JERSEY BEAT CONFIDENTIAL
An Electronic Fanzine
An Interim Report From The Greater New York Underground
Editor - Jim Testa
Staff - The Usual Gang of Idiots
If you like any of what you read here, You are ENCOURAGED to send
$2.00 for a complete hard copy edition of Jersey Beat, the
fanzine. Issue #36 contains interviews with Kurt Ralske of the
4AD sensation Ultra Vivid Scene, NJ locals Crocodile Shop and
Stetz, hardcore, metal, pop, punk, and lots more, 40 pages of non-
stop fun for only two bucks to: Jim Testa, 418 Gregory Avenue,
Weehawken, NJ 07087.
The Whitey Album
Sonic Youthmania? How else to explain their phenomenal output
over the last year - the "Master Dik" Ep on SST, the Daydream
Nation double-lp on Blast First!, the "Touch Me I'm Sick" 45 with
Mudhoney on Subpop, the re-release of the "Sonic Death" cassette
on a remastered CD, about a half dozen compilation and fanzine
flexi-disc tracks, and now Ciccone Youth. This project began a
few years ago when Thurston Moore started threatening to record
the entire Beatles "White Album." That project never got off the
ground (for one thing, Pussy Galore beat them to it by releasing
their version of Exile On Main Street). Somehow, the Sonic Youths
got together with Mike Watt of fIREHOSE and came up with The
Whitey Album instead. The majority of tracks here are just
filler - hip hop, hot mix experiments, spoken word thangs,
goofing around in the studio (like most of "Master Dik," in
fact). What will you want to keep? Mike Watt's original 4-track
demo of "Burnin' Up," (a different version appeared on the
Ciccone Youth 45), the original Ciccone Youth version of
Madonna's "Into The Groove" (redubbed "Into The Groovy" and
sonicked up a bit), a burning sexy Kim Gordon reading of Robert
Palmer's "Addicted To Love," and maybe Thurston Moore's goofy
"Tuff Titty Rap." That's four tracks out of a 15-cut album.
Obviously the economics of releasing this as an EP didn't pan
out. Whether you want to pay for 11 tracks of filler, noise, and
foolin' around will probably depend on whether you're just a
casual fan or a fanatic. If I had paid $8.98 for this, I'd be
- Jim Testa
* records *
Roadkill, Box 37, Prospect Hts., IL 60070
A fantastic debut 12" that's served piping hot from start to
finish. Superb catchy melodic music. When I first heard it, it
brought the image of the Doughboys and Life Sentence mixed
together. Just great music filled with hooks, tight playing, and
lots of energy. This is worth every red cent you pay.
- Tom Angelli
The Love Songs, LP
How do you review a record like this one? Do you bullshit
people by using a lot of big college words and pretend to like it
just to score a few points with Gerry? I say no. Just do yourself
a favor and be honest by lumping this load of horseshit into the
category Ben Weasel spoke about in his MRR letter (reprinted on
the "Master Dik" liner notes). By now, you must know the type:
Boring "arty" rock stuff where nobody can understand what the
fuck the lyrics are about. Although I am partial to Sonic Youth,
this is real nothingness. Giant Sand can get all the rave
reviews and Meat Puppet comaprisons in the world. I couldn't give
a shit, 'cos I like rock, real `punk' rock, like Bad Religion,
Government Issue, and White Flag. Bands that don't beat around
the bush by playing some mediocre artsy crap. Listen to this
record and you'll realize that you don't like American roots.
You'll also take note that "electro folk" is a dependable cure
for insomnia. The 1st 500 copies of this come with a pillow!
- John Lisa
I'm not familar with their older material (like their last
lp, which even the band considered a shot at the metal/crossover
market), but this isn't a metal record at all. The music has a
basic mid-tempo hardcore feel to it with some metal overtones
(like "Bartender," and the solos). "Lost Chapter" is the best
song while the rest don't have me interested. Lyrics are aimed at
the Male Party Animal type, with songs about putting her on top
tonight, drinking beer, and hating rent. The title is the best
thing about the 12" (the drug-free message on the back turned me
- Tom Angelli
We're The Meatmen...And You Still Suck! LP
Nothing, and I mean nothing that this band has done will
come close to the original We're The Meatmen...And You Suck lp,
and that's that. But I'll tell you what really sucks - the fact
that Tesco Vee constantly defied all his fans for a good three
albums or so by putting out retarded metal shit (complete with
ex-Minor Threat guitarist Lyle Preslar taking guitar leads so
long and boring you'd think he was in competition with Junkyard's
newfound metal god, Brian Baker). And the jokes may be funny but
you need a dictionary to understand half of them, and the other
half are either sung too fast to catch or inaudible because of
all the metal noise. This is progress? But I guess it's all just
history now, since this was recorded in early 1988 during the
Meatmen's final tour. The days of crass, raw guitar blasting
trashy noise over twisted, sour but simple humor are gone. The
few highlights on this record are the timeless classics "Tooling
For Anus," "Meatmen Stomp," "Camel Jockeys Suck" (a cheap ripoff
of "Crippled Children Suck"), and maybe "Abba, God and Me."
These days you can find Tesco on the back of Chemical People
records (worth the investment) doing spoken word pieces, funnier
than anything he's done in years. And as for Lyle, you'd think
he'd have done something better with his life after leaving Minor
Threat. Life goes on.
- John Lisa
The Lost EP,
Weird but great echoey pop from New Zealand. There's some
really good guitar work in this EP, recorded in 1984-85. Although
there are some shades of early 60's pop as well as a slight noise
aspect, this is very original-sounding, at times resembling Pink
Floyd a bit. It's more psychedelic than noisy but none of the
tunes get too self-indulgent; mostly, the Chills keep things
short & sweet, with innocent undertones. Classic tunes you'll
love to listen to while tripping include "Dream By Dream" and
"This Is The Way." Good use of distortion, slide, and perfect
keyboard mix. They put on a great live show too. One of the
driving factors is in the octave vocals - perfectly dubbed,
coordinated, and sung with a great deal of emotion. Good show for
a pretty wholesome bunch of guys.
- John Lisa
ALEKA'S ATTIC/THE PUSSY WILLOWS/WORLD FAMOUS BLUE JAYS
Maxwells, Hoboken, NJ - Feb. 17
Surprise, surprise, Aleka's Attic turns out to be none other
than teen idol/Oscar nominee River Phoenix' band, trying out
their show here in a small room, unadvertised, before debuting
before a much tougher crowd in the much larger Palladium the next
night at some big benefit. Well, it certain wasn't what you'd
expect, assuming you'd expect the usual teen-dream bubblegum rock
'n roll. Phoenix is a very serious young man (with, apparently, a
very serious Sting fixation). His movie star good looks were
subdued behind long, straight hair parted in the middle, round
wire-rim glasses, drab brown sportjacket over a black teeshirt.
River's voice reminded me a lot of Al "Year Of The Cat" Stewart -
thin, reedy, sweet. Phoenix played acoustic guitar, backed by
electric violin, bass, drums, and his kid sister Rainbow on
backup vocals. The music was a sort of reggae-ized folk, nothing
faster than ballad tempo, and nothing remotely resembling rock 'n
roll. Given the melodies, his voice, and the instrumentation,
this music might have worked had it been light & airy, but it
came across as leaden and ponderous. None of it was helped by
River's air of studied seriousness - it he weren't only 18, I'd
use the word pretentious. And the drummer played too heavy and
too loud for the light, loping reggae-ish rhythms. Wow, an Oscar
nomination and a gig at Maxwells in one week. Some guys have all
The Pussy Willows were playing their first-ever live gig. At
Maxwells on a Friday night, you ask? How did that happen? Well,
they just happen to be on the record label owned and run by the
guy who books the club.That helps a little, y'know? Okay, so
imagine 3 dowdy twentyish girls singing bad garage covers out of
key in 3-part almost-harmony and you get an idea of how awful
this was. They were backed by what appeared to be a pickup trio -
two Raunchhands and a World Famous Blue Jay. Way to go, Todd.
The World Famous Blue Jays are a shitty bar band that plays
the sort of roadhouse rock 'n roll that you'd think would be
laughed off the stage at an infamously hip venue like Maxwells.
Well, a lot of people cleared out of the room, but hey, the guy
who books this place likes them, so whatcha gonna do about it?
Ironic part is there's a bar a block away called The Elysian Cafe
that books this sort of rootsy blue collar bar band music all the
time, but when one of those bands tries to get a date at
Maxwells, they're met with a cold shoulder at best and a derisive
sneer. Who said life was fair?
Kings Of Basement Rock, LP
Freds Records (Venus Distribution)
Dirty trash rock recorded between '76-'78, but that doesn't
make it good. In fact, it's very mediocre - and the recording
quality doesn't help. Don't be fooled by the cover sticker, these
are no "rare unreleased gems." They're average tunes recorded by
3 guys who look like my dad (except for the drummer) back in te
70's and were found by some guy who works at Venus Records as an
excuse to start a label. The Penetrators didnt break any ground
back then and their recordings are dull today. Out of the
basement - and into the trash.
- John Lisa
Today Brooklyn, Tomorrow The World" Compilation LP
Brooklyn Beat, 335 Prospect Ave., Brooklyn, NY
It would be unfair to review this lp as a whole, so I'll
summarize each band in 10 words or less:
(1)Franks Museum - Repetitious downbeat sleeper.
(2) The Original Rays - Progressive pop punk, and the best cut
on the album.
(3) Squirrels From Hell - Reminds me of the Minutemen, nice
(4) Chemical Wedding - Clean, strange guitars, gets bland very
(5) Formaldehyde Blues Train - The title says it all.
(6) Medicine Sunday - English-sounding, echoey, engaging pop
rock. 2nd best cut.
(7) The Fields - Good production, pretty tune, Top 10 material,
(8) When People Were Shorter & Lived Near The Water -
Shimmydisc hipness, sludgefestival of scummy ratrock.
(9) Woodpecker - BLLLLAAACCCHHHHH! Pecker is a better name.
(10) The Moe - Shit kickin' country boy gets loaded again.
If you're one of those people who hate distortion pedals, run
right out and purchase this laidback pop comp, and then hide in
shame as the rest of the world does some real rockin'!
- John L.
** DISCORDS - An Electronic Column *******************************
*************************************** by Howard Wuelfing *******
Dimension Hatross, LP
A whorling mass of gelatinized steel wool, Canada's VoiVod
shifts gears on tempo, key and riffage as rapidly as a Village
trendy changes lifestyles - and with as much apparent rhyme 'n
reason. But in Voivod's case, the result is an exultant,
liberating sense of anarchy & stylistic spontaneity. Event-
windows rush by too quickly to lock into much more than sensations
of pure speed and raw power - perhaps an overall impression of
aggressive percussive assault.
A lot is made of this outfit's art-punk and prog influences.
To make a long convulted argument short - they extract a vastly
different effect from these elements in this context: there's less
scope, breadth, and creative intimation here. On the other hand, a
lot of folks, including me, have probably prayed to have those
scant seconds of incendiary bombast clipped out of their
Mahavishnu records and pasted together for the pure demolitionary
kick of it. Black Flag were moving in this direction but aborted
the mission before reaching escape velocity. Voivod are already
on Mars on a recon mission.
**** 7 Seconds Interview ****************** by Jim Testa
7 Seconds really needs no introduction to anyone even
remotely interested in today's punk scene. One of the original
"positive" hardcore bands, 7 Seconds - led by their charismatic
lead singer and chief songwriter, Kevin Marvelli, aka Kevin
Seconds - has been moving toward a more melodic, softer sound in
recent years. Kevin has also been at the forefront of those
speaking out against the inherent violence of "the pit." Although
I've been a fan for quite a few years, Kevin and I had never
spoken. This New York-to-California conversation by phone
revealed that we had a lot in common beyond Italian surnames, and
was conducted last fall, shortly after the release of
Oursevlves, the band's first lp for their new label, Restless
Q: Let's start with the band's musical direction first. You've
taken a lot of criticism from your old fans for going soft, for
sounding like U2, for losing that hardcore crunch.
Kevin: The thing is that ever since New Wind (1986), we wanted to
be able to do more musically and branch out. And I've wanted to do
more than just scream. And as much as we all love our old stuff,
we just felt that we really wanted to try new things. And the fact
that everyone in the band can play fairly well, we've been
experimenting in rehearsals and trying to do new things. It's
not a conscious effort to try and alienate our hardcore following
or anything like that. We (the band) turned 9 years old in January
and we feel like we want to do new things.
Q: Does that mean the song "7 Years" is two years old already?
Kevin: Yeah, actually. And we debated before putting it on the new
album if we should change some of the lyrics. But the whole point
of that song was that it was the pivot point for us.
We would go out on the road and we started to see that the tours,
each time we went out, were so similar, and we'd go out and
there'd be the fighting and the slamdancing, and that wasn't part
of anything that we wanted to have anything to do with. We want to
be involved with music. We live it. This is what we're doing with
our lives. This is what we're about.
Q: The tour you did with Verbal Assault a few years ago was the
first time, in the Greater New York area, where you got to play
clubs like Maxwells and nighttime shows, and your tours seem to
have been moving in that direction ever since.
.pa Kevin: Our whole thing is that we enjoy playing for everybody. I
could care less if people come out and slam to our music, because
we've been really fed up with that for a really long time. And if
people just get off on the music and just enjoy it, that's what
we're really about. We're not there just to play the fastest music
so people can bust their heads or start fights or whatever. I'm so
sick of talking about that it's just ridiculous. "Seven Years" is
just about doing what we've been doing, and the last thing on our
minds is to travel 200 miles just to see people beat the shit out
of one another. That's not what it's about for us. I'm not 17
years old, I'm 27 years old. I don't look at it as aggro anymore.
I may have once but that's not what it's about anymore.
Q: There's a real note of finality about the lyrics to "Seven
Years," as if you're finally saying goodbye to the whole hardcore
Kevin: That's basically what it is. We still have the same ideals
and we still believe in what we've always talked about. We just
feel that there's so much more to it and people haven't picked up
on it. People can criticize us, they can say whatever. And our
goal isn't consciously to wimp our or whatever. We're just sick of
going to shows and seeing blood on the floor, or finding out that
the last time you played this club the owner got sued because some
kid got hurt... We've done it other people's way for a long time
and now we're doing it our way.
Q: What thing I always get from your shows, no matter who shows
up, is that you really love performing.
Kevin: Oh yeah. Definitely. I could be totally sick and not have a
voice at all, and as soon as I get up there, I see the energy and
I just go. In fact, now, when I'm not doing it, it's harder to
come back to a place called home. I love to be out touring.
Because it's just the greatest feeling. Even when there's the
problems, I feel like, if we can go out there and change
something... I like to look at peoples' faces, I like to talk to
them afterward. It's not a job for me. I wish that I could go out
and do it for nothing, but obviously that's not reality. But it's
hard to come back and sit around, even if you're sitting around
and writing new material. I forget I have this personal part of my
life and I let that go to hell, just so we can get back out there
.pa Q: What's it like doing some Over-18 shows now and some all-ages
shows. Is the reaction very different?
Kevin: It depends. The tour we did (in 1988) with the Circle
Jerks, we did a bunch of shows where we'd play in the afternoon
all-ages and then do an Over 18 show at night. In Montreal, the
second show we did was better, even though it was an older,
drinking crowd, but they were just so cool and so into. I almost
hated to admit to myself, but I enjoyed that show more than the
first show, with all the craziness and stuff. A few of those shows
have been really cool. Then again, we played New Orleans and it
was and Over 18 show, and it was clear to me that the crowd really
didn't know too much about the band, and it was extra work just to
get them going. You get spoiled after so many years of, you know,
like your name is on everybody's skateboard and their shirts and
they know all the lyrics. We want to be able to appeal to a huge
range of people, not just the 16 and 17 year old skater kids, even
though those kids are great too.
Q: That's the next big step, then, breaking that college-radio age
audience. I guess moving to Restless is a big part of that, since
that's their audience.
Kevin: I would think so. So far, it's too early to tell. But
that's the direction it seems to be going in. They did...well,
Restless sent out these promo copies, you probably saw them, and
they had these big stickers on the records that said `Walking &
Rocking On The Straight Edge,' and we just said, `No, no, cringe,
cringe.' Because whether we did it ourselves or it was done to
us, we've been pigeonholed into this straight edge thing. I have
nothing against the positive hardcore scene, and I think a lot of
it is really cool, but the whole militant thing I'm really not
into. I don't believe that's the way I would do it. A lot of
these bands list us as an influence, but they're so intense about
shoving all this down people's throats that I want to tell them
that I think they've really missed the point. We acknowledge our
punk rock roots, our hardcore roots, or whatever, but that doesn't
mean that that's what we're going to be for all time.
Q: Did you ever think of just changing the name of the band and
starting from scratch?
Kevin: Yeah, we did talk about that. It was right after my brother
Steve the bass player left the band. With him gone, we just didn't
feel right, we didn't think it was the right thing to do [to keep
calling the band 7 Seconds]. But unfortunately we listened to
somebody who was in a position to give us advice, and we stuck it
out, and it was such an empty feeling that it almost killed the
whole thing. But then Steve came back to the band, and since the
core of the band has been Steve, Troy, and I, it felt better. At
this point [if we changed the name] it would have to be this thing
where we'd completely change direction and refuse to do any new
material, and I don't see that happening.
Q: Hardcore as a genre seems to have become very conservative,
very resistant to change. I think a lot of the reviews you've
gotten from the hardcore fanzines reflect that.
Kevin: It definitely seems to be that way. And we've really
struggled with that. We ask ourselves, are we really wimping out?
But when it comes down to it, you have to go with how you feel. We
could've come out with another record like "Walk Together" or "The
Crew" and sold tons of copies and done a really good tour, and
everybody would have dug it, but it wouldn't have been satisfying
to us. And I'd rather, these days, go and play a place like
Maxwells or even a place where there's only 30 people, but where
they're really into the music and into the idea of what's behind
it, instead of going to a place that's really packed but then
after the show you find out from the promoter that there were 10
kids carried out on a stretcher. And that's not an exaggeration.
We've played L.A. where they have the gangs come in, and you never
know what's going to happen. We've had kids get carried out, kids
get stabbed at shows.
Q: What's the status now of Positive Force?
Kevin: It's not out of business. My ex-girlfriend and I had tried
to run it, and I'd do the work when I came back from tour but
basically she tried to run it, and she decided to go back to
school fulltime in South Carolina. And we decided that since she
had the time and I didn't, we decided that she'd have the label.
And we did the distribution deal with Giant/Dutch East. For me,
admittedly, I'm terrible at business and I have so many things
Q: I knew some of the bands on the label, like Pagan Babies and a
few others, and none of them had many kind words for the way
things were run.
Kevin: And I don't blame them one bit. I've never told one of the
bands not to take another offer. We've had problems from day one
because there's never been a fulltime staff to run things and
answer mail. I finally just said I have to stop and give this to
someone who can do it.
Q: A lot of people saw the quality of the records that were coming
out and just assumed there was an office and a factory and a
warehouse somewhere, like a real label, and didn't realize that
the whole thing was being run from your kitchen table.
Kevin: That's just it. And then especially when we started to work
with Dutch East, they had so many things going and they'd have to
get in touch me, and I was on tour and couldn't be reached, and
the bands were screaming at me... It got totally out of control,
so I realized that I had to get out of it and give it to someone I
trusted who could do the job.
Q: Are there any Positive Force projects in the works?
Kevin: Quite a few. There's this band called Division from Reno,
Nevada, and this Illinois band called War On The Saints. Both are
really cool bands. And Bedlam Hour is working on their second
album for Positive Force, which is nice. Because all the other
bands that we did the first albums with went somewhere else to do
their second. Not that I blame them in the least. And I was always
very honest with them, I told them if they could get a better deal
to go for it.
Q: Going back to the band, do you think you'll try and change the
way you tour, to avoid a lot of small hardcore clubs and all-ages
Kevinº That'ó whaô we'rå doinç now¬ makinç thoså plans® Wå haä a
problem last year because we knew the album wasn't going to be out
in time for us to do a headline tour of our own, and then our
booking agency, FBI, said that the Circle Jerks wanted us to tour
At first we didnt want to do it because we thought, oh no, punk
rock city, everything we were against. But it actually turned out
pretty cool. And for the first time in years, we didn't have any
problems with skinheads on the whole tour, because that's been a
major problem with us with the last tours. When we do our tours,
we've always liked to play with more diverse acts, even back when
we were doing all fast stuff we felt that way. So we really don't
want to do another tour where we wind up on a bill with four or
five other hardcore bands that all sound the same. Our booking
agency now thinks we just go out and open for a bigger band so
we'd be exposed to a whole new audience.
Q: An R.E.M. type of band. Not R.E.M., but...
Kevin: Exactly. Something like that. But this time, we really want
to concentrate on the new stuff and just play the old songs that
still have it. At one point, I felt we were just playing a
Greatest Hits type set, and we didn't like, we just felt it wasn't
right. So right now, we'd like to go out on the road with a
bigger band, who has their own audience, and we can benefit from
.pa Q: I wanted to ask you about writing songs. You have a great ear
for melody, but you don't write traditional "pop" lyrics - the
words don't rhyme, the lines don't scan rhythmically, a lot of
times you seem to cram a lot more words into a line that fit the
Kevinº It'ó noô somethinç É dï oî purpose¬ buô otheò peoplå
havå broughô iô uð before® É jusô sorô oæ writå it® Wheî É gï
intï thå studio¬ it'ó thå worsô timå foò me® I'vå neveò beeî
comfortablå iî thå studio® É caî gï ouô iî fronô oæ tonó oæ
peoplå anä sinç anä makå á fooì oæ myself¬ anä É lovå it¬ buô É
geô intï á studiï anä É geô reaì tense® Iæ É don'ô loså mù
voice¬ theî É fighô witè everybodù anä É changå lyrics®
Therå werå timeó É remembeò gettinç intï thå studio¬ eveî foò
Ne÷ Wind¬ anä I'ä geô sï jumpù thaô iæ anybodù waó eveî lookinç
aô må througè thå glasó É haä theí leave® É tolä thå engineeò
eveî noô tï looë aô me¬ É geô sï self-conscious® It'ó prettù
bad¬ really¬ becauså iô takeó uð sï much time.
Q: On the last few records, the way you've mixed the guitars has
really puzzled me. They're so far back in the mix and they almost
have this buzzing sound.
Kevin: You're talking about Ourselves and Praise? On Praise, we
went into the studio with Steve Fjelstad (Husker Du's engineer)
because we really liked the work he'd done with other bands. The
idea was we'd spend about a week recording some songs but it just
happened at the time we were finishing a tour. And it turned out
we only had two days. And it was done so quickly. But even the
cassettes we got from the mix sounded alright, the guitars were
real distinct and everything. But the minute we got the test
pressings of the vinyl, it was just like, `Oh my god, what is
this?' So we recut it and everything, and it just ended up bad. I
can't even listen to that record. I think the songs are really
good songs, but... I think it sounds like the guitars are
underwater. And my voice was just gone because of the tour. It
was really just a mistake, we pushed something that we should have
just waited on and done right.
.pa Q: I noticed on Ourselves there's a producer's credit, and then
there's another credit that says, Mixed by.
Kevin: That album was originally recorded with this guy in
Sacramento who's a friend of ours. Then we went on the road and
toured and came back to it, and none of us were really happy with
it. So we thought we might look for somebody who could help us
re-mix it. And we were steered toward this guy Brad Gilderman,
who was really into our music. He wasn't crazy about coming into
the project so late and more or less just cleaning up somebody
else's mess, but he did it. I think if we had done the whole
project with him it would have been perfect.
I never think of any of our records as being perfect. After
they're done, there are always a million things I could pick on.
The main thing is we didn't want to put out a really wimpy
sounding record, so hopefully we at least accomplished that. I
always say `Don't even bother buying the records, just come and
see us live.' Of course everybody like my manager and the record
company will hate me for that, but it's too bad. Sometimes I wish
I didn't even have to make records in a studio, that I could just
go out and play live.
Q: Do you write lyrics first, and then try to fit them to a
Kevin: Sometimes, yes. I carry around a book with me, I have for
the past ten, twelve years, and I just write everything down that
comes to me. Most of the stuff written for "Walk Together" was
written in a taxicab, because I used to drive a cab in Reno. I
have this thing, too, where I'll have a tune in my head, and I
carry it around humming it, and I can't wait to get home with the
acoustic guitar and jam with it. Lately, Steve and Bobby, our
guitar player, have been writing more of the music, which is nice
for me because in the past, I wrote so much of the stuff. It's
nice because musically they can do more, they are more diverse,
and there's always somewhat of a melodic edge to it.
Q: The thing before, though, about the lines not scanning or
writing, is the sort of thing that'll keep you off the radio, for
instance. Do you see your style changing as you try to reach a
Kevin: No, I'll just keep doing what's best for me. Even if people
look at me funny and say, why would you do that?, it feels good to
me. I don't know if I'm just off on some whole different thing
when I'm doing it or what, but it doesn't feel awkward when I'm
doing it. Hopefully it doesn't sound too painful when you listen
to it. As long as I've been singing, I've always had problems
with my voice, and when I just used to sing fast and just
screaming, it was easier almost. Even though I still had to sing
in key, it was easier. Now, I really want to do more with my
voice, I really want to excel as a singer. It's very hard for me
now to sing that fast and still breathe right and not
hyperventilate or whatever.
Q: What have you been listening to lately?
Kevin: I've been listening to the new Jane's Addiction a lot. I
listen to a lot of R.E.M., I like New Model Army. I like a lot of
stuff that probably wouldn't be considered too cool with the
straightedge positive crowd, but I like even stuff on major labels
like Midnight Oil. I like anything with a lot of melody that
still has an edge to it. The taste in this band is pretty wide,
everybody listens to everything. For me, I can listen to Bob
Marley and then listen to Motorhead and it seems right to me.
Another file downloaded from: The NIRVANAnet(tm) Seven
& the Temple of the Screaming Electron Taipan Enigma 510/935-5845
Burn This Flag Zardoz 408/363-9766
realitycheck Poindexter Fortran 510/527-1662
Lies Unlimited Mick Freen 801/278-2699
The New Dork Sublime Biffnix 415/864-DORK
The Shrine Rif Raf 206/794-6674
Planet Mirth Simon Jester 510/786-6560
"Raw Data for Raw Nerves"