Boys of Summer – full video

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Get the teas on again for this as Jeff Kutter’s new video Boys of Summer has been sent to the interweb overnight featuring a shit load of known skateboarders. This is fun as fuck, tongue in cheek and well worthy of watching footage of the likes of Jason Dill, Alex Olson, Eric Koston, Andrew Reynolds, Jerry Hsu, Heath Kirchart, Mike Carroll, Dylan Rieder, Gino Iannucci and many more.

Download it here.

Chronicles: Why Fat White Family lead the pack

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‘Back in 2011, certain figures were bustled into a squat stuck in South London – Peckham to be precise – this lead for quite the formation of a musical group. A grotesque, lurid and putrid set of ghouls came together – remembered since for masturbating onstage and smearing themselves in faeces amongst other acts of disgust. However, all these eccentric acts have lead to a cult appeal, a cult interest that revels within the notorious nature of the group’s darkness.

Their debut album titled ‘Champagne Holocaust’ was released back in 2013, pointing the group to critical acclaim. Tracks such as ‘Touch the Leather’, ‘Is It Raining In Your Mouth?’ and ‘Auto Neutron’ were established as stand out tracks within the poignant album. Alongside their live stage performances, the group was causing controversy and anxiety through their recorded format. They were reminding the British music culture of what it was to be ‘punk’ and what it was to create ‘punk music.’ Darkness shrouded the album. Ghostly backing vocals caused intensity, screeches and yelps brought back imagery of horror and death all the while the bones of Lias, Saul and Adam et al rattled away.

Lyrically, the group are a reminder that punk music and what it means to be a ‘relevant’ band is to mean much more than a posing facade. It is not a whimsical, commodified fad that washes right over you. It is common knowledge that every word that is published by NME etcetera should be taken with a pinch of salt – Kasabian are not ‘the saviours of music’ for example and guitar music is not ‘dead’ – in fact it never really died, it was just spun out in quite a lethargic way. The existential nihilism presented by Fat White Family is something far superior, something that harks back to the likes of The Velvet Underground and the Sex Pistols. Seminal cultism is something that is defined to last the test of time, perhaps not instantaneously, however it is something that can be called upon and placed within a society. Terminal cultism on the other hand is something that exists for a short period. Take the late 60s hippie culture for example – an idea that came abut due to social rebellion, however similarly one that eventually stuck around like a fart in the wind and collapsed in on itself due to the conflicting nature of it’s sellable image. When a band titles a song ‘When Shipman Decides’ or ‘Bomb Disneyland’, it is impossible not to get up and take notice.

Taking ‘When Shipman Decides’ for example. Yes, this song is still yet to be released (it is released on the band’s sophomore LP ’Songs For Our Mothers’ in January 2016) however, the titling of the song suggests a breaking in the mould. It is daring and has taken the expletive and the unimaginable from the jaws of metal and hardcore music. Of course this is a slight generalisation, previous bands have released songs with daring titles, however for a band that has appeared on the front covers of the British music press and received critical acclaim in the nation’s largest newspapers, this does not happen so often. Shipman being the guilty murderer who was armed with medicine, now one can only anticipate the content behind this song. Jumping back to the downright seedy and lurid ideas behind ‘Is It Raining In Your Mouth?’ – “I was born to have it / And you were born to take it,” and the provocative and seductive ‘Touch the Leather’ – “Tight black skin in the baggy leather.” Lyrically, you get the sense this apocalyptic, darkness harks back to something such as The VU’s ‘Venus In Furs’, Reed’s grumble and growl behind “Shiny, shiny, shiny boots of leather / Whiplash girlchild in the dark.” This existential sexuality is something so deeply rooted in punk music and the history of poetry inspired from the Dionysus character. From Baudelaire’s ‘Le Voyage’ – “Pour us your poison wine that makes us feel like gods / Our brains are burning up – there’s nothing left to do!” to Rimbaud’s ‘The Drunken Boat’ – “As I floated down unconcerned rivers / I no longer felt myself steered by the haulers.” Poetry and lyricism revels in the unknown, the putrid and the alcohol stained bliss of solipsism and escapism. Here, Fat White Family are digging up an old grave, they are venturing further in the punk lyricist cult.

Taking the live shows into account is a different mindset more than anything. It’s a process of alienation to build angst, tension and frustration. It’s an amphetamine riled situation focusing on Brechtian theories of defamiliarisation with the aim of making it a bloody uptight, tense experience for the individual. Brechtian ideas stipulate that the audience should not become involved within the narrative of the performance – the audience should be kept at distance – enough to intrigue them and hold their focus, but not enough to allow them to escape within the world of the spectacle. It works in a notion of intriguing the audience then letting them go at any giving moment, giving a feeling of anxiety. The gaunt, ghoulish figure of Lias lingers over you, provoking you with his eroticised shakes, and jerks as he mutters sweet whispers – often nothing more than a breath echoing the words he wishes to say.

In the background, a bag of bones lead by the shape of Saul Adamczewski maintain your eyes, keeping you in their stare at all times – there is the constant petrifying feeling of being watched from below dark frowns. It is an emotional, mental release that this troupe seek when presenting themselves in a live setting – it’s not escapism, it is a downright confrontation and it’s often as chaotic and convoluted as it sounds. The live show emphasises their importance and necessity in live music. It acts as a counterculture to the escapists – those artists providing a show that lets you out of your day to day life for a brief two hours whilst you stand or jump; only to then go back home, reminisce briefly and drift off to a pleasant sleep.

No, what Fat White Family do is bring you out of your shell in a way that is emphasised. It’s a possession of you, it makes it hard to let go of the experience – it’s a confused situation of beings and liquids that makes you nervous and anxious. Masturbating onstage and kicking around the head of a pig gives the horrifyingly intriguing troupe auteur image. A gang mentality that is oh so exaggerated in a live setting.

So all this can seem highly exaggerated and I’m sure, irrelevant to a mass majority of music fans. Essentially, it comes down to what one wishes to take from a group. If one finds gratification in the safety of a band, then Fat White Family may not be for you. As is the musical technicality of the band, if you are one to take into account interesting time signatures, dynamics and pedal jumping, then once again, maybe think again. However, if you are to take into account the true cult identity of a band – in a similar way to The Velvet Underground and The Brian Jonestown Massacre – then Fat White Family may click with you. If you want something that will resonate in a seminal fashion and provide you with a total confrontation of your morals, self and community, then take this group and hold them tight. Not too tight though, they will unapologetically kick back and leave you bleeding somewhere.’

Words: Tom Churchill

Tony Karr pro for Heroin Skateboards

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Heroin premiered their new am video, Bath Salts in LA last night. By all accounts the packed house thought it was a splendid flick with great skating. Biggest news on the night was that Fos has turned Tony Karr pro for the brand so expect to see his name etched on Heroin wood for years to come. Sick skateboarder, well deserved.

Look out for British premiere news coming soon, we hear there’s a good chance the first screening will be held in Manchester.

A video posted by Jordan Maxham (@jordanmaxham) on

Henry Calvert’s ‘Mouth Of The Ribble’ Part

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So here it is, the first full part from Blackpool’s new scene video, Mouth Of The Ribble headed up by Henry Calvert.

If you’ve been glued to instagram over the last couple of months, Calvert’s front flip coffin trick is one of those moments that only the most pissed skaters would be throwing themselves into at the end of a sesh. Naturally he felt inclined to kick his part off with another as he drops in on everything, loves a dirty old spot and takes slams like a don. Pure crust.

Enjoy Jake Powell’s footage and look out for the full flick premiering on November 21st here.

My Mans and Them 2 full video

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Unless you’ve been living under a rock Yoshi Tenenbaum’s part from this flick got the tongues wagging.

Get the teas on and press play for the full monty put together by James Park in Washington D.C featuring Jeremy Murray, Dan Corrigan, Tyrone Henderson, Ben Walters, Kadian Maxwell and Yoshi.

Real Skateboards – Through and Through full video

Ph: Ernie Torres Nose Manual Nollie Flip shot by Gabe Morford

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What a treat, 17 minutes of the Real Skateboards getting stuck into spots in style. Get those teas on and sit down to watch footage of Kyle Walker, Justin Brock, Ishod Wair, JT Aultz, James Hardy, Dennis Busenitz, Chima Ferguson, Jake Donnelly, Davis Torgerson, Peter Ramondetta, Ernie Torres, Max Schaaf, Robbie Brockel, Massimo Cavedoni, Antoine Asselin, Jake Ruiz and Jack Olson.

Wand interview

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March’s sophomore album release Golem saw Los Angeles-based Wand state their claim as a face-slapping psychedelic force to be reckoned with, inviting you on a juvenile joyride to bold, head-melting dimensions unknown across nine treacherous tracks.

Fast-forward six months and Wand are still skidding through the grimy back-streets of sludge rock and doom with gusto, yet this time around there’s even more on offer. To investigate the trio’s new-found Crazy Horse-indebted groove, we sent Yasmyn Charles down to Brighton to catch up frontman Cory Hanson and find out how, exactly, their new album 1000 Days became reality.

What was the formative process of Wand and how did it come into being?

Well, the three of us went to art school together and after we all graduated we all had a bunch of different projects and I just kind of asked everyone if they wanted to play music together… so we did. It’s a pretty unremarkable story! [Laughing]

Did you have any idea of the sound direction you wanted to take?

I was listening to a lot of 70’s German, kind of krauty music at the time and I’d been playing in a lot of Rock n Roll bands and then decided I wanted to start a more ‘arty’ rock-driven project I guess.

Do you feel you’ve kind of achieved that with Wand?

Yeah, I mean it was maybe a good choice because there are a lot of musical directions you can take at any given time. So it makes it easier to be inspired than maybe working within a more succinct genre of music that’s more defined by the traditions it’s partaking in.

Would you say that residing in LA has had a positive influence on your sound due its current and past musical history or has it had no effect at all?

Well I’m from LA and I’ve never lived anywhere else so I think it has had a huge effect on me in terms of growing up there and sort of seeing the way things have changed. LA’s an interesting city because it has these really intense moments of scene proliferation, it’s an explosion of bands then it will kind of eat itself and then it has to start over from scratch. Then there’ll be moments where LA seems so attractive then huge lulls where it’s a very unattractive place to be and everybody hates it. And right now for some reason there’s like a really big light shining on the place that I’ve lived forever and everyone is transplanting themselves into the city and it’s kind of bizarre to me.

Golem sounded far more acerbic and abrasive than Ganglion Reef and this was supposedly down to a shift in songwriting away from you to greater inclusion of the rest of the band. Has this been the same for 1000 Days?

I feel like our process is constantly evolving because we’re always trying new ideas and configurations of writing songs. With 1000 days, it was within the sort of framework for which we wanted to make the album in terms of it being a lot larger and more about having the space to make mistakes and experiment with things. Both Golem and 1000 days are very performance intensive. We spent a lot of time in a rehearsal space for like hours and hours and hours just reconfiguring songs, breaking them apart and trying to find every possible outcome that we could. The only rule that we had for 1000 days was that every single part of the process for writing a song, the song had to change dramatically. It had to be altered from one moment to the next; it could never be played the same way twice.

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Is this something you recreate live as well?

Yeah, we try. I mean it’s interesting because we don’t really like to play the songs the way they are on our records. For us the records are these things we spent a lot of time making and in order to stay true to the writing process and the kind of spirit of the songs, they have to change within the structure of a performance. It’s a very different space than a recording space.

You’ve said that Golem was recorded at “not an upbeat time”. Has the atmosphere affected the output on 1000 Days the way it did with Golem?

We’ve gone through a lot of changes as a band. And personally through a lot of highs and lows in our short career that have totally influenced the way that the records are shaped and the kind of themes that get brought into the songwriting and the recordings and the way that we treat the recordings. We definitely have no intentions of making a happy record or a sad record but rather something that’s a little more true to the time we spend in the band and out of the band.

There’s definitely a sense of that on the albums. There’s no emotional guidance, you form your own emotive ideas about the music.

Yeah, I mean, we don’t really have a compass for those kinds of things or a trajectory… in most ways [Laughs].

It’s been said that the influences for your past material have been Final Fantasy and Dungeons and Dragons, what have been the influences for 1000 Days?

Hmmn. Let’s see… We were listening to a lot of Crass and a lot of Psychic TV and Throbbing Gristle. A lot more Industrial and Anarcho-Punk bands.

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There’s maybe a slightly more electronic slant on 1000 Days, is that something bore of listening to these industrial acts?

Yeah, we all have a previous relationship to these kinds of bands but the influences seemed to take on more of a character during the recording of 1000 Days. I mean we’ve had synthesizers on every record and on every record we process all of the guitars through a lot of synths. They’re very much studio records in the sense that everything is being massaged and processed and treated in a certain way. So it’s sort of an accumulation of experiences in the studio that resulted in the records sound.

So you’ve followed a very natural process with the recording sound but also appear to have a deliberate ‘mystical’ aesthetic both visually and as part of your sound. Is this intentional?

Yeah, I mean there is a curiosity/relationship to fantasy or esoteric themes but I feel that a lot of the space that’s occupied is not that. Like, if that’s the kind of outer… ‘trappings’ of the music, then the things going on inside are pretty real. [Laughs] In the sense of us being human beings it’s kind of inescapable that we’re going to have a relationship to the music that’s really intense.

Do you think that that’s essentially the nature of psychedelic music in the sense that’s it’s something both real and a form of escapism?

Well…I wouldn’t say the music’s escapist, though it may flirt with those ideas, I think that in the most positive sense, escapism is a way of finding a moment of removal from the present or whatever surface problems that are accumulating in order to better understand what’s happening. It’s so that you can re-interpolate into reality or the present and become better equipped to deal with shit.

If you had to describe 1000 Days in one sentence, what would it be?

[There’s a long silence] I don’t know… I feel that the title is pretty indicative of what’s on the record. To me it feels massively contained. It’s a lot of information and a lot of music that’s selected and curated in way that despite it being the shortest record we’ve made, it feels like the biggest. And it is, for us, our biggest… kind of…

Magnum Opus?

Not our magnum opus but up to this point the truest that we feel about music and about playing and making records. It’s just a more ambitious version of what we have been doing.

Even though that wasn’t a sentence it was still a pretty good answer! Has there been any anxiety with trying to follow up the success of Golem.

I have a lot of anxiety about those things! We basically started writing 1000 Days as soon as Golem was mixed and mastered and the artwork was at the plant. We were like, let’s make another record before this one comes out and we did it with the last one too. The real hurdle we’re going to have to overcome at some point is that, now we have these records and the stuff that’s been happening, we need a little time to process all of this in order to make the next one.

Would you say that all your past projects have taken a complete backseat along with your solo work?

With Pangea I haven’t been in that band for 3 years and Meatbodies 2. As for all of my other projects, they’re now just kind of happening in the leftover space… there’s no real point of even talking about them because they’re in the spectrum of ideas that are maybe materialising in some way or another.

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So Wand’s your main output for material you’re truly happy with?

Yeah, at this point. I’d love to be happy with some other projects really soon, and hopefully that’ll be the case. But for now Wand is the main vehicle for my songwriting at least.

What’s next for Wand?

After this tour the record comes out then we have a US tour. Then after that we’ll start recording and writing again. We’ve established this sort of cycle of touring and recording.

There appears to be this idea of ‘if a shark stops swimming it dies’ – where you always have to be creating?

Yeah we don’t feel very comfortable taking time off because we’re not in a position where we’re making enough money to! [Laughs]. We’re still kind of struggling to make a living as musicians and artists and so there is a sense of urgency. It’s also important for us not to get ensnared in the kind of cycle that most bands get trapped in. Where you make a record…it takes 6-8 months to comes out… then you tour the record for half the year then it takes a year and a half to produce another record. We’re definitely not interested in that kind of structure, and we can’t do that because we have to keep making records.

Support Wand in their mission to keep playing and making music by ordering their new album on Drag City out on September 25th from here or order it from your local record shop. It’s a damn good one, you will not be disappointed.

Promo photos: Romain Peutat
Words and instant camera shots: Yasmyn Charles