Photo by Lyle Owerko.

September 1, 2009, David Bazan released his, not just critically, but controversially acclaimed album Curse Your Branches: the aptly nicknamed “breakup with God” album. I had a short phone chat with King David about the record and what it meant to him.

Whether you’re a fan of David Bazan or not, it’s hard to be ignorant of his latest album considering the swarms of media attention it received with tracks like “Hard To Be” (Bazan’s argument that “all this misbehaving grew from one enchanted tree?”) and “When We Fell” (“when you set the table/when you chose the scale/did you write a riddle that you knew they would fail?” ). Media attention that, on a beautiful day in Oregon, he says did cause a bit of added stress in his life: “Not so much because it was public, but because the nature of publicity is aggressive. There was an added layer to the feeling of betrayal, to the degree that I experienced guilt over feeling like I had betrayed something true or profound from growing up, even if I felt that my conclusions were true.”

Bazan admits that it made him feel sloppy being unsure of what he believes and having to answer so many fluttering questions as if he was wholly confident. This is entirely understandable when going from the Christian posture of assurance and confidence to a realm of confusion. But his bitter pill with the Church had long since been digested and had begun to take effect. According to a former publicist of Bazan’s, since 2004 he had “been flitting between atheist, skeptic and agnostic.” He tells me that none of his revelations stemmed from anger: “I was critical of the popular practice of Christianity for years and years before I made this transition. I think it is common that people leave Christianity because of their frustrations with the Church. I was comforted by my core Christian beliefs, which ended up shedding light on how distorted the Church is. The logic of the “creator of the universe” character started to fall apart when I examined it more thoroughly.”

After such an exciting chat with David Bazan,  I am even more stoked to go check out his set at The Old Rock House this coming Sunday, (March 14). I’ll see you there!

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Pierced Arrows are old people.  Well, relatively anyway.  They’re an Oregon based husband and wife duo, and they’re well in to their fifties, playing music longer than most of us have been alive.  Fred and Toody Cole, joined in this state by Kelly Halliburton on drums, are a garage rock staple.  In a previous incarnation, the Coles were Dead Moon.  Dead Moon released a massive 16 alums before disbanding, and now with Halliburton, they released their sophomore effort for their new group, Pierced Arrows, on Vice records.

Descending Shadows plays like the moldy, dingy, basement of a hoarder.   There is so little room to focus and bring light in to the space that the listener feels somewhat audibly assaulted afterwards. But isn’t that just rock and roll?

Fred’s voice is as grimy and rough as they come.  He cracks and squeaks and pushes every word to its limit.  This is especially true in the track “Buried Alive.”  The track is packed with screaming, greasy, guttural guitar riffs and lyrics that have something to do with robots.  The rest of the album continues like this – not all songs being about robots however.

Primitive fury and cacophony abound, Pierced Arrows deliver exactly what Pearl Jam front man Eddie Vedder stated in a personal endorsement: “Straight-no-chaser rock ‘n’ roll – not just righteous, but right.”

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Photo by Ryan Dornfeld. More on Flickr

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Photo by Ryan Dornfeld. More on Flickr

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Photo by Bailey Mohr. More on Flickr

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Thursday, Mar 4th

Hollywood Holt w/ DJ Clockwork and Drace

Where: the Gramophone
When: 9 PM

Starting the weekend on Thursday never hurt anyone – and, to kick it off right, there’s no doubt you’ll need to get down with Hollywood Holt at the Gramophone tonight.  It’ll be a great night of DJ sets, and if you RSVP and arrive before 10 PM, free PBR (one or two is better than none)!

By Nathan Burrell. More on Flickr

Friday, Mar 5th

Those Darlins at Foam (Acoustic, Early) and at Off Broadway w/ Flaming Death Trap and Natural Child (Late)

Where: Foam
When: 6 PM

Where: Off Broadway
When: 9 PM

What’s the best way to prepare for a Those Darlins concert?  How about a Those Darlins acoustic set to prime you for some rough bluesy action?  What if that acoustic set was free AND you could donate $5 to the Southern Rock & Roll Girls Camp?  Tomorrow, you’ve got the opportunity to receive good karma and good music – don’t pass either of these shows up!

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Enter Apop Records, a Wunderkammern of Exotic Sounds, Curio Publications, and Psychotronic Cinema! Wunder-what? you might ask. Yes, Apop Records truly is a “wonder chamber” or “cabinet of curiosities.” It also happens to be home of business owner, Tiffany Minx. Minx established Apop Records with business partner, Dustin Newman, in the unassuming town of Columbia, MO in 2004. Specializing in the realms of sub/counter/fringe culture, avant garde & experimental music/cinema, obscure literature, and contemporary wonders, Apop has remained a vital part of the Cherokee St. community since their move to St. Louis in 2007. I had an opportunity to catch up with Tiffany and discuss Apop Records’ Past, Present, and Future.

Why did you choose to move Apop Records to Cherokee St?

Tiffany:

Even though Dustin had lived in St. Louis before, I don’t think either of us had a really good sense of where the right place would be for the shop. Delmar, to me, continues to be one of the only actually flourishing areas for independent business (this of course, discounting Clayton and CWE for obvious yuppie-laden reasons) but we knew that even if we could afford it, we didn’t want to be on Delmar. We wanted to be somewhere more music oriented and DIY; or somewhere else that wasn’t already branded with an image.
Many of our friends lived in South City; the shows we attended when visiting were at SC locales (Radio Cherokee, Lemp, CBGBs); and in general, it seemed a more down to earth neighborhood with a lot of potential and interesting activity.

Because the once prominent commercial district had been in such a dormant state–except, of course, the active Mexican community that really pioneered business here after the street’s initial decay–the existing infrastructure and reasonable rents/property prices encouraged opportunity for those of us who lacked the capital backing of larger businesses but could compensate with a unique vision and determination.

Could we do better on Delmar or S Grand? Likely. The burden of taxing all one’s resources running a small business is further compounded by the fact that anyone who opens shop on Cherokee also takes on the job of street promoter and community revitalizer, which can be pretty overwhelming and disappointing at times. Since we’ve opened, we’ve seen more than a dozen of one-of-a-kind businesses and shops open on Cherokee — shops that would make a killing in better ‘hoods, but still struggle mainly due to lack of foot traffic and city awareness of the street. Yet, only one of these businesses has thus gone under, and considering how much turn over you see on Delmar, well, I think that’s a testament to the exceptional work ethic and fierce determination of entrepreneurs and organizers here.

Running a store whose reputation usually precedes itself can be tough. What challenges have you faced in the past? What mindset do you have in regards to staying true to your taste?

Tiffany:

Our reputation preceding itself has mostly been a really good thing. When we were in Columbia, some of our best customers were folk who would drive two hours from St. Louis just to shop at Apop or catch one of the shows we’d host. There isn’t much out there that’s like our Apop, and I think when people heard we were moving we got two reactions: first, that people in Columbia were pissed at us, I think they thought we betrayed them by leaving; and second, that people were extremely excited in St. Louis. We got emails and comments anytime we’d go to a bar or show in St. Louis about how great it was that we were moving the shop here. Comments like, “Now I won’t have to order my favorite ——– records from the internet anymore” or “Oh, cool, so uh, I have this weird band I wanted to book… think you guys could host it when you open?” were frequent.

With regards to staying true to our taste; that’s not really a challenge. Neither Dustin nor myself have exactly malleable personalities. Our interests are wildly diverse, and like everything that exists, influenced and guided by new experiences, past sounds/media, and ideas of people either known or historical. We aren’t influenced by the current scourge upon popular culture that I like to describe as people who can be labeled as “indie rock”, not to be confused with the 90’s output of college rock. It’s like this: when I ask people what they like and they say “indie rock”, I know that they either don’t know what they’re talking about or it’s the equivalent of saying “You know, kind of edgy stuff but nothing too weird, harsh or difficult to understand.” They relate to Old Navy and Gap commercials; they are responsible for the popularity of Girl Talk and fauxhawks; they are the reason Cat Power and other softy girl voiced acts have been so goddamn prevalent in holiday TV adverts; they think Pitchfork is the penultimate of music judgement; they voted for Obama because he gave the Queen of England a fucking iPod. That’s “indie rock.” In reality, it’s complete horseshit. When this nonsense passes, or another head grows into its place, Apop will continue to give voice to rarity while peddling its weird shit and “rocking the boat.”

People often have misconceptions that you are anti-pop. Obviously this is far from the truth. What are some of your favorite acts in the pop music spectrum?

Tiffany:

Apop does have a strong selection of ‘difficult’ music, which, some would argue, at it’s very nature exists to oppose or respond to the inherent limitations of accessibility. But that doesn’t mean we don’t like or appreciate pop music, maybe we just focus on the poppy musics overlooked or forgotten by industry. Our current best-seller, Radio Heartbeat’s reissue of “Mondo Deco” by The Quick is a prime example of that. Those who doubt it obviously haven’t seen the secret after show dance parties at Apop featuring tracks from Divine, Kylie, OMD, The Archies, Army of Lovers, Maggotron, Midnight Star, Brigitte Bardot, and yes, even Hannah Montana (“Fly on the Wall” is a total jam).

Apop has had a few film nights in the past as well as numerous live performances. What are some events that you’d like to see happen/produce/run in St. Louis?

Tiffany:

I wish more interesting people–I know you’re out there–would get involved in promoting or organizing anything involving what they love. I don’t care if it’s something I don’t like, as long as it is passionate, sincere and shakes up this city’s unfortunate lethargy. I know so many fascinating people that don’t bother to apply themselves because either they are lazy, drunks, or have given up. To the credit of those who have actually tried and quit, this city can be a real bastard. There isn’t necessarily a climate of encouragement here and it can be like pulling teeth to get support for an event.
I’d really like to see more basement spaces as well as legit small-to-mid sized venues for concerts. Overall, so many great acts completely pass over this town, and I think it’s a complete shame because there is only a tiny handful of places to book them.

Also, the city could really use some more film theaters. The Webster film series is a small miracle, but that’s still a bit of a drive for city dwellers. Cherokee street alone housed numerous theaters and film houses back in the day. I think there is room and a market for the micro- styled theaters here. Something like Ragtag–ahem, hint hint CoMO–would do really well here.

Thanks, Tiffany!

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Need something to do this month?  Don’t fret – pick up the March issue of Eleven and you’ll be good to go!  Also, we unfortunately need to share two major retractions with you:

1. To give credit where credit is due: the Hot Chip article was written by Mike Murray – be sure to give him props!

2. The image for Jay Electronica is not correct: the photo is of the group Reflection Eternal, and Hi-Tek is wrongfully labeled as Jay.

Sorry for the mistakes, and we hope you enjoy the issue!

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On Feb. 23, Eleven had the great pleasure of sitting down to interview DJ Parisian (Ian Jones) and Doctor Phelonious (Sean Price) of Safety Words, along with Bo Bulawsky and Trevor Berkholtz of Exercise, about their upcoming show (Friday, March 5th at the Firebird) What could have been a nice, civil discussion on music and philosophy quickly disintegrated into madness, when an anonymous Eleven staffer showed up with a case of beer and a video game called “NBA Hangtime.” Immediately, civil discourse gave way to barbaric trash talking and nonsensical yelling, and all hopes for a “normal” interview were tossed aside.

Exhibit A:
[Audio clip: view full post to listen]

Hit the break for more interview, trash talking, and an exclusive new track from Safety Words.

As the festivities progressed, Eleven’s team managed to pull it together long enough to ask a question somewhat related to Friday’s show:

Matt:
Ian, here’s a serious question…
How do you plan to make up for your inferior NBA hangtime skills at the show?

Ian:

Are you serious!? I’m dunking all over your shit!

So would you say you are going to dunk all over the audience’s shit next Friday?
Ian:

Oh, I see what you did there.

I can tell you what I’m going to do. Now that I have an sp404 [sampler], I’m going to be taking songs I made from a long-ass time ago (like songs I made when I was in Japan), and piece them all together into two small 20 minute sets.

Sean:

With an hour break in between.

Ian:

An hour break for napping.

I took a bunch of clips from random movies that I like, to go along with the music …

At this point, the trash talking resumed in full force:
[Audio clip: view full post to listen]

Things get fuzzy from there out. More games were played, more beers were consumed, and more nonsense came out of everybody’s mouths. By the end of the evening, I had a pretty good idea of what the show on Friday would be; friends that play great music, playing great music. Nothing else needs to be said.

Actually, there’s one more thing to be said. Safety Words did Eleven the honor of remixing Giorgio Moroder’s “Baby Blue” into a track they call, “I’m Talking ‘Bout my Baby Blue.” Check it. (And be sure to check out the show Friday).

Safety Words – I’m Talking ‘Bout my Baby Blue
[Audio clip: view full post to listen]

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Fixing the Charts by Everybody Was In The French Resistance…Now! is an Eddie Argos Art Brut concept band.  Helping Eddie is Dyan Valdes of the Blood Arm, who does her part in both playing the synthesizer and softly rounding out the pliant vocal soundscape. Together, their creation is a tootling rush of trumpets and hand claps backed up by lambent guitar lines that fizz through historical and witty lyrics.Eddie’s and Dyan’s voices are straightforward and sometimes dead-pan.  However, their frill-less singing forms a foundation that supports the sound heavy melody accompanying them without crossing into an over minimalist delivery.  “G.I.R.L.F.R.E.N (You Know I’ve Got A)” is a funny but pervasive response to Avril Lavigne’s “Girlfriend” that earned it playback with my repeat function.  “Creque’s Allies,” the album’s opener, left me disappointed at first – it felt self-aware and smarmy, like a Wes Anderson film without insight.  After a few listens, though, the cadence and cool vocal delivery penetrated my first impression, which finally warmed me to the album.  Fixing the Charts’ downside is that it ‘ difficult to listen to more than four songs in a row. The singers’ voices make the songs feel repetitive and the constant witticisms and allusions to other songs quickly grow old.

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