Venusians landed on our planet in 1957, left the time stream, and returned in 2000, stuck here because Walt Disney stole their time machine 21 years before – that is the story of Valient Thorr.
Valient Thorr play insanely fast, balls-to-the-wall rock ‘n’ roll that moves with some groove. Once upon a time, they called rock that moved like this “boogie metal.” And, really, it’s hard not to listen to Immortalizer (especially on tracks like “Mask of Sanity”) and not see Southern girls in halter tops shaking it in daisy dukes. Their style’s reminiscent of Motorhead, Iron Maiden, et al, dealing with everything from space travel to conspiracies regarding the United States government. Valient Thorr prove that rock ‘n’ roll can have a conscience, but it can still manage to rock – a song like “Infinite Lives” compares war to video games, but points out the fact that there ain’t no cheat codes.
It’s not exactly sing-along material, but it’s intensely amusing and awesome, especially when the band takes on wrestling. It was only a matter of time – this many bearded men in denim and long hair were almost statistically required to perform a song in which a series of wrestling holds were recited like litany… and the track is even entitled “No Holds Barred.” It, much like the band, hearkens back to the days of the Confederacy of Scum, when acts like Antiseen and Cocknoose had songs like “Cosmo In the Sudan” (all about Abdullah the Butcher) and covered the Fabulous Freebirds’ entrance theme, “Badstreet U.S.A.”
My Saturday night plan was a little spotty. After spending the day doing things as various as laundry, watching movies, and guest-hosting KJHK’s children’s program Little Red Radio, the general idea was to bounce between the Replay and the Jackpot, snapping photos and seeing friends. The Jackpot had a punk friendly show with anarchic bands that tended to scream a lot, and the Replay was featuring guest sets by several notable, long-since-gone local acts. Trouble was, I had no idea when anyone was going on, and both venues were a little packed. Since the show at the Jackpot was still getting set up when I walked by, the Replay was immediately determined as my initial destination.
Good choice. I walked in about two minutes before the Pedajets got started. I turned on the camera and started snapping, pausing every now and then to talk to my friend and former roommate Jason. The Pedaljets haven’t been back together but a year or so, and despite an absence of fifteen years, they sound fantastic. It’s power-pop of the variety that the midwest seems to do so well. Great set, and I hope to actually catch them playing more than six songs. (Pedaljets pictures here)
Then I popped outside and chatted with various folks that I hadn’t seen in ages… I’ve been having trouble making it to shows lately. I can’t drink or smoke anymore thanks to a bout with pancreatitis a year ago, and hanging out at bars when no bands are playing is fucking BORING if you can’t drink or smoke. So, I try and find things to kill time until shortly before bands start playing, and I either get wrapped up in whatever show or movie I’m watching, the book I’m reading, or too tired from walking around. So, I don’t get to see some friends as often as I’d like.
The talking was over soon, tho’, as Lawrence-by-way-of-Chicago act Get Smart! was taking the stage. Well… not quite. Most importantly - no Lisa Wertman. Marc Koch did a great job, but fuck… I was hoping for more. The energy was fucking phenomenal, and the songs sounded great, but without Lisa, the band wasn’t what I was hoping for. I had gotten enough of it when I got a text message letting me know that the act of the night I really wanted to see had started. (Get Smart! pictures here)
After geting the text, I bounced across the street to the Jackpot, quickly paid my five bucks, where Hairy Belafonte was getting it on. I’d missed them last summer at the Fucked Up show, and they have a tendency to play shows that are either on nights where I’m working the next day, or at places I refuse to venture because they’re filled with crusties. The Jackpot was, in fact, filled with crusties to the point where I made a vow to cockpunch the sonofabitch who started the “bathing isn’t punk rock” trend. Still, Hairy Belafonte was worth it for the three or four songs I managed to make it through. Screamy, spazzy fun that had as much dancing onstage as was on the floor. The songs were short, fun, and the band was dressed up like it was a party - which it was. (Hairy Belafonte pictures here)
After about fifteen minutes, tho’, I couldn’t stand the reek, and hauled ass into the fresh air. Well, for about five minutes, then it was back into the Replay to see the Micronotz. Kind of underwhelming, really. The Micronotz (along with the Mortal Micronotz, their second incarnation) had done a reunion set a couple years back at the Embarassment reunion show. It was tighter, more fun, and considerably less underwhelming than this. Not bad, but not nearly with the energy level of two years ago. (Micronotz pictures here)
I ended the evening by chatting up some friends, and then back to the Jackpot to finish the evening by seeing friends the Spook Lights. I realize I hadn’t seen them perform in nearly a year, if the last date on the phot page is to be believed. I got to hear some new tracks live, which was pretty fucking great. Rob was rocking it on the mic, Jet Boy wailed on the guitar, and their new drummer had the band sounding the best I’ve ever heard them. Kelly looked fucking spectacular, and her guitar work was far more confident than it had been, as well. Really, it capped a fantastic evening, and five great bands in the span of four hours is pretty much the best thing ever. (Spook Lights pictures here)
If you go over to Rock Star Photography, you can find pictures of my trip to Sandstone to see this year’s Warped Tour. It was hot and miserable, but I managed to keep myself hydrated and covered in sunscreen. For once, I came home sweaty, but not dehydrated or sunburnt.
It was pretty fantastic to see Reel Big Fish from behind the barricade - the first time I’ve ever been able to shoot them, and I got some great pictures. Actually, I managed to get decent shots of every band. Surprised myself, as well, because there were a couple bands I got convinced to shoot by friends that I ended up enjoying a lot.
Case in point - Story of the Year. Most famous for “Until the Day I Die,” I’d really not even considered seeing the band. However, being as how everyone I was with was shooting them, I figured it was worth a shot (pun unintended). They blew me away. I’m still not likely to run out and buy an album, but if they come through again, I wouldn’t turn my nose up at seeing them live. Fantastic amount of energy, a lead singer who acts more like a hardcore vocalist than the frontman of a pop-punk alt-rock act, and guitarists who fly around like the unholy union between ballet dancers and those monks who do kung-fu… I highly recommend checking them out.
Local rockers the Architects put in another stellar performance, and I got an interview with frontman Brandon Phillips. That actually ended up being the only interview that came out from the whole tour. My microcassette recorder is starting to show its age after ten years. I also could have prepared a little more.
Oh, and if you ever get the chance - see MC Chris. For one small man and a laptop, he had the best crowd of any act I saw all day. Kids weren’t there to be seen, or because he’s on the radio, or anything like that. They wanted to see MC Chris, and sing along, and have fun. It’s refreshing to know that people still see music to see music - not to be seen, get drunk, or say they were there.
Fun day - nothing special, but I walked away with some cheap records, a few new stickers, and wasn’t out too terribly much money. I’m starting to recognize fewer and fewer bands than I did when this whole thing started, but it’s nice to be surprised every now and then.
Lawrence’s reigning garage combo, the Spook Lights, recently completed recording their debut slab o’ hot wax with engineer Chubby Smith at his studio.
The recording, entitled Live From The Planet Sleazetopia, is expected out on 7″ via the band’s own Scarum Harum label sometime this October. The track listing (in no particular order) is “Night of the Queerwolf,” “Nudie Watusi,” KJHK favorite “Teenage Maniac,” and “Sinister Urge.”
“Sinister Urge” makes its official downloadable preview debut here on Rock Star Journalist. I hope you enjoy it. It’s a rocker, as are the rest of the songs on the 7″. It’s somewhat weird reviewing this as a vinyl release, being as how I don’t have the actual thing in my hands, not does one exist at all. The only way I’ve heard it is via the mp3s that arrived in my inbox courtesy Scary Manilow.
Still, even in mp3, the sound quality comes through. Chubby Smith did an amazing job of capturing the Spook Lights’ raw energy, keeping the whole affair lo-fi without sounding as if it was recorded in someone’s basement. “Teenage Maniac” is in its third form here, with there being extant versions of a basement demo, as well as the Jackpot-recrecorded version found on KJHK’s Farm Fresh Sounds 2007 compilation. This version is slowed down a touch, and is crisper and creepier, with Jet Boy and Curvacia’s guitars actually playing off one another, rather than one burying another.
The whole appeal of Live From The Planet Sleazaetopia is that it sounds distorted and fuzzy, rather than cheap and shitty. The effects are added to enhance the songs, rather than being the result of unfortunate mixing and cheap equipment. Really, the only thing needed to make these songs sparkle is that crackle I know I’m going to hear the first time I drop the needle down.
The Spook Lights have made a lo-fi record that captures the energy inherent in their live show, and adds a touch of what the studio can add - things like the organ on “Night of the Queerwolf” make this record a so much more than the usual “we need music to sell” toss-off in which many local acts engage. This is a record that’s going to grab ears and turn heads.
the Spook Lights - “Sinister Urge” (from Live From The Planet Sleazaetopia)
Despite the heat, my microcassette recorder not getting two interviews, and the International Superheroes of Hardcore LP I bought being warped (irony!), the Vans Warped Tour has actually brought me what I can pretty much state as the best show moment of my entire life:
The Aggrolites.
With Angelo Moore.
From Fishbone.
On the main stage at Sandstone.
Doing a medley of “Skinhead Moonstomp,” “Party At Ground Zero,” and “Monkey Man.”
And if that wasn’t enough… I watched it from the SIDE OF THE FUCKING STAGE. I was standing next to Aaron Barrett from Reel Big Fish and the drummer from the HorrorPops while the girls from Oreskaband danced on the other side of the stage.
I have pictures. Lots of them. They’ll be posted Friday. Lots of really good shots. I will never be in front of another barricade if I can possibly avoid it. It’s so nice to have room to shoot.
So, hey… I’m shooting photos at the Kansas City Warped Tour stop tomorrow. I’m meeting up with my friends Zach and Sarah, who will be shooting photos for the Pitch, so not only will I be productive, I’ll be having fun with friends I don’t get to see all that often.
I did have some trouble getting into Warped tomorrow, however. I was good on the photo pass, but because of some weird rule, the company doing promotion can’t give out tickets to radio. TV, print, web, sure - everything but radio. I guess they get in trouble or something… so I had to go through a label. The label, of course, told me to get in contact with the promotion company.
Now I bounced around the e-mail accounts of various Epitaph staffers, trying to get on the list before Warped closes their lists at 6pm Pacific. Thankfully, roughly two hours before it was too late, and I was going to just throw in the towel, Epitaph came through with a pass. Really, as much trouble as this had been, I was not too terribly into the idea of dropping ten bucks on gas, ten bucks on parking, and thirty-five for a ticket. That’s $55 before I’d even thought about food, water, or merch, to say nothing of the heat in that parking lot.
So, I’m in, I’ve got the ability to shoot pics, and my paycheck showed up today, so I’ll have money to blow on records. And, if it starts hitting with thunderstorms like it says it might, fuck it - it’s not like I paid for anything. Look for pics this weekend, hopefully along with some interviews with the likes of the HorrorPops, Street Dogs, Reel Big Fish, and Aggrolites.
The Cute Lepers – “Can’t Stand Modern Music”
(Blackheart Records) The Cute Lepers feature Steve E. Nix and Steve Kicks of the Briefs, and were originally known as Steve E. Nix & the Cute Lepers. After releasing a couple of singles, they shortened the name and signed to Joan Jett’s Blackheart Records. Five of the tracks have previously appeared on those earlier singles on Damaged Goods and 1-2-3-4 Go!, and don’t appear to have been re-recorded for this record. In other words, it’s pretty lo-fi.
Still, the nervy pop (or “now wave,” as bands like the Cute Lepers, Briefs, Clorox Girls, et al are being dubbed) has an edgy sensibility that hearkens back to the early days of punk rock, when bands like the Ramones took as much from the Shangri-Las and other ‘60s girl pop groups as they did from Nuggets type acts. The best tracks take a little of that hip-shaking garage and a little of that sing along quality inherent in all those girl-groups, and the very best insert a little Cars-style New Wave. “So Screwed Up” even has a bit of “Just What I Needed” in the intro.
To be fair, tho’, this album is a little samey. I’ve had it since SXSW and only now got around to reviewing it, and that’s only because it came out this week. It hasn’t made it into rotation here at the house the way I thought it would after I bought the “Terminal Boredom” single. That song is pretty much the template for everything else on the album - very much a case of the title playing a major part in the chorus, to the point where you could sing along after a verse has gone by.
Kansas City’s Sister Mary Rotten Crotch was one of my favorite bands back in my El Torreon days. Hell, Alison, their primary songwriter and guitarist, bought me my first legal drink - McCormick whiskey, if I remember right. There was a show I saw them play at Gee Coffee in Olathe that featured them, Kosher, Tanka Ray, and Terminus City from Atlanta. It currently ranks up there as one of the best punk shows I’ve ever seen, national or local.
It was the first time I saw either Kosher or Tanka Ray, and both bands became immediate favorites. Terminus City I had heard of, because they’d been talked up by Brian Bomb numerous times when I’d talked with him regarding what shows were worth seeing at El Torreon. The SMRC ladies ponied up the dough to fly Frank and co. in from Atlanta to play the Gee show, and it was worth every penny. Every band was firing on all cylinders, and Terminus City ended up being one of those bands that I saw once and lamented not ever seeing again.
Happily, SMRC and Terminus City teamed up to record a split for Hooligan Empire, Brian Bomb’s label. It was pretty limited, and three of the songs never saw the light on any other record. Both Terminus City tracks are exclusive to this split, as is Sister Mary’s “Holier Than Thou” (”Fuck You…” ended up on their Fuckload o’ Pretty LP on Moo Cow Records). Terminus City would go on to record another split with another Kansas City band when they put out a split with the Main Street Saints the following year on Flat Records out of Boston (notable for being a TKO subisdiary started by the Dropkick Murphys‘ Ken Casey). Terminus City also has a readily available full-length on TKO, entitled Justice Isn’t Always Fair.
Anyhow, this is a fine slab o’ clear blue wax that you probably can’t track down anywhere. The debut from Sister Mary Rotten Crotch, Hell Hath No Fury, was pressed on clear red wax, and that seven-song live set currently sits on eBay for twenty bucks. I do not even want to guess as to what this happy bit o’ tuneage would run for. Punk rock as all-hell, with a lovely bit of contrast between the female vocals of Sister Mary and the gruffness of Terminus City.
Once or twice a week, I’m going to try and highlight one of the links you see to your left. The first one is going to be Sunday(s) In the Park, ran by my friend and co-worker, Deron Belt. What with this blog being local - and pretty specific locally, at that, I felt it bore explanation the soonest. It’s also the most recent addition to the links there on the sidebar, and thus most fresh in my mind.
In the interest of massive cross-promotion here, Deron and Curtis McCoy (both of whom are members of the KVKL board) will be appearing on my radio program, Sunglasses After DarkKJHK 90.7FM. The show plays punk, garage, and rockabilly, but being as how a completely autonomous kickball league is pretty fucking punk rock, these guys will be on from 8-9pm that week. It promises to be a hoot.
Deron also did me the favor of purchasing a vinyl copy of one of the greatest albums ever (that being Jailbreak by Thin Lizzy) and trading it to me for my CD. That’s awesome. In honor of that, here’s both the original version of the album’s title track, as well as a cover from the most recent album by the Dropkick Murphys.
Thin Lizzy - “Jailbreak” (from Jailbreak)
Dropkick Murphys - “Jailbreak” (from The Meanest of Times deluxe edition)
I guarantee four blog posts a week, sometime Monday through Friday. Ideally, they’ll be Monday-Thursday, giving me a three day weekend to work on ideas and have a social life. However, when things intrude (like tying up my bandwidth downloading The Beast With A Billion Backs yesterday), then I might have to skip a day.
However, I promise to have four posts a week. Promise.
Pinky swear, even.
And no, this is not one of them. Even I’m not that lazy.
Valient Thorr – “Immortalizer”
My Saturday night plan was a little spotty. After spending the day doing things as various as laundry, watching movies, and guest-hosting 
Lawrence’s reigning garage combo, 
Despite the heat, my microcassette recorder not getting two interviews, and the International Superheroes of Hardcore LP I bought being warped (irony!), the Vans 
So, hey… I’m shooting photos at the Kansas City 
The Cute Lepers – “Can’t Stand Modern Music”
Kansas City’s 
Once or twice a week, I’m going to try and highlight one of the links you see to your left. The first one is going to be