Tuesday, September 15, 2020

Interview with Diarchipretti


DIARCHIPRETTI


Diarchipretti is an experimental pop artist based out of San Louis Obisbo, CA who makes a unique blend of hyperpop, post-punk, and industrial hip hop. 

Diarchipretti's newest album Toe Bee drops on September 22nd, and we have a preview track available for streaming at the link below!!!!!!!


Diarchipretti – Loose Hair (feat. Gitau)


Now here's the interview. Enjoy!


Remove Records: Thanks for doing this interview. Can you tell us a bit about yourself and how you got started in music?

Diarchipretti: My parents never learned any instruments but always regretted it, so they made me and my brothers take piano lessons from an early age. Around 5th grade I decided piano wasn’t cool and I wanted to learn drums. It wasn’t until high school when I really started to make music. My brother got Logic Pro for Christmas and so i acquired it for free and started messing around, mostly making pretty boring and cheesy trap beats. Later in high school I joined The Sleeps, who really pushed me to be more creative and helped me create Diarchipretti. It wasn’t until college with my release of Broth when I really created something that felt like my own style.


What's the music scene like where you live?

Here in San Luis Obispo there are (or at least were before coronavirus) frequent house shows and occasional mountain top outdoor shows. Some notable bands are Autopipe, Dudeo Perez, and Pancho and the Wizards.

I really consider myself more as part of the Oakland/Berkeley scene though. As a member of The Sleeps I have played around at many different bay area venues and met many other artists. Mainly, I work with a smaller group of tiny artists who are all constantly creating amazing new music. Notable artists include Dao Jones, Norf Rossmore, Jon Bunting, Guilt Trip Cluster Fuck, Soggy Kagi, and Bill Skins Fifth. These are who I would consider “my scene.”


What have you been listening to lately?

Recently I would say a lot of both industrial hip hop (JPEGMAFIA, Denzel Curry, Rico Nasty, Boy Danger, Death Grips) and a lot of Post Punk (Pavement, Gang of Four, Talking Heads, Parquet Courts, Television). I also have been listening to more Ween, SOPHIE, and always Ana Frango Eléctrico.


Who are some bands that you know, that we should know about?

In terms of artist I know personally, definitely check out everyone from the list from before: Dao Jones, Norf Rossmore, Jon Bunting, Guilt Trip Cluster Fuck, Soggy Kagi, Bill Skins Fifth. Also please listen to Trash Elf, Roland Tonies, Boy Danger, Gitau, BFLANDIA (another one of my projects), Chewing Animal Spirit, and Mom Dog. I'm sure I’m forgetting some but those are all important to check out. 



Can you tell us about your new record "Toe Bee"?

I moved down to SLO about a month ago and tried to find work but had no luck. I had all day, everyday, for a month to make as much music as I wanted to. This album is a product of my boredom fused with intense created energies. I made this whole album faster than any music I've made in the past. I would say the songs in the album are my most catchy, fun, and easy to listen to. I have fused elements of garage rock and punk with pop, hyperpop, and occasional industrial hip hop. The project has a range of energetic, relaxed, slow, happy, and maybe a tiny bit sad songs. As I rarely listen to sad music myself, I have a hard time making sad songs. I have explored a little bit more into sad songs in this project as it had a longer track list, but the vast majority of these songs are upbeat, happy, and energetic. 


If you could collaborate with one musician/artist, who would it be and why?

This is hard because I know I could go in so many different directions. I'd say it would be a tie between JPEGMAFIA and Ana Frango Eléctrico. Peggy’s beats are incredibly unique and unlike any other producer I know, and his flow is incredible. On the other hand, Anas music just makes me feel so happy in a way that I really cherish. For both of these artists I could not create music that sounds like theirs on my own.


How do you feel about the future of art/music?

I feel happy. I think that regardless of what is popular, the fact that I can just make music in my room, put it on Spotify, and have it be as easy to listen to as a world famous artist, is amazing. I hate that Spotify and Apple Music don’t pay their artists shit, but I think it is amazing that such small artists can so easily get their music out to where everyone is listening. I think that this has paved the way for so many artists that no one would have ever heard before, and allows for more tiny artists to appear in the future.


What are your plans for the rest of 2020?

Make more music. I have a project in the works now that will be a three part series in collaboration with Dao Jones and Norf Rossmore. We have been working on this for long before I even started making Toe Bee, so it will be a big one (keep your eyes peeled). I also am working on a couple songs with a good friend of mine Ruby Hadley. I produced her debut EP, and we’re now working on some new stuff. I am also working with The Sleeps on a new project that is being recorded from all of our various locations, which should hopefully drop within the next month or so depending on how much we get our shit together. Other than that I’ll be in school, learning, and being as safe as I can from coronavirus! Wear your masks!

Friday, September 11, 2020

Wednesday, August 12, 2020

Psychedelic Vomit #1

Words by Nips


 *zniffff*  “I always thought introductions were overrated.”  Pinch the bridge of my nose as I lift my head from the dirty mirror.  Jostle my nostrils between my chipped paint on cracked fingernails.  The ash falling from my half-burnt Camel.  “It always seemed more real gettin’ to know somebody through observation.  Just bein’ there.  Ya know?”  The mass of half working guitar pedals blocking the gunked up view of myself in the mirror.  Recycled mass of vomit culture drippin’ in bell bottoms and Hawaiian shirts.  I never really asked Ig Byrd Brother and the Sweetheart of the Rodeo about themselves.  Just knew they moved up here from Florida.  But knew by the fuzz they reverberated in my bedroom during shows, they knew what I mean when I said this.

See.  I had worked myself into this delusion my senior year of high school, I had to write the next great American semi-autobiographical existential crisis.  I’ve written anthologies of half-baked drafts of this.  Whether they be spoken into a tape recorder in my living room.  Or scrawled on a pad of Tops rolling papers.  But never got more of an inkling of characters.  Characters facing this same dead end cliff hanger I’ve had waking nightmares of.  And maybe because I never took the time to get to know them.  Ask them about themselves.

But Keourac did that shit.  I figured it would only be a matter of time before one of us figured out how to write it down.  He saw what was happening before his very own glossy, bloodshot eyes.  He was able to scribble that feeling into the margins of a fuckin’ scroll.  And that was somebody’s kid.  As much they didn’t want it to be.  It could be anyone of us that immortalized this brief splice of life, exposose of space and time and the whole damn continuum.  Somebody just needed to be there to document it.

So that’s what I set out to do.  Document this shit.  Document the trees growing through the brick of mildew drenched basements we go into for the sake of tone.  Ballsy enough to walk up to an insect and smash it with our bare hands.  Document the struggles of rolling a piano down a pothole filled alley.  Document the rides home from a friend when we trip down the Lynchian rabbit holes of our psyches.  This is what we fuck up our sleep schedules for!  Cause all the pieces were there to jigsaw it back together.  The vague glimpses of beauty in each other's humanity.

Maybe I just never had the free time to sit at length with myself.  Just exist with myself.  And come to terms with the cliffhanger at the end of my own road.  Maybe it was just my own fear keeping me from doing it.  But maybe I just never got to know the character’s enough.  Never took the time to ask them about themselves.  And get to know them beyond the vague glimpse of beauty I saw in all their humanity.  How do you write a character’s ending when you haven’t even gotten to know them yet?  Or if they’ve even gotten to know themselves.  How do you write the ending when the story is still happening before your very own glossy, black hole pupils?

At the end of the day.  We’d all prefer not knowing the ending instead of being let down by the sudden cliffhanger at the dead-end of the road.

How well can you really get to know someone when you only get the perspective from your window and not their eye view?

“I’m just merely observing.”  Baby Audobahn the Mad Organ Grinder says this setting down a glass of home brewed yerba.  Sparking a joint behind his synth dungeon.  The son of the professor that got me looking at the world through a different camera.  (And that joke only lands if you knew he was my film teacher. Because you don’t really know me yet.)  “I don’t know the answers.  I’m just observing.  Just like you are.”  The last of the scene not to be crippled by nicotine addiction.

Him and his roommate got me listenin’ to a lotta Neil Young records.  “Everybody knows this is nowhere...”  Neil’s voice warbles in my head as we smoke DMT on the beach.  Trespassing under a boardwalk with a smiley face painted on it.  During the pandemic of 2020.  The whole world currently on lockdown.  But we’ve been frozen at the border of nowhere and infinity for a while now.

We’re rippin’ molded wood from the roots of concrete trees to build our own isolation booth.  Lightnin’ bugs in the house, our only light to the outside world.  A room to be alone with the sounds and screams we make into the void.  Hoping someone replies.  Or there’s at least a slight echo.  That we aren’t the only ones observing we’re trapped.  No matter how many brilliant ideas we attempt to make this absurdity mean something.  Anything!  We don’t need an answer.  Just the observation there’s another isolation booth screaming in the void too.

“I don’t wanna know the answer to that…” the Guilty Undertaker ashes into the piano from 1943 while taping the entire experience on a Fostex.  A contraption I still wish was more than just a robot to me.  Anything made before 1990 was meant to double as an ashtray.  “Ignorance is bliss, yeah I like where I’m at.”  They sing this song behind a new pair of sunglasses after shattering the old lens with a drunken foot.  Shoelaces tied back together.  And hearing this vocal track is comforting.  It’s reassuring.

It doesn’t matter if anyone else ever hears that reel.  It doesn’t matter if it was documented or not.  It doesn’t matter if it’s a scroll of amphetamine folklore we taught ourselves.  A 4chan urban legend.  Or anything else.  It doesn’t matter if the cliffhanger is the end of the story.  Or if “On the Way There” is it’s own destination.  It doesn’t matter if we can even get the answers.  At least we know we’re not alone.  And there’s a couch to crash on nearby in case a closed bedroom starts to feel like an isolation chamber.  Freezing us in a moment of just merely existing.

We might all just be characters in our own semi-autobiographical existential crisis.  Inconsistent.  Incomplete.  Our own gunked up reflection in somebody else's dirty mirror.  But through the coke and fuzz pedals.  Seeing fractal trace visuals of our own beautifully fragmented glimpse of humanity.  The validation isn’t that somebody else reads our novel.  Hears our screams.  Or sees our mirror.  Just that they too, like us, are trapped in their own lens of unassuredness.  After all, it’s not our fault some fish decided to step outta water and now we’re all just vague inklings of characters to some nervous breakdown.  Struggling to pay rent and make sense of it all.  At the same damn time!  We’re all just waiting for Ashton Kutcher to wholesomely flashback us to the 2000s and yell “punk’d!” on the cruel prank of existence.

“I don’t know.”  *znifff*  “I think that’s all I’m tryin’ to say.  Or at least all I’ve ever wanted to try to say.”  Pinch the bridge of the nose.  Jostle the nostrils in the cracked paint on cracked fingernails.  “Maybe I’m just trippin’ too hard.”

Monday, August 10, 2020

Interview with Connie Voltaire

 Hello friends, I am Dee Putman. In the modern era of punk rock YouTube channels such as Anti (formerly known as Jimmy), Turn on The Tube, Harakiri Diat, No Deal, etc, one artist that has especially stood out among the rest is Minneapolis’s Connie Voltaire (Neo Neos, QQQL, Vedicardi, etc etc). Connie is the clown prince of punk. He has a large and infectious discography and if history is kind I think he will be regarded as one of punk’s most talented songwriters/musicians. It was a pleasure speaking with him. 

Read on. 



How’d you get started in music? Who were your initial inspirations?

I got started after playing Guitar Hero 2 which introduced me to rock music.  Up until that point the only music I listened to was math rock/post-rock, video game music, and Weird Al. That stuff still sticks with me.  In terms of inspirations to play it depends on what you're referring to. Each project I do has roots in different places.


You have a rather large discography. What’s your writing & recording process? How do you manage to be so prolific? 

When it comes to bands like QQQL I'm bringing riffs and then working those into songs with my bandmates.  All of my solo projects with a few exceptions are done by recording myself playing drums (I'll think of a drum pattern or two on the spot and just play them) and then write a song over the top of that drum recording. Typically my drum tracks are one take so if you hear a mistake or something weird or a sudden tempo change it's because that's what I felt like doing or I just messed up.  I don't start recording with any plans, I just make the drum ideas up on the spot.  The Cells release "First Second," for example, took me about 30 minutes to "write" and record the drum parts in one session.  Lyrics come last.  Usually I'll write guitar parts before bass parts besides for some Neo Neos tracks.  I'm only "prolific" because I have nothing better to do with my time and I love the attention releasing music gets me!


You have openly expressed your disdain for drum machines. What is it about them that rubs you the wrong way? 

The lack of human element really bores me. There are people that do it well (Dummy for example has very creative drum machine patterns that keep things interesting) but I find it hard to get into when it sounds like someone just hit the first pattern on a Casio and figured that was good enough. Part of it just feels lazy to me, where's the passion in that? But it works for some people so whatever. I just like to complain because often I feel like the actual melodic elements of these songs are pretty good but there's no rhythm there. It's like eating chips with no DIP!  Where's the DIP?


Who are some of the most important punk bands right now?

I'd probably have said Toyota but that's dead in the water as far as I'm aware. I really was into Bogus Genius but their live band was last the last I saw of it. It might have to be Gee Tee and Satanic Togas. That being said, I'm not sure how you define important. Is it a band that is well known and is pushing the boundaries a bit or a band very few people know that is something completely new?  Also check out Blacker Face from Chicago.  To be honest, I'm not all that exposed to new music, I'm not sure where you people find new stuff.  Now that there aren't really shows I don't know where to see it, and even then Minneapolis hasn't had an interesting new band since what, 2014? I mean Citric Dummies are awesome but I don't think they're reaching for originality. There was that band Wild Combo, don't know what happened to them.


 What was with that Mark Winter diss track? Did you have actual beef with Mark or was it just a goof?

 Yeah he killed my dog to impress that guy from Cro-Mags. Also RIP to Terry Katzman.

Thursday, July 30, 2020

Interview with Ian Vanek (Japanther)

Hello friends. I am Dee Putman and today I am speaking with Ian Vanek. Ian Vanek was one-half of New York punk duo Japanther. The music of Japanther feels like a living breathing thing. It takes elements of hip hop, noise, punk rock, electronic & experimental music and creates a sonic organism that rattles and riots in your head everytime you put one of their records on. Japanther married their street knowledge style punk attitude with the New York art world, they played at many art galleries and their sets have been accompanied by synchronized swimmers, giant dinosaurs, BMX stunts, & puppet performances. I have been a huge Japanther fan for years and it was a great pleasure speaking with Ian.


What have you been working on while qurantined?

I’ve made a new 16 song demo for a Howardian album called “Too Big To Be Quiet” due out in 2021. 

What are your earliest art & musical memories? What initially attracted you to making music & art? 

My Dad gave me a drum set when I was five. I remember him coming back from the thrift shop with a sparkly blue Japanese drum kit from the 60’s.  

In these fucked up times with police inflicting violence on civilians and a deadly worldwide pandemic, what is the most important thing young artists can do right now? 

Make art free of censorship or cooperate influence. Banks and debt are bad, self sufficiency is good. 

Japanther opened up for the Misfits a while back. What was that experience like? What was your favorite moment on the road with Japanther in general? 


Opening for your heroes is strange and funny. Hurricane Sandy stopped the first show we were supposed to play with them. The second one was at a corporate venue and Japanther was the best band on stage that night. Being on the road with Japanther was pretty ridiculous 80% of the time. A lot of adventures surrounding art, aliens and comedic settings with some shows mixed in to fund the trip.

Friday, June 26, 2020

Of House - Single Premiere

Of House has a new single “Holy, Holy” with b-side “Little Sister”! We’re stoked to premiere the single today, and spoke with the brains behind the project, Nick Van Huis, about these new tracks. Enjoy! 



Remove Records: Tell us a bit about Of House. 
Nick: Of House was a project I — Nick Van Huis — started while I was still in my old band Young Punk. Young Punk was still actively recording and playing around so the Of House music was just an outlet for me to create more music. In Young Punk I made more ethereal RnB music, and I wanted to use my home studio to create other styles of music I was into. More motorik guitar driven stuff. Aside from my wife's vocals, I played everything on all of the tracks. As more and more demos were piling up, and Young Punk decided to take a break, it became clear to me that Of House was going to be the next musical project I focused on. So in the summer of 2019 I released the first Of House album, "Feelings" and started playing songs with Pat Nolan on guitar and Blake Hart on keys. Gabe Downey didn't join until this winter as our bass player, after we recorded this single.
What's the backstory of these new tracks?
"Holy, Holy" and "Little Sister" were songs I had written and recorded towards the end of the "Feelings" sessions, but they didn't really feel right for that release. When I started playing shows with Pat and Blake these were the first new songs that I taught them. To me they represent the bridge between what Of House was and what it is becoming. The rhythms are a little more hard hitting and trance-like. The shoegaze and dream pop influences are more upfront. And they are the first songs to feature Pat and Blake on them. My process is to write all the parts for the songs, demo them, and then present them to the band to learn. When we're practicing they put their own spins on everything that elevate the songs to the next level. I can't emphasize those two enough. We really clicked as a band right away and they totally understand my vision and help me achieve it. The songs we put out wouldn't be what they are without them. Stephen Stewart, who I've been friends with forever and haved played in multiple bands including Young Punk, mixed and mastered the tracks while I shopped them around to labels. I contacted neo-detritus to see if they would like to release them and they were extremely receptive and have been super supportive of our music.
Who made the artwork for the single?
My wife made the artwork. She has always been a talented artist and the drawing was something she made at a friend's house. I was immediately drawn to it and thought it would make a great album cover. She also painted the cover for "Feelings." She sings on the tracks as well. She is very involved in Of House. I play her all the songs when I demo them, I run the lyrics by her, I ask for her input on everything. She's the fifth member of Of House. 

What's next for Of House?
That's a particularly hard question to answer right now hahaha. I'd like to play shows again when it's safe, I do miss playing and going to shows. I'm also expecting my first child in late 2020, so that also complicates things — though I am working on soundproofing my home studio so I can keep recording and the band can keep practicing. Right now I'm towards the end of the demo process for our second record so hopefully the band can get back together to jam and record those songs soon!

Monday, June 15, 2020

Pinheads

Words by Nips

Pinheads

“What the fuck are you doing back here?  You aren’t even working tonight.”  One of the other managers at Bowlero, the new bowling alley and venue, says to me.
“I’m playin’ tonight.”  We all wish we had known the Stools were doin’ a live album recording down at OLL tonight before we booked it though.  Rae said Chuck told her before I picked her up that they don’t play till midnight.  So the goal is to rush the sets so we can get there in time for their set.
“That explains the war paint on the eyes.”  Chip, the mechanic that once got fired as a carny, says as he spits dip into a coffee cup.  “Ya know ya got some jeans with those holes though Mike?”  Damn.  That’s pretty clever.
My mom’s side of the family is down at lane one.  And my dad’s side is hangin’ in the lounge.  Even my uncle from New Mexico is in town for the holidays.  Jordan is setting up the kit.  Sound checkin’ the violin.  Drew walks into the storage room we use as a green room for bands too.  Me and Greg the bartender are hittin’ a vaporizer before I get on stage.  We play first.  “You see how Drew walked in here man?  He walked up like he owns this bitch!”
And the scene really does own this bitch.  I’m the bar manager at twenty one.  Drew just started training to bartend.  Dom works the front desk here and there.  Everyone else askin’ if we can pull some strings to get them hired or booked.  Just waitin’ on Sugar Tradition.  Gotta make sure they don’t get carded.  The kids are still in high school.  And we’re eighteen up.  Like the owners would really care though.  They got history too.  One of ‘em owning the Garden Bowl.  The other is one of the top lawyers in Oakland County.  Used to own the Falcon Club in Hamtramck in the nineties.  Actually even was Johnny’s lawyer to get Outer Limits their liquor license.
We open with “Haunted House.”  I’m fuckin’ baked.  And already forgettin’ the lyrics.  That shot of jezy Greg fed me probably didn’t help.  Nobody is here yet besides my family.  A few members of the Hand.  And some Royal Oakies waitin’ on lanes that don’t understand what the fuck is happening.  We’re botchin’ even our classics.  At least the Oakies are gettin’ a real weird show.
Yelp into a drone cover of “Real Cool Time” as Jordan saws away at his violin behind me.  Antonio rollin’ across the stage in front of me.  Glad they got in alright.
Fuck it.  We got a show to get to tonight.  “This is gonna be our last one.”  A piece of glitter falls into the corner of my eye.  “It’s about when it’s five am.  You’re blacked out.  Shirtless.  Pissin’ on the side of a 7-11.  Smokin’ a spliff.  Shotgunnin’ a tall boi.  If you could all raise your drinks.”  Rip through “Miller High Life” before boltin’ for a cig while Sugar Tradition sets up.
“Dude!”  Jordan says to me as we load some gear into the car.  “I think that was the worst set we ever played.”
Dee comes up behind us.  “What are you talkin’ about?  That’s the best part about Just Guys Being Dudes.  There’s no bad sets.  Every set is it’s own experience.  I really dug it.  The owner was behind me and Rae vibin’ too.”
Take a drag.  “Thanks Dee.  That means a lot to me.”
Walk back inside.  Didn’t even realize how many people had showed up.  Sean’s dad, my old high school film teacher, is here.  Still doesn’t know he showed my dick at the student film show at the end of the year.  Even fuckin’ Ian Ruhala showed his bitch ass.  There’s no way that was coincidental.  Not when his girlfriend’s sister is performing with Zilched at the Stools show.  Joey’s gonna lose his shit when he gets here from the wedding.
“That was sick Michael!”  My coworker Reagan says to me.  “Wanna celebrate by doin’ a shot of Jager with me?  You don’t even gotta give me a drink ticket.”  I’m about to be trashed tonight.  What am I talkin’ about?  I already am.
“Why not?  I’m gonna need seven shots of jezy too though.”
“Wakin’ up I got a nothin’ to do!”  Sugar T kicks into one of their many rippers.
Cy, my GM, walks over to me.  “These guys are really good.”  I can barely make out her words over Kevin’s spastic style of jazz drumming.  “They’re like a psychedelic Mudhoney.”
“Yeah.  They’re also only seventeen too.  Don’t tell the managers though I booked some minors.”
She laughs.  “Nobody should be that good at that young of an age.  Do they have a CD?”
“Nah.  We put out their debut album on the cassette label I’m helping run though.”
“What the fuck are you kids doing making cassettes again?”
“Cause they’re fuckin’ sick!  You wanna hear this fuzz on something just as fuzzy.  We don’t wanna clean this noise up!”
Walk back to center stage.  Jake is in the corner with Evan.  Owen layin’ on the floor in front of the couch.  Crossed the border for this night.  On the couch next to Rae is Joey Molloy goin’ hard to Sugar Tradition’s set.  Gotta love Joey.  Nobody goes as hard at a show as good ol’ Joey Molloy.  Bleached tufts of hair whippin’ through the air the same way their brain whips back and forth in the skull.  Everyone takes the Polish, purple nectar.  Jeżynówka.  A Hamtramck staple.  A little piece of home all the way out here.
Joey walks in, still in his suit, and helps Drew wheel three cabs into the crammed lounge as I meet Antonio at the merch table.  They spent over a mill on this remodel.  And the Hand is about to shatter all the windows here when they hit their first note.  This will be the first and last time they let a stoner metal band in here.  TJ stoned as fuck on the floor testin’ out the Juno.  Sean, equally as baked, clicks open the briefcase synth he made.
“Yoo Antonio.  Whenever you guys are ready I’ll take you to the office so the manager can cut you a check.  You just gotta fill out some tax forms.”
“Shit…  This is like a legit gig then?”
We weave through the overfilled lounge.  Drunks and stoners attempt to file towards the stage.  BO and fuzz forcin’ the yuppies to wait for their lanes elsewhere.  Tonight, this bitch is ours.
Paperclips and loose change vibrate their way off the desk in the office as the Hand strikes their first drone.  “Wait…  Kev,”  Antonio spins in the desk chair.  “What’s my social security number?”
“How the fuck should I know?”
“You guys don’t know your social security numbers?  How?”
“Dude.  We’re in high school.  We’ve never had to use ‘em before.”
“Honestly,” my coworker cuts in.  “We don’t really need the W-9.  If you take it with you and bring it back in a couple days it’s probably fine.  But I really don’t give a shit if you do.”
Head back to the bar.  All the freaks headbang in unison to Joey’s screams before Drew rips into a solo.  Greg hands over two shots before I even flag him down.  “I knew Drew was gonna shred because he never talks about his band.  The quiet ones always shred.  Good job putting this together Mike.  Not a huge drinking crowd.  But I’ll take a chill night.  Gettin’ stoned to some chuggin’ bands whenever it comes.”
Or at least I think that’s what he said.  I can’t hear over the riff.  Hail the fuckin’ riff!  Wrappin’ it just before midnight.  Nobody says goodbye to each other before we all dip.  It’s every man for himself.  Drag racin’ down I-75 to get to OLL.  Somewhere in the night Caveman Woodman is yellin’ about the Stools tellin’ folks to fuck off if they think rock n’ roll is dead.
Walk into Outer Limits greeted by the familiar unbearable humidity of a crowd of familiar faces.  Not a single face you don’t recognize.  Greeted with a free Stroh’s and shot of Hornito’s courtesy of Johnny.  Kid Infinity on the stoop of the stage.  Documenting the entire night on camera.  208.  The Long Stairs.  The rest of the Waterheads.  Everyone from the Bowlero show there too.  Sweat gluing bodies together as flesh meets flesh.  “This one’s about a spooky dream Will had!”  KQ shouts into the mic as Chuck uses his already soaked shirt to wipe sweat from his forehead.  As Will’s screeching guitar bends, cuing “Black Fly Stew.”  Two step tune off their latest seven inch from Third Man Records.  Jack White may be a prick.  But he sure puts out some good ass music.
This time I’m not gonna concuss myself on Joey Molloy’s eye socket.  They speed and slop their way through their discography.  Dig into some tracks Will claims are older than some of us.  Kirk recording every second through the soundboard to be put out on Chuck’s cassette label Painter’s Tapes.  “How does two more sound?”  KQ asks after finishing up a version of “Q-Nails” that’s half the length of the studio version.  But still has all the original notes. Bodies make their way off the concrete ground to their feet.  Stomachs cramp from downin’ Stroh’s.  Lungs attempt to catch their breath.  Jake yells back to ‘em “Eat shit Mike Duggan!”  We don’t need no curfew.  Unplug us and we’ll scream louder.
Mikey of the Waterheads discusses Sigmund Freud on the patio while we all pass joints to each other.  Never give those lungs a break.  Kyle of 208 passes out Remove Records t-shirts.  Tells us none of us need to pay for ‘em.  But we all force money into his hands.  “This is what the scene is about man.”  My words come out half coherent.
“Exactly!  That’s why I’m so glad me and Shelby came here from Florida.  This is what music should be about!  Community.  Doing it for each other.  Fuckin’ being there!  Cause without each other, none of what’s goin’ on is possible.  We’re like one big, happy, chaotic family!”
Jake punches my shoulder at the bar.  Radiating the energy of the Bananas in Pajamas.  A loose and excitable toddler ready to play.  We each get a shot of jezy.  “You here anything yet about HMF Nips?”
“Nah.  I saw they ‘leaked’ some of the lineup.  But it was all like Hala.  Legume.  Who Boy.  The indie bands ya know.”
“See.  And that’s what’s fucked man!  They don’t fuckin’ get it like we do.  We’re out here every fuckin’ night playin’ these joints.  We’re all at every show for each other.  They make one appearance a month.  Half the time not even in Hamtramck.  They don’t support each other.  They’re in it for the clout!  And fuckin’ Who Boy gets picked before any of us?!  That’s fucked up man.”
“It is dude.  But don’t worry so much about it.  I’m sure it’ll all pan out for us.  Cause we get it.  And they don’t.  You wanna come over to my place after?  Make some pancakes or some shit?”
“Oh heeeellll yeah!  Pancakes at Belmont.  I’ll rally the troops.  We gettin’ trashed tonight!”
As if we aren’t already.  Rip through a fifty pack of whip-its in twenty minutes.  Sittin’ around eatin’ pancakes at three in the morning.  Listenin’ to the 13th Floor Elevators as Joey tries persuadin’ everyone into watchin’ Pirates of the Caribbean.  “Dead Man’s Aaaaasssss…” his whipped voice whispers to every single one of us individually.
Jake does his first popper as if he’s ever huffed it before.  Panicking in the barstool in my living room.  “I’m sweaty.  My head hurts.  And my face is hot, man.  My face is hot!”  Before locking himself in the bathroom with a sealed fifth of tequila.  We continue to chainsmoke in the house I rent.  No mention of not smokin’ in my lease.  Dunkin’ chocolate chip pancakes in a bowl of syrup.  He re-emerges from the bathroom.  Quarter of the bottle now inside him.  Or possibly in my toilet.  “Rae.  You gotta finish this.  I can’t do it.”
Owen spits up on Giovanna while tryin’ to rush to the bathroom.  Attempts to wipe the bile off her knee before returning to the cool tile for around the toilet to sleep for the night.  Jake arguing with me and Rae about ordering him an Uber home.  “You’d fuckin’ love it if I crashed on your futon Nips.  You’d fuckin’ love ordering me an Uber home wouldn’t Rae?”
“Jake dude.  I don’t know what you want from me man.  Your car is at Evan’s anyways.”
“I just wanna shit on my toilet!”
So eventually he consents.  Tells Rae he’ll Venmo me the ten bucks she spent on him cause he’s “Venmoed Michael Nipples before.”  Even though I’ve never had one.  Yells back to us with the passenger door open “what’s its name?”  As he struggles to crawl into the whip.
And as Rae and I go to sleep.  My phone buzzes with three texts from the drunk Toehead.  “Oh ho…”
“Help…”
“We listenin’ to Dough Boyz!”
Fuckin’ idiot.  That’s what we all are though.  Or at least what we pretend to be.