phone conversation last week. I found that talking to Biafra was somewhat like reading Ralph Waldo Emerson. At times each can lose you in long-windedness, but just as you think they’re going nowhere, they strike with a well-phrased, sharp observation. It was a little hard to stay on track sometimes, but by the end of our chat, questions from members of Generation, the Professional Man, Riot Cop, Autistic Youth and others prompted Biafra to claim that there is no such thing as a “punk movement,” argue that “subtlety is poison,” and outline the latest offences of “retro incorporated.”

Monica Nelson of Generation, who also used to be in the Obituaries, would like to know what you think is the single most frighteningly urgent social issue facing the US today.
I’m getting asked that question in every interview and I’m not a sound bite kind of guy on that or I wouldn’t be onstage for four hours with a break in the middle trying to get my point across! I’m really frightened with that new bill they just passed legalizing torture and detaining people without trial. I think that’s absolutely horrible because if it’s already happened to Mumia Abu Jamal it could happen to me too. I don’t want to be the next West Memphis Three and neither does anybody else. Detaining people without trail and the army talking about keeping the innocent people they can’t get a charge on in Guantanamo Bay for the rest of their lives—this is wrong. Torture is not okay. This is what we fought WWII and the Nazis to prevent, and here we are becoming rah-rah, American-flag Diseyified Nazis.

Nelson also followed up by asking what we can to bring about change other than writing politicians.
Our president doesn’t even know how to read, what good is it to write him? I think that a lot of people claiming to represent us in Washington are basically crawling around as a one party state masquerading as a two party state, in search of as many shades of brown lipstick as they can find so that they can get gazillion dollar lobbying jobs and corporate board of directorships later. Local elections are still really, really important. I mean, didn’t you get a ballot initiative through that restricts local government’s ability to have any environmental regulations or anything on private property owners, and the State’s in the hole for five billion dollars with law suits? Now California has the same measure on our election ballot this fall and there’s no press coverage of it whatsoever. A lot of people are thinking, “Oh cool! It’s against that Supreme Court ruling on eminent domain,” and that was a bad a ruling, but the far extreme anti-environment right snuck in all these other clauses so they can wipe out all rent control, all zoning, all land use laws and the whole state can be paved over and turned into Houston, Texas—you know, one of the ugliest most putrid cities in America, in no small part because they have no zoning laws.

So the short answer would be local politics?
It really matters. Especially when you’ve got Bible thumpers waiting in the wings who are organized, it really matters who’s on the school board, who’s the mayor, who’s the city council, who’s in the legislature. Those things are really important.

I guess the next question would be, “Does it matter who’s in the punk band?” This comes from Justin Spite of Riot Cop, and he wonders if you think punk rock is still an effective medium for inspiring positive social change.
Let’s face it, people talk about a punk movement and a punk scene, and I try to stay away from that mentality entirely. Number one, there’re so many sectors of “punk scene” who try to claim themselves to be “the scene” there’s point in trying to stitch them together anymore. Number two, was punk ever a movement, or was it a really rocking form of entertainment that inspired some people to do some really cool activism. Not all punk did. I mean, how many fans of the Circle Jerks and Damned immediately wanted to run out and protest Reagan’s helping the death squads in El Salvador? It attracted all kinds of different people, militants on both sides, especially when the skin heads came, but there’s also a huge group of people who are militantly apathetic, or so they think. But of course, at least in my mind, declining to participate and fight the power or support the power is in itself a political act.

Do you think a lot of punk bands are taking that action and being apathetic these days?
There are so many punk bands I see no point in paying attention to that. I mean, I tuned out of commercial mainstream pop culture around 8th grade, and even then it turned out there was so cool stuff in the world that life was too short to listen to boring music or watch crappy TV shows just because everybody else liked them. And that’s the way I feel today. People are so upset about what happened when Green Day and Rancid and the Offspring got so big and that now we’re plagued by the Blink 182s, New Found Glories, and Sum 41s of the world, but you can either obsess on that, or tune it out! If you don’t like what’s on MTV, don’t watch it. I don’t have cable in my house and the main reason is that that way bands staying in my house can’t watch MTV on my time in my home. So I’d say, quit bumming out on what’s happened to the scene and start supporting stuff you like. My musical tastes are very, very wide. So there’re always new songs that excite me, even if they were recorded 50 years before I was born. Anything I haven’t heard is new to me, and if it’s cool, I dig it. And that’s even the same for punk. If a band is really good at what they do, and preferably adding a new wrinkle or a badly needed dose of dementia, then I’m right there, I’m into it. It’s the wannabes and the copycats with no soul that I have no time for. I don’t care if you sound exactly like TSOL, I’d rather listen to TSOL.

Arya Imig, a DJ at Portland State University’s radio station, KPSU, wonders what you think about the deifying and eulogizing of the punk movement through documentaries like Punk’s Not Dead, and Punk: Attitude, and American Hardcore.
Well, I already denied the existence of a punk movement. Fashion? Yes. Entertainment? Yes. Sense of belonging and commeradery? Yes. But that alone is not a movement—a movement has to have an eye on a prize, a goal. What does this movement want to accomplish? More punk rock? That’s not a movement. That’s entertainment, fashion, and a lot of good music, but it is not a movement.

But what do you think about deifying the old punk bands?
One of the reasons that some of them sound so special and unique today is that they came along early enough that they didn’t just draw all their influences from other punk and hardcore bands. Anybody who wants to dig this music and play it well, and write really good songs that people are going to remember, has to dig to the roots of the roots. Deifying isn’t the right approach. There’s nothing wrong with learning from the past, or enjoying the past, but living in the past and deifying the past is poison. I mean sure, we [Alternative Tentacles Records] put out albums by some older bands that have reformed, but it has to be good new material by a band that’s in it to keep going, rather than just play a bunch of old songs and run off with people’s money like the ex-members of my band. They’re not quite as low as running out with a pretty-boy movie actor substituting for Darby [Crash] and calling themselves the Germs. That’s the lowest that retro incorporated has reached yet, but the fake Dead Kennedys is second on the list. I’m totally embarrassed by all they’ve done to try to dumb down our band. I’m not ashamed of the band itself, or our music. I think we were pretty good, and part of the reason is that since I was writing most of the music, I always had myself under a lot of pressure to write songs, you know music and a lyrical angle, that was not like everyone else’s. Even Bedtime for Democracy which is pretty straight hardcore, has a lot more kinds of hardcore on it than just one.

Why were you under particular pressure to do that?
Because I cared more than anybody else in the band about the band being good. But basically it does frustrate me when people come out of the wood work and flock to a show even if it’s some old English band that released one single back in 1981, and then when a really great, special, local band pops up like Phantom Limbs or the Fleshies down here [in the Bay Area], those people don’t show up.

Chloe Bardacke from the Profession Man asks if you think there’s any way to incorporate the punk pseudo-fans who watch MTV into a forward-thinking community.
You never know who those people are going to be. There are some who come up to you years later and say, “Here’s a recording of my band,” or “I decided to stop majoring in business and do something more interesting with my life,” or you know, “I went to law school, but now I specialize in suing the police for brutality.” That’s called taking punk attitude and punk politics and applying it to real life, and meeting people like that is what keeps me going. That means a lot more to me than somebody who just tells me I’m God and wants an autograph.

What message do you use to try to bring in the people who are on that cusp?
I’m not an evangelist. I’m not out to convert people to some agenda. I have very strong, blunt opinions and I believe in whacking people over the head with them. Subtlety is poison, especially when it comes to good art. I just toss out there what I’ve got and hope to spread positive disease. I never know what’s going to become of it.

Do you really think subtlety is poison, even in literature?
I believe in freedom of speech. If people want to be subtle, fine, but it’s not what interests me. I like art by people like HR Giger, and Winston Smith. Subtle paintings on hotel room walls do not have the same inspiration for me. That’s the way I am. That’s my attitude toward music, literature, broadcasting, you name it.

What’re some of your favorite books of literature? Poems? Novels?
I spend most of my time reading periodicals to keep track of what’s going on in the world. Of course Fear and Loathing in Las Vegas–I think there’s a lot more of that in me than most people realize.

Nick Vicario of Absolute Rulers and Autistic Youth asked sarcastically, “Ask Jello if he’ll join a band with me.” But I’m actually wondering if you do frequently jam with people on a casual basis.
I don’t. I only have so much time in the day. I got a label, I got the spoken word thing, I got all kinds of things going on. But yeah, I gotta do something because they want me on that Reverend Horton Heat tribute album, and I wanna do something with a sharp set of teeth. There were supposed to be more shows with me and the Melvins this fall, but Dave Stone, the bass player we had in Portland and Eugene had a falling out with Buzz [Osborne] and Dale [Crover], and I tried to smooth things over but it didn’t work. So the Melvins went out with the bass player who knew all their other stuff, you know Jared [Warren] from Big Business, and now he’s with the Melvins on this tour too. But they only had a two week window after they recorded their new album to rehearse Big Business, new Melvins, and old Melvins, and so the stuff with us fell by the wayside. Buzz didn’t think we’d be able to get it down with just a two week window and he was probably right. Unlike my ex-band members, I don’t believe in doing music shows half-assed. I like the band to be tight and filled with fire.

Do you miss having time to play music more often?
Sometimes yes, sometimes no because I know what the touring grind takes out of me also.

Is a speaking tour less hard on you?
It’s less physically draining in the short run, but since I do such long shows it can creep up on you in the long run. Plus I’m doing all the driving too.

The last question is from me. I was wondering if you’re aware that Portland is the best major city for biking in America?
That’s especially good for a city with so many steep hills.

And where rains all the time, too. I listened to your new record, and you talk a lot about the advantages of trains and public transit, so I thought I’d see if you’re into biking at all or have any thoughts on that.
I have a bicycle, but I haven’t ridden it in a long time. I need to get it fixed up. If you think Portland has hills, try riding a bike in San Francisco. People do of course, and I gotta give up to those bike messengers who speed up and down those steep hills everyday, though a lot of those guys I’ve known over the years are serious tweakers also. But I gotta give it up to them. They’re a tribe of their own.

Is human powered transportation something you’d like to see grow?
I think it would be better these days to actually do the whole tour traveling by rickshaw pulled by Republicans. I bet if I dangled a hundred dollar bill a few feet in front of him, even Dick Cheney could run for hours.

Photo: Jello Biafra in a regular, everyday getup.

Jello Biafra has three speaking dates in Oregon:

10/24 WOW Hall, Eugene
10/25 Domino Room, Bend
10/26 Disjecta, Portland. 7 pm. All ages. $12.

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In the first months of 2004, Jake began listening to KPSU during his shifts as a night custodian at the Northwest College of Naturopathic Medicine. In April, the station’s annual pledge drive rolled around, and an on-air personality mentioned that anyone can become a DJ at the station.

Jake filled out an application the next day. He had just formed his band, then called Enchanted Forest (later Enchanted 4ST and now Childhood Friends), but he lacked the connections with other local bands to get many gigs. When I met with him a few weeks ago at the Ninth Avenue Pub to reminisce in preparation for this story, he said, “I wasn’t all that connected to the local scene and I thought a radio show would challenge me to find it.”

After interning for a couple of weeks, then 21-year-old Jake Rose pitched his idea to the station’s staff: A late-night, sci-fi themed, two-hour show with a live performance by a local musical guest every week. The premise of the show was that the Trojan Nuclear Power Plant outside of Portland experienced a meltdown, and in the chaos, Dr. Clear, a thinly veiled metaphor for Clear Channel, completely took over music in the Pacific Northwest. The “underground scene” was literally driven underground, into the sub-basement of PSU’s Smith Student Center, which Aarik Miller of Curse of the Carousel Pony called “Thousands of feet below the Earth’s crust” during his band’s December 12, 2004 performance. Led by DJ Glower, who took his name from the nickname for workers at the highly toxic plant, who were rumored to glow in the dark, local bands fought against Dr. Clear, represented by a robot voice.

The Trojan Nuclear Power Plant was leveled on May 21, 2006, an occasion that Trojan Meltdown did not survive to laugh about on the air. The show’s first broadcast in late April 2004 featured the Jesus Burger, a noise collective who counted the number of ads in a Rolling Stone—sixty-seven, I recall—and set the over all tone of experimentalism and controversy that would follow the year-long run of the show on KPSU.

I attended some of the first few broadcasts of the show simply as a spectator, who would occasionally ask the band a question during the interview after the performance. After a few weeks, Jake asked me to join the show as an official-unofficial co-host. Jake and I were the first to play a number of great local bands including the Shaky Hands, Rhythm of ’84, Show Me the Pink and Euromotion, all of whom performed on the show.

Around this time, KPSU was engaged in an increasingly high-tension negotiation over their AM signal, which they rent from KBPS, Benson High School’s radio station. The director of KBPS was a PE coach named Bill Cooper, who wanted to deny KPSU a renewal of the $40,000-plus per year contract because the station did not offer “family programming.” Cooper wanted to replace the college broadcasts with coverage of high school sports.

Although upon our arrival at the station, we had been told by other DJs that we didn’t have to worry about the rules that governed on-air content, by July 2004 the climate had changed. When the Rhythm of ’84—who arrived drunk and consumed an entire case of wine during their visit to the station—said “fuck” over 50 times on the air, KBPS complained to KPSU, and we were given our second “strike.” The first was the result of a failure to fill out the proper paper work during the first few weeks of the show.

Before we get to the demise and resurrection of Trojan Meltdown, I’d like to recap a few of the greatest performances. In August 2004, Plan R brought a small entourage to sing back up vocals and singer Colin Grigson climbed on the equipment and furniture during the show, as though he were performing at a house party or club. He also gave the funniest interview in the history of the show, during which he insulted his grandmother for buying him CDs for Christmas and not records, saying “CDs are a pile of poop!”

We booked rising stars Euromotion—our highest profile guest to date—for December 19, 2004. The band, who hails from the year 3012, arrived in full concert regalia complete with furs, sunglasses, fog machine and lights, despite the fact that only three people were present in the studio—they had requested a skeleton crew for the broadcast, free of extraneous hangers-on. Witnessing a private performance from Euromotion was the peak of the show for me.

But Show Me the Pink’s visit in March 2005 comes close. SMTP also brought an entourage, in this case arriving by mini bike. The six-piece was the sweatiest, rowdiest and loudest guest we ever hosted. I had fun interviewing the bicycle and sex-themed dance band by pretending to be really ignorant and asking stupid questions like, “So ZooBomB is some sort of terrorist organization, right?”

In late April 2005, Jake wrote to tell me about our guest for the one year anniversary of the show. He had come across a garage-punk band that he thought was so good he couldn’t believe they weren’t local celebrities yet. Like Euromotion, Swimmers arrived wearing elaborate outfits, in this case, a child’s Indian costume and a bear suit, among other disguises. The only difference is that Swimmers didn’t normally wear clothes like this to their shows. They specifically dressed for a radio appearance because they thought it was funny.

By this time, Bill Cooper was listening to every single broadcast of our show because he had marked it as the most offensive on the station. During a hearing earlier that spring, four clips from KPSU had been used to demonstrate that the station was not family friendly. Two of them came from Trojan Meltdown.

Jake and I had made a habit of giving shout outs to our biggest fan. We’d dedicate the most abrasive or obnoxious track we were going to play that week to Bill Cooper. It was, “I hope you like speed metal, Bill, here’s a new one from JonnyX and the Groadies,” or “And now, a request from Bill Cooper, ‘Tight End Wide Reciever’ by the Punk Group.”

During this particular broadcast, we decided to send out the Rhythm of ‘84’s “Electric Sex” to our pal at KBPS. I said, “This one’s for Bill Cooper because I want to have sex with your daughter.” Jake shot me a look of terror, afraid I’d crossed the line, so I tried to cover: “I don’t actually know if you have a daughter, Bill. I hope she’s not nine.”

The Swimmers proceeded to play an amazing set, and just before their second to last song, vocalist Matt Nyce let an f-bomb drop in the stage banter.

The next morning Jake called me to tell me that we no longer had a show. Station manager Ava Hedegus had spoken at length will Bill Cooper and was awarding us our third and show-killing strike on the grounds of slander—apparently Bill had miraculously missed the swear. Jake and I argued extensively that what I had said about Bill Cooper’s daughter was in no way slanderous. If I had said I had had sex with his daughter, that would be slander, but it’s perfectly legal to express a desire to have sex with anyone, especially people who may or may not exist (I still have no idea if Bill Cooper has a daughter).

Although we won a few members of the staff to our side, the consensus was that we were reckless and didn’t care about the station, and even if we didn’t really slander anyone, we were too big of a liability to keep on the air. The truth is that we really did care about the station: Pledge week was coming up again, and we decided to release a compilation of the performances we’d hosted as a benefit for the station. We were also working on obtaining a high-profile local guest to play during the funding drive.

Jake and I briefly moved the show to KLC, Lewis & Clark College’s station, where I was a student at the time. We changed the format to a live-audience variety show with a cooking segment, and other skits in addition to a musical guest. Although our friends came and were pretty enthusiastic about the show, it proved to be many times more work than the KPSU show and we called it quits after only 5 episodes.

Talk of releasing our compilation was thrown around for quite a while, but we didn’t have the money to put it out. We were leaning toward titling it The Bill Cooper Comp, but Jake quickly became busy touring and recording with his band, and I began to use my knowledge of local bands (I’d interviewed over 50 of them on the air in the past year) to begin writing for Portland’s “paper of record” for the local music scene, Willamette Week.

A couple of months ago, Jake launched his own online music zine, Forest Friends Liberation Army Magazine. On his new website, he posted the entire compilation, calling it The Best of the 2004-2005 Season.

Jake hopes that his locally focused lo-fi zine will continue the spirit of Trojan Meltdown. Check out these hilarious venue reviews in the second issue, which came out earlier this month.

Photo: DJ Glower and Doctor Madness dressed as the Passion of the Christ and Don Quijote on Halloween 2004.

Here is the compilation’s tracklist, and a link to the downloads page.

1. Plan R – Smash the State
2. Mondo Hollywood – Put Me Out
3. Yuma Nora – You’d Like To
4. Euromotion – In a Perfect World
5. Curse of the Carousel Pony – The Puppet Thinks He’s a Real Boy
6. Julian Tulip’s Licorice – Suck
7. Jackington – Public Service Announcement
8. The Rhythm of ’84 – Electric Sex
9. Secret Puppets – Espazm
10. We’re From Japan! Larsen B (Experimental Version)
11. The Ad-Hoc Shock – Harold
12. Analog Anthem – Star System Rock
13. Jackmove – Too Pissed For Hard Love
14. We Quit – Bones
15. Workout – Six Feet Underground
16. JonnyX and the Groadies – Spelunking the Cave
17. Morgan’s Door – You’ll Never Know
18. Show Me the Pink – Nightmare Collector
19. Clorox Girls – Vietnam
20. Swimmers – Dance Headache
21. DJ Glower and Dr. Madness – Interview with Euromotion

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Thus, the estates (or the army of lawyers representing them) are dragging Dorr to court. “It’s basically going to bankrupt me and put me out of business” he told the O. As of the incident, he’s cutting live music out of Imbibe’s schedule.

From what I gathered from the O story, ASCAP (the knights of music licensing) have ninjas about town keeping tabs on this sort of thing so the next time your band decides to warm up the crowd with “You Ain’t Seen Nothin’ Yet” take a good look in the shadows. THEY’RE LISTENING.

The original story in the Oregonian is here.

Imbibe has a really sharp looking website here.

This is a photograph of money.

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It’s entirely possible that after this, another frequency will never again become available here (that is, of course, until the revolution/corporate media implosion…whatever). It’s also entirely possible that you think FM radio is obsolete, what with music being fed into Sirius recievers or WiFi cards in a steady stream of ones and zeros.

Then explain to me how corporate radio is at least 1/3 responsible (rough guess) for the ever accelerating homogenization and retardation of mainstream music, or how the AM dial can inspire a legion of right wing “freedom fighters” (ok, ok, a legion of upper-middle class desk jockeys stuck in traffic on their way to waste away the night at their model house in front of the television, while their teenage kid plots his own suicide).

Portland–the best fuckin’ music town in the US–has a chance now to take a little piece back, to have our “seek” button landing pad. No, we’re not talking about an on-air revival of the Portland Radio Authority. This is something larger, something new.

From Jeff Simmons, manager of the Portland Radio Authority:

>
There are rare opportunities in this world when people can get what they want. It is even more rare to get what we need. I have no background in radio, although I manage a radio station called the Portland Radio Authority. Coming to the station late last year, I was amazed to find a rather large collective of music lovers that had not really made a radio station, but a conduit of talent, energy, and love of music. Of course, as we all know now, they/we had been doing it illegally for almost 4 years. Things change.

If there is one thing i’ve heard repeatedly since becoming manager of PRA, it’s people asking for real honest-to-hoyle indie FM radio. As many of you now know, the chance is coming very quickly for Portland to make (exactly what we all really want) an independent FM Radio Station. A Non-Profit Non-Commercial licence will be up for grabs early 2007. Any Non-Profit Corps with all their ducks in a row will apply, online only, in a 5-day window. The applicants are judged using a point-system and lawyers. The organization that the FCC agrees should get the licence, gets it for free. That organization then has 3 years to put together a radio station that can exist right next to all the other stations on Portland’s FM dial. Big Time Broadcasting.

Todd from common frequency (dot org) has been helping PRA with this since Jan 2006. Here is what we need. A new non-profit must be formed. One that includes the ideals and agendas of musicians, club-owners, city-councilmen, and the audience alike. Based on the response to this email and my own goals for this new non-profit, we will start with a large-scale “town hall” type discussion that will bring the whole music and cultural scene together in one place. From this meeting and other communication, a board of directors will be formed for this new organization (place name here). The board, in my mind, will include mid-sized club owners, bookers, politicians, media people, independent musicians, and others who are passionate about bringing free FM radio to portland.

My goal is to make a FM radio station for Portland, not for the PRA. WE need a radio station that has the power and influence that Portland has on the world right now. KEXP but Portland style. KBOO but with actual variety. PRA with listenership. This project is gonna take everybody. Everyone of us. It will involve the energy of PRA, no doubt, but the station will belong to Portland.

Right now We need 2 things:

#1: We need to locate an established non-profit 25-30 miles east of Portland near mt. hood who has a mission that can benefit from the radio. The only way to find one is quiz EVERYONE you know. This corporation will actually apply to the FCC to gain maximum points, as the company
needs to be near the best location for a yet-to-be-built radio tower.

#2 We need to incorporate a new organization that includes all the ideals that we have for Portland music. That means we need a few motivated individuals experienced at drawing up articles of incorporation and by-laws, and create a board of directors that shows the city how totally F#@KING Serious we are.

As i type, others are trying to find a tower location east of town because downtown airwaves are totally saturated (think KNRK broadcasting from Camus, wa… get it?). Our new non-profit needs to join forces with this well established non-profit corp east of Portland and must share our ideals
and our mission to bring Portland the radio it deserves. A radio without playlists. A radio station where DJs play the music that is quite simply the fabric of our daily lives.

Please understand that I am passionate enough about this project to get it rolling but it must SNOWBALL to complete. I realize that sending this to everyone runs the risk of the wrong people finding out and trumping we, the individuals who want this to happen for the right reasons.
We is not a church group, or even a would-be radio station with lots of money and no taste… We are the music community of Portland. This is one of the only times the “small world” reality of P-town, could actually help us and not hinder.

Banish insecurity and pride, and lend a hand to a project that could change lives. WE have to get everyone involved, and chances are with how few 10ths of a degree I am away from all the people needed for this project, you sending one email to that one person would do the trick.

I couldn’t agree more. Let’s get on this NOW, Portland.

links

PRA

Common Frequency

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What was your impetus to move farther into dance-oriented music with Supernature?

I don’t know that Supernature is meant to be more dance-oriented
than my other albums were. The drums now are simpler and more
efficient on this album, and consequently I think I’ve gained
better production skills since the last album, but my rhythms have
always been borrowing from dance-based music– just a lot jazzier
and syncopated in the past. However, the underground dance scene,
before it was in clubs in Portland, embraced dancing to much more
difficult rhythms than people seem to tolerate in clubs now. My
older music uses more electrofunk backbeats, which for some reason
are not always identified right away as “dance music” the way a
disco or 4OTF beat immediately is.

My perspective on dance music culture has changed a little. First
of all, rave culture in the USA is a ghost of its previous self and
I kind of miss the supportive community that it created for itself.
I appreciate more of the clever musicological jokes within old rave
and club music now than before, and the nods and winks that the
music makes to the dj’s who are spinning it are more dense and risky
in the old music. Some of the music was so weird and twisted that
it sounds like experimental music when heard outside of the context
of some moonlight party.

How do I explain… it seems like you are presuming the role of
dj’ing and dance clubs in my music… I am using dance music type
beats and such because it is very familiar and appealing to me to
listen to, but I’m just hanging on them structurally to do other
things. An example: If one were to stereotype rock-n-roll as being
mainly about “sex & drugs”, then does hearing rock beats in the
latest Radiohead album mean the music is fundamentally about “sex &
drugs”?

Have you been playing material off Supernature (or variations on
it) in clubs? how’s the response been? How’s the response been to
the album outside of Portland?

I’ve played most of the material in clubs, but not exactly for
anyone’s response. In fact, most of the time was when no one was
present to hear the music because I was playing the music to hear
how the eq’ing and compression and technical stuff was sounding.

I’d checked most of the music on everything from boomboxes to club
sound systems during the working process. The fact that I’m still
working with old synthesizer hardware and record to DAT means that I
can only work on one track at a time and need feedback and
perspective on that music only during that brief window of
opportunity to fix or change the music. Yes, I’ve sometimes mixed
in-progress versions of some of the music while dj’ing dance sets,
but I tend to listen to the tracks on a club PA before or after
hours, because I want to skip through the music abruptly. Holocene,
1201, Dunes, and Saucebox have been helpful in this way. If I
already was a familiar face, I would sometimes go in early and ask
to play my music on the sound system for about 5 minutes and then
leave.

Holocene is particularly nice because they have a second sound
system that is not always used. It usually takes a few minutes to
check out how my tracks sound on a sound system, but it is amazingly
valuable information. I could have a lot of tools in a home studio
to help you get perspective on your production sounds, but a huge
sound system in a big empty room is not one of them. I’ve probably
mixed more of my non-album tracks while dj’ing dance music than I
did with the Supernature ones. The album is assembled for listening
to as a complete album-side at a time (arranged based on the times
of two sides of vinyl), and to be club-friendly was a matter of
producing the eq and percussion adequately. I probably labored more
over resolving an album-length type of flow than I did over creating
any dance club functionality.

So far as you know, have many djs been playing cuts off this?

It is too early to expect many people to be playing the tracks since
the album is not technically released from Europe until Aug 14th.
I’ve seen it on some playlists online, but I expect an interest in
the album to be gradual or somewhat off the radar if the listenner
is anyone like myself. There are a lot of people who are so into
music that they don’t have time for blogging, playlist writing, etc,
unless music is related to their work. I’d love it if those people
got into the album, but I can also accept the fact that I’d never
know what they thought.

What’s being played in your DJ brokenwindow sets?

My dj sets are probably 95% older records, though what I select
often is informed by new music that is reexploring or reminding me
of old styles. Since I’m still dj’ing with vinyl, and there is a
lot of music that doesn’t come out on vinyl, or it is expensive, I
have to turn to my older records. For instance, after Missy Elliot
sampled Cybotron’s “Clear”, I started dj’ing “Clear” again during dj
sets sometimes doing layering it in a mashup. I never ended up
picking up the Missy track.

I’m slowly starting to use a cdr when mixing, usually records that I
digitize myself so that I don’t have to bring them out.
It took 7 years for cd-player manufacturers to figure out that they
needed to make the platter spin on top of a dj’ing cd player!

iPods need an operating system rewrite or hack that would allow
pitch adjustment to be useful, besides most mp3’s sounding really
bad on a sound system.

newer records in my create: DJ Mash’s “Somebody’s Property”, Richard
Bartz 12″s on Kurbel, Captain Comatose, MUNK on Gomma, Detroit In
Effect, Osunlade/Obafunke, Abe Duque Records, Lindstrom, Zongamin,
Mu, Kings Have Long Arms

Older music: early 90’s breakbeat with MC’s, late ’80s hip house and
acid house with MC’s, ska-cid (a brief genre of acid house and ska
combined), west coast electro (Egyptian Lover, Techno-Hop), italo
disco, Detroit Bass and Miami Bass, Dance Mania label ghetto house,
early 90’s bleep techno from Sheffield, Maximum Joy/ESG/Konk, and a
lot of one-off records. For instance, I might mix “Crazy Train”
(Ozzy) or “Steppin Out” (Joe Jackson) into a ghetto house (they are
the same tempo) relieve the monotony that raw drum machine and dirty
vocals can create. Beatmatching is crucial to my getting away with
some of what I mix. If I had to mix one or two genres all night, I
would get bored and restless and, worse, dj’ing starts to feel like
a job. I can tackle that at Holocene, though, because I feel like I
am giving back (commercially) to a club that supports some very
non-commercial music. Sometimes I’ll bring my electronic drumpad to
play percussion solos into the dj’ing since it makes the dj’ing more
interesting. I get restless while listening to music at home, too,
if I don’t close my eyes while listening.

Who are you digging on locally right now? Nationally?

Locally, I’m a fan of pretty much everything that Josh Blanchard,
Honey Owens, and Adam Forkner do, solo and in the bands they’re
involved with. They are intuitive, non-ironic, and guiding voices
of some kinds of urban music that is unique to Portland artists.
They really represent music grown here and informed by the region’s
past and musical history. Similarly, Smegma and Jackie-O are an
older similar voice.

I think what Mantis and Front Machine do is excellent but off
people’s radar. I’m happy to learn that the noise music scene is
coming back with a wave of solo DIY-electronics performers,
particularly Pulse Emitter. I think Atole is a true innovator in
both performance and music, and I find his performances very
challenging and cathartic and…implicating. I find Nate Carson’s
dj’ing metal to be a refreshing thing, and I like locals YOB and
Growing. Koto Y Soto and Hott Pink reallly understand what it means
to be entertaining and I appreciate performers that give a huge
efforts like that. Fleshtone’s NY Mix cdr made me very hopeful with
a smart combination of ideas. I think that Hank Failing’s Failing
records compilations of local music are really healthy for a local
music scene were everyone perhaps stays in their immediate circle of
musicians and has a hard time making out to strangers’ shows. The
Holocene compilation furthers this idea by really short circuiting
people.

I’m pretty inspired by any quirky or independent thinkers,
especially in the experimental music scene in Portland. It is
important that the noise scene is connected to the past by people
like Dan Menche, Smegma and Potters Field, as that music is very
underground and private.

I like where there are crossovers between theater and dance with the
local music scene, such as improv musicians playing at Linda
Austin’s dance performance space. I’m a fan of “difficult music”
and avant garde music.

I like that the art museum is having dj’s and that PICA’s TBA
festival puts local musicians and artists in a context with
international ones. It is cool and inspiring when artists in
different mediums (theater, music, dance, writing) work for each
other, so things like 2 Gyrls Quarterly, TBA fest, and Plazm get my
attention moreso than local labels.

To many people, instrumental music is neccessarily apolitical. How do you
establish the political/artistic relationship in your music?

What political/artistic relationship? I don’t have an overt one, do
I? Maybe I have an accidently one..?

Oh, you may have the mistaken idea that my album has
Cascadia-seperatist ties. I am interested in the Cascadia idea as a
metaphor for this region starting to gain appreciation of its own
home-grown art and culture. Too often, Portland and Seattle have
looked to east coast and European cities for validation of our
regional artists’ voices as mature and independant at an
international level. This farsightedness leads to many successful
artists leaving Portland, and others just moving here as a
stepping-stone in a career to later advance elsewhere. It is as
though Portland is afraid to give accreditation to its own culture.
Fortunately, some newer politicians such as Sam Adams are interested
in this issue.

However, I don’t express this interest in my Solenoid
recordings… I think that perhaps the ORAC press release in
appropriately mentions Cascadia.

Most of the inspiration for the titling of Supernature is from
speculative fiction about the political and economic future of the
West coast (Octavia Butler, Ursula Le Guinn, _Ecotopia_ by
Ernest Callenbach ) and inspiration from developments in
nanotechnology and genetics. After the album was nearly done, I
remembered the old disco track “Supernature” by (70’s disco drummer)
Cerrone on which a diva sings “Once upon a time / science opened up
the door / we would feed the hungry fields / til they couldn’t eat
no more. / But the potions that we’d made / touched the creatures
down below / and they grew up in a way that we’d never seen before.”
That is where I borrowed the title.

Instrumental music is abstractly political, but sometimes its the
only political tool that can slip by a repressive govnerment.
Sometimes overt political speech or language is too direct to engage
people or is actively being repressed by the government. For
instance, the Tropicalia movement in Brazil in the 70’s, or the
presence of instrumental rock bands in anti-western, anti-American
countries in the Middle East. Instrumental techno and house was
highly political in its’ representation of the illegal rave scene in
the UK in the ’90s. Britain’s government passed a law against
repetitive rhythmic music being amplified for large groups of people
because they simply couldn’t police the communities that collected
around outdoor raves.

Also, instrumental music can simply channel a political lyric
without it being sung. Instrumental versions of national anthems,
drums played in a political march, or even acoustic guitar playing
the melody “We Shall Not Be Moved” at a union strike–all could be
very political.

How soon until Cascadia can finally “cut rope?”

Ask the Cascadian Knights, those guys occasionally travel back in
time from the future Cascadia and play shows in the area. They
would know those dates, since it is in the “past” for them.

How are your sets differing right now between Holocene and Ground Kontrol?

The range of records I bring isn’t much different. I mix familiar
and obscure records at most any night I dj. The Ground Kontrol
night involves bringing drum machines, drumpad and/or synthesizers.

Every set I dj is different and selected on the spot. I rarely
bring more than a dozen records in common from one dj event to the
next. Since I don’t play a lot of familiar music or “hits”, I’m not
in a position to let anyone down by not bringing something as
familiar as the previous night. I’ll come back to records that came
out only 4 years ago but have been quickly forgotten; that makes
them “fresh” to play again. The club-going population keeps
recycling (while I am getting older!) and consequently, anyone that
wasn’t dj’ing won’t be likely to know a moderately obscure track
from 4 or 5 years ago. “New” music is a very relative idea. I
think a lot of dj’s do this “recycling” of music, and the music
eventually graduates to a “club staple” status. I imagine a track
like Kano’s “I’m Ready” must have gone through this process. Those
tracks might become familiar to people that go dancing and even get
sampled in newer music. However, they remain fairly anonymous to
everyone bu the dj’s, who have to figure them out in order to track
them down.

I would be more than happy to have one of my records somehow end
up as an anonymous club staple!

Holocene is very supportive of edgey electronic music and a
luxurious place to perform and deal with sound people, etc, esp
compared to rock clubs in Portland in the early 90’s. They are
actually quite DIY and clubs like that don’t tend to last long in
Portland. For that reason, I’m willing to play to the dancefloor
more in hopes that the club makes some money. Then they can have
more psyche rock music nights.

At Ground Kontrol, my Fiasco-Tronix night is trying to foster a
sense of openness about experimenting with what it means to play
live when you are using electronic music instruments. I take the
whole question of “is it live or is it a dj mixing” and throw it out
the window because that is just provincial thinking. I may bring a
drum machine, a drum pad kit, records and effects and move between
using them all. I’m not just playing this way to get myself out of
studio, but I have this grandiose idea of influencing local
producers and dj’s to experiment and push themselves more in how
they perform. Sing over an instrumental record, mix an acapella
vocal over your drum machine, drum out an electronic timbale roll
over the breakdown of a techno track–anything to push the envelope
a little. The selfish motivation is a classic one–it’s what I’d
like to see when I go out to shows. There are so many older dj’s
with unresolved music swimming around in their heads that I’d like
to see try programming rhythms or editing or remixing music because
I know it would be interesting.

The material on Supernature is so seamless it would seem there could
potentially be no difference at all… I could play gallaga to
this as easily as i could dance to it.

Great! That is one kind of flexibility I’m going for with the album.

The competition for people’s listening attention is so hard to get,
so I’m very happy to find out if someone gets entertained from my
music while doing laundry, at their job washing dishes, whatever it
may be. I wanted to make an album-length listening experience as
that is what I cherish about parts of my record collection –long
albums that take you on a little mental journey that you can revisit
over the years. To me, that is what a good album can provide.

Some newer rock and hip-hop albums are focusing more on that
approach to album-length listening orientation, which stands out
right now in sharp contrast to how people shuffle through single
songs on iPods.

You’re doing a residency of sorts at Ground Kontrol, at least in the
curatorial sense (which, unfortunately, i haven’t made it to yet)… Has it
developed a loyal following?

Yes, there is a small pool of people that are mostly musicians or
djs that stop by regularly. It is a unique experience playing for
an audience that you can’t entirely see as they are spread out among
the video games, but are listening. The sound system cuts through
all the video game sounds. I am more interested in connecting with
and influencing this small group of people than proselytizing about
this stuff to people and trying to create a new audience. I’m a fan
of certain kinds of experimental and fringe music that has
historically shown to have a limited audience, and you can knock
yourself out in vein trying to turn people on to that music without
success.

Going to the Fiasco night at Ground Kontrol is meant to be like
walking into an electronic music studio and seeing on-the-fly
music-making in progress. Ground Kontrol is a place that celebrates
a culture of machines, so it feels very natural to perform music
with electronic instruments there.

How is Community Library progressing?

It is going well and I think our common intuition about running the
label is working well, and we are getting growing respect among
int’l record geeks. The eclecticity of the label is inspired by
broad-minded visionary labels –Editions EG, Lovely Music, Les
Disques Du Crepuscule, Soul Jazz, Celluloid, early Rough Trade. The
label is not genre-specific, but curates based on finding
connections in individual artists who crossover experimental with
accessible approaches to music. As a result, they have an unusual,
and often ignored, independant voice that doesn’t fit under just one
genre.

Our goal is more that it should be financially solvent while
catering to a cultural legacy of tasteful eclectic labels that put
out those kind of anomalous classic records that kind of stand
alone. It is refreshing to be involved with this particular label,
as it is operating at an international level from the start and
thinking from that perspective.

Paul [Dickow] and I are both musicians who are developing reputations beyond
Portland and who are letting go of our idealistic thinking about how
or whether we are received well locally. The label is a kind of
curatorial voice for that shared change of perspective looking
outward.

On one hand, the label is bringing some overlooked NW music out to a
European audience. On the other hand, the label’s choices are
asking a lot of questions of the whole music scene regardless of our
NW roots, such as what genres really mean to taste, and what does
music really have in common aside from the techniques, tools, and
compositional tendencies that make up a “genre”. Community Library
artists seem to have the characteristic of being driven by an
idiosyncratic experimental approach yet embraces some traditional or
even highly accessable elements.

The label was planned and realized by Paul after we’d been dj’ing
our Community Library nights for a couple years. These
forward-thinking nights tried to reconcile having a very wide range
of tastes in music by setting some rules about selecting records for
a night. We would mix records based not on the genre of the music,
but by themes in the lyrics and subjects of the music, such as
“songs about fire” or “music on the subject of eyes and seeing”. By
putting records in new contexts with each other, (usually even
beatmatching and layering), this brought into focus a lot of hidden
crossover between otherwise-diverse areas of music. Suddenly people
like Hank Williams Sr, Roxy Music, Nina Simone, and Eazy E could be
on the same page, talking about the same basic experiences, or even
be found covering the same song.

Community Library: www.community-library.net

Solenoid: http://orac.vu/index.php/orac/artist/solenoid/

Holocene: www.holocene.org

Ground Kontrol: www.groundkontrol.com

Solenoid laying beats for a free Cascadia. Photo by (ahem) Joe Mojo

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The kid, who looks about 14 and sports bleached blonde hair, looks suspicious. “I’d need to hear a sample,” he says, laughing a little. Brooklyn starts an unaccompanied freestyle wherein he references “my man K.C. from the Willamette Week,” and I can’t help but let out a giggle. I almost want to chip in with some half-assed beatboxing. “I’m not really into street-rap,” says the kid, who admits that he’s “just visiting” from the Midwest.

“What kind of rap do you like?”

“You know… Eminem.”

“Awwwww!”

Brooklyn just walks away, and over to the clearance section. “What are we doing?” I ask him for the third time. “I’m shopping for my kids, just hang out with me for a minute.” He starts flipping through the racks, searching for brand-name labels in a sea of cut-out fashions. “Oh, that’s tight,” he says, looking at an Ecko skirt. “You can’t just get kids the stuff that you wanted when you were a kid,” he tells me, and asks “you ever get beat up when you was a kid?”

“Once or twice,” I tell him. “I grew up in a small town, so you know, they didn’t always ‘get’ me.”

“That’s rough,” Brooklyn replies, throwing two more skirts on his pile.

“Are you gonna buy all those?” I ask him.

“I’m gonna put em on hold and come back. It’s better to just take care of it all at once. My kids, they gonna look good when they go to school.”

Brooklyn’s pile of clothing gets a little ridiculous, and I notice that he is moving uncharacteristically quick.

“Are you and your lady alright?” I ask him.

“I told you, we beefin’ right now.” He must have told me on the way to the store, when he was mumbling and walking a full five feet ahead of me. It seems like he hasn’t slept for a day or two.

“Where have you been staying?” I ask.

“On my friend’s couch. It’s cool, though, it’ll blow over. She just knows how to push my buttons, you know? We’ll be a’ight. Awwww, look at this!” He asks a woman in the next aisle whether the camouflage dress-top in his hands is a small or a medium.

I snap a picture of him on my camera phone. “I might have to write about this,” I tell him, but Brooklyn isn’t listening.

Read a Willamette Week cover story about Brooklyn from 2001 here.

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DJ Tan’T: djtant.com

Photo: DJ Tan’T at Holocene. From Myspace.

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