Scene Report: Mary Gibney / We're In A Cult

Hey dirtbags, go to One On One Bicycle Studio and check out the We're In A Cult show. There's some other cool shit up in there by some other presumably cool dudes, but the standouts by far are Mary Gibney's paintings of Andre the Giant, Dick the Bruiser, Doctor X, Hulk Hogan, Mad Dog Vachon, Superstar Billy Graham, Verne Gagne, Maurice Roberre & Miss Atlas, and Wahoo McDaniel. I'm pretty sure a bunch of them are sold but you can still go look at them in person until some day at some time. All I know is they were there last week. You're smart, look it up yourself. Then go see it. You're welcome, assholes.

"Wrestlers" by Mary Gibney, Mpls, MN, March '14


Record Review: Teledrome - Self-Titled

Teledrome - Self-Titled (FDH / P.Trash)
By Nathan G. O'Brien for Tight To The Nail

It’s funny, as a kid riding the bus to school in the ‘80s this was the kind of stuff that dominated pop radio. I burned through millions of AA batteries on my knockoff Walkman trying to hear anything but synth; rap, punk, hair metal, R&B, you name it. Thankfully nostalgia doesn’t play by the rules because, holy crap, does it ever sound so great in the present day. This has given my ears so many orgasms they’re dripping semen. If I had a Delorean and 2.21 gigawatts I’d set the dial to 1983, go back, find John Hughes, convince him to make a movie about neon wayfarer and lipstick-clad robots that break out of weekend detention to take over the World, and then use this as the soundtrack.  ...Review continues here.


how we connect

Nathan G. O'Brien x Seth Earhart, part 1


Record Review: The Estranged - Self-Titled

The Estranged - Self-Titled (Dirtnap)
By Nathan G. O'Brien for Verbicide Magazine

I’m not much of a believer in things like fate or otherworldliness, but damn, the universe sure has a way of landing a great record right in my lap at the exact moment that I was least expecting it. Had I known that The Estranged’s members were associated with crusty hardcore acts like Hellshock, From Ashes Rise, Lebenden Toten, and Remains of the Day — and not only that, but that they were also capable of making post-punk, death-rock, and other subgenres that require hyphenated descriptors sound this textured, un-cold, and, well, fun — I would have sought them out long ago.  Up until this point, the seven-year existence of this band has somehow slipped underneath the magnetic pull of my (previously believed to be) all-punk-encompassing radar.  ...Review continues here.


Interview: Sorry State Records

Interview: Sorry State Records
By Nathan G. O'Brien for Scene Point Blank

Since 2005 Sorry State Records has grown from a small boutique label into one of the most dependable, well-curated record distributors in the global punk & hardcore network. While the label maintains a heavy contingency of bands from their home state of North Carolina, they've also released records from a number of bands from around the world. 2013 was a banner year for the label, as not only did they open up a storefront in their hometown of Raleigh, but they released highly acclaimed records from the likes of Nö Pöwer, Joint D≠, Broken Prayer, Rough Kids and others. Sorry State owner and operator Daniel Lupton took some time to talk with me about running the label.

What was the catalyst that got you into punk and hardcore? Is there moment in time that you can pinpoint?
I think I took a similar path to a lot of people my age (I’m 34). I was super into skateboarding as a kid, and was around 12 when Nirvana really blew up. Being a curious kid I just followed the breadcrumb trail that led me to heavier and more intense stuff. So from Nirvana you get into Sonic Youth and Mudhoney, and eventually you make your way down to Black Flag and Minor Threat, which is the stuff that really blew my mind. I knew I was hooked when I first heard Minor Threat. If there’s a moment I can pinpoint it’s definitely that. It was just the rawest, most intense, and best music I’d ever heard in my life. I’ve often said that every subsequent record I’ve ever bought in my life is just chasing after the bliss of that one moment when Minor Threat completely blew my mind.

Before you started Sorry State were you involved in the punk scene in other ways – zines, bands, etc.?
Sort of. I used to do an online zine called Deep Fry Bonanza that had a small but dedicated following, and then that kind of mutated into a blog called Dead Metaphor after I got tired of writing about crappy promos all of the time and wanted to focus more on the music I was actually excited about. I put a lot of work into those sites. I think I probably wrote close to 2,000 record reviews for Deep Fry Bonanza, many of which were well over 1,000 words. However, because those things were online I still never really felt like part of the scene…I was still a spectator. I think part of that was also coming up in the Richmond, VA area. The scene there is kind of insular and I’m super shy by nature, so I just never found my way in.

...Interview continues here.



Kim Gordon's Body/Head, Institute of Arts, Mpls, MN, 2/27/14


Record Review: Grand Invincible - Cold Hand in the Dice Game

The following review, which was written by Nathan, is an excerpt from the brand new issue of The Soda Killers. They're moving quick, but there's still time to get your resin-tainted fingers on one. Email me at: bnb@hotdogdayz.com to find out how.

Grand Invincible - Cold Hand in the Dice Game (No Friends, 2012)
By Nathan G. O'Brien

Grand Invincible is a Bay Area duo comprised of emcee Luke Sick and producer/deejay DJ Eons One, which is the hip-hop nom de plume of Spazz guitarist Dan Lactose. Cold Hand in the Dice Game is on some straight bucket hat/baggy jeans/puffy vest ‘90s rap shit. One of the illest tracks is “The Way We Revolt”, in which the loop runs long, the drums play the background, and the hook is made up of recognizable hip-hop samples in the cut. I don’t make beats or mess around on the decks, nor do I have my hip-hop book of terminology handy, so if the way I just described that doesn’t make any sense, I apologize. I’m just saying it’s a nice beat reminiscent of classic hip-hop and Eons’ record scratching is on point. “Gutter” is a harrowing track, which really showcases Sick’s prowess as a songwriter. Shits deep and disturbing, as he bounces back ‘n’ forth between braggadocios and distressing subject matter. “There’s A Message” is another hype track with a nice xylophone sample, jazzy drums, and record scratching. Shit, the same can be said of the following track, “Left on 19th.” The two sequence into each other very nicely. “Eons On The Cut” is archetypal “what’s my DJ’s name”-type emcee ‘n’ deejay interplay, as Sick spits freestyle-like rhymes and Eons goes buck on the wheels of steel. So dope.


Scene Report: PAPERCUT!

Yo, go get your mind blown by art, you lowlifes. As zinesters, you know our shit is all about paper, so we dug it. It's called PAPERCUT! and it's at the American Swedish Institute until like, May 25th or some some shit. Go do it now.

PAPERCUT!, American Swedish Institute, Mpls, MN, 2/23/14