I must admit that I’m not that familiar with this band, but I do love the lightning-fast psychobilly sound that’s associated with acts like Nekromantix, Tiger Army, and The Reverend Horton Heat. Immediately I was taken in by the opening track, “Four Beast Ride,” with its amazingly fast slap-bass and driving guitars, along with the somewhat out of place crooner vocals of Rene D La Muete. D La Muete’s vocals remind me a lot of Murder By Death’s vocalist Adam Turla (especially the sound of Murder By Death’s song “Brother”), but Muete’s style comes across more along the lines of a lounge singer — Michael Andrew from the swing band Swingerhead comes to mind.

While Muete’s vocals reflect that retro sound, the music does not. Some cuts like “Six Rounds” and “Drunk Not Dead” are more melodic in their sound, reminiscent of The Living End. The harder tracks on the album, such as “Oh Murder” and “High On Speed,” are heavy on guitars and group vocals.

Overall, the 13 tracks featured on Drunk Not Dead are extremely enjoyable. Full of high energy and excellent instrumentation, The Brains are a band I am glad to have discovered.

(Stomp Records, 1223 Blvd. Saint-Laurent, Suite 305, Montreal, QC H2X 2S6 Canada)

Listening to the 15 tracks featured here, I can’t help but think back and reminisce about the good old ’90s where music like this was being put out on a massive scale. Along with the carefree pop-punk ska sound The Smashers are known for, bands like Buck O’ Nine and early Big D and The Kids Table come to mind when I sit and listen to the material here. The album’s opening cut, “The Hippopotamus,” is extremely catchy, and “UPS of America” presents some social commentary but remains to be humorous and non-preachy.

An unexpected twist comes in at the 12th track in the form of the song “Something Special,” as the band breaks from the punk-ska sound to favor something more traditional in the ska vein.

Descent into the Valley of The Planet Smashers is another enjoyable album from the veteran skankers from the great white north. Fans of the ’90s pop-punk ska sound will dig this.

(Stomp Records, 1223 Blvd. Saint-Laurent, Suite 305, Montreal, QC H2X 2S6 Canada)

As someone who’s witnessed a live show featuring Zechs Marquise, I can fully attest to the fact that this album is an honest representation of what you will hear if you see them live in concert. The mix of funky baselines and progressive guitar work that fills the opening track “Getting Paid” really sets the stage for an album that will likely please those who dig intricate instrumentation and electronically manipulated sounds. Getting Paid is mainly an instrumental album, as the first vocals appear nearly 15 minutes into the album, during the third track “Static Lovers.” In an almost haunting performance, guest vocalist Sonny Baker lender her vocals to the track “The Heat, The Drougt, The Thirst, and Insanity,” and RX Bandits vocalist Matt Embree lends his vocals to the song “Everlasting Beacon of Light.”

Getting Paid comes across sounding a lot like The Mars Volta, or at least like the instrumentation and far out progressive sounds as featured on albums like Frances The Mute. While the influence of their older brother’s work comes thought from Malfred and Marcel, they’ve managed to put out an album that impresses and remains fresh through all 12 cuts.

(Rodriguez-Lopez Productions, no address provided)

After a few solo albums and heading up the band The Stitch Up, Dan — along with members of defunct Santa Cruz ska act Slow Gherkin — have formed Dan P and The Bricks. Their debut album, Watch Where You Walk, features Potthast’s trademark vocals and songwriting, something that made MU330 stand out from other acts throughout the third-wave ska years of the 1990s.

Although the music with The Bricks sticks to a more toned-down, traditional roots 2-tone ska sound, it’s a definite departure from the sound of MU330’s fast paced punk-ska. Think of the lyrics of MU330 meets sound of The Pietasters. The five-piece horn section has a deep, rich sound — especially with the addition of baritone sax. With the song “One Reason,” Dan is joined by a female vocalist in this throwback tune featuring a doo-wop sound. The band also tackles one of Dan’s solo tunes “Set Sail,” which was featured on his 1999 debut solo album Eyeballs.

Watch Where You Walk is a reminder that while the mainstream hype and attention of ska music is long gone, those who drove that genre to mainstream notoriety are still producing great music.

(Asian Man Records, PO Box 35585 Monte Sereno, CA 95030)

City Lights, 232 pages, paperback, $15.95

I remember hearing Ry Cooder’s 2005 album Chavez Ravine after my old man burned me a copy of it and said I should check it out, especially after moving to southern California. The concept album tells the story of the Chicano community located just outside of downtown Los Angeles and the ultimate displacement of the residents of Chavez Ravine in order to develop new housing. The housing development plans fell through and the land was given to Walter O’Malley, the owner of the Brooklyn Dodgers, as part of an agreement to bring the Dodgers to LA. That forgotten history was brought to life with Cooder’s concept album — full of Chicano flavor built around Cooder’s guitar work, and Americana roots folk storytelling featuring many larger-than-life characters who were actually involved in the situation at Chavez Ravine.

In many ways, Los Angeles Stories is an extension of the story of Chavez Ravine and the people who inhabited the community. At the very least, it serves as an annex to the Chavez Ravine incident. This is Cooder’s first written work, a collection of short stories he penned over time, originally created for his own enjoyment. After a discussion with Bob Dylan regarding an upcoming tour Ry was heading out on, Cooder was convinced by Dylan to have a small run of these stories printed up to sell at each show. The tour fell through and somehow a copy of these stories — which were thrown together in a hurry — ended up in the hands of City Lights Books in San Francisco.

“I got an email saying, ‘We’d like to put out an edition of this,’ and I said that’s an honor for me – that’s terrific! Really? You sure?” said Cooder in a recent interview conducted on Los Angeles radio station KPCC 89.3 FM. “I’m not a novelist or writer in that sense. It’s just me fooling around, like with music in the same way. Like writing a song.”

The words that occupy the 232 pages of this book bring to life a time long gone. Los Angeles today is a busy and crowded metropolitan mecca, a true concrete jungle where millions of people work, live, and play among the smog-filled air and the bumper-to-bumper traffic. Los Angeles Stories gives us eight short stories set between the 1940s and late 1950s. During this time, LA was looked upon as a place for opportunity for those outside of the West Coast — A destination for folks back east. If it was a job working for Douglas Aircraft (a booming business with the progression of aviation technology) or getting into the music business you sought, LA was the place to be.

On the flip-side, Los Angeles also had a seedy side (and still does, if you care to look for it). Shady characters including schemers, lowlifes, junkies, and con-artists live among the dreamers, especially during the time period featured in Los Angeles Stories.

While some of the stories focus on those who end up in LA, Cooder’s focus in this book is mainly about those who have called LA home for most of their lives. The way Cooder describes the neighborhoods in LA — the homes and the working class — really paints a picture that doesn’t just give you an idea of what it was like; rather, he brings these images to life, especially if you live in or visit LA today. And if anyone can give accurate descriptions of what it was like in those days in Los Angeles, Cooder can since he grew up in these neighborhoods. I found myself saying “Been there!” many times while reading this book, as places like Pershing Square and Philippe’s still stand to this day.

I believe it was Stephen King who once said something like, “I don’t write about extraordinary people, I write about ordinary people in extraordinary situations.” That’s the formula Ry Cooder has used in this book. Most of the stories feature ordinary people — including quite a few musicians — who find themselves in very peculiar situations.

One line we keep hearing throughout this book is police officers telling characters, “Don’t leave town,” as one character after another gets caught up in some incriminating situations. The stories are full of suspense and read a lot like detective novels and pulp magazines (fitting for the era these stories take place). Another amusing thing about the stories is Cooder’s ability to occasionally cross characters from one story into another, giving the reader a feeling that while LA is a big place, it can also be a place where people get around. The cover also sets the stage for the stories found in this book. It features a classic California bungalow with a giant palm tree growing right through the roof, colored in an old film grain color, preparing the reader for a ride back in time.

Los Angeles Stories really captures the feel of LA in the ’40s and ’50s, or at least what I assume it was like. The stories, with a cast of larger than life characters and interesting plot twists, left me turning each page with wonder and interest in what was going to happen next. In the span of 232 pages, I feel like I’ve been to a museum or maybe jumped back in time to a place where I had no ability to be or exist in.

Ry Cooder has earned a reputation of being a wonderful musician with the ability to tell stories with his music. Now, Cooder has taken his storytelling to written form and will likely impress the reading community with his brand of true life-inspired tales of a time long gone. I hope this first time effort by Mr. Cooder won’t be his last. A truly excellent read.

On first listen, I thought this was a new side project of Tom Petty (yes, the Tom Petty), as Burke’s vocals are eerily similar to Petty’s singing voice (both outfits are out of Florida, Petty from Gainesville and Burke from Bradenton), with a hint of Bob Dylan thrown in. A majority of the songs on Mergers & Acquisitions tell stories; songs about life on the road, traveling, and days of old.

With Burke’s memorable vocals and the music provided by the backing band — especially with the use of steel guitar provided by Scott Anderson — the album relies on the traditional folk style, but with toe-tapping tunes like “Song of Seven Sisters,” the album cruises along like an Americana road trip through the heart of this nation. This is an all around enjoyable album full of infectiously catchy songs and moving stories beautifully sung by Burke.

(Suburban Home Records, PO Box 40757, Denver, CO 80204)

• Occupy Wall Street by Jammi York

• Occupy Wall Street by Jammi York

• Occupy Wall Street by Jammi York

• Occupy Wall Street by Jammi York

• Occupy Wall Street by Jammi York

• Occupy Wall Street by Jammi York

• Occupy Wall Street by Jammi York

• Occupy Wall Street by Jammi York

• Occupy Wall Street by Jammi York

• Occupy Los Angeles by Matt Edmund

• Occupy Los Angeles by Matt Edmund

• Occupy Los Angeles by Matt Edmund

• Occupy Los Angeles by Matt Edmund

• Occupy Los Angeles by Matt Edmund

• Occupy Los Angeles by Matt Edmund

• Occupy Buffalo by Garrett Lyons

• Occupy Seattle by Suzi Pratt

• Occupy Seattle by Suzi Pratt

• Occupy Seattle by Suzi Pratt

• Occupy Seattle by Suzi Pratt

OCCUPY LOS ANGELES

October 8th, 2011 – City Hall

In February of 2003 I attended my first protest, located in downtown San Francisco in opposition to the imminent invasion of Iraq by US and allied forces. I remember the feeling of approaching the mass of tens of thousands of people standing on Market Street. The sound was intense, like something you’d hear at a sporting event — if the crowd was literally on fire. It was then that I realized how powerful people can be when united for a cause.

Recently, Adbusters — a Canadian activist foundation that uses culture jamming and advertising spoofs to push an anti-consumerist agenda — came up with an idea to set up camp in New York’s financial district on September 17th. The small gathering of anti-capitalism and anti-corporatism protesters has turned into a monster of a political and social movement, prompting other Occupy Wall Street encampments to take shape not only in the US, but around the world.

With so many in the mainstream media making this out to be a joke, and right wing outlets so quick to dismiss the Occupy movement as a bunch of hippies who have no idea what they are protesting, I needed to get out there and see where these protesters are coming from.

On October 8th, I headed to downtown Los Angeles. Arriving at the encampment around noon, I found dozens upon dozens of tents sprawled across the many lawns of city hall. The area appeared relativity clean and organized, especially considering many had already called this area home for more than a week. Police presence was at a minimum, as I only spotted three officers in uniform during the span of the afternoon. With a music festival scheduled to start at noon, no one was at the microphone on the south end of the block. As I stood there taking in all the various signs, booths, and groups talking amongst themselves, I was caught off-guard by a single voice powered by a bullhorn at the edge of the block.

“It’s much bigger than Wall Street. It’s much bigger than just police brutality. It is a formation of a New World Order,” exclaims the man. These are the words of activist Shane Devins.

Originally from Las Vegas, Devins believes the corruption on Wall Street and in Washington, DC goes far beyond what we are led to believe. He believes organizations like the United Nations, the Bilderberg Group, the Council on Foreign Relations, and the Trilateral Commission are involved with an attempt to create a one world government. Using the private Federal Reserve as a vehicle to destroy the value of the US dollar by way of deflation, the destruction of the US economy will then give way to a new world currency regulated and controlled by the World Bank.

“It has taken almost a hundred years to cripple the US dollar,” says Devins. As I interview him, we search for water around the encampment. “And what Obama talked about at the G20 Summit 2009 is that the World Bank should be and will be the institution that will create a world currency, and that will be regulated under the World Bank and the World Bank will come under the authority of the United Nations.”

While some might balk at the notion of a conspiracy to usher in a one world currency, the actions of the Federal Reserve have brought on much scrutiny from many Occupy Wall Street protesters, leaving little room for straw-man arguments and calls of “kooky conspiracy theorists.”

Signs proclaiming “END THE FED” were a constant sighting at the LA Occupation. One must remember that the Federal Reserve is a private entity that doesn’t answer to Congress; their actions are kept in secret and their actions of manipulating monitory policy has proven to hurt the US economy more than help it. A number of protesters were also calling for the reinstatement of the Glass-Steagall Act, which prevented investment banks and commercial banks from merging. The act was repealed under the Clinton administration with the help of former Obama economic adviser Larry Summers. Many view the repeal as a precursor to the 2008 financial crisis.

Some of those in attendance aired out calls to end capitalism as a whole, though they were in the minority, despite attempts by the mainstream media to convince the public otherwise. Most in attendance were calling for an end of crony capitalism (i.e., “corporatism”). Corporatism is the merger of corporate and governmental powers — Benito Mussolini once stated that corporatism should essentially be called fascism, as many protesters would agree, charging that corporations own our leaders in Washington, DC by way of lobbyist money and the assignment of corporate big-wigs to high governmental positions. Another interesting contingency at the Occupy protest are supporters of the anti-war movement. While most may think of banks when it comes to Wall Street, we must remember that elements of the military industrial complex are a part of Wall Street.

While walking among the tent city, the people, and the countless signs airing out grievances, I found myself returning to those feelings I had back in 2003 in San Francisco. The feeling of community ingrained with those who have shared food, water, and space in a foreign home for over a week, and the camaraderie of people coming together in a peaceful way to air out their concerns and anger — could this be the start of a revolution? This worldwide phenomenon has given me hope that the masses are starting to wake up to the reality that business in Washington, DC continues as usual. Even under a democrat — especially a democrat who received more contributions from Wall Street than any other presidential candidate in US history. “Democrat” and “Republican” don’t matter at the end of the day. Both are guilty of supporting corporate interests over those they are supposed to represent.

Standing on the corner with tambourine and sign in hand, Angus Godwin expresses a sentiment I think is fitting for the majority of protesters who have found solidarity in the Occupy Wall Street movement: “We’re all here because we’re getting screwed, and because bankers are criminals.”

The question now begs to be asked: we have occupied — now what? The ball is in our court. -Matt Edmund

OCCUPY WALL STREET

Ongoing – Zuccotti Park, New York

Zuccotti Park is 33,000 square feet, less than one acre of land. Located in Manhattan’s financial district, it is adjacent to Ground Zero, and 1,000 feet from the New York Stock Exchange. In the last five weeks, Zuccotti Park has been the staging point for the Occupy Wall Street movement. The marches, the signs, the rallying cries, the tweets, the “mic checks,” and the camera positions all begin and end here. For all the outlets referring to the Occupiers as directionless, Zuccotti Park is, for all intents and purposes, where the protestors come to organize.

Upon first impressions, scene at Zuccotti Park is something out of a ’90s movie about the 1960s — one can’t help but expect to hear strains of the Jimi Hendrix version of “All Along the Watchtower” as they walk about the park.

Currently, the ratio of actual protesters to curious onlookers occupying the park is about 80/20. The Occupy movement has been going on so long in one particular area that it is attracting curious tourists. Outlining the borders of the park are the most drastic protests and demonstrations (including the drum circle at the South-Western steps) that are for the onlookers — and especially the TV cameras. What the passersby and the cable TV cameras don’t see is the look beyond what is literally the fringes of the Occupy movement.

Venturing further inward to the center of Zuccotti Park, the shanty-town opens up. By the sheer volume of tents, tarps, and sleeping bags in such a small space, these people are here for the long haul. “Occupy Wall Street” isn’t just a catchy name or a Twitter hash-tag — there is a literal occupation of territory happening in Zuccotti Park. But for all of Zuccotti Park’s new residents, no one is here because they have to be. This isn’t a modern day Hooverville, where people are living because they can’t afford their own homes — it is at the heart of why there is an occupation; the American Dream is no longer attainable for some people, and those who have a vested interest in making sure that Dream remains unattainable are not getting an comeuppance.

The center of Zuccotti Park is where the ideas are exchanged. This is the heart of the operation where one will find pamphlets, instructions for the next march to the New York Stock Exchange, meal options, and reasonable discussion.

The most intriguing phenomenon occurring in the hub is what is referred to as the “Mic Check.” As explained by a student from New Hampshire identified as Cara, the “Mic Check” is when any individual stands up on an elevated plain and declares “Mic Check.” Upon hearing this, many in the crowd repeat it back to inform the others. The person granted this new found status begins speaking in short sentences, which is then repeated by the crowd. The crowds response is to make sure the idea carries through to the rest of the park so even those that are not close enough to hear can understand what is being said. And as there are no leaders, anyone can declare “Mic Check.”

This method of spreading information comes off as part game of “telephone,” and part responsorial psalm. It is an analogue version of how information spreads via social media as a person delivers content, while others around them amplify the idea to others with verbal retweets and likes. The “Mic Check” is an astounding piece of order for a group that is dismissed by some as being “disorganized.”

The role of social media cannot be understated for the Occupy Wall Street movement. For this movement to grow at Ground Zero, ubiquitous access to the internet is imperative, which is why a charging station for laptops and phones is always occupied.

Images of the charging station has been easy fodder for contrarians as evidence that the Occupy Wall Street’s anti-corporate is not really all that anti-corporate, as if using smartphones and laptops dismisses any argument the protesters might have.

To boil down Occupy Wall Street as solely anti-corporate is to miss the point completely. Unfortunately, there is more “anti” sentiment than anything else. While many signs are proclaiming what they are against, there is very little declaring what anyone is for, which obfuscates the entire reason for being in Zuccotti Park. It’s not anti-corporatism driving people here. These are the people that did what they were supposed to do to be successful in the US, only to be denied because a select few holding the purse strings are changing the rules for the sake of quarterly profits. -Nate Griffin

OCCUPY INDIANAPOLIS

October 8th, 2011

The protest in Indianapolis took place at the Veterans Memorial Park in downtown. A small crowd of people congregated around a stage that was set up where speakers shared their thoughts on the state of the nation. The police presence was minimal; off to the side four or five cops congregated underneath the shade of a tree and observed. To the best of my knowledge, no one was arrested. The crowd was rather reserved and non-vocal, and primarily focused their attention on whomever was speaking onstage. -Kris Arnold

OCCUPY BUFFALO

Ongoing

There have been no arrests or major incidents in Buffalo, New York. The protests have all been peaceful.

Buffalo does have a good-sized financial center with Chase, HSBC, Key Bank, M&T Bank, and First Niagara all having a banking presence downtown. There is a small encampment occupying a part of Niagara Square (which includes the McKinley Monument), and is right in the heart of where the major government buildings are, including City Hall. The camp is largely tents and tarps with a portable toilet recently added. They seem to be well-stocked with food and water — besides, this time of year in Buffalo you don’t really need electricity to keep things cold. The area is a wind tunnel since Niagara Square is only about a mile from Lake Erie. Recently gusts of wind were measured above 40 miles per hour, and yet somehow the tarps stayed up and functioning.

About 40 people recently protested at Chase Bank, with some in costume and most holding signs or flags. There was a police presence with mounted police nearby, but the protest was done peacefully and the police simply stood by. There is a crew of around 12 to 20 people who are have been in Niagara Square daily with signs and flags for three weeks.

The biggest days for the protest are Saturdays. If the sound of the car horns of supportive motorists is any indication, Occupy Buffalo have been receiving good moral support from the community. -Garrett Lyons

OCCUPY SEATTLE

October 8th, 2011

My impression is that the Occupy Seattle protest was largely disunited — too many individual causes being pushed (ie., Native American rights, unions, bank debit fees, job loss, etc.).  Also, there was a lack of a solid person in charge. There was a march scheduled for noon that, for an unknown reason, got pushed to 5 PM, and the march seemed to zig-zag before finally ending at the Bank of America building — which was empty on a Saturday evening. It would’ve been more effective on a workday. -Suzi Pratt

Click here for Verbicide‘s coverage of the Occupy movement in Austin, Texas and Hartford, Connecticut

Kill Everyone starts with high potential, especially with the opening track “Feed You To The Sharks.” Kevin Cole’s vocals are super raspy and unique, and they really work well with the music, much like how awesome Tim Armstrong sounds with Rancid. As the album progressed I noticed that I wasn’t really cranking out the RPMs on the Nova, but I continued to enjoy this album. Tracks like “Ancient Chinese Secret” really blasts out that fast-paced punk sound, and “Forget Everything” has a definite Ramones feel to it. Another nice thing about Kill Everyone is how Tim Lozada’s bass guitar seems to drive quite a few of the songs like “Shut Up Pills,” “Live Fast Die Slow,” and “Into The Vortex,” Okay, so technically the it failed the Nova test, but this album does pass the test for being a really good punk rock album as a whole. It’s not a non-stop fast paced album but it has its moments. Quite an enjoyable listen.

(Stomp Records, 1223 Blvd. Saint-Laurent Suite 305, Montreal, QC H2X  2S6 Canada)

Laced with keyboards with a stripped-down, indie-pop sound, the opening track “Clang of the Concrete Swans” starts the album in a catchy frenzy. It’s followed by “The Weekend Dreams,” a bass- and horn-driven track that has a retro British soul sound featuring Rachel Evans on vocals. There’s a real nice mix of material on this album that allows the listener to hear all aspects of Comet Gain’s sound. While Howl of the Lonely Crowd has its share of infectiously toe-tapping pop songs, there are also a few mellow tracks that really add some depth to the feel of this albums. “After Midnight, After Its All Gone Wrong” highlights that toned down sound with an emphasis on David Feck’s vocals. The album takes a poetic turn with the track “A Memorial For Nobody I know,” again with Feck on vocals. The shared vocal spot between Feck and Evans throughout the album is also quite enjoyable. The album is nicely balanced between catchy pop and singer-songwriter material.

(What’s Your Rapture? Records, no address provided)

It’s quite clear that these guys can bring the rock, but it’s unfortunate to say that many of the songs feel like they follow the same formula from track to track. The vocals seem recycled as well — a little one-dimensional. I will say that the vocals are sung with conviction and gut-wrenching power, but feel played out by the middle of the album. Musically, these guys are quite good and the album is put together quite nicely, but I feel that by the fifth track the album ran its course. This might be one to check out on a streaming feed online, but not something I’d suggest picking up.

(Prosthetic Records, 11664 National Blvd. Suite 413, Los Angeles, CA 90064)