Giant Robot Store and GR2 News

1muffs2Last week, I went to see an in-store/record-release show by The Muffs at Amoeba. They played most of the great new LP and were as aweseome as ever–combining ultra-catchy girl group melodies with no-holds-barred punk rock attitude and out-of-this-world musicianship. So it was an honor to see one of my pictures printed full-bleed on the insert. Kim and Ronnie had asked me for the file but I wasn’t sure how it would be used or if it wound up on the cutting-room floor. My photography is far from great but the photo looks pretty damn good printed 12″ by 12″ and there is some poetry in the situation.

You might recall that Giant Robot mag was spawned in the era of punk rock zines. Before starting it, Eric Nakamura and I had both contributed to publications like Fear of Grown-Ups, Flipside, and Fiz, and he actually has had photos printed on Muffs 7″ singles. (So did early GR contributor Vicki Berndt.) The print version of GR has run its course but I still go to shows and take and share photos, so it’s very cool that one of them would be used by one of my favorite bands and I would join the esteemed ranks of Eric and Vicki. Thanks, Muffs!

2muffs1I went to some other shows, too… I think it was Pabst that sponsored a night of heavy music at The Echoplex. Deep Six band To The Point opened, featuring members of Fetus Eaters and Spazz. I only caught a few songs but their powerful brand of hardcore was straight-up, filler-free, and a perfect way to fire up the evening.

3mw-tothepoint

Next up was one of my favorite bands and the new-school kings of skate rock, The Shrine. Does anyone rip harder or have more fun onstage than the trio from Venice? And are there nicer dudes anywhere? So what could be better than having the homies practically in my backyard at a six-dollar show. No, they didn’t play “Symptom of the Universe” (Sabbath, of course). Yes, they sang, “The Duke” (by friend and supporter Chuck Dukowski). Friends on the East Coast and in Japan, don’t miss them when they head your way.

4shrine3

Continue reading
T.S.O.L. singer Jack Grisham just released a new collection of short stories, Untamed. To celebrate, he had a book signing/punk rock matinee at The Observatory in Santa Ana. For the price of the book you got a free show! I got there just in time to introduce Jack to Eloise, have my copy signed, and catch the end of the afternoon’s final opener. The Detours are a first-wave Orange County punk band, circa 1977. And in addition to decades of shredding to dip into, they can throw in a ripping version of “No Way” (doesn’t hurt that various members have played in The Adolescents, D.I., Christian Death, Social Distortion…). Awesome. Four o’clock headliners T.S.O.L. gleefully served up all the old hits like maniacs, from anarchist rippers like “Abolish Government/Silent Majority” to proto-death rock classics like “Sounds of Laughter.” The pit was raging for a Sunday afternoon, and I was stoked that my five-year-old daughter lasted more than halfway through the set. I was also shocked to find out that the band played a second show that night at an American Legion Hall in Baldwin Park. Damn! Jack says the band is embarking on a South American tour this week, but there’s another chance to get your book signed at Beyond Baroque on June 23. Go! Jack isn’t as scary as you think. PUBLICATION REVIEWS Untamed, Jack Grisham Jack Grisham’s literary work is joyfully twisted, right in step with the T.S.O.L. singer’s musical output (dark, violent) and legend (troublemaker, ass-kicker). And like his memoir, An American Demon, the brand-new collection of 10 short stories by T.S.O.L.’s singer is loosely based or at least inspired by his own life experiences. What’s real and what’s made up provide a ton of subtext for literary punks but fallen angels, torture, murder, and sex with stuffed animals make it a real page turner for anyone. Accompanied by R. Crumb-esque illustrations by Scott Aicher. [Punk Hostage Press] Hard Art, Lucian Perkins This collection of images by Pulitzer Prize-winning photojournalist Lucian Perkins draws not from his stints in Afghanistan, Kosovo, or the Persian Gulf War but the Washington DC punk scene of 1979. The unpublished black-and-white photography captures key gigs in the embryonic punk scene that included Bad Brains (before they left for New York) and Teen Idles (featuring pre-Minor Threat Ian Mackaye and Jeff Nelson). The live shots are stunning but the photos of the audience are just as important–reflecting a real sense of community and not just a star factory. Insightful narrative is provided by none other than participants and musicians Alec Mackaye and Henry Rollins. [Akashic Books] Perpetually Twelve 10 The balance has shifted from words to art in the latest issue of McHank’s zine out of San Diego. Among other pieces, I really dig the hot-rod inspired brushs of Mr. Sleeep and bold inks of Frenemy. McHanks’ fan art is awesome, too. I call it that not disparagingly but because he lovingly depicts Kermit the Frog and Teenage Mutant Ninja Turtles with the...
Continue reading

I remember one of the first times I corresponded with McHank. He responded to an Instagram picture I posted of the Dum Dum Girls in concert by saying , “Dude, give Kristin, I mean Dee Dee, my love. Old pal!” He did a similar thing with a photo I posted of Mrs. Magician. Later on, John Reis said hi to him from the stage at a Night Marchers/Hot Snakes show at Alex’s Bar. I wondered, Who is this guy and how does he know everyone?

Sometime in between, I met McHank in his hometown of San Diego at Comic-Con. He gave me some copies of his stapled-and-folded zine and I was instantly hooked. It’s like a mixture of  Cometbus, CARtoons, and Tiger Beat with tons of honest introspection and observation, cool and random art, and unabashedly loving band interviews–often written by hand or even brushed.

The ninth and most recent issue of the digest-sized publication has cool art (Tim Kerr, Travis Millard, Skinner, Bwana Spoons, McHank himself…), killer interviews (Brandon Welchez from Crocodiles, Mary Animaux from White Murder…) and all-star contributions (John Reis writing about discovering the Ramones, Joey Cape in memoriam of Tony Sly…). Even so, my favorite piece of all time is still McHank’s essay about growing up in the Bay Area and not knowing how to drive when he moved to San Diego and how he had to ride bikes or take the bus to get to shows. Can you get more personal or street level than that?

Continue reading
On Sunday night, the Maybe Mars crew from Beijing made a stop in Downtown L.A.’s Redwood Bar with their flagship band Carsick Cars. I got there just in time to catch White + (featuring Carsick’s guitarist and singer Shouwang Zhang with drummer Wang Xu from The Gar). Their last song had a cool Krautrock-style drone that I’d like to hear more of. Carsick Cars has a new bass player and drummer but played the great, melodic, Sonic Youth-informed old stuff and snuck in some new, more rocking sounds as well. Shouwang is still an axe master, mixing the minimal technique of Steve Reich with the hooks of Pavement and making Carsick Cars the best gateway band to the Chinese indie scene. Rounding out the show was The Gar, whose most jangly song kinda reminded me of Libertines. What do you think? It was good to see Charles Saliba, one of the guys behind Beijing’s Maybe Mars record label. He facilitated the coverage of Carsick Cars, PK14, and other great bands from Beijing in Giant Robot mag as well as an in-store at GR2 years ago. Charles said that this year’s tour was scaled back some, with just a handful of shows in the Bay Area, Los Angeles, Austin, and New York City. If you get a chance to catch the tour in the Big Apple, don’t miss it. Who knows when they’ll return? ZINE REVIEWS Moshpit (52 pages, 4 or 5 bucks) This isn’t new, but I picked it up from the Hamburger Eyes table at the Los Angeles Art Book Fair a last month. Ray Potes’s zine of SF Giants riot pictures was sold out, so I got this instead. In Moshpit, photographer Josie Raymondetta collects nothing but hyper contrasting images of hardcore punk and metal shows, directing her lens at the crowd as often as the stage. Who are the bands? Where are the venues? Who cares! The energy and images totally rip, and convey the power of heavy music silently and brutally. [www.hamburgereyes.com] Perpetually 12 9 (68 pages, 5 bucks) I’m a big fan of this San Diego based-zine, which boasts an adolescent name and format but is fully informed when it comes to indie punk, art, and life. I dig how McHank loves the old bands (RFTC’s John Reis contributes an essay about The Ramones) but celebrates newer ones as well (Q&As with Mary Animoux from White Murder and Brandon Welchez from Crocodiles). The interviews, which are often hand-written, are separated by art contributed by the likes of Bwana Spoons, Skinner, Tim Kerr, Travis Millard, and McHank himself. Very cool and totally unfiltered, with a touching essay on the passing of Tony Sly (NUFAN) by Joey Cape (Lagwagon). [heymchank[at]gmail.com] Cometbus 55 (72 pages, 3 bucks) Two decades (and then some) is a long time to read about a guy’s relationship with the scene and his crushes, girlfriends, and bands that pass through it. But Aaron Cometbus’s view of radical politics in Berkeley goes well beyond the...
Continue reading