August 30th, 2014
dynamitehemorrhage

Can’t pick a more inauspicious time to post a new show than smack in the middle of Labor Day weekend, but we at Dynamite Hemorrhage Radio don’t operate according to your rules. We had bands we needed to play for you, we had a free Saturday night, we bailed on something like five quality live music shows happening in the San Francisco Bay Area this evening and instead we made ya this podcast. It’s a little over an hour and it might blow your goddamn mind.

Let’s start with brand new material from HONEY RADAR, SNEAKS, OCTAGRAPE, SYNTHETIC ID, PY PY, TERRY MALTS and THE BILDERS. We stack from there with reissued stuff from CRIME. We slide in library material from VAIN AIMS, GARBAGE AND THE FLOWERS, COME, FLESH EATERS, DEAD CLODETTES, THE GERMS and the awesome KING TEARS MORTUARY (pictured here) - among others. Like the other 43 hours of podcasts before it, it all comes with my personal guarantee of quality - the music, not the blatherings of the inane host. That’s what the slider on your iPhone is for. 

Download Dynamite Hemorrhage Radio #44 here.
Stream or download the show on Soundcloud here.
Subscribe to the show on iTunes here.

Track listing:

HONEY RADAR - A Ballerina in Focus
HONEY RADAR - Alabama Wax Habit
SNEAKS - New Taste
BEYOND THE IMPLODE - Lassitude 
VAIN AIMS - You
KING TEARS MORTUARY - Crash Report
DEAD CLODETTES - Flou
THE NIGHTS AND DAYS - Diddy Wah Diddy
CRIME - Terminal Boredom
GERMS - Sex Boy
TERRY MALTS - Let You In
SYNTHETIC ID - Random Shocks
THE FLESH EATERS - Plastic Factory (live)
OCTAGRAPE - Ono Cyclone
PY PY - Pagan Day
COME - Car
THE GARBAGE AND THE FLOWERS - Nothing Going Down At All
THE BILDERS - The Utopians R Just Out Boozin’ 

Some past shows:
Dynamite Hemorrhage #43    (playlist) 
Dynamite Hemorrhage #42    (playlist) 
Dynamite Hemorrhage #41    (playlist) 
Dynamite Hemorrhage #40    (playlist) 
Dynamite Hemorrhage #39    (playlist) 
Dynamite Hemorrhage #38    (playlist) 
Dynamite Hemorrhage #37    (playlist) 
Dynamite Hemorrhage #36    (playlist) 
Dynamite Hemorrhage #35    (playlist) 
Dynamite Hemorrhage #34    (playlist) 
Dynamite Hemorrhage #33    (playlist)
Dynamite Hemorrhage #32    (playlist)

August 29th, 2014
dynamitehemorrhage

KING TEARS MORTUARY. New favorite band.

August 29th, 2014
dynamitehemorrhage
Grease Trap
King Tears Mortuary
Asleep At The Wheel Of Fortune EP 7"

Despite having a cover image that looks like the opening credits of Silicon Valley, the second KING TEARS MORTUARY single continues the winning ways of its bent, lo-fidelity pop predecessor, "Safe Sex".

The Australian unit put forth un certain joie de vivre that is absolutely infectious, with girl/boy vocals and tonal shifts that range from developmentally-delayed bashing to screeching noise to winsome, albeit raw and loud, pop. Fantastic stuff, and I encourage you to try ‘em both.

August 28th, 2014
dynamitehemorrhage

Well, this is something of a find – a good-quality audience tape of the very first FLESH EATERS show at Los Angeles’ Masque in December 1977…! Are you kidding me? I would have given my right arm for this thing at any point during the past 30 years, and it’s just been sitting there since May waiting for all of us to listen to it.

Thanks to Jon Hope for hipping me to this site Noise Addiction II – I’ve barely even dug through it yet and have already found that the site is just bursting with LA punk and oddities from the 70s and 80s. Don’t mind me, I’m over here shoving files into my piehole.

So the Flesh Eaters, in their very first show, still sound searing and raw on most tracks. This was from Chris D.’s “screaming” phase, which you can read him disowning in our own Dynamite Hemorrhage #1 fanzine, which has a lengthy interview with him about this era. The tape contains their cover of the Magic Band’s “Plastic Factory” as well as another cover I can’t place right now….can you? The tape cuts out just as the monstrous “Automaton Bombs” is just getting locked and loaded.

I can help a little with the song titling as well. Minus the one I don’t know, here’s what you’ll hear:

FLESH EATERS – live at the Masque, December 21st, 1977

  1. Disintegration Nation
  2. Agony Shorthand
  3. Police Gun Jitters
  4. Plastic Factory
  5. Achieve That Reject
  6. Brain Time
  7. title unknown
  8. Jesus Don’t Come Through the Cotton
  9. Automaton Bombs

Download the thing here.

August 28th, 2014
dynamitehemorrhage
Hey, I heard that CCTV track and absolutely love it, so killer. Are there any plans to do a record?
Anonymous

daisyydazeyy:

Thanks! We are actually currently working on a 7inch and have plans to put out an LP in the future.

August 28th, 2014
dynamitehemorrhage

hotmonsters:

isitanart:

Flyer for show from December 1979 where they played with X and The Germs.

Reblogged from Roman Litter
August 27th, 2014
dynamitehemorrhage
(Originally posted on my Agony Shorthand blog back in 2004):
“THE MAYOR OF THE SUNSET STRIP” DVD….. I’ve heard the “Rodney on the ROQ” radio show live maybe two or three times ever, but if you’re even a little bit interested in LA punk days of yore – or hey, in LA glitter days of yore – you know who RODNEY BIGENHEIMER is. It always seemed to go without saying that Rodney was best – the best – at getting his picture taken with famous people, with his ability to drum up support for mediocre sugar pop or punk-lite bands a close second. Honestly, outside of the over-the-top belittling he took from the Angry Samoans in their song “Get Off The Air” (featuring the first-rate lyric “Glitter bands, and Bowie’s cock/Are his idea of new wave rock”) and that incredible I’ll-never-grow-up haircut of his, I’ve barely given him a second thought. He’s never done a thing to get me worked up pro or con. After watching this documentary on him, though, I feel like buying him a beer and personally apologizing to him for the hatchet job the filmmakers did on him. This recent documentary, which held out the (delivered) promise of including a ton of great 1960s-70s photos and footage from underground & overground popular culture, has an agenda of laying waste to Bigenheimer by juxtaposing his supposedly fabulous life among the tinseltown glitterati with his own, somewhat painful family history. It’s obvious very early on that Rodney doesn’t really know how to conduct himself in this documentary, so he just sort of trails along as the filmmakers plop him into one uncomfortable situation after another. This includes getting the girl he’s crazy about to admit she has another boyfriend in front of Rodney; forcing his clueless Dad and stepmom to search for the one or two childhood photos of Rodney they’ve retained, trailing him around his squalid apartment as they subtly mock his lack of money, and so on. Rodney, who possesses very little of the smarts that might have gotten him out of this mess, just lets the camera roll and tries to nice-guy the filmmakers into liking him, as I imagine he’s nice-guyed many a star over the years. They don’t – they loathe him, just as they loathe anyone who might have a few demons they’re unwilling to confront. They also employ the most tired trick in the book – contrasting the LA of parties and sex and booze with the LA where people actually have to polish the sidewalk stars on Hollywood Boulevard or who might be too wasted or broke to sleep in a house or motel for the night. Can you believe it? Beneath the glitter and the tinsel there’s a whole ‘nother Los Angeles!! It’s a documentary that might have been all right at a big-city film festival, where you know most of the films will be duds & you’re willing to forgive the young filmmakers their trespasses – you just want to be out & seeing something that’ll never hit the Cineplex. But beyond that, no way. It’s amateur hour as the film’s story halts and starts and halts again, with long stretches of incoherence that cries for an editor or some adult supervision. What does it have to do with rock and roll, you ask? Well, beyond the nominal subject matter, “The Mayor of the Sunset Strip” does have interviews with some self-aggrandizing people you love to hate like Courtney Love (who of course bring the subject matter back to herself almost every question) and Ray Manzarek. There’s also great footage from Rodney’s 1970s glam club “Rodney’s English Disco”, including a preening David Johanssen and a nubile MacKenzie Phillips, as well as weird interviews with members of groupie club The GTOs. Oh yeah, and KIM FOWLEY is all over this thing – there were times when I thought the film was going to veer off and become a documentary on him, something I’d definitely like to see if someone can brave it. There’s no doubt the ribald, quick-witted and quite possibly insane Fowley would have held his own against these mean-spirited charlatans far better than Rodney Bigenheimer did.

(Originally posted on my Agony Shorthand blog back in 2004):

“THE MAYOR OF THE SUNSET STRIP” DVD….. 

I’ve heard the “Rodney on the ROQ” radio show live maybe two or three times ever, but if you’re even a little bit interested in LA punk days of yore – or hey, in LA glitter days of yore – you know who RODNEY BIGENHEIMER is. It always seemed to go without saying that Rodney was best – the best – at getting his picture taken with famous people, with his ability to drum up support for mediocre sugar pop or punk-lite bands a close second. Honestly, outside of the over-the-top belittling he took from the Angry Samoans in their song “Get Off The Air” (featuring the first-rate lyric “Glitter bands, and Bowie’s cock/Are his idea of new wave rock”) and that incredible I’ll-never-grow-up haircut of his, I’ve barely given him a second thought. He’s never done a thing to get me worked up pro or con. After watching this documentary on him, though, I feel like buying him a beer and personally apologizing to him for the hatchet job the filmmakers did on him. 

This recent documentary, which held out the (delivered) promise of including a ton of great 1960s-70s photos and footage from underground & overground popular culture, has an agenda of laying waste to Bigenheimer by juxtaposing his supposedly fabulous life among the tinseltown glitterati with his own, somewhat painful family history. It’s obvious very early on that Rodney doesn’t really know how to conduct himself in this documentary, so he just sort of trails along as the filmmakers plop him into one uncomfortable situation after another. This includes getting the girl he’s crazy about to admit she has another boyfriend in front of Rodney; forcing his clueless Dad and stepmom to search for the one or two childhood photos of Rodney they’ve retained, trailing him around his squalid apartment as they subtly mock his lack of money, and so on. Rodney, who possesses very little of the smarts that might have gotten him out of this mess, just lets the camera roll and tries to nice-guy the filmmakers into liking him, as I imagine he’s nice-guyed many a star over the years. They don’t – they loathe him, just as they loathe anyone who might have a few demons they’re unwilling to confront. They also employ the most tired trick in the book – contrasting the LA of parties and sex and booze with the LA where people actually have to polish the sidewalk stars on Hollywood Boulevard or who might be too wasted or broke to sleep in a house or motel for the night. Can you believe it? Beneath the glitter and the tinsel there’s a whole ‘nother Los Angeles!! 

It’s a documentary that might have been all right at a big-city film festival, where you know most of the films will be duds & you’re willing to forgive the young filmmakers their trespasses – you just want to be out & seeing something that’ll never hit the Cineplex. But beyond that, no way. It’s amateur hour as the film’s story halts and starts and halts again, with long stretches of incoherence that cries for an editor or some adult supervision. What does it have to do with rock and roll, you ask? Well, beyond the nominal subject matter, “The Mayor of the Sunset Strip” does have interviews with some self-aggrandizing people you love to hate like Courtney Love (who of course bring the subject matter back to herself almost every question) and Ray Manzarek. There’s also great footage from Rodney’s 1970s glam club “Rodney’s English Disco”, including a preening David Johanssen and a nubile MacKenzie Phillips, as well as weird interviews with members of groupie club The GTOs. Oh yeah, and KIM FOWLEY is all over this thing – there were times when I thought the film was going to veer off and become a documentary on him, something I’d definitely like to see if someone can brave it. There’s no doubt the ribald, quick-witted and quite possibly insane Fowley would have held his own against these mean-spirited charlatans far better than Rodney Bigenheimer did.

August 26th, 2014
dynamitehemorrhage
BILL DIREEN, sometime in the 1980s. Just finished up a list of questions for our interview with the man in Dynamite Hemorrhage #2.

BILL DIREEN, sometime in the 1980s. Just finished up a list of questions for our interview with the man in Dynamite Hemorrhage #2.

August 26th, 2014
dynamitehemorrhage
August 25th, 2014
dynamitehemorrhage
Tough Luck
Sneaks
SNEAKS

Check out this new “zing zong” from SNEAKS, out of Washington DC. (their words, not mine). It’s thumping, Bush Tetras-style minimalist funk with a weirdo sense of humor and a “shorter the better” ethos that we at DH really applaud. I know zero about the band, but would not be surprised if this was a one-woman deal nor if she was on the very young side of the age spectrum.

There are even better songs on their new 7-track digital album but we’re saving those for the podcast. Terrific stuff.

August 25th, 2014
dynamitehemorrhage

fuckinrecordreviews:

"It had this latent ignorant mentality, like fanzines used to be, like Touch & Go and other fanzines, purposely dumb, stupid and idiotic, but funny. So that’s where it came out of…”

YAK’UZ’Å, #6 1994 (cover)  DAVE MCGURGAN, Editor/Publisher

TOM LAX/MAC SUTHERLAND INTERVIEW by CHRIS RICE (PART 1 of 3)

  • In recognition of Tom Lax’s sixth or seventh visit to Brian Turner’s WFMU radio show on Tuesday 8/26/14, we launch a celebration of Siltbreeze with what may be the earliest interview on record: Tom and Mac Sutherland, 1994 style.
  • 3/15/06 interview/overview by Brian Howard at Philadelphia City Paper: “It had never been Lax’s plan to start a label; photocopying 150 issues of a fanzine and pressing 1,500 vinyl records are quite different propositions. Lax’s grandmother had taken out an $800 life insurance policy on him, a policy he had the option keeping or cashing in. ‘That,’ says Lax, ‘is how I started Siltbreeze’.” 
  • VICE?  VICE. 7/23/08  Any bands you wished you’d never even emailed back and were shitheads to deal with?  TJ:Probably. To be honest, I can’t remember…No one’s really a problem and everybody is pretty easy to deal with this go-round. Local bands always have a tendency to be problematic, but I solved that issue by not having any. Again! Yet!”

August 22nd, 2014
dynamitehemorrhage

Now available, once again - Dynamite Hemorrhage #1 fanzine. We put this out the final week of December 2013 but had to stop selling our remaining copies due to a summer-long stint in Norway, which is now over.

Head over here and take a look at the right-hand column to order and pay via Paypal if you’d like a copy of this 68-page behemoth. It’s $7 plus the true shipping cost to get it to you in your country.

(Dynamite Hemorrhage #2 is coming in October 2014 - more bloated and more obsessive than ever)

#1 includes:

- An in-depth interview with Chris D., Los Angeles-based punk rock earth-turner, who founded and fronted The Flesh Eaters; ran a pioneering record label called Upsetter; almost released the first Black Flag album; wrote dozens of reviews and helped to edit the seminal Slash magazine; put out his own fanzine with Exene, John Doe & Judith Bell; and much more - all before 1979 was finished. This interview focuses solely on that period of his career

- The first and only retrospective and posthumous interview with SALLY SKULL, a fantastic 1990s all-female Scottish band who made raw, jarring garage punk music with dollops of angularity and dirty pop hooks

- Mail interviews with SEX TIDE and HOUSEHOLD, two current bands working the circuit (Household R.I.P.) who happen to be two of Dynamite Hemorrhage’s very favorites

- Quickie interview with BONA DISH, a recently-resurrected early 80s UK countryside band who are poster children for the rough-hewn, spaced-out DIY sound that we’ve all come to worship from that era and country

- Big retrospective on 1980s and 1990s underground music fanzines (like Damp, Butt Rag, Dagger, Two Hundred Pound Underground etc.) by the editor of Fuckin’ Record Reviews blog

- 60-something record reviews written by Erika Elizabeth and Jay Hinman

- 15-something book reviews by Jay & Erika

- Advertisements from today’s top labels

Won’t you order one today?

August 22nd, 2014
dynamitehemorrhage

daisyydazeyy:

COMING SOON.

This is something I was hoping to see. CCTV put that one song, "Mind Control", on Tumblr earlier in the year and the kids went crazy: stage diving, fights, long-winded rhetoric, excessive podcasting - you name it.

Respect the NWI and keep your eyes peeled for this happening combo. They’re workin’ on it.

August 21st, 2014
dynamitehemorrhage
I'm not sure if you were being serious when you said my band was banned from your show for having a stupid band name. I suspect, since you mispronounce "Biloxi," you don't know what it means. Biloxi is a city in Mississippi near New Orleans, where I live. It's nickname is "the Buck City." At least I didn't rip off the same segment of the same Minutemen song from the intro from Maximumrockandroll Radio for the intro to my record. My question is: who gives a shit about how smart you think you are?
Anonymous

Hey Anonymous, thanks so much for writing. I tend to ignore bands with really ludicrous names like “Buck Biloxi and the Fucks” as they’re most usually meathead punk of the lowest order, but you folks transcend your unfortunate name and have been enthusiastically played a few times now. The MRR theme rip-off is very conscious, very deliberate and something I’ve yakked about on the show a few times. Alas, it’s not the Minutemen. Sorry!

You and I need to meet in Biloxi for some wild riverboat gambling and bury the goddamn hatchet. See you in the Buck City?

August 20th, 2014
dynamitehemorrhage
It’s time for the third in our series of interviews with the digital age’s most happening music curators. (Interview with Matt Thornton is here; interview with Layla Gibbon is here).
I wouldn’t have been able to enter polite company again nor sputter the word “curator” if I didn’t fire off some pithy questions to Erika Elizabeth, the hostess of the world-beating "Expressway To Yr Skull" radio show (now podcast), and one of the supreme musical tastemakers of the last decade, far as I’m and many other righteous folks are concerned. It’s not really nepotism or anything – I mean, we had no idea of each other’s existence three years ago – but since discovering her show in 2011, we’ve recognized some like-mindedness in the musical realm, and she’s now Dynamite Hemorrhage fanzine's contributing editor and largest contributor of content besides myself. (You can order #1 and see all the stuff she wrote here; more is coming in Issue #2 in a couple months).
I interviewed her once before as well, but this thing on curators would be useless without her informed and well-considered take. She’s successfully migrated her show from an analog curation medium (the college radio studio) into the digital age (her podcast, which is the same show, albeit less frequent), while also suffering the existential pathos that stems from trying to stay (somewhat) analog in a world increasingly defined by 0’s and 1’s.I reckon we should let Erika speak for herself – what do you say?DH: How do you balance buying new music on vinyl vs. downloading it, and what sort of trade-offs do you make in the process?Erika Elizabeth: It’s a Sisyphean struggle for me to even try to keep up with buying all of the new music on vinyl that I would like to possess, for a multitude of reasons (my lack of a wealthy benefactor & the record collection that is already monopolizing my studio apartment are but two of them). Waiting to buy records from bands at shows when they play in Portland has been a good way for me to moderate that a little bit - I get to put some money directly into their pockets when they really need it & it forces me to be more deliberate about what music I bring home. But obviously, not every active band with new records that I would like to obtain will be passing through here, so I’m also always picking stuff up via record stores or mail order whenever I can. As much as I love the record stores here in Portland, they’re heavily slanted toward used vinyl, so I usually end up dropping a chunk of change on newer releases every couple of months when I go visit friends in Seattle, since the shops there actually seem to consistently stock new vinyl on smaller labels & working at a tiny vintage/record store doesn’t afford me the big bucks to pay for shipping on a bunch of new singles from Australia or the UK on a regular basis.
Downloads certainly are convenient now that I’m doing a podcast scraped together entirely from my laptop, as opposed to the years I spent doing a show in a fully-equipped radio studio with access to multiple turntables & cassette decks & the like, but since I’d rather save my money to get ahold of new music in a tangible format, any downloading I do is limited to what I can track down for free. So with those limitations in mind, digital music becomes a placeholder of sorts until I can get my hands on physical media, which sometimes might not actually happen (records with ridiculously small runs that immediately go out of print, things that get lost in the shuffle as a new avalanche of releases gets added to my wishlist, etc). If you’re compelled to be an evangelist for all things new & weird & wonderful (as I am), there’s bound to be some trade-offs in how much you can financially support all of the things that you’re hoping to turn other people onto & that’s a dilemma that I face on a constant basis.DH: What sort of impact does putting together a regular radio show or podcast have on your imperative to scour for new music - or would you be just as curious even without the drive to share your discoveries w/ your listeners?Erika Elizabeth: Honestly, it’s sort of a chicken-or-egg situation. Let’s just say that there’s a really good reason why I went to graduate school to become a librarian; namely that I absolutely love doing research & digging up information from all sorts of places about things that interest me. I’ve absolutely always been curious about (some would say unhealthily obsessed with) tracking down new/unfamiliar music & that dogged fixation is what ultimately pushed me toward doing college radio/podcasting - it was an opportunity to actually put all of those discoveries that I had culled to good use (meaning, beyond playing records too loudly in my bedroom by myself) & hopefully have a domino effect of turning other people onto music that I felt needed to reach a wider audience. At the same time, knowing in the back of my mind that I have another radio show coming up definitely pushes me to put in a little extra effort to track down a few more new-to-me musical finds than I might have otherwise stumbled across in my typical day-to-day research. And that’s mostly a consequence of me being unreasonably hung up on not repeating myself too much in my playlists - luckily, there’s always a chance for me to dig deeper into the history of all-female Swiss punk bands from the late 1970s or try to find something out there from a band on Harriet Records that’s not already in my personal collection or what have you.
I will say that not being on a fixed, weekly broadcasting schedule has been a huge improvement for my mental health when it comes to putting a show together, because I have way more time in between episodes to really pursue those paths of musical discovery as far as I want to, without the panic of needing to pull together one hundred & twenty minutes of new material in under a week.DH: What current online or offline resources do you favor in trying to find the music you listen to and recommend to other vis-a-vis your show?Erika Elizabeth: Well, for someone who does a podcast & (sort of) maintains a blog, I’m really not very digitally-inclined. A substantial amount of the accumulation & pursuit of music that I do utilizes the internet as a secondary source, rather than a primary source. A big part of why I moved to Portland last year is because it’s a total record store town - it’s sort of unreal for a mid-sized city like this to have a dozen or so record shops, most of which at least have their moments of brilliance & one of which I’m fortunate to work at (which means that I literally have hours where I get paid to sort through piles of records looking for things that might be of interest to me).
One of my favorite new-to-me finds from the past few months was an EP from 1982 by this female-fronted band from Seattle called the Visible Targets, which I stumbled across in the bins at a local shop & brought to the listening station based solely on the fact that the sleeve design had an almost textbook early ’80s post-punk aesthetic, which if reflected in the music would mean that they totally had my number (it was & they did). After I brought it home, I did some research online to see what I could find out about them, which led to finding, among other things, some really great archival video footage, which garnered a really enthusiastic response when I reposted it on the Facebook page for my show. But I don’t have a smartphone, so I’m not going to be Googling from the little screen in my hand as a means of doing some investigating while I flip through record stacks & I kind of like doing online research after my instincts have already guided me toward something offline - I feel like it forces me to be a little more adventurous & take more chances.When I was an underground music-obsessed teenager stuck in the suburbs before the internet had become fully ubiquitous & I was desperately trying to find new sounds that challenged me, a lot of my methods were simply based on connecting dots from the limited information I did have access to - reading record reviews in zines that mention one band including former members of another band, making note of who was touring with or opening up for bands I liked, working my way through the back catalogs of labels that seemed to put out a lot of records that I already had, etc. I’m very much still in that mindset, although now that it’s 2014 instead of 1999, I can dig up that information much more quickly online. I stumble upon a lot of newer music that I incorporate into my podcast via those sorts of “six degrees of separation” methods - “oh, this band just put out a tape that I really like & there’s like three or four other things on their label’s Bandcamp page that I should probably check out”, that sort of thing.
I’m always looking at local show listings to see if there’s anything on the horizon that I want to hit up, which has led to being unexpectedly charmed by an unknown-to-me band who happened to be on a bill opening for another band I was already planning to go see, or who I checked out after noticing that they were going to be playing one of the venues here in town that fairly consistently hosts the sorts of shows that I’m inclined to go to, not to mention all of the bands that I’ve looked into after noticing (via the miracle of Facebook news feeds) that they were playing shows with my friends in various other corners of the country. I actually don’t keep up with blogs as consistently as I should, but I have a fair number of reliable standbys bookmarked on my laptop & I’ll scroll through those when I’m getting ready to put together a new podcast, to see if there’s anything new & up my alley that isn’t on my radar yet.DH: Are you pleased with the abundance of music available to you within minutes online, or has something been lost in the process - and by buying vinyl, are you potentially seeking to hold onto a meaningful part what brought you into music obsession in the first place?Erika Elizabeth: Of course, as a confirmed music obsessive, the convenience of having so much music so readily available to me online is incredible, but at the same time, I do think that something has been lost in the process - namely, a more immediate sense of community & connection. Maybe I’m romanticizing the era of the internet when blog culture hadn’t completely blown up yet, but that was also a time when my music discovery facilitated through online channels was mostly based around trading mixtapes with people from all over the place, which allowed me to find out about music that has profoundly influenced my life in ways that I can’t even begin to quantify; music that I likely never would have stumbled upon on my own if I had been forced to keep relying solely on hearing something by chance on the local college radio station or reading a review of a record in a zine & then actually being able to find a copy of it in the strip mall CD chain stores that I had access to as a teenager in Houston, Texas. I’m still friends with some of those people who sent me tapes in the mail fifteen years ago, which is the sort of connection that is so much harder to make when you’re, say, just downloading something that someone posted on their blog - it becomes more of a one-way transaction. Obviously, there’s exceptions to that (you & I wouldn’t be zine collaborators if you hadn’t emailed me as a result of finding my radio show online!), but so much of the current online exchange of information seems to be this cycle of forwarding & reblogging or whatever, without more personal conversations entering the picture.My preference for buying vinyl certainly has roots in that community-oriented mindset, not in small part because I’ve been working in record stores for most of the past decade & having face-to-face conversations about music with someone from either side of the record counter gives me a joy like few other things in this world. My media consumption habits were something that I thought of often while I was working on my masters degree, where my entire academic motivation was based around a desire to help make resources more widely accessible to people & to preserve them for future generations. I took an archives course that was really eye-opening as far as the role that technology has on long-term preservation of archival materials goes, specifically the amount of work & resources that it takes to convert information stored on now-archaic file formats (think files & data saved on floppy disks, or increasingly, films that only exist on VHS) into something that can still be accessed & maintained using current technology, which is a never-ending cycle as older formats are continuously phased out & newer formats inevitably become dominant.
So while the internet is a wonderful place for having easy access to all sorts of music & exposing that music to a wider audience, I think having a physical artifact (i.e. vinyl) gives me a greater sense of security & permanence. How often do we lament a once active blog going dormant as the links to mp3s it once provided turn into virtual dead ends, or seeing videos pulled from Youtube for copyright violations, or what have you? Plus, it’s just way more exciting to DJ when you get to dig through a box of singles to throw on the turntable, as opposed to just standing over a table while you scroll through your iTunes library.DH: How has the state of music accumulation and curation evolved in the last few years? What’s different about, say, 2014 than even 2012 or 2010?Erika Elizabeth: The sphere of online music curation has obviously expanded exponentially in just the past few years & the one thing that I find myself lamenting is the sort of constant one-upping culture that has emerged now that music blogs are a dime a dozen, feeding off absurd, ego-driven notions of first discovery. Granted, this isn’t exclusive to blogs & the like, but I feel like the immediacy of the internet has greatly distorted the importance of being able to lay claim to “breaking” an undiscovered or relatively under-hyped artist. I tried my hand at writing for online music publications for a spell & I grew so disillusioned with it because the prevailing attitude of so many of those outlets seemed to be geared more toward beating any other music blog or website to covering a particular artist & less toward providing any sort of intelligent, critical assessments or sharing things out of genuine enthusiasm. It turns into this vicious cycle of trying to crank out some short paragraph essentially copy & pasted from a band’s website or press release or whatever, throwing in a link to a Youtube video or a Bandcamp page & waiting for all of the other blogs to catch up to what you’ve just discovered (and often, to recycle the same links & tag lines, ad infinitum). I think that’s why I tend to be drawn to music curation outlets that have a greater distance from that insidious clickbaiting mentality - print zines that are writing about things that came out months before the issue could be published, podcasts where you can actually hear someone talk passionately about music that they want to share with a wider audience, those rare blogs that have a clear focus on smartly & thoroughly highlighting music that would otherwise fall through the cracks without resorting to horrible Buzzfeed-esque list-making, etc.DH: What parallels does online curation have with the days of flipping through stacks of records in crates, if any - and what sort of mindset does a modern digital curator need to bring to the search for the best obscurities?Erika Elizabeth: I’m a firm believer that regardless of whether your crate digging is done in actual record bins or just by combing through online resources, you’re only going to get anywhere if you’re not the type of person to play it safe & stick to things that have already been demystified for you. One of my biggest frustrations in booking shows for relatively small potatoes bands over the past few years has been trying to get people in my local community excited about taking a chance on spending $5 to see some band that haven’t heard of yet play in a run-down bookstore or DIY art space (that doesn’t have the added pull of a bar with free-flowing alcohol that they can use to justify attending), only to hear one of my friends say three or four months down the line that they just got around to listening to this same great band & wish that they’d come through town at some point. If you’re trying to be an effective digital curator, don’t be that person. Don’t be afraid to go deep into that internet K-hole of having a half dozen tabs open in your browser while you stream something from a Bandcamp page while simultaneously scouring the band’s Tumblr or Facebook page or whatever for any scraps of information that you can find, just because you came across their name referenced in some other corner of the internet. Sure, you’re probably going to have to sort through a bunch of music that does absolutely nothing for you, but to me, it’s the modern equivalent of what I used to do back in the day when I’d take a chance on a bunch of cheap-as-hell used CDs from the cut-out bin based on which label put them out (and it’s less of a financial gamble than having to sell back those New Wet Kojak albums as a result of your Touch & Go binge).
If you discover something that interests you, dig deeper & do some creative research to find other things that might be affiliated - if you find one great new C86-worshipping band from some random city, there very well might be an entire geographic micro-scene there of other bands making some similar noise that you didn’t even know existed. Or maybe not, but you never know.

It’s time for the third in our series of interviews with the digital age’s most happening music curators. (Interview with Matt Thornton is here; interview with Layla Gibbon is here).

I wouldn’t have been able to enter polite company again nor sputter the word “curator” if I didn’t fire off some pithy questions to Erika Elizabeth, the hostess of the world-beating "Expressway To Yr Skull" radio show (now podcast), and one of the supreme musical tastemakers of the last decade, far as I’m and many other righteous folks are concerned.

It’s not really nepotism or anything – I mean, we had no idea of each other’s existence three years ago – but since discovering her show in 2011, we’ve recognized some like-mindedness in the musical realm, and she’s now Dynamite Hemorrhage fanzine's contributing editor and largest contributor of content besides myself. (You can order #1 and see all the stuff she wrote here; more is coming in Issue #2 in a couple months).

I interviewed her once before as well, but this thing on curators would be useless without her informed and well-considered take. She’s successfully migrated her show from an analog curation medium (the college radio studio) into the digital age (her podcast, which is the same show, albeit less frequent), while also suffering the existential pathos that stems from trying to stay (somewhat) analog in a world increasingly defined by 0’s and 1’s.

I reckon we should let Erika speak for herself – what do you say?

DH: How do you balance buying new music on vinyl vs. downloading it, and what sort of trade-offs do you make in the process?

Erika Elizabeth: It’s a Sisyphean struggle for me to even try to keep up with buying all of the new music on vinyl that I would like to possess, for a multitude of reasons (my lack of a wealthy benefactor & the record collection that is already monopolizing my studio apartment are but two of them). Waiting to buy records from bands at shows when they play in Portland has been a good way for me to moderate that a little bit - I get to put some money directly into their pockets when they really need it & it forces me to be more deliberate about what music I bring home. But obviously, not every active band with new records that I would like to obtain will be passing through here, so I’m also always picking stuff up via record stores or mail order whenever I can. As much as I love the record stores here in Portland, they’re heavily slanted toward used vinyl, so I usually end up dropping a chunk of change on newer releases every couple of months when I go visit friends in Seattle, since the shops there actually seem to consistently stock new vinyl on smaller labels & working at a tiny vintage/record store doesn’t afford me the big bucks to pay for shipping on a bunch of new singles from Australia or the UK on a regular basis.

Downloads certainly are convenient now that I’m doing a podcast scraped together entirely from my laptop, as opposed to the years I spent doing a show in a fully-equipped radio studio with access to multiple turntables & cassette decks & the like, but since I’d rather save my money to get ahold of new music in a tangible format, any downloading I do is limited to what I can track down for free. So with those limitations in mind, digital music becomes a placeholder of sorts until I can get my hands on physical media, which sometimes might not actually happen (records with ridiculously small runs that immediately go out of print, things that get lost in the shuffle as a new avalanche of releases gets added to my wishlist, etc). If you’re compelled to be an evangelist for all things new & weird & wonderful (as I am), there’s bound to be some trade-offs in how much you can financially support all of the things that you’re hoping to turn other people onto & that’s a dilemma that I face on a constant basis.

DH: What sort of impact does putting together a regular radio show or podcast have on your imperative to scour for new music - or would you be just as curious even without the drive to share your discoveries w/ your listeners?

Erika Elizabeth: Honestly, it’s sort of a chicken-or-egg situation. Let’s just say that there’s a really good reason why I went to graduate school to become a librarian; namely that I absolutely love doing research & digging up information from all sorts of places about things that interest me. I’ve absolutely always been curious about (some would say unhealthily obsessed with) tracking down new/unfamiliar music & that dogged fixation is what ultimately pushed me toward doing college radio/podcasting - it was an opportunity to actually put all of those discoveries that I had culled to good use (meaning, beyond playing records too loudly in my bedroom by myself) & hopefully have a domino effect of turning other people onto music that I felt needed to reach a wider audience. At the same time, knowing in the back of my mind that I have another radio show coming up definitely pushes me to put in a little extra effort to track down a few more new-to-me musical finds than I might have otherwise stumbled across in my typical day-to-day research. And that’s mostly a consequence of me being unreasonably hung up on not repeating myself too much in my playlists - luckily, there’s always a chance for me to dig deeper into the history of all-female Swiss punk bands from the late 1970s or try to find something out there from a band on Harriet Records that’s not already in my personal collection or what have you.

I will say that not being on a fixed, weekly broadcasting schedule has been a huge improvement for my mental health when it comes to putting a show together, because I have way more time in between episodes to really pursue those paths of musical discovery as far as I want to, without the panic of needing to pull together one hundred & twenty minutes of new material in under a week.

DH: What current online or offline resources do you favor in trying to find the music you listen to and recommend to other vis-a-vis your show?

Erika Elizabeth: Well, for someone who does a podcast & (sort of) maintains a blog, I’m really not very digitally-inclined. A substantial amount of the accumulation & pursuit of music that I do utilizes the internet as a secondary source, rather than a primary source. A big part of why I moved to Portland last year is because it’s a total record store town - it’s sort of unreal for a mid-sized city like this to have a dozen or so record shops, most of which at least have their moments of brilliance & one of which I’m fortunate to work at (which means that I literally have hours where I get paid to sort through piles of records looking for things that might be of interest to me).

One of my favorite new-to-me finds from the past few months was an EP from 1982 by this female-fronted band from Seattle called the Visible Targets, which I stumbled across in the bins at a local shop & brought to the listening station based solely on the fact that the sleeve design had an almost textbook early ’80s post-punk aesthetic, which if reflected in the music would mean that they totally had my number (it was & they did). After I brought it home, I did some research online to see what I could find out about them, which led to finding, among other things, some really great archival video footage, which garnered a really enthusiastic response when I reposted it on the Facebook page for my show. But I don’t have a smartphone, so I’m not going to be Googling from the little screen in my hand as a means of doing some investigating while I flip through record stacks & I kind of like doing online research after my instincts have already guided me toward something offline - I feel like it forces me to be a little more adventurous & take more chances.

When I was an underground music-obsessed teenager stuck in the suburbs before the internet had become fully ubiquitous & I was desperately trying to find new sounds that challenged me, a lot of my methods were simply based on connecting dots from the limited information I did have access to - reading record reviews in zines that mention one band including former members of another band, making note of who was touring with or opening up for bands I liked, working my way through the back catalogs of labels that seemed to put out a lot of records that I already had, etc. I’m very much still in that mindset, although now that it’s 2014 instead of 1999, I can dig up that information much more quickly online. I stumble upon a lot of newer music that I incorporate into my podcast via those sorts of “six degrees of separation” methods - “oh, this band just put out a tape that I really like & there’s like three or four other things on their label’s Bandcamp page that I should probably check out”, that sort of thing.

I’m always looking at local show listings to see if there’s anything on the horizon that I want to hit up, which has led to being unexpectedly charmed by an unknown-to-me band who happened to be on a bill opening for another band I was already planning to go see, or who I checked out after noticing that they were going to be playing one of the venues here in town that fairly consistently hosts the sorts of shows that I’m inclined to go to, not to mention all of the bands that I’ve looked into after noticing (via the miracle of Facebook news feeds) that they were playing shows with my friends in various other corners of the country. I actually don’t keep up with blogs as consistently as I should, but I have a fair number of reliable standbys bookmarked on my laptop & I’ll scroll through those when I’m getting ready to put together a new podcast, to see if there’s anything new & up my alley that isn’t on my radar yet.

DH: Are you pleased with the abundance of music available to you within minutes online, or has something been lost in the process - and by buying vinyl, are you potentially seeking to hold onto a meaningful part what brought you into music obsession in the first place?

Erika Elizabeth: Of course, as a confirmed music obsessive, the convenience of having so much music so readily available to me online is incredible, but at the same time, I do think that something has been lost in the process - namely, a more immediate sense of community & connection. Maybe I’m romanticizing the era of the internet when blog culture hadn’t completely blown up yet, but that was also a time when my music discovery facilitated through online channels was mostly based around trading mixtapes with people from all over the place, which allowed me to find out about music that has profoundly influenced my life in ways that I can’t even begin to quantify; music that I likely never would have stumbled upon on my own if I had been forced to keep relying solely on hearing something by chance on the local college radio station or reading a review of a record in a zine & then actually being able to find a copy of it in the strip mall CD chain stores that I had access to as a teenager in Houston, Texas. I’m still friends with some of those people who sent me tapes in the mail fifteen years ago, which is the sort of connection that is so much harder to make when you’re, say, just downloading something that someone posted on their blog - it becomes more of a one-way transaction. Obviously, there’s exceptions to that (you & I wouldn’t be zine collaborators if you hadn’t emailed me as a result of finding my radio show online!), but so much of the current online exchange of information seems to be this cycle of forwarding & reblogging or whatever, without more personal conversations entering the picture.

My preference for buying vinyl certainly has roots in that community-oriented mindset, not in small part because I’ve been working in record stores for most of the past decade & having face-to-face conversations about music with someone from either side of the record counter gives me a joy like few other things in this world. My media consumption habits were something that I thought of often while I was working on my masters degree, where my entire academic motivation was based around a desire to help make resources more widely accessible to people & to preserve them for future generations. I took an archives course that was really eye-opening as far as the role that technology has on long-term preservation of archival materials goes, specifically the amount of work & resources that it takes to convert information stored on now-archaic file formats (think files & data saved on floppy disks, or increasingly, films that only exist on VHS) into something that can still be accessed & maintained using current technology, which is a never-ending cycle as older formats are continuously phased out & newer formats inevitably become dominant.

So while the internet is a wonderful place for having easy access to all sorts of music & exposing that music to a wider audience, I think having a physical artifact (i.e. vinyl) gives me a greater sense of security & permanence. How often do we lament a once active blog going dormant as the links to mp3s it once provided turn into virtual dead ends, or seeing videos pulled from Youtube for copyright violations, or what have you? Plus, it’s just way more exciting to DJ when you get to dig through a box of singles to throw on the turntable, as opposed to just standing over a table while you scroll through your iTunes library.

DH: How has the state of music accumulation and curation evolved in the last few years? What’s different about, say, 2014 than even 2012 or 2010?

Erika Elizabeth: The sphere of online music curation has obviously expanded exponentially in just the past few years & the one thing that I find myself lamenting is the sort of constant one-upping culture that has emerged now that music blogs are a dime a dozen, feeding off absurd, ego-driven notions of first discovery. Granted, this isn’t exclusive to blogs & the like, but I feel like the immediacy of the internet has greatly distorted the importance of being able to lay claim to “breaking” an undiscovered or relatively under-hyped artist. I tried my hand at writing for online music publications for a spell & I grew so disillusioned with it because the prevailing attitude of so many of those outlets seemed to be geared more toward beating any other music blog or website to covering a particular artist & less toward providing any sort of intelligent, critical assessments or sharing things out of genuine enthusiasm. It turns into this vicious cycle of trying to crank out some short paragraph essentially copy & pasted from a band’s website or press release or whatever, throwing in a link to a Youtube video or a Bandcamp page & waiting for all of the other blogs to catch up to what you’ve just discovered (and often, to recycle the same links & tag lines, ad infinitum). I think that’s why I tend to be drawn to music curation outlets that have a greater distance from that insidious clickbaiting mentality - print zines that are writing about things that came out months before the issue could be published, podcasts where you can actually hear someone talk passionately about music that they want to share with a wider audience, those rare blogs that have a clear focus on smartly & thoroughly highlighting music that would otherwise fall through the cracks without resorting to horrible Buzzfeed-esque list-making, etc.

DH: What parallels does online curation have with the days of flipping through stacks of records in crates, if any - and what sort of mindset does a modern digital curator need to bring to the search for the best obscurities?

Erika Elizabeth: I’m a firm believer that regardless of whether your crate digging is done in actual record bins or just by combing through online resources, you’re only going to get anywhere if you’re not the type of person to play it safe & stick to things that have already been demystified for you. One of my biggest frustrations in booking shows for relatively small potatoes bands over the past few years has been trying to get people in my local community excited about taking a chance on spending $5 to see some band that haven’t heard of yet play in a run-down bookstore or DIY art space (that doesn’t have the added pull of a bar with free-flowing alcohol that they can use to justify attending), only to hear one of my friends say three or four months down the line that they just got around to listening to this same great band & wish that they’d come through town at some point. If you’re trying to be an effective digital curator, don’t be that person. Don’t be afraid to go deep into that internet K-hole of having a half dozen tabs open in your browser while you stream something from a Bandcamp page while simultaneously scouring the band’s Tumblr or Facebook page or whatever for any scraps of information that you can find, just because you came across their name referenced in some other corner of the internet. Sure, you’re probably going to have to sort through a bunch of music that does absolutely nothing for you, but to me, it’s the modern equivalent of what I used to do back in the day when I’d take a chance on a bunch of cheap-as-hell used CDs from the cut-out bin based on which label put them out (and it’s less of a financial gamble than having to sell back those New Wet Kojak albums as a result of your Touch & Go binge).

If you discover something that interests you, dig deeper & do some creative research to find other things that might be affiliated - if you find one great new C86-worshipping band from some random city, there very well might be an entire geographic micro-scene there of other bands making some similar noise that you didn’t even know existed. Or maybe not, but you never know.

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Music wordage and shareage - punks, pop, garage, freaks, proto-punkers and more.

Dynamite Hemorrhage #1 is also a 68-page print fanzine, with multiple interviews (Chris D./Flesh Eaters; Sally Skull; Household; Sex Tide; Bona Dish), 50+ record reviews and loads more.

It's available right here for $7 + the true cost of shipping it to you wherever you are in the world (which can get expensive - sorry about that):






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Issue #2 coming in October 2014.

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