Monday, November 18, 2013

Druglords of the Avenues

I remember the first time I saw Swingin’ Utters in Mesa AZ (with AFI in tow!) back in the mid 90’s I was floored.  I thought punk like what the Swingin Utters brought to the table, with that much melody, soul and ferocity was dead and gone.  Vocalist Johnny 
“Peebucks” Bonnel has since been involved with a few other bands including Filthy Thieving Bastards and more recently Druglords of The Avenues which just released a new album (their 2nd full length) on Red Scare Records in May of 2013.   Druglords play a 
brand of tuneful straight forward punk with heaps of charisma and passion that’s been a trade mark of a Peebucks band since the 
very beginning.

Interview by Jay Castro

Please introduce yourself and how do you contribute to Druglords of the Avenues?
I'm John Bonnel and I do vocals, lyrics and album art in the band.

Where are you all from originally?
I'm from Santa Cruz, Ca., Matt Grayson is from Modesto, Ca. and Jeremy Korkki is from Flagstaff, AZ. The two Robs are from 

What is the bands origin story?  How did you guys all meet and start playing music together?
I met Matt working at Cinderblock, a company that printed shirts for touring bands. He was in a band called Forfeit The Day that 
played pretty fast intense hardcore punk. I sang a little piece on one of their songs they recorded. They lost their singer for some 
reason and Matt was a fan of SU. We had similar taste in alternative music and decided to put our interests to work. I told him to 
write music and I will take care of the lyrics and melodies. We got offered a chance to be on a Replacements tribute record on 
1-2-3-4 Go! We jumped at the chance to do Favorite Thing and it just snowballed after that, in a positive direction.

When starting Druglords of The Avenues, was it another outlet for your songwriting that didn’t quite fit in with Swingin’ Utters or Filthy Thieving Bastards?
It was definitely another outlet, but not because it didn't fit FTB or SU. I think I have more freedom and less insecurities with 
DOTA because the rest of the guys are more open to my weirdness. It's really a lot of fun to come up with lyrics for Matt, Rob and 
Jeremy to sing back-ups to without losing it. Those guys can't look mean singing, "Might we dance at your gay and lesbian disco?" 
Homophobia is prevalent in this world and it needs to be pointed out how ignorant and hurtful it is. 

I must inquire about the name.  In sounds so cinematic, like it could be an old lost Scorsese film?  Where did it come from?
I got that name from a documentary on a Jewish community in New York's Alphabet City. It was said more than once by the 
narrator and it just conjured up so many ideas and images. It was first used as a FTB song title, but I always thought it sounded like a band. When I read books or watch movies or TV I'm constantly looking for lyrics, song titles and band names. When I was younger I thought all the best band names were taken, but now I know that's not true. My resources are endless! In everything I do, 
songwriting, drawing, screen printing, sculpture, I always am aware that it will never be the best. To strive towards better art is my fuel to live and love. I feel the greatest band names have a danger mixed with a heroic quality. Sex Pistols, The Clash, The Kinks, Wu Tang Clan, Tribe Called Quest are such great names to me. 

In your bands bio, you list new sounds and new art as influences.  Can you name some contemporary bands or musicians 

that influence the Druglords of The Avenue sound?
King Kahn and the BBQ Show, Sharp Objects, The Caves, Parquet Courts, Pixies, JD McPherson, The Widows, La Plebe, The 
Death Set, ToyGuitar, The Spits.

And speaking of art, Johnny I didn’t realize you did the artwork for Druglords and 
FTB album covers.  It’s quite 
impressive.  You also have quite an impressive portfolio on  I remember seeing the album artwork for a 
FTB album and the art really left an impression on me.  I didn’t know anything about the band either!  What or who 
influenced you to embark on this endeavor as well?
Thank you first. Yeah, man, I just love this way of getting my art across the world. Sometimes getting into a gallery is such a pain 
in the buttock. I really like the idea of showing my work on shirts, albums, tattoos, flyers, patches and the like. It's more grassroots and humble. I'm pretty low-key when it comes to my art. It pisses off my dad's generation that I'm not out there selling my art. It's 
just not me, fuck capitalism, it's gross!

I’ve heard that out of all different art forms, music has the power to alter a person’s disposition the fastest.  Do you agree with this?  Do you have any favorite music that you can put on that will always lift you from a slump?
I can agree that it's the fastest, but my life has been changed by all forms of art. Reggae always seems to lift me up and a few of the albums I listen to are Toots and the Maytal's Funky Kingston, The Wailer's Burnin' and Culture's Two 7's Clash.

I noticed you guys play shows around the bay area, any plans on taking Druglords on the road?
We would love to but I can't afford it. I believe I will die broke with no health issurance, so my main goal is to situate my family as best I can. Music has never paid the bills.

I don’t like using the term “guilty pleasure” because I don’t think anyone should be made to feel ashamed of anything they like.  However with that being said, what to you listen to that you think a lot of fans may be surprised by?
Abba Gold is one album I played at Cinderblock where everyone was sort of shocked I liked. It's great music and no guilt what 

so ever.

What music have you unleashed on the world and where can people go to hear it or buy it?
Swingin' Utters have released around 12 on FAT, Filthy Thieving Bastards have released 4 on TKO and BYO and Druglords of the Avenues have released 2 on Red Scare. Interpunk and record stores and the labels are where you can get them.

What do Druglords of The Avenues have in store for us in the near, or not so near, future?
We're currently writing new material for an EP maybe? I will continue to create and write until I die so keep your eyes and ears pealed!

Impulse International

      When I first heard the full-length album Point of Action (on LP on Deranged and CD on Dirtnap Records) by Impulse International I felt an overwhelming sadness and disappointment.  Sad and disappointed in myself that a record of this magnitude can exist in the world since 2009 and I am barely hearing it in 2013!  Boy did I miss out on this one (I still hang my head in shame as I am typing this).  Impulse International set loose music that’s got elements of catchy as a cat’s claw punk rock bang, power pop groove amid stabs of new wave strut while holding hands with 1960’s, mod , and r & b cool.  This band somehow chews all of this together, swishes it around and spits it out in your face, and the taste is delectable. 

Interview by Jay Castro

Who’s answering the questions here?
This is Adam, a.k.a Julius Buck, a.k.a Captain Beef Shield

Who is in the band and how do you all earn your keep in it? 
I play guitar and sing.  JD Romeo plays the bass and Rob does the drumming. 

Are you guys all originally from the NY/NJ area?
I wish we all were.  I took a like hiatus to go back to school and have kids.  That took me to Florida where the grandparents are aplenty and the University is cheap. 

You said the band formed when you were “orphaned from previous bands”, that’s a hilarious way of putting it!  What bands went to the corner store for a pack of smokes and never came back for you guys?
My old band, Dirt Bike Annie, started losing members one by one but we would still keep playing shows.  A member would announce their last show and have a big send off .  Eventually, it was just me and the drummer. 

Rob played in Jersey City bands the Ankles and the Alpha Males.  I think there was band rivalry that caused both dissipated at the same time.  It’s hard to share a drummer. 

JD played in Philly hardcore and noise bands.  He has a semi-hollow Fender Coronado, which would feed back like crazy.  He got kicked out for being too darn loud. 

What sound did you have in mind when starting The Impulse International? 
I had a friend Heather (a.k.a. Suzy Sleaze, a.k.a. Saturday Suzie) who would make me mix tapes (actual cassettes) of garage and power-pop bands when I was in Dirt Bike Annie.  She turned me on to all this great 70s/80s Rock’N’Roll like the Boys, the Only Ones, Holly and the Italians.  It was the perfect musical progression from pop-punk, still catchy and fun, but with a little more bravado and swagger .   I tried changing the style of my song writing in Dirt Bike Annie, but we just couldn’t pull off.  It sounded forced and lame.  When we broke up I started writing non-stop; simple, catchy, wild, Rock’N’Roll.   Within two weeks, I had a new band together. 

Who were some of your musical role models growing up?  Who inspired you to learn how to play music and pick up an instrument in the first place?
Well, obviously, The Jam is an influence, being a powerful, clean tone, three-piece punk rock band.  As for mod style, its cool for bands to look sharp.  I cringe ever time I see a guy in shorts on stage. 

Growing up, I was a skateboarder.  So I would by every tape of every band I saw referenced in Thrasher and Transworld magazines.  So, The Dead Kennedys, Agent Orange, Black Flag, The Dickies, Butthole Surfers.  I guess I grew up on quintessential American punk rock.  In the late 80s, punk rock was still pretty fringe.  All my friends were into metal (like Ozzy) or guitar wankery (like Joe Satriani).  None of them played bass (who would want to be the guy who stands behind the guitar wankers?  Right?).  Anyway, a friend drove me to the music store, helped me pick out a bass and I was playing Crazy Train by the time we left the store (there is not really much to the Crazy Train bass line). 

You are recording some new songs, how is that going? 
Being that I live in Florida right now, this is hard.  Rob and JD just sent me some files of Bass and Drum takes they did, but living in a house with wife and two kids, finding the time and space to lay down proper guitar over dubs is a challenge.   When I do have a chance to record, sometimes things just down sound right and I’m back to the drawing board and I’m banging my head thinking I’ve just wasted so much time and have nothing to show for it.  That can be frustrating.  I miss the days of having a regular rehearsal space where all the gear is set up and I can just flip some switched and press record. 

There is also something to be said for recording in the same room as the rest of the band.  I know Guided by Voices used to record long distance and all, but man, it is hard.  You miss so much when you can’t communicate on the spot.  And Skyping while you’ve got all your music software open just isn’t convenient. 

I recently read that out of all different art forms, music has the power to alter a person’s disposition the fastest.  Do you agree with this?  Do you have any favorite music that you can put on that will always lift you from a slump?
Well, I don’t know if its true for everyone, but yeah, crank up some Jossie Cotton and try to stay in a bad mood.  On tour I would listen to Andrew WK’s first album (specifically, Its time to Party) right before we would have to play because it would put me in a 100% psyched mood every time!

Do you think Rock N Roll can still be an influential force for kids in a fast food age?
I hope so.  I’m in college now and this kid was all shocked and in awe that I actually know band’s names and had whole albums by these bands on my iPod.  The kids I met in school mostly listen to and rely on Pandora to introduce them to new music.  There was one girl in my class that never heard of the Violent Femmes.  I almost threw up.   I imagine the ones that want to find unique Rock’N’Roll will seek it out.  When they hear it in a movie, they’ll scan the credits to see the band name and then get that record, or pirate download it or whatever they do.  The medium may have changed, but teen angst can’t be gone, right? 

You guys have been around for quite a while now, and have been around this great big world.  What has been the most memorable show the band has played good or bad?  Where was it and what made it so unforgettable?
By far, the Idiotarod show we did in Brooklyn.  The Idiotarod is this crazy dress-up shopping cart race through Brooklyn and Manhattan and The Impulse got to play the after party.  It was a giant costume party with bands and DJs and everyone was having a ball.  They Roller Derby girls got on stage for our song “1 Girl 8 Wheels” and it was just wild.  I lost my phone at the after-after party.  It was that good. 

If a year from now you were celebrating the best year the Impulse International has ever had, what would you be celebrating?
We would probably be celebrating a tour.  If we were tour again, that would mean people really cared to see us.  Sadly, having family responsibilities sort of means that you don’t get to hit the road to play VFW halls to 15 people anymore. 

What music have you unleashed on the world and where can people hear it or buy it?
Hmmm…a quick Google search tells me that eBay may be a good place to shop, too. 

What are does the band have in store for us in the near future?
New songs for sure, but probably not a vinyl release.  It may have to be online only as this internet does not seem to be going away.

Swimming Pool Q's

      Swimming Pool Q’s was like a host of 1980’s pop bands making the kind of songs that should have garnered big hits, but 
instead in a cruel twist of fate were near misses. After starting out so brightly by opening for bands like Devo, The Police and Lou Reed, The Q’s signed a deal that would ultimately cost them. Now thirty years, the Swimming Pool Q’s are eagerly awaiting to be 
found all over again. This year features The A&M Years release, which is a testament to their jangle-pop songwriting that should 
have done better the first time around.

Interview by Ed Stuart

Who’s answering the questions?
Jeff Calder

Where is the band from?

Who is in the band and what instrument do they play?
Anne Richmond Boston, vocals; Bill Burton, drums; Jeff Calder, vocals & rhythm guitar; Bob Elsey, lead guitar; Robert Schmid, 

Can you give a brief history of Swimming Pool Q’s?
We formed in Atlanta in early 1978.  Later that year we opened shows in Georgia for Devo and The B-52’s, and shortly afterwards began touring extensively in the Northeast and down South. Our first single was “Rat Bait”/”The A-Bomb Woke Me Up” in 1979.
Our debut album was The Deep End [DB Recs] in 1981.  We signed with A&M Records and released two albums on the label:  The Swimming Pool Q’s (1984) and Blue Tomorrow (1986), touring nationally with Lou Reed during this period.  The Firing Squad 
for God EP (DB Recs) appeared in 1987; World War Two Point Five (Capitol/DB) in 1989.
Following The Deep End deluxe reissue in 2001, we launched Royal Academy of Reality [Bar/None] in 2003, a very complex 
album we worked on throughout the 90’s. The A&M Years deluxe reissue has come out this year (2013).  We have a new album in 
various stages of completion and should be releasing a digital EP of three new songs in October.

Recently the band had a Kickstarter funded campaign to release the A&M Years 1984-1986? It was a successful campaign. Congratulations. I had read in a previous that it took Jeff Calder over 15 years to obtain the rights to The Swimming Pool Q’s and Blue Tomorrow. Why was the battle so long especially considering that A&M gave up on the band after those two LP’s?
Thank you!  Earlier in the 2000’s, we started trying to get these recordings re-issued. By then, A&M had long been out of the 
picture, and their catalog became ultimately controlled by Universal Music.  Universal is a big company, and it took us a while to 
get to the right folks, but when we finally did in 2012, everything went smoothly.

Do you think major labels hold the same power today as they did as they did before? Why?
Probably not, but perhaps the major labels never held any power, and it was all just a mass delusion.  Really, I have nothing 
insightful or interesting to offer here, and I think it’s probably a good idea to remain skeptical of claims to wisdom in this regard, 
so please strike everything I just said!

Do you think music can still be a vital force in such a disposable age?

How has the band’s view of playing and recording changed since the 1980’s?
As for playing, it’s pretty much the same: stand and deliver, as the Ant [Adam] would say.  We don’t use much MIDI, not that we aren’t all for it. Before we recorded the two albums that comprise The A&M Years, we just set up in the studio, played live, did a 
few overdubs and, like most bands that were it.  For The Swimming Pool Q’s and Blue Tomorrow, we worked with some great 
engineers and producers--David Anderle, Ed Stasium, Mike Howlett.  We got more comfortable and learned a lot very quickly 
about the process of modern recording, and we’ve gone down that road ever since. Now I’d like return to the beginning and make a very simple album, but, of course, that seems like far more work than just piling up 72 tracks and figuring it out later. Sometimes I think that recording is only about creating problems and finding solutions, just for the fun of it.  Until recently, I helped manage the Atlanta Studio Southern Tracks, one of the top American facilities.  We made albums with hundreds of artists.  For years, I loved 
staring at the same equipment everyday and saying to same inane stuff about how cool it looked, over and over.  That’s how records are really made!  A lot of my running buddies are recording engineers. They are the unsung heroes of the business.

Friday, November 8, 2013

Audio Ammunition Podcast #1

Audio Ammunition Podcast #1

Ricky C Quartet - Sometimes
Sonic Avenues - Sixteen Years
Wyatt Blair – Operator
Jail Weddings – May Today Be Merciful
Duncan Reid - Montevideo
Youthbitch - Heart Attack
The Ills – Get It
Peach Kelli Pop - Red Leather
The Love Me Nots – In Black & White
The Cry – Modern Cinderella
Images – Chemicals
Greenback High – Bombs Away
The Ballantynes- Faith
Neighborhood Brats – Bombay Beach Party Death Camp

Tuesday, November 5, 2013

The Livids

     Yes most members of Livids have been in some super fantastic bands in the past.  Truthfully, when investing your hard earned beans on some vinyl, does this really matter to you?  The fact is the proof has to be in the pudding you got in front of you.  Livids not only delivers the evidence quite adequately but also rams that pudding straight down your craw!  Fun, fast, melodic Rock ‘N’ Roll punk out of Brooklyn NY that leaves a scorch marks like an 88 mile an hour DeLorean ran over your face!  Here’s hoping they get a chance to unleash the fury on the rest of America soon, because we can certainly use more bands like this here.  No politics, no preaching, no agendas, just a good time.  The way rock n roll music is supposed to be!

Interview by Jay Castro

Who’s answering the questions here?
Daniel Kelley
Eric Davidson

Who is in the band and what instrument do they play?
Jami Wolf – Guitar/vocals
Gregory Collins – Drums
Joi Lacour – Bass
Eric Davidson – Vocals
Daniel Kelley - Guitar

With all of you having such impressive resumes (New Bomb Turks, Zodiac Killers, Complaints, Paper Bags, Radio 4) how did you all come together for this project?
Daniel: I had moved to NYC about two years ago from San Francisco and before I left I was playing in something ridiculous like 3 bands at the same time. Coming to New York I didn’t have anything lined up in terms of a band so I started asking around.  Adam Caine (Radio Reelers, Paper Bags) and my friend Mike Longshot both told me to get in touch with their old pal Jami Wolf, and told me we gotta start a band! So after a few days of being in my new city I got in touch with Jami.  We met up for some beers and just shot the shit for a while talking about music and boom! Next thing I know we’re in a rehearsal spot with a drummer, a bassist, and Mr. Eric Davidson. Eric, myself, and Jami have always been the core members and we’ve had a revolving door of drummers and bassists, but in the past year we have solidified our lineup with Greg and Joi.

Eric: I moved to Brooklyn from Columbus, OH, in about 2004. I’d known Jami from Shop Fronts shows. They’d been done for maybe a year and a half, and I saw her at a local bar in early 2011, we were chatting, she mentioned that her and Alessandra (Shop Fronts bassist) were thinking of starting a new band, and I was like, “Can I join?!” Jami seemed kinda surprised, maybe because I hadn’t played in a band since the Turks, or started something in NYC yet. I never really thought I’d get in another band, but Jami and I were becoming good pals, Alessandra is an awesome, gal, and I figured it’d most likely be a trashy band that could get going quickly, it’d be fun and not too serious. But as things went on, and especially once Joi and Greg joined up, things just got stronger musically, and it’s weird thinking this lineup has already been together more than a year. But that’s it! If I ever do something else, it’s going to be a Lou Reed thing where I hire ringers to come in and play exactly what I tell them!!! Oh wait, that would require money…(har, har).

What influences did you have in mind when starting the Livids? 
Daniel: Our influences are really over the place in the band, but one thing we can definitely agree on is that we all enjoy ice cold light beer!

Eric: What he said. The influences weren’t that all over the place – essentially we all seemed to make quick reference jokes to Killed By Death-style forgotten punk, some be-booted Oi! and pub rock from the mid-70s, and modern garage-poonk combos. But mainly, yes, cold light beer.

Living in Brooklyn New York with so much going on it that city, do you find other, non-musical influences seeping into the Livids music?
Daniel: Definitely, but I’m not sure I would credit the city for my other non-musical influences. We’re all big into movies and books, and I think a lot of that has a big influence on me personally.

Eric: I’ve noticed things seeping into my pants lately, and I’m getting a little worried… But yes, I think the general always-hustling-for-rent-money mood, and running all over town on trains, and knowing that on any given night I could go saunter through The Met, The Whitney, MOMA, et al, or see another scuzzy band at 4 different bars in 4 different corners of the 5 boroughs makes for a constant nagging feeling that there’s fun to be had, so we may as well throw our gloves in the ring. It ain’t perfect by any means, and I can already hear the distant echoing mantra that “all the cool clubs are closing.” But there are a million things to influence/inspire you, even just some pizza joint, the view of the Statue of Liberty from Red Hook, the animatronic puking guy at Coney Island, or whatever. Anyway, every town has it’s cool inspiring stuff…

You named Little Richard as an influence. One of my absolute favorites as well!  Do you find it vital for musicians playing any form of rock to visit the roots? 
Do you feel Rock ‘N’ Roll can still be a vital and influential force for kids in such a disposable age?
Daniel: Yeah, I do think that Rock ‘N’ Roll is still a very vital and influential force for the “kids”.  Nowadays everything is so much more accessible, for better or worse, and it’s just so much easier than it used to be to find out about lesser known music.  It’s so easy to find great music, both new and old, that I don’t see how it can’t still be an influential force to kids and adults alike.

Eric: Yeah, it kind of amazes me when you meet a young music “fan” who only knows about the 13 latest “blog bands.” Like, if you’re savvy enough to troll 25 blogs, your Twitter, Facebook, Vine, your emails and texts, and whatever other fuckin’ brand new social network site every morning before you take a proper dump, how did you NOT stumble on Little Richard or the Saints or the Stooges at some point. I have zero patience for people who claim to like music but don’t know, seriously, 1,000 bands, because it would take you about 9,000 seconds to look up 1,000 bands, which if my math is right, most people could do before the age of 14. “When I was a kid” (he says in gravely old man voice), it took me 17 years to find my first Saints LP. 99 cents, sealed, at a mall closeout!!

Although, I should add that all that creepy aggregating shit that goes one, where clicking on a few things directs you to sites and sounds you “should” like probably leads to people stumbling on the same kind of shit over and over again. Pretty weird, when you think about it. We play Pandora at my job, and Queen pops up on every single station. 

You guys have been releasing a steady stream of 7” s on Oops Baby, Slovenly, Twistworthy, and Goodbye Boozy labels.  What made you guys go with these particular record labels?
Daniel: Well we went into the studio with our pal Phil Palazzolo and recorded a whooping 15 songs in about 2 days at Seaside Lounge in Brooklyn.  Everything went really smoothly and we were really excited about how the songs came out, but we weren’t entirely sure what would do with them all. We started asking labels we liked to see if they were interested in doing a single, and we ended up getting responses from people who wanted to do stuff with us.  So we ended up doing a bunch of singles with some really awesome labels and we couldn’t be happier with how it all turned out.

Eric: A few labels wanted to do a whole LP, which seems to be a trend, I think, as I think stores are getting a bit reluctant to order every 7” that comes down the pike. So what’d we do? We figured a ton of 7”s would be the best idea. Ha! But seriously, it was just nice that cool labels we liked asked us, and we thought getting a bunch of tunes out there on different labels from all over (even Goodbye Boozy in Italy) would maybe help spread the word in a fun fashion. We just all love singles too.

Is it difficult working in a city as large as New York to get noticed and get your name out?
Daniel: I’m from Los Angeles and I lived in San Francisco for a good while too, and I really don’t think it’s any different being a band here than it is in a big city in California.  The only difference to me is that on any given night there could be 5 really awesome shows going on at the same time. So, it can be tough competing with other shows sometimes, but all in all I don’t think it’s any different than anywhere else except for maybe Boise, Idaho.  It’s probably totally awesome being in one of the 3 bands in Boise!

Eric: Yeah, sometimes it’s annoying how no matter how hard you plan, there is always another cool show or movie or something going on the same night you’re playing. I considered skipping a Livids show the other night to go see OBN IIIs! Otherwise, we are not really into the whole, “We wanna get noticed and get big” vibe. We’ve all been in numerous bands of moderate “success,” so for now, we just want to try to write some fun songs, get good local gigs going, and maybe do a few regional shows. Well, technically this is Joi’s first real “working band,” but she’s young and hot shit, so she’ll get her chance at that brass ring. Expect her to soon be the bassist in Savages or something.

You recently opened up for The Hives in New York?  How was that experience?  Was that one of the biggest audiences the Livids have played for?
Daniel: Opening for The Hives was really fun. We showed up to load in and they were in tuxedos with top hats doing a meet greet with a bunch of people from their fan club.  It was kind of surreal to say the least.  They were really nice guys and they were cool enough to all come up to us and introduce themselves.  It was definitely the biggest show Livids has played. Although we played the Fat Wreck Chords showcase in Austin and there was a pretty big crowd for that. Still though, playing a sold out show at a place like Irving Plaza was pretty rad. Plus Handsome Dick Manitoba was there!

Eric: Yeah, it was great! I’ve known the Hives for awhile, and they are super swell fellows. They genuinely love what they do, nice guys, the whole 9 yards. And I thought we played great that night, the Hives were a ball, and the crowd was really active and nutty (screw the people who say NYC crowds are stiff and spoiled. They’re just going to see stiff, spoiled bands.)  So, yeah, a great night all-around!

50 years ago people used to buy music and get their water free; now people pay for water and get their music free. How do you think this affects the music industry?
Daniel: Obviously it turned the industry on its head. I think there are a lot of positives and negatives to take from the current state of the “music industry”.  While music has become so much more accessible it sure is hard to make any sort of living off it. As Billy Bones from The Skulls would say, “punk rock does not pay the bills.”

Eric: The cat is out of the bag, and everyone is out of litter, so the shit is flyin’, pal!

Where can people hear the band or purchase Livids music or merch?
Daniel:  You can listen to us on our Facebook page and our Bandcamp page. If you want to buy singles and such you can do that through the various labels that have put our singles.

oops baby-
What’s next for the mighty Livids?
Eric: We should have some t-shirts and records, future shows. Oh, and we will play at them too, with crazed opening acts, and you- should you want to travel to them, will have the night of your lives.