Tuesday, October 13, 2015
Dr. Dundiff is known as one of the mightiest producers in this city, but for those not in the know, Dundiff is an equally gifted emcee, as evidenced here with the release of Rare Candies. I can't say for sure, but I do believe that this is the preface to a proper release by the Dr. D, which is entirely unexpected as he was allegedly set to move to LA post-Forecastle. The word on the street (and we at Never Nervous know all about the streets) is that Dundiff stuck around to record his entire Forecastle set with Kevin Ratterman, and this just goes to show you that he eats, sleeps, and breathes music; dude is making albums in between making albums.
The video for Rare Candies is kind of a nod to that move, with rhymes that talk about acknowledging someone in the now and not waiting for them to pass on to some other phase of their life. The imagery herein matches that vibe, with Dundiff in a number of transitory states, from driving around town or walking down alleyways, to riding the escalator in the airport off to some other destination (spoiler: he's leaving the Louisville airport, so maybe he's just going to the Crittendon Drive Cracker Barrel for some hashbrown casserole and pancakes, bay-bee). It's a nice video though that highlights not only Dundiff's skill as a producer, one that no one ever doubted, but his talent as a rapper.
Watch it below and let us know what you think.
Monday, October 12, 2015
|Pictured Above: Scott Boone of Satellite Twin|
Haven't seen or heard Satellite Twin yet? Need a tasty little preview on what your thirsty ears are thriving to absorb? Watch a video we took of these guys performing a while back at Seven Sense Festival below:
We're here to get you hyped on Satellite Twin's new EP in the form of an interview with the band's guitarist/singer Scott Boone. It's Monday, It's October, so you know we're talkin' horror movies, right?
Never Nervous: Whether it be old or new, talk about the last horror movie you watched that actually scared you in some way.
Scott Boone: The only genre of horror that ever kinda freaked me out was the supernatural/religious stuff.....do that in deep space and you get Event Horizon. Definitely one of my favorites. At first, I thought The Skeleton Key was going to be creepy, but it turned out to be just a fantastic story line.
NN: Do you have a favorite horror soundtrack?
SB: I recently scored a copy of the original soundtrack for The Return of the Living Dead. You can’t go wrong with The Cramps and Roky Erickson. Also,the music in Ravenous is brilliant. It completely changes the tone of the movie. I had never envisioned cannibals as quirky before.
NN: Considering that the zombie genre is as popular as it's ever been, what would you consider to be your favorite flick that features flesh-eating undead gouls?
SB: The original Night of The Living Dead is definitely a masterpiece. The cinematography alone makes sure of that. I could probably watch Shaun of the Dead on a weekly basis.
NN: Speaking of genre films, are there any slasher movies you prefer over the others?
SB: I Saw the Devil was an incredible serial killer film, although it may be in the "thriller" category. There's a fine line. The Devils Rejects made me forget about Rob Zombie's music. And of course, The Shining.
NN: Lastly, in the spirit of Halloween, tell us about a horror film that you watch every October. What makes you keep returning to it?
SB: Bubba Ho-Tep for sure. Bruce Campbell as an elderly Elvis battling an Egyptian mummy in a nursing home?? That's the recipe for magic.
Friday, October 9, 2015
Are you ready to get spooked the fuck out? Well I wasn't, but here we are. In fact, here I am 23 minutes after I was supposed to leave work sitting at a computer and typing about Shadowpact, because they've got that kind of power over me. That's right: I could go home and kick off my weekend, but this video is fire like that and you all need to see it. Why you might ask? Because this song is the best and it's super catchy. And the video is a fun, lo-fi horror romp that sees our protagonists apparently making an actual shadow pact with a bunch of robbed figures looming in the background who ultimately murders everyone and throws them in the Ohio river. That's heavy shit, and a serious commitment to your craft that you would get into the Ohio on purpose for art; respect them.
The video is super fun and, I believe, shot by Allen Poe. It recalls the best of 80's horror, which our man Phil here is obsessed with. It reminds me of those sorts of slasher films that would make Tipper Gore cry back in the day, the kind that freaks out all the squares and makes old people afraid of devil worshippers running around and ruining it for everybody, whatever "it" is. It's just great to see folks having fun and leaning into the season with their work, and we are proud to debut this video here at Never Nervous, even if it means leaving work now half an hour after closing time. Watch it below and spread it to the masses.
INTERVIEW: Rachelle Andra Caplan on making a big noise, working with LadyFest, and religious super powers!
|Pictured above: Rachelle Caplan is The Bassorcist!|
Never Nervous: What initially got you into music and when was that?
RC: The first time I remember really getting into music was this one summer when I was around 10 or 11 years old. My dad unexpectedly gave me his record collection out of the blue before he disappeared for about 6 months. I’d later find out that he lost his job and his apartment, so he was living on a boat cruising the Florida coast looking for work. I digress.
So he didn’t want his vinyl getting jacked or warped in the heat, so he gave them to me with the promise that I’d try to listen to all of it and tell him how I felt about each one when he got back. Even the ones I didn’t like. Not like some kind of low grade torture but just to get me to try to articulate what I liked versus what I didn’t. I liked Led Zeppelin, Pink Floyd, Thin Lizzy, and Heart. I didn’t like Journey, Wings, or The Rolling Stones very much. I liked The Beatles, but pretty much only the John Lennon songs. I didn’t know why at the time but it was just so natural to have this really strong opinion. Some songs I felt on this deep level. Others felt fake, empty or contrived.
That’s the gist of what I told him but in detail for like a couple hundred classic rock, blues, and classic country albums. Also, I always made art. Like always. Since I have memories there’s been me making something. So that summer I made an illustration or painting for every song I liked. It somehow never dawned on me until years later that I could try to play them.
NN: What was the first instrument you picked up? Was it bass? If not, when did you decide to play bass?
RC: It was a guitar, like pretty much every one. Guitars are cheap and everywhere. I tried to play once when I was a teenager, but I was teased by these idiot, spoiled jerks who played really shitty new metal (like real bad late 90s Limp Bizkit crap) and would take the guitar away from me so they could show off. It was insulting enough that I didn’t try again until I was 25. I was living in Chicago with my best friend who is a really great songwriter.
"He looked at me with this baffled expression and asked why I didn’t play music. I said something about trying but not being any good. He was like: no one is any good when they start, that’s what learning is about. Somehow no one ever really put like that, so I was assured enough to ask him to show me how to do some finger picking things and really simple chords on his guitar."
One day after we binge watched Bob Dylan: No Direction Home, American Hardcore, and something he had on Leonard Cohen, he looked at me with this baffled expression and asked why I didn’t play music. I said something about trying but not being any good. He was like: no one is any good when they start, that’s what learning is about. Somehow no one ever really put like that, so I was assured enough to ask him to show me how to do some finger picking things and really simple chords on his guitar. When he moved and I stayed in Chicago, he left the guitar with me. I did dreamy acoustic bedroom grrrl rock for like years by myself before I ever played in front of anybody. I think Daisy is the first person who I let actually see me playing anything. If anyone heard me before, it wasn’t by my choice.
So no, not a bass. First bass I played was a 5-string Peavey that Daisy borrowed from William Baumler back when Bu Hao Ting was a band. He actually borrowed it, so I could back him playing super low bass parts while he did these strange, fast, intricate bass leads. It was incredibly empowering. I was doing this really simple stuff, but playing loud heavy shit with my partner who is just brilliant musically. It was a good place to start and made me feel strong and confident.
NN: Is Babe Rage your first band? How has your relationship with music and performance evolved since you began and why?
RC: Yes, Babe Rage is the first and only band I’ve been in that’s played shows and done things that bands do. And that’s changed a lot for me, both personally and in how I think about or experience music in general. It’s an entirely different thing. It’s like all that judgment and critical mindset towards songs or shows very quickly dissolved away. It’s like pre-band me was somehow still looking at music and musicians almost like products. I know that sounds super harsh and it’s way embarrassing to admit, but really I had no idea that I was doing it until the paradigm shift happened.
All of the sudden after just a few shows, it seemed totally insane to scrutinize a band’s performance or music the way that most people do. I think it’s taken for granted that these are individuals in one moment in time are having this very vivid, very driven expression with other people for the goal of creating a shared experience. People just seem to forget that and treat it like everything else that’s sold to them. To be examined, accessed for personal use, then discarded without much care or attachment. I mean that’s a super negative version of the response, but still somewhat accurate. I think people take bands and music to be some kind of accessory to decorate their personalities while forgetting that even something as simple as the temporal nature of sound makes a live performance and recordings a genuinely unique experience.
NN: What can you tell us about the band's name? How did you all come to that?
RC: Nothing. Jen made it up. But I will say that the fact that the words translate into fantastic knuckle tattoos was certainly an enticing characteristic.
NN: What is feminism to you? How do you employ it in your music?
RC: To me, feminism is about empowerment and strength. It’s about using all the aspects of your personal experience as a resource to build confidence and understand oneself and place in the world. I’d say using that definition, Babe Rage is the embodiment of feminism for me.
"Feminism is about empowerment and strength. It’s about using all the aspects of your personal experience as a resource to build confidence and understand oneself and place in the world. I’d say using that definition, Babe Rage is the embodiment of feminism for me."
NN: Tell us about LadyFest. How and when did that start? What were the stresses involved in putting it together?
RC: Ladyfest Cincinnati has been my baby for the past 7 months. It’s a 3 day not-for-profit festival happening on Oct. 15-17 at about 8 different venues. There will be music across genres, workshops, visual and performance art, films…we’re going all out. The proceeds will go to establishing our version of a girl's rock camp.
Ever since I was involved in organizing Ladyfest Chicago in 2007 I’ve wanted to make another one happen. I knew it’d be in Cincy, since the first months I had visited there over 6 years ago. It was just basically crying out with need for gender rights activism on a really large scale, but back then it just wasn’t the right time for it yet. Just as important as that is the need for that activism to be positive and inspiring rather than stifling or divisive. Ladyfest is perfect for that kind of thing. It’s this really great concept of grassroots organizing and collaboration within the creative realm.
It’s even almost basic: a variety of women identified people come together to work on making a festival that truly reflects who they are and what they want to see out of the event. Through coming together to build this kind of thing, women create another community – a network of shared voices to become a resource for one another. Within a DIY community, this kinda thing can make real positive change happen. Doing something as simple as calling attention to long-standing issues patriarchal norms and structural oppression can bring people one step closer to becoming freer, safer, and happier – with ourselves and those around us.
"Through coming together to build this kind of thing, women create another community – a network of shared voices to become a resource for one another. Within a DIY community, this kinda thing can make real positive change happen. Doing something as simple as calling attention to long-standing issues patriarchal norms and structural oppression can bring people one step closer to becoming freer, safer, and happier – with ourselves and those around us."
It’s a really incredible time right now for gender rights. It’s still difficult in that things aren’t right, there’s a lot of oppression and people being continuously hurt by that. And at the same time there’s a movement growing of those who can push back, using really brilliant, proactive means. Outskirts Louisville is such a good example of that. They really raise the bar in terms of having this amazing events with a profound mission. We’ve gained a lot by having women amazing like Carrie Neumayer to be resources of knowledge and inspiration for us.
NN: Is it ever difficult to collaborate with someone that you are so close too? How do you compartmentalize different parts of a relationship, if at all?
RC: We don’t compartmentalize. All of us have multiple levels of role overlap with each other and we try to acknowledge that. Jen and her partner live in the same house as Daisy and I, along with another couple. And we’ve all been really close friends for a while. Daisy and I obviously have the most going on with this. We share our lives pretty much entirely, which can sometimes be difficult, since we’re such independent people. We all are really. We’re each these hyper-focused, somewhat reclusive, weirdo loner types when it comes to being creative. I think it’s our mutual understanding of and respect for that impulse that makes it work. People need space to become themselves, by themselves. It’s about allowing that space and feeling safe/accepted enough to be able to express that need. It makes it possible to have a lot to offer when you are sharing creative space with those who support that growth.
NN: When should we expect a formal Babe Rage album?
RC: Probably sometime before we breakup.
NN: If you could have any super power, what would it be and why? Would you use that power altruistically or for self-gain and why?
RC: This is a great question. I have a super power that’s inherently based in altruism and self-interest. Everyone does. It’s just that most people haven’t granted themselves the tools to use it. Do you want to know the secret? I’m about to blow everyone’s mind. It’s called: remembering to live your goddamn life to the absolute fullest you possibly can in any given moment. That doesn’t mean just going hard all the time until you have a meltdown.
Real super powers aren’t all silly and macho like that. It’s moving with what you’re given and learning to transform all the nasty shit that comes along into some kind of fuel. And usually it’s not pretty or flashy. But it’s some straight up super human shit to be able to look at the world around you, with full honesty, see the ways it’s crap or it’s not and accept things for what they are without getting crushed by it. And the real power is when that switch goes off and you learn to turn that heaviness into inspiration. It becomes like food for the soul. It’s what alchemy was all about. And also Hermeticism. Buddhism and Hinduism talk about this as well. All the badass religions are way into super developing real life super powers.
"All the badass religions are way into super developing real life super powers."
NN: Let's get deep: what happens when you die?
RC: I just got deep. This one will take the whole interview. People be like: TLDR. I hear it has something to do with all the past kings becoming stars or some shit though.
NN: Last but never least, what are your top five desert island albums and why?
RC: Shit, this is always so hard to do yet entirely worthwhile. In no order, of course. Each is deeply valuable for different reasons. That and I hate ranking in general:
- Minutemen, Double Nickels on the Dime. Favorite album from one of my favorite bands. Everything these guys touched was gold, but this album takes the cake for me.
- The Gits, Seafish Louisville. Probably the best grunge band of all time. To be totally honest, I never heard of them until Daisy sent me a burned copy while I still lived in Florida. This was back before music just magically fell out of the internet. I had already fallen in love with Daisy so this has nothing to do with some cliché shit like this being the album that made me know I was in love. It was just one of the best things I had ever heard. This album has everything I ever want out of punk. It’s loud and raw, mean but playful, introspective and honest. Plus it’s a live recording WTF?! It’s flawless! And Mia Zapata’s voice! She’s like the Ella Fitzgerald of punk. I’d drive around through the swamps where I grew up in my bright ass turquoise pickup and try to sing this whole album. I couldn’t come close. But I’m convinced that Mia Zapata taught me how to hold a scream.
- Prince, Purple Rain. This is so beloved that this could easily be seen as a stock answer, but hey whatever…it’s flawless. It’s also the soundtrack to some of the most loving and beautiful moments I shared with my mother when I was young.
- Silver Jews, The Natural Bridge. I first heard this when I was a depressed 17 year-old. Most of my friends would tease me about it cuz to them it was old man indie bummer jams. Actually, this might even be my all time favorite album. I don’t even exactly know why. It’s just always been there for me. Not like as a backup plan because I had nothing to listen to, but like really there for me. Through any shit. Through the absolute worst. I’d play this and something in me would come back to life. Some part of me always just wakes up and instinct or something sets in. It’s like I hear these songs and I remember this deep universal truth behind life is that we all are just here to exist. For an extended series of moments, we breathe in and out and try to make what we’ve got into something beautiful enough that we want to keep on going. That’s this album for me. It keeps me going.
- Swans, Children of God/World of Skin. Necessary. Period.
Sun and Moon
The beauty in what New Bravado does shows itself in their ability to deconstruct a song into what feels like complete chaos before snapping the song and the listener back into immediate reality. “Oh yea, I forgot I was listening to a song.” I found myself thinking that a lot because the music is like a trance. It’s as if you’re riding the bass line like a magic carpet in warp drive. I’m actually pretty sure I went plaid at some point.
So it’s easy to imagine that this album is fun right? Who doesn’t like tripping balls to some sweet psychedelic blues rock? Sun and Moon is the perfect mix of just about every genre of in-your-face rock ‘n’ roll I can think of. It’s heavily influenced by the psychedelia blues of the 60’s but not in a constricting way. They build from that with 70’s Deep Purple-esque riffs, tones that are reminiscent of Soundgarden, and top notch songwriting and production.
Sun and Moon is most interesting on songs like “Vacant” that have peculiar chord changes and jazzy guitar picking. It really shows the versatility of this band. “Vacant” is a tripped-out head-bobbing masterpiece. It’s not the only song that takes advantage of this formula, “Bit by Piece” is another idiosyncratic jam.
I highly recommend Sun and Moon to any fan of loud guitars and grooving rhythms, particularly if you're the type of person who goes on the occasional burn cruise. It's a brilliant rock album so you won't need to burn anything to enjoy it, but it definitely doesn't hurt.
Listen to their song "Vacant" below:
Thursday, October 8, 2015
|Pictured above: Olivia Millar bends space-time with her righteous shreds!|
Never Nervous: How did you get started playing music? What instrument did you start out with and why?
OM: I started playing music when I was probably around ten years old with the piano. I don’t really know why I started playing, but I did not like the piano at all, because my ten-year-old self hated practicing and wasn’t too fond of my teacher. Later, when I was in eighth grade I think, I took up the guitar, because one of my friends played, and we wanted to start a band. Also, like since I was little I had this vision in my head of me being a lead guitarist, I could always just see myself playing in a band for some reason.
When I was a freshman in high school, this became more of a reality when I started my first “band” that was really just me and one of my friends writing super angry music and sending it back and forth, never actually playing instruments with each other. Then Marissa (Booker) and I became friends and we both really, really wanted to start a band, and that’s where the Outskirts Festival and Rockshops became so crucial. After this program, that we were actually really hesitant to do, we forged a really strong relationship with Caroline Taylor, and were finally able to achieve our goal of a three-piece band.
NN: How have you evolved as a musician? What are your goals now, both on a personal level as a performer, and on a broader level in terms of where you would like your music to end up?
"I’ve definitely started to take music more seriously, and I’ve also started to enjoy music and going to shows more now that I’m in a band. My goals for music though, really haven’t changed. I play music because it makes me happy and I enjoy it, but I’m not necessarily doing it for an 'end goal.'"
OM: I’ve definitely started to take music more seriously, and I’ve also started to enjoy music and going to shows more now that I’m in a band. My goals for music though, really haven’t changed. I play music because it makes me happy and I enjoy it, but I’m not necessarily doing it for an “end goal.” I don’t think I’ll ever try to be a musician professionally, but I can see myself maybe in a few side bands, or working as a manager or venue owner. Right now though, I know hoe garden’s goals are just doing what we’ve always done--having fun with each other and learning. Something that I also always really love about playing music and being a woman is that I think when other young girls see us play, they are really inspired, so my other personal goal is probably just to be inspirational to others.
NN: How would you describe your music to people that may be unfamiliar?
OM: We usually describe it as “trash,” but to someone who would be unfamiliar, I would say that we’re the child of Bikini Kill, Tegan and Sara, and Sleater-Kinney.
NN: How did Sorry Mom start? How has it changed in the year since that start? Where would you like to see it go, if it continues?
OM: Sorry Mom began at Outskirts Rockshops in 2014. Caroline, Marissa, and I all met each other there and after the program ended we decided to continue working with the band. Since then we’ve changed a ton. Namely, at Rockshops we used to be a four-piece and now we’re a three-piece. Also we’ve just gotten more serious about our music, as well as getting more acclimated to performing with each other and on stage. Now we all kind of fall into a routine that comforting. We know what to expect when we play together and our stage performance is getting better because of that. Personally, I would really like to see a Sorry Mom US tour, but we’ll see if that ever happens, since college is a big inhibitor.
NN: That said, I understand Sorry Mom is on a bit of a hiatus. What can you tell us about that?
OM: Since Marissa is now in Ithaca, NY for college, Sorry Mom sadly had to split up indefinitely. We’ll see if it ever reforms again, it just depends on where we all are after college.
NN: Are you in a new band? What can you tell us about that if so?
OM: Yes I am! My new band is called hoe garden, and it’s more or less an extension of Sorry Mom. Caroline Taylor, the drummer from Sorry Mom, Jessica Martel (someone who has played with Sorry Mom before at some of our later gigs), and I started the band after Sorry Mom ended. That being said, hoe garden is not Sorry Mom. We have a lot of big ideas for how we want this band to sound, and while we still have a connection to Sorry Mom, hoe garden is definitely its own thing. We’ll hopefully be ready to start playing shows in a couple months or so.
NN: How did you get involved with the Outskirts Festival? How has it changed your life?
OM: My mom kind of forced me to get involved with Rockshops, and thus the Outskirts festival as a whole. And I say "forced," because I was reluctant to go at first when I didn’t understand how crazy cool Outskirts is. After Rockshops and the festival last year, Carrie Neumayer and the Sorry Mom have stayed pretty close, and we were asked to play the festival this year, as well as be on the gear crew (which are both super exciting). It’s changed my life in so so many different ways, so it’s kind of hard for me to talk about. It’s really made me into the person I am today. Outskirts made me a musician, inspired the Southern Girls’ Convention 2015 (then shaping my career goals), introduced me to my best friend in the world, and just generally made me a stronger feminist and more confident person. I am so grateful to Carrie and Stephanie and everyone involved; I kind of worship them.
"It’s changed my life in so so many different ways, so it’s kind of hard for me to talk about. It’s really made me into the person I am today. Outskirts made me a musician, inspired the Southern Girls’ Convention 2015 (then shaping my career goals), introduced me to my best friend in the world, and just generally made me a stronger feminist and more confident person."
NN: Describe the life of a punk rocker in High School to a old guy like myself. How does your social choices impact your perception at school?
OM: I don’t really know how to answer this question, because I haven’t really noticed my “punk persona” affecting people’s perceptions of me. I wish people were more intimidated of me, but they aren’t; I think people think I’m cool? Maybe?
NN: How do you feel that the Southern Girls Convention went? Do you think it had an impact? Is it important that it does? Do you plan on doing a second year?
OM: The SGC was both a success and a failure, because we had two separate goals. Our first goal was the success, and that was having a convention that was inspiring and fun to attend. Our workshop and speakers were all super great, and that achieved that goal. But our second goal, the financial goal, was sadly not necessarily accomplished. While this goal is less important in some ways, it still was pretty disappointing that we weren’t as financially successful as we hoped due to our small turnout.
I have a great story though about its impact. My sister has a friend who volunteered at the convention who is 14, I think. She attended the convention the whole time and particularly saw a presentation by Lydia Mason, who’s the president of the feminist club, Girl Up, at my school. After the convention ended, and this girl went back to school at KCD, she decided to start her own chapter of Girl Up at her school, which is so so cool! Like it made me so happy to hear that the SGC inspired that. I can’t even put it into words how amazing and rewarding that feels.
I also think the convention just connected a lot of new people. I met a ton of new people because of the SGC, and that’s really great. There is going to be a second year! A board of around 12 people and I are already starting work to make it even better than last year. We are changing the name though, so stay on the lookout for that.
NN: How engaged do you feel by the Louisville music scene as a whole? I'm talking both about older bands or musicians, or people near your own age group.
OM: I feel more connected to some parts of the Louisville scene than others. But oddly enough, I feel more integrated into the older crowd of musicians, because of Outskirts and because of Sorry Mom. Most of Sorry Mom’s fans are my parents’ age, and most of the bands I go see are people usually at least ten years older than me. It’s not that I don’t connect with musicians my age, or don’t want to listen to other teenage bands, it’s just that I don’t really know of that many. I do love Diskonect though! If you haven’t heard of them, check them out, they’re great, and entirely composed of teenagers as well.
NN: What advice would you give to an older scene to help them engage with the younger scene?
OM: Go to shows. Support teenage bands. Don’t automatically make assumptions about a teenage band’s skill or seriousness just because they are teenagers.
"Go to shows. Support teenage bands. Don’t automatically make assumptions about a teenage band’s skill or seriousness just because they are teenagers."
NN: This is a hard question for anyone, but what would you like to see as your legacy when you look back? What mark do you want to leave on the world?
OM: At this point, I don’t really think I’m important enough to have a “legacy,” but I would like to be known for what I’ve done--for the Southern Girls’ Convention 2015, for my bands, and for the amount of passion and heart I put into everything I do. I want everyone (especially young girls who feel like they don’t necessarily fit the stereotypes of “girlhood”) to understand that if you want something hard enough, you can make it happen, as cliche as that is.
NN: What or who is your spirit animal and why?
OM: Oh god, this is hard. I would probably say that I’m an owl. Not because I’m super wise or anything, but because I can spin my head all the way around. No, just kidding. I think I’m an owl, because I’m creative and interesting and want to change the world and maybe owls want to do that too? If you can think of a better spirit animal for me, please let me know. I am also taking applications.
NN: If you could time travel, but you could only go back and forth once, where would you visit and why?
OM: Oh I would totally go back to the 90s, and see some of my favorite bands live before they broke up. Imagine seeing Sleater-Kinney in their fetus days when they played at bookstores and stuff! How cool would that be! And maybe go to one of the Riot Grrrl Conventions, to get some inspiration for the SGC, and see what it was like.
NN: What non-musical things have you interested lately? Have you watched, read, or tasted anything worth talking about? What gets you excited about life?
OM: Right now I’m all about zines. I just put out the first issue of my zine, Cunt Classics, and tabled at the Kentucky Fried Zine Fest. That was a really great experience and meeting other zinesters was really cool. I’m sad that I won’t be able to table next year (stupid college)! But I’ll give a few shout outs too. Bunz Burgers is my all time favorite restaurant, I could literally eat there everyday. And the same with Please and Thank You. Their cookies are the best. Excitement-wise, my bandmates and I are going to go see Sleater-Kinney in Indianapolis in December for the second time, which I am crazy crazy excited for!
NN: What have you been listening to lately and why?
OM: Right now I’ve also been really loving the band Purity Ring, I can’t get enough of their music. And Cayetana, one of favorite bands for a long time. I just saw them live in Covington, and they’re such a great band live and really sweet people.
|Pictured above: Nana and Tina go Devo!|
Listen below and know why even three weeks after it's release we give pause to consider (spoiler: this is awesome).