Alvie & The Breakfast Pigs: Wallowing In Muddy Rock 'n Roll

When I first heard Alvie and The Breakfast Pigs they were a loud, high energy, busted up blues band that reminded me of groups love like The Dirtbombs, The Oblivians or early White Stripes.  I only got to see them live a couple of times before they moved from the dusty roads of Tempe AZ, to the rolling hills of San Francisco. The Breakfast Pigs weren't trying to reinvent the wheel, but what they were doing was running over everyone in the room with it and that I admired.  This group had guts, that much was apparent.  Along with frontman Alvie Adam's appreciation for trashy blues, the band has now added a splash of Exile on Main Street  and a pinch of Ooh La La on their new EP Indian Rugburn.  Needless to say I am delighted in what I heard.  Not just the music itself but the fact that this particular type of music is coming from a young band.  Most people their age have dismissed bands like The Rolling Stones and the Faces as misogynistic dinosaurs. Yes, rock; n roll is mean, unsafe and unpredictable, but that's what makes it so great,  Alvie and The Breakfast Pigs embrace this beast. So for those who like being wrapped in your warm cozy blankets, there's a never ending cesspool of EDM DJ's and Three Mile Pilots out there to tickle your stodgy souls .  But for the rest of us that still like sweat, grit and fire in our music: Alvie and The Breakfast Pigs are here and ready to kick over some troughs.  

Interview by J Castro

Who is currently in the band and what does everyone do in it?

Alvie Adams- Rhythm Guitar/ Lead Vocals

Philip Thorneycroft – Lead Guitar

Jake Natkin- Drums

Brady Boyle- Bass/ Vocals when he feels like it.

So Alvie, you moved from Tempe AZ to The Bay Area a couple of years ago correct?  The band consists of all new lineup from the band you had in Arizona, how did you meet up with the new Breakfast Pigs?

ALVIE: Yeah, it has been quite the journey to get here. Philip and I moved to Alaska for a summer to save the money to afford to come out to the bay and keep playing music. Philip was actually one of our OG breakfast pigs back when we were originally a 4 piece in 2010. We played a few shows just for fun before he moved away. Jake has been our drummer since 2013 before the first EP Snake Headed Faceless Cowboy came out when we were a 3 piece. Mike Spero our old bass player is on to bigger and better things. He now plays bass in Authority Zero and is killing it. Brady has been a friend for years and used to live in Tempe in our house “Breakfast”. He had been in SF for 5 years and was down to replace Mike when we made the move. So it was actually pretty easy after we got out here.

What are the crowds and the venues like out in San Francisco as opposed to Tempe?  Do you find people there are generally more responsive to your music? 

ALVIE: If you ask anyone in the SF they would tell you that the music scene here is dying, which it kind of true, but I’d say its more like moving across the bay to Oakland. Compared to AZ the music scene is still kicking ass here in SF. With lots more venues and people of all ages actually down to go out and see live music. Seems like people that aren’t in the music community still actually care about the local scene. With rock ‘n’ roll not being the most popular genre in this day and age we are having some great response to our loud music and hoping this is only the beginning.

After one of your shows, what sort of feeling or sentiment do you hope your audience walks away with? 

ALVIE: I think our music is best after a few drinks have gone down that hatch to get people to loosen up and just dance. I hope that when people come see our show, they leave with a lot of energy and a sense that rock n roll can be danceable and more fun than a DJ set.

Tell me a bit about your new EP Indian Rug Burn.  I know this may be a bit Sophie’s Choice, but which new song stands out to you most?

ALVIE: We are very excited to be releasing Indian Rug Burn in San Francisco; we have come a long way. This EP represents our journey to get to where we are today. With songs like “Hey Bay” that represent our first few years in the bay and songs like “Stuck in Whittier” which talk about our life when we lived in Whittier, Alaska in a small Fishing town.

And speaking of songs, what sorts of things do you typically enjoy writing songs about?  How do you think the move out to the coast has influenced your songwriting?

ALVIE: I think our song writing style is evolving quite nicely. We really took a group approach on writing this EP rather then just having one person come up with the songs, I think it really shows. When writing lyrics I really like to keep it ambiguous so that the audience can really interpret our songs in their own way. Like most people lately, the Political dilemma has been on my mind. However, I usually try to keep it light subject matter with some humor if we can. I think the move has really just opened my eyes to life outside of AZ and to be honest it’s a complete 180 in every way.

You’re premiering a video for the song “Hey Bay” off the new EP today.  Tell me a bit about it?  Where was it shot and who helped out with the production? 

ALVIE: With the band new to the bay area and money always running short with musicians we really wanted to make it a personal video about the Bay area. We shot and edited everything ourselves.  The Video is pretty much just us dicking around in SF having a good time. This is what our music is about and we wanted to show that off with drinking, friends and great beautiful bay scenery.

What’s been your favorite part about making music so far: the writing process, the recording of it, or performing it in front of a crowd? 

ALVIE: Wow that is a tough question. With me (Alvie) being a recording engineer I may be biased in my answer. I really like watching the songs start as drums and continue to grow into something that is normally different than you expected, always hoping it’s different in the best way possible. I will also be very excited to play all these new songs live. Being on stage leaves us with this certain kind of feeling that we all love.

The new EP, at least to me, has a strong Stones, Faces, kind of 70’s bluesy/rock feel to it.  Were those types of bands actually influences on you when you wrote these songs at all?  If not, who was?

ALVIE: Yeah J, it for sure does. Stones, CCR, Faces and Edger Winter Group are definitely some of the older bands that we love.  Some new bands that we are inspired by are Highly Suspect, Fidlar, The Monsters, and Radio Moscow. The band has always tried to keep our bluesy rock feel even with new songs.  

 What are your goals for your band and your music?  In like say 5 years, where would you like to see your music career?

ALVIE: Well, if we keep things moving the way they have been, we hope to have a full length LP out next year, which is already in tracking stages for recording. We also are planning a small tour with dates TBA in the Spring, so 2017 is looking to be a busy year already. If we can continue to grow and keep moving forward in the next 5 years we would love to do more than just a West Coast tour. We are on the look out to be a part of as many festivals as we can find; also, hopefully to play with more of the bands that we love and support.

What is the best way people can hear and get a hold of your music?

ALVIE: We really want to have it available as much as possible. I would say Spotify or Bandcamp is the best way to hear the music, but it will be on most platforms. We are also going to release this EP on some smaller labels in California and on the east coast, so tapes will be available as well.  Or, if you’re in the bay area you can always come catch a show and buy the new EP on vinyl.

What lies ahead for the band for the rest of 2016?

ALVIE: As of right now we are just trying to book as much as possible until the end of the year. We are planning a tour with one of our Oakland favorites Bones and Bootleggers, but that tour will most likely be in the Spring. We are going to try and book some LA and greater Bay Area shows to keep expanding in California. 


Be sure to follow Alvie and The Breakfast Pigs on all of their latest adventures!

http://www.alvieandthebreakfastpigs.com

https://www.facebook.com/thebreakfastpigs

https://alvieandthebreakfastpigs.bandcamp.com

https://www.instagram.com/alvieandthebreakfastpigs/

https://twitter.com/breakfast_pigs

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Modern Needs have come for your soul!

Photo by Adrian Discipulo

Modern Needs is a project spawned by the devious mind of one Mr Vinnie Vacuum.  He hires bloodthirsty mercenary musicians for his live gigs to help him bring to life the rousing lo-fi punk rave ups he creates himself in his secret laboratory.  To get an idea of the glorious noise these records emit: put on your favorite Crime record, play it at twice its speed backwards, now douse the whole thing in gasoline and light it on fire.  The sounds you hear sputtering and crackling in and out of your speakers right before you have to run out of the room is San Francisco's Modern Needs. 

Interview by J Castro

Tell me what band or musician first inspired you to want to play an instrument and write your own music?

VINNIE VACUUM: Music has always been in my life and I had played in small, kinda crummy but fun bands when I was a kid, all through my teen years. I grew up around rock music and was exposed to a lot of that at an early age classic rock stuff and alternative and whatnot. I started playing because I thought it was cool. It wasn’t until I really discovered punk rock when I was in middle school that I really got inspired and found my own music as it were. I’d been exposed to it sort of before that (Ramones, Devo, etc.) through my parents, but I dove deep into it, getting into hardcore and all of that when I was around 12 or 13.

You’ve been writing, recording and performing on your releases for a couple of years now.  In your opinion, what are the pros and cons of doing this as opposed to working/collaborating with a band?

VINNIE: I don’t have to wait around for anybody to finish a song or rehearse something (unless it’s in a live setting) or record or get input. I can just go for it, and fully execute my vision the way I wanna do it without being outnumbered or anything, which is great for me because I often have trouble deciding what kind of sound I wanna go for. Every song is different. For the creative process, I only see pros, and I’ve learned how to record with minimal equipment and make it sound good. If it sounds good to me, that’s all that counts, and I don’t really give much of a shit about criticism. I’ve already done more with this project than I have with previous ones, because I’m doing it almost completely by myself. As for playing shows, it’s often difficult to get people to play with me since they really don’t have any input, they’re just there to play, and I try to make it fun for them, like with the last group of guys to play with me, it was really fun and we had a good dynamic configuring how things would work in a live setting, and sometimes it’s fun to absolve yourself of a lot of responsibilities and just play for the sake of playing.

You are currently living in the Bay Area, I know there is so much going on there musically.  Are there any other current and active bands that you’re into from there?

VINNIE: That’s interesting because most of my friends in San Francisco are more associated with the indie rock scene, whereas I’ve always been more drawn to the punk rock/rock n roll scene, but I still support them because it’s a really good feeling to have friends that are being productive in doing creative things, and that are playing in bands and exhibiting their talent. And I like the fact that I’m kind of a misfit among that crowd musically, because I think it adds variety. If SF were nothing but indie rock, I would’ve stayed away from here. But on the more indie/shoegaze end of the spectrum, I have friends in the bands Plush and Pardoner, and they’re incredibly talented, great folks and are doing well around here. As far as the punk scene goes, obviously Life Stinks are great, and Useless Eaters are in SF and they were a big influence on me. Scraper is also really good. However, I think Oakland has become more of the punk rock mecca in the Bay Area because SF has become pretty ridiculously expensive thanks to the tech boom (and Oakland isn’t getting any cheaper either). But Oakland/East Bay has some killer bands like Violence Creeps and Rays. Lots of things are happening.

Like I was saying before, you’ve been writing and recording your own music for a few years as Modern Needs and you seem quite prolific.  I was watching the Jay Reatard documentary Better Than Something and he said he felt like there is only a short creative window that people have in their lives and that he was trying to record and put out as much music as he could before that window shuts.  What do you think about that, do you think there is any truth to that?

VINNIE: I can only speak for myself but I wouldn’t say that’s true in my case. I’ve always done creative things, and that’s only increased as I’ve gotten older. I guess there are variables to that as well like how many creative things that you do. You can feel empty and spent of creativity in one area but thrive in the next. I could understand what he meant because I think there’s a certain anxiety involved with a lot of that, but I never felt like it was a race against time.

Activation b/w Low Life 7" released June, 2015 Goodbye Boozy Records

You just released an EP on Goodbye Boozy Records, “Activation” b/w “Low Life”, can you tell me a bit about this record and how did you hook up with the folks at Goodbye Boozy?

VINNIE: I guess things kinda snowballed after a blog in Canada put up one of my Bandcamp albums and word got around. Gabriele from Goodbye Boozy messaged me asking if I had any new songs, and this was right after I’d finished recording “Born Defective” the tape that I decided I was gonna release myself. I told him if I had some new ones I’d send them to him. He told me he wanted to do a 7” and I said okay because I liked some of the records he’d put out. I’d never done any official physical releases before that (except the tape which I was doing around that time) because for one, I didn’t really care enough to. I can appreciate records as objects, but it made no difference to me because it’s just sound, and in the collector heavy world of punk/garage/whatever, I guess I wanted to subvert the idea of analog purism and collector fetishism, but also I didn’t really know how to have someone put out my record and didn’t feel like waiting around for someone to put a record out for me and I didn’t wanna spend a ton of money either. But I decided to do the tape as an evolvement of that and lots of punk bands are doing cassettes now, so I kinda said, “fuck it” and did it. And now I have a record out and it’s cool, but I always have a lot of ideas floating around that I feel like I have to get out, so putting out stuff the moment it’s done online is convenient for that. To me, a new release is a new release regardless of the medium. It’s cool that people like what I’m doing, but I don’t care enough to get cred from the old punk/rock n roll record collector geeks of the world even though I can appreciate it. I’m just surprised anybody’s even interested in what I’m doing at all.

You also record dark ambient music under the Vinnie Vacuum name, how did you get into this type of music? Have you heard Alex Cuervo from the Hex Dispensers other project Espectrostatic?  Great stuff, I think you’ll dig it a lot!  

VINNIE: I’ve never heard of that one, so I’ll have to check it out. I guess it stemmed from me always liking weird/off kilter shit. What really inspired me to start doing noise/ambient music/sound art was my buddy Andrew, who also played bass in the live version of Modern Needs. He did a sound collage under the name Kuririn, and I thought it was incredible that someone could string together all these sounds and make it work sequentially and in terms of the atmosphere. So after that, I decided I wanted to do more abstract stuff on the side as an outlet. I started fooling around on my synth and did a piece that I put online. Then I started doing sound collages, which is really fun. I love making collages be they audio or visual. And then I did a couple of drone pieces, and I’m looking forward to doing more noise-oriented things. It’s fun to fuck around with that shit. I guess it’s also an attempt to alienate punk rockers. Andrew and I did some pretty self-indulgent noise experiments in my old house in Santa Cruz a few months back, which may or may not see the light of day. I look at it as more like art projects than anything official. In a way, you could also say Modern Needs is more of an art project than a real band.

Born Defective Cassette released July 2015

What’s your favorite record to listen to from start to finish?  If you can remember, tell me about the first time you heard it, where you were and who introduced it to you?

VINNIE: There’s so many but a recent one that comes to mind is “Esoteric Lore” by GG King. I discovered it when I was probably 18 or so just from being a huge Carbonas fan and realizing that it was Greg Carbona’s solo effort. I was really into it even though it sounded drastically different from any Carbonas stuff. It’s definitely darker and weirder and has a lot of different moods to it, but that’s why I love it. It’s probably my favorite LP of the 2010’s so far.

If you were exiled to a deserted island and were given (A) One food to eat for the rest of your life, (B) One person to take with you, and (C) One artist’s discography to take with you, what would these be?

1. Potatoes
2. Nobody
3. The Wipers

Where can people go or log on to hear and buy your music?

VINNIE: Almost all of my releases can be found on Bandcamp at modernneeds.bandcamp.com.

Photo by Adrian Discipulo

What lies in the near future?  Any touring or record releases coming up?

VINNIE: I’m in a transitional period right now having just moved to SF, so I’m kinda starting things over, trying to get things together in my life. Hoping to get some folks together to play with me and do some shows around the bay. No plans for touring for now but one day I might decide to do a short one if I wanted to. I hate traveling. As for new releases, I’m sure I’ll probably do some sort of new release in the near future. As for the format, who knows? Maybe another tape or something, I don’t know. Maybe I’ll get bored with Modern Needs and decide to do something else. I have horrible anxiety so I’m not one to think about these things often because if I do, I start to panic. My number one rule about doing this whole thing is that I live up to absolutely no one’s expectations but my own.

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toyGuitar

     Musically, toyGuitar picks up right where Jack’s former band One Man Army’s She’s an Alarm EP left off. Jack continues his streak of churning out snappy, quick paced, ultra melodic punk rock. This however isn’t your doom/gloom/death and destruction are imminent style of punk rock though. San Francisco’s tG play a style of music that sends you soaring into the stratosphere and before you know it you’re looking at your troubles far below you where they now seem insignificant. Their self titled EP on Adeline Records, that came out in the latter part of 2013, is an adrenaline shot straight into the heart of life itself, its music that urges you to live fast and take chances. Once you play this record all the way through: you’re unbreakable! 

Interview by Jay Castro

Please introduce yourself and how you contribute to toyGuitar.

Hi, I’m Jack and I play the guitar and sing. Miles plays the other guitar and sings as well. Paul plays the bass. Rosie plays the drums.

Jack, how did you meet these people and decide to play music together?

We met by just being in bands pretty much. Isn’t that the way of it? Miles and I have been playing music together for quite a bit now so being able to play even more music together seemed only natural. Paul plays in the Re-Volts with me and Miles and he plays in the Primitive Hearts, who we love. We saw Rosie play a show in L.A. and at that very instant knew it had to be her playing drums. I think I sent her some awkward Facebook message thingy the very next day. That’s kinda how it went.

From what I’ve read, toyGuitar formed around a handful of songs you had written that didn’t quite fit into the One Man Army arsenal. Is tG a side project or are you guys in it for a long haul?

I kinda wanted to get away from the whole OMA thing. That being said, I have nothing but love for those days and the people who came out and supported us. I really really do. I think it’s important to move forward...meet and play with new people, go different places, try different things ya know? The songs on the last OMA 7inch could have very well been toyGuitar songs or vice versa. I’ve always written what comes out as opposed to wondering if it fits a certain genre. Plus, once my shitty voice gets on the music, it’s all kinda the same handful of songs hehe. I think I can safely say that we wanna play play play, long haul or another day. I love these guys. I wanna write music with them for as long as they want too.

You guys released the EP in digital form first with a physical release afterwards on Adeline Records. What led you to decide to release the record like that?

My brains are mush!! From what I can remember, it was a suggestion from Adeline to stagger it like that I think? I’m not sure. Were actually going into the studio for the toyGuitar full-length really, really soon. Were super excited!

I have read a couple of comparisons made between The Strokes guitar sound and yours. Were they an influence at all when writing or recording these songs?

I guess I get The Strokes comparison?? I mean they do play fender guitars, so do we. I think they have some Fender amps. I think we do. They got a bass. Paul has one too! I think their drummer has a rack tom. We do not though.

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?

I don’t like the term “guilty pleasure” either. Like what you like, who cares. I think more than anything Viva ‘L American Death Ray Music has changed me like no other band since The Clash. It’s kinda Velvet Underground, kinda not. It’s got this sleazy, dirty quality to it. It was a HUGE rabbit hole for me. I’m strictly speaking from my perspective of course. I know Rosie listen’s to everything. Paul listens to the Gin Blossoms. Miles listens to Da Lench Mob.

I read that the lyrics to the song “Words Between Us” was inspired by a conversation you had with his young son. What other unlikely things or events have inspired you to write music?

It’s true yes. My son who was 4 ½ at the time was singing “Nothing’s gonna happen to us” over and over again. He said “Not a ginormous earthquake or a wave from the sea” and I think he said “Not an asteroid from space” ha ha. From the mouths of babes right? He was singing into my phone cuz it had a picture of a microphone I think. At any rate, being a first time father it was kinda jarring. Here’s this kid, who literally thinks nothing bad or shitty will ever happen to him. He’s surrounded with love. See’s no color. No motive. He thinks everyone is beautiful and invites them over constantly ha ha. I’ll have him sing into my phone when he’s 18. It’ll be a vastly different song I think. As for other things or events: I mainly write about myself really, not too exciting an admission but it’s good for me to do so. It helps me be happier I'm told.

I read that out of all the 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 up from a slump?

I completely agree with it. Certain songs or music can bring you back to places and people you’ve forgotten. Other ones make you cry. Some make you envision and imagine. There’s a power there for sure. I feel like I’m always in some kind of perma-slump, so for me getting to play music is what lifts me up. Sometimes I’ll listen to classical music while I’m driving because I road rage.

The cassette is making a raging comeback. Do you think it’s a viable and collectable form of music or just another hipster trend that will soon go hobbling back to its dark cave of obscurity where in belongs?

I once had an Iron Maiden cassette tape stuck in my car. For. Fucking. Ever. “Can I play with madness…” I have a ton of cassette tapes still. I have nothing to listen to them on though.

Where are the best places for people to hear or buy your music?

On the west coast at our shows. Hopefully soon to be just, “At our shows.”

I’m suppose to know this answer. Adeline? YouTube? iTunes? If you call or text Miles, he’ll send you some.

What does ToyGuitar have in store for us in the near or not so near future?

Were going into the studio really soon, looking at a September or October release. Soooo . . . probably really like an October or November release.

Thanks for the interest! 

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Richmond Sluts

     San Francisco’s Richmond Sluts play a blend of New York Dolls style glam, Question Mark and The Mysterians garage with a cut of mid ‘70’s Jagger/Richards strut stirred up and served flawlessly on a shiny silver platter by someone wearing a feather boa. What I like most about this band is they can crank out some wildly catchy party anthems as well as songs that delve deep into the darkness of human emotion. I’m glad some bands realize the importance of not only having great music for when the party’s in high gear but for the mornings after as well.         

Interview by Jay Castro

Please introduce yourselves and how you contribute to the Richmond Sluts.

SHEA ROBERTS - vocal / guitar

CHRIS BELTRAN - bass

JUSTIN LYNN - organ / vocal

KC KOZAK- skins

JESSE NICHOLS - guitar

Where are you all from originally and how did you all meet and decide to play music together?

SR: I’m from SF and Chris was from southern California, but going to school in SF when we met. We never really decided to play, I didn’t even play guitar at the time. We met at a party and things just kinda went from there.

CB: Shea wanted to sing, but I made him play guitar at the time.

So you guys released a few records in the late ‘90’s and early 2000’s including a full length on Disaster, then you guys took a break for a long time and did other projects like Big Midnight. What led to the decision to regroup The Sluts?

SR: It had been talked about over the years but I guess the cosmos just finally lined up or something.

CB: Shea and I had talked about it over the years, but it never really felt right, but something just clicked over the last year and once Justin signed on and we got in a room together it was magic.

Many moons ago, you played Tempe, Arizona in a tiny venue to about  (me and the other guy that does Audio Ammunition were two of them). Despite the lack of venue size and attendance, you guys tore the roof off that joint!  I was really impressed! Most bands would have given a half ass performance. Do you make it a point to put on the great show despite conditions like that?

SR: We do our best to get things going, but no you probably just caught us on a good night, ha-ha.

JN: When you’re seeing triple, the room is packed.

CB: Most shows I see triple so whether it was packed or not we thought it was! That show was off the map though, I think that was with the Daggers, I drank piss that night.

As a kid, what band or musician made you want to pick up an instrument and play music?

SR: No one in particular; it was more of a driving force. What are you supposed to do if you’re not playing music and fucking around with your friends?

 

I was reading this interview with Keith Richards and he said that anyone that buys digital music is getting short changed.  Do you agree with that?

JN: Generally speaking “yes”, mp3s sound worse than CD’s, which sound like shit compared to vinyl. Buy vinyl or hi-res digital (if possible). Oh yeah, and pay for it, records are expensive to make.

SR: Agreed

CB: Do yourself a favor, buy it on vinyl!!!!

What is your favorite record to listen to from start to finish?

JN: Right at this moment we’re jammin’ some ‘70’s Turkish Muff Gods called Erkin Koray.

SR: Dude from Q65 his solo record, Rainman

CB: Sesame Street’s, “Rub a dub dub.”

Other than music, what kinds of things do you guys like doing: hobbies, Civil War reenactments, etc?

SR/JN: Choppers, guns, cool cars, awesome girls, kilos, and full time jobs.

CB: Drunken record shopping after Sunday brunch, walking the dogs, and sword fighting.

Where are the best places for people to hear or buy your music?

ALL: At the merch table or steal it online.

https://www.reverbnation.com/therichmondsluts

What does the band have in store for us in the near or not so near future?

SR: We are in Los Angeles playing shows as we type this, recording at some point, breakup again.

CB: All things in moderation, is not really our motto so who knows what will happen.  But I would like to see this band plowing through and being a cult-y band forever in the same vain as the Flamin’ Groovies. Thanks for listening and see you at the pub! 

https://www.reverbnation.com/therichmondsluts

https://www.facebook.com/richmondsluts

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Get Dead

     Get Dead is one of the bands instrumental in the revitalization of the San Francisco punk scene. Hot on the heels of their record release show for Bad News, released this year on Fat Wreck Chords, Get Dead’s brand of yeoman, street busking, blue-collar work ethic is getting a chance at a bigger audience. Previous releases had the band focus primarily on either their folk side or punk side, but Bad News, finally combines both halves of the band into a whole.

Interview by Ed Stuart

Who’s answering the questions?

Sam – Singer / Barstool Warmer

Where is the band from?

San Francisco, San Jose, Sonoma, and Oakland. Basically we have a stranglehold on the greater bay area of California.

Who is in the band and what instrument do they play?

Moki - guitar

Mike – guitar

Tim – bass

Scotty - drums

I sing the ditties.

How did the band start?

We were all in other bands that played together. (The Ballistics, Splitting Seconds, Lewee and The Regals) We all were in a hiatus period and after a night of drinking gin out of pineapples and a morning at a bar we formed Get Dead.

Seems like the San Francisco scene is on fire right now with bands like Toy Guitar, Druglords of the Avenues, Dead To Me, Get Dead and I’m sure there are many other bands. What’s it like to be part of that scene right now?

I’m siked on it. After years of having to endure ironic hipster bands with Uncle Larry on a keyboard playing to an audience more concerned with who sees them or who has the coke instead of having a good time. I fucking love it.  We just played with Swingin’ Utters and Toy Guitar and all I can say is its good to see kids having a good time again.

How was the record release show for Bad News?

Ha! I should read these questions in their entirety before answering. That above show with the Utters and Toy Guitar was the album release. It went off. Ramona and the whole staff at Bottom Of The Hill always do right by the bands. That was the first sold out hometown show we’ve done and it was legit! All the bands killed it. The crowd went off. I’m not sure how to describe the whole get down, but if you weren’t there you missed a hell of night to say the least.

Previous LP’s seem to be either primarily acoustic or electric, why the decision to now melds both sides of the band on the Bad News LP?

We just like making music and songs for our friends. With each album we are in different headspaces I guess. Sometimes we want to get rowdy and sometimes we want to get a little more mellow. We’ve always recorded with just us and Josh Garcia who has done all our stuff including Bad News, but this time we had Fat Mike in there with his input which was great. I guess we just decided to see what a middle ground sounded like. Its funny because the album has been called folky punk, but all the shows are a far cry from 5 dudes sitting down playing Bob Dylan type songs. The energy is still like the early thrash stuff but I think it’s a little more comprehensive by melting the two styles together.

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

I think music above all things resonates with people. Sure people don’t always buy full albums now, and Instagram will be a MySpace next year, but there will still be a skate rat kid that will listen to a song drinking with his buddies or someone going through a rough patch and connect with a piece of music no matter the genre and that song or music will stick to the ribs and follow them through life. Music serves as a marker point throughout life; a reminder of good or bad shit that has happened. It will always be a force.

50 years ago people used to buy music and get their water for free, now people pay for water and get their music for free. How do you think this affects music in any way?

Fuck water. Steal your beer and make your own music.

How was the European tour? What was your most favorite show on that tour?

Europe was great. Can’t wait to get back there. I think the best show was the Amsterdam show with the Mad Caddies. We did a week with them out there and every night was a great time on and off the stage. NOFX had a night off and came out to the show so it was fun to hang out with them and their crew with Get Dead and the Caddies. Drinks were had, jokes were told. I mean it was Amsterdam. Nuff Said.

What are some essential folk LP or singles the band can’t live without?

Devil Makes Three is a staple for any occasion. Old Man Markley has been getting a lot of play in the Get Dead van lately as well.

Where can people hear the band?

Come to a show. Buy a record. Steal it from your friend. We also just did a record for Tony Sly, a tribute. Its got everyone on it and all proceeds go to his memorial fund. I hope everyone reading this picks that album up. We also got a few videos on the World Wide Web.

What’s next for Get Dead?

Touring Europe in April/June and writing new music, chalking up bar tabs and excessively using the word SUP. 

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