in this issuepage 4 from behind the bar ben hicks recalls his favorite shows at his local rock club and place of employment

page 7 23 going on 13 cassandra baim ruminates on birthdays and teendom and the music in between

page 8 an interview with frankie cosmos the miscreant asks miss frankie some questions about her music

page 12 ruined in all the right places colleen bidwill gets the scoop on nick corbo’s pedal company, totally ruined circuits

page 14 i was baptized (a unicorn) george awwad talks about his love affair with the music of the unicorns

page 18 q&a with yellerkin quinn donnell speaks with brooklyn’s own yellerkin

page 20 the return of the marc marc sollinger gives up more of his famous podcast reviews and thinks of an awesome headline for his article

page 22 never dark sided: the double double whammy story andi wilson talks to the folks behind double double whammy about all their homerun releases

page 26 shut up and listen olivia cellamare offers her favorite bits of concert etiquette

page 28 your new favorite band mary luncsford interviews her new favorite band, the intermission project

page 31 sleepless nights rafael grafals makes a playlist for tossing and turning

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To the uninitiated, the city of Utica New York is devoid of unique adventurous music. Those in the know though are familiar with The Dev, a place in town that is committed to bringing something different to the local music scene. This writer has had the good fortune of working there and has bared witness to many amazing shows over the past year of its existence. Here is a personal top ten list of shows, seen, from behind the bar.

10. Soul Saturday with Mr. Thomas D.One thing’s for sure, Mr. Thomas D. knows how to throw a dance party. In the first installment of what has become a monthly institution Mr. Thomas D. Spun a plethora of soul classics that got the packed house moving and kept people wanting more month after month.

9. Wild RiceNew Brunswick’s Wild Rice stormed The Dev with their own brand of noise punk and showed Utica just how New Jersey rocks, head banging, yelling, and playing guitar with a random bottle found next to the stage. They played a memorable set that made everyone in attendance thrash about and remember their name for a long time to come. http://wildricemusic.bandcamp.com

8. The Saturday GiantNo one at this show expected one man to make so much noise. The Columbus Ohio one man band showed off his mastery of guitar loops, synths, drum pads, and beat boxing to create both catchy tunes and intense psychedelia that enveloped the crowd and made many new fans. http://thesaturdaygiant.bandcamp.com

7. No Monster ClubFor this show The Dev went international, Ireland’s No Monster Club came to town on their first ever US tour to play their pop-tinged indie rock. For a Monday night in a little city there was a great turn out from all over the area. With local act The Fig Mints opening the show a U.N. of music was created with one act from across the pond and one from across the street. http://http://nomonsterclub.bandcamp.com

6. Mammoth Indigo Hailing from Harrisonburg VA these indie rockers made a splash with the natives of Utica using their charm and musical prowess. Their anthmatic tunes got the crowds feet stomping, heads bobbing and caused quite the bum-rush towards their merch stand once their set was complete. http://mammothindigo.bandcamp.com

5. The Flashing AstonishersThis was a night to remember, as part of a stacked bill with Albany’s Papership, Utica’s The Real

from behind the barby ben hicks

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Burnouts and Brooklyn’s The End Men, Syracuse’s The Flashing Astonishers really held true to their name. These shoegazers, who were by far the loudest band to grace The Dev stage, made their presence known. With swirling guitars, thumping drums, and booming bass the band showed how nearly 20 years of playing together has paid off. Funniest moment of the set: A lady approaches the stage to complain that she couldn’t hear the vocals clearly only to get the reply “Yeah, we know, that’s the point.” http://theflashingastonishers.bandcamp.com

4. Paul Crowther and Self Fulfilling PropheciesIt was the first show ever to be played at The Dev, the walls were still bare and the venue wasn’t even officially open yet. Real Burnouts frontman Paul Crowther brought his hip-hop electronic project to a select group of friends and invitees. The set was both musically great and hysterical with songs about chocolate milk, “Games for Cash” and a whole routine on proper teeth brushing, which only brought out ire from Crowther, complaining “I had to spend three dollars on this bit!” http://paulcrowtherandtheselffulfillingprophecies.bandcamp.com

3. The Super DovesThis was the official opening night at The Dev and local favorites The Rusty Doves, normally a stand-up bass and mandolin Americana duo, augmented themselves with a 2nd mandolin, drummer, and saxophone player to become “The Super Doves”. The place was packed to the gills with people who wanted to see what this new place was all about. The band played originals and covers ranging from traditional bluegrass songs to Radiohead and showed the crowd exactly what The Dev had in store. http://reverbnation.com/artist/therustydoves

2. Beacon with Photay and Bad CelloThe Dev started getting into the big time bringing in Ghostly International acts Beacon and Photay, along with local electro-pop whiz kid Bad Cello to get the crowd dancing. It was another packed night, with people coming in from all over the area to see these acts. The beats were big, the lights were bright, and the bodies were sweating and smiling. It was an important night for the bar and the Utica music scene at large and no one left disappointed. http://beacon.bandcamp.com/ http://photay.bandcamp.com/http://badcello.bandcamp.com/

1. Twin SpeakNo one knew what to expect from this. A new, unheard, band was playing their first public show for the opening of their friends art show. People knew the band members but had no clue as to what music they’d be playing. When the show finally got going the crowd was blasted with ear shattering desert rock an their jaws were on the floor. The two guitar and drum line-up showed that they clearly had been working diligently on their hard-hitting, yet spacey instrumental songs. Brett Rhymestine’s droning guitar and Ian Bellassai’s thundering drums laid the framework for Brandon Battles incendiary guitar slinging. By the time the set was over the crowd had been thrashing so hard that any onlooker would have thought they were long time fans of the band. It was a special moment in time where people were truly surprised by what they had heard, and where an unheard band became local favorites in an instant. http://twinspeak.bandcamp.com/

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This issue is brought to you by friendly kitchens.

Single of the

WeekThis week’s single is “Dancing In The Public Eye.” You’ll be able listen to it on Frankie Cosmos’ forthcoming full-length, out on Double Double Whammy on March 4. The whole album is really swell. This song sounds like a movie trailer that makes your heart burst.

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A few weeks ago, when I turned 23, someone asked me if I feel any different. I answered honestly, “Well, I’ve felt like a 17-year-old for pretty much my entire life so… No.” I make that joke a lot, and sometimes it makes people uncomfortable, and sometimes I can see them vehemently agree, and then sheepishly back-peddle a bit because they just told a 23-year-old she acts like a teenager.

I can see where they’re coming from, though. Obviously there are few 17-year-olds who have a job, pay their bills, and rent an apartment, but when it comes to the greyer areas of my life, I scream and shout and clench my fists and whine and cry and play my sad songs and think the world is ending the way any 17-year-old is expected to do. It doesn’t help that I like the same things I did when I was a teenager. Some of the bands I hold nearest and dearest to my heart have had their songs on heavy rotation in my life since the days of my very first iPod in 2004. Whenever I hear Ben Kweller now, I think about how I purchased Sha Sha in 2004 after hearing “In Other Words” come through the speakers of my best friend’s sister’s stereo. I listened to the record twice in one night, and after that I tried to write a song of my own. I gave up after a few hours, when I realized I had nothing to write about. I haven’t tried to write a song since.

There are a few artists in particular whose evolution (for me as a listener, not their evolution as an artist) I think about all the time. I was young enough to still watch Grey’s Anatomy with my mother every Sunday night when I first heard “Portions for Foxes” (I think Jenny Lewis is the new Ben Gibbard for how often I mention her in my writing). The song showed up on the show’s soundtrack and I couldn’t stop listening. I heard her sadness and raw desperation, but I was barely 15 and had trouble feeling anything at the time. I spent a lot of time by myself then, hoping that one day I would be in love or in like, or even in lust and know the anguish of caring about someone I shouldn’t, because that’s what I thought living was. Now I hear, “There’s a pretty young thing in front of you, and she’s real pretty and she’s real into you” and I wish I had the courage to say that to so many people.

An artist whom I’ve followed for probably the longest is Bright Eyes, and we have quite the history. I was 13 when Conor Oberst released I’m Wide Awake, It’s Morning and Digital Ash in a Digital Urn. I saw the reviews in Rolling Stone, but more importantly, I saw a picture of Conor in the issue, and my barely-teenaged heart swelled four times its size. Never having even heard any of his music before, I went to my local library and put both CDs on hold. I’m not even sure I read the album reviews, but something in his eyes told me I’d love his music. More importantly, I knew none of my peers had even heard of Bright Eyes either, and the thought of liking something no one else at my middle school had heard of was pretty appealing to a bratty 13-year-old. I barely touched Digital Ash after I loaded both on to my iPod, but I’m Wide Awake, It’s Morning (specifically “Road To Joy” and “Lua”) provided half the soundtrack to last year of middle school. The year was 2005, and it was cool to hate the president. Every kid knew American Idiot, but Bright Eyes gave me the indie cred. I still love Bright Eyes today, but now I stick to his pre-2005 records (mostly). I’m happy to say that I’m not that pretentious 13-year-old aching to be cooler than everyone else. Instead I’m a lonely 23-year-old, who listens to “Lover I Don’t Have To Love” and constantly hoping I’ll grow a thicker skin eventually.

I like that growing up has made me a more critical listener. I’ll obviously never not love music, but I feel better about what I like now knowing that I can say more than where I was when I first heard about that band whenever I hear one of my favorite songs.

23 going on 13by cassandra baim

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an interview by the miscreant

frankieI really, really enjoy talking to Greta Kline, aka Frankie Cosmos. She’s one of my favorite musicians as of late. I’ve spent a lot of space on the internet, deconstructing her lyrics, finding connections, thinking about New York City and her dog, Jo Jo. She has a lot of stuff to say and says it in a really warm way.

And I think that’s what is so inviting about her music. She’s got a delightful warmth in her wordsthat is direct and poetic at the same time. It makes you feel like a million things and like it’s summer in your head.

Here she talks about writing songs, booking a tour, recording in a studio, and putting out her new record. It’s always a treat to speak with her. Enjoy.

cosmos

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frankiecosmosThe Miscreant: Talk about the first song you wrote as Frankie Cosmos. What was it about?

Frankie Cosmos: I’m not sure what the first song I wrote was with that name in mind..but I’m gonna go ahead and talk about the first song off the first album I put out under the name Frankie Cosmos... The song is called Wreck Tangled and i wrote it when Aaron was sitting on the floor of my room typing up some poems.. “Frankie Cosmos” as an era revolves around Aaron a lot, since he made up the name..so every song i’ve written under the name Frankie Cosmos has been written while dating Aaron. The album Much Ado About Fucking is from when we were first starting to go out. So Wreck Tangled is about feeling really unsure about him. Specifically it’s when I started to give him a lot of trust that I wasn’t sure he deserved.

The Miscreant: How do you feel like your songwriting has evolved since then?

Frankie: I’ve just learned over the years to put a lot more time into making songs...I do a lot more takes now til I get the right one, and I don’t try to hide my voice under effects as much now.

The Miscreant: You’ve written a lot of songs. A lot. How often do you write? Do you set aside songwriting time or do you just write as songs come to you?

Frankie: I try to write every day, even if it’s not a full song...I’ll just write in my notebook every day and usually be doing something working towards a song. If I am at home I’m almost always going to be working on music. If someone asks me to hang out and I’m at home working on music, then I say I’m busy. Making music all the time is definitely a priority.

The Miscreant: Most of your songs are recorded at home on your computer. What are some techniques you use to get the sound you like?

Frankie: It’s crazy but usually for me it’s easiest to record both guitar and vocals in one take. It sucks because I can’t change the levels, but I can mess with the treble or bass within the take to get it to sound even. I don’t use a metronome so it’s sometimes hard for me to play guitar without singing or vice versa..that’s why I usually play the song in one take. Then I add whatever harmonies or other sounds over that main track til it sounds complete to me.

The Miscreant: Your new record, though, was recorded in a studio. Talk a bit about that recording process – did you like that more or less than recording on your own?

Frankie: I loved it..it was really different for me. Aaron and I tracked the drums and guitar live and then worked with that. Aaron and Hunter have both worked on amazing records before so I just kind of believed them and let them play with ideas. Aaron did most of the second guitar or bass or keyboard stuff..Hunter played marimba on one track and maybe some other

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stuff? I made some of it up too, but I really felt like I had to give up my longing to have all the control. First I was feeling weird, and telling myself “these people are better musicians then me. They know it and I know it and that’s why they aren’t letting me play all the parts”..but then I chilled out, got really zen, and saw it with a different attitude. I was like “these are my best friends and my collaborators...they believe in Frankie Cosmos..they ARE Frankie Cosmos too, and they are helping me make this sound amazing.” That’s why the record is called Zentropy.

The Miscreant: Zentropy, your forthcoming record, has a lot of familiar songs, rerecorded. How did you choose which songs to include on this record?

Frankie: I just chose the ones that I was really excited about at the time..stuff that was pretty new, or that Aaron and I had just started playing as a band.

The Miscreant: Where are you going to be taking this record on the road? What are your future touring plans?

Frankie: We’re touring out to Chicago and back in April, with the full band. I have no idea what it’s going to be like..After booking this tour on my own I don’t know how soon I want to tour again..it’s really hard to make it work. And scary.

The Miscreant: What are the biggest challenges in arranging a tour for yourself?

Frankie: Just trying to figure out what shows or places will be good..what route will work out.. I get really frustrated really easily. Aaron is booking a similar tour for PORCHES. in March. And it’s really hard to watch because I can see how good that tour is going to be, and I feel really lucky to be in that band and excited for that tour, but I’m also jealous because there are so many people in every state that want to see PORCHES. play and want to pay them to play. And it’s not the same for Frankie, it’s just a lot smaller scale. I think it’s going to be hard to go from doing a really successful tour with PORCHES. to doing my first real Frankie tour which will be mostly house shows...but either way I know it will be fun and we’ll meet some great people, and it’ll be fun to just hang out every day with Aaron and David and Gabby.

The Miscreant: What are your favorite places to play when at home

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here in New York?Frankie: Anywhere that’s ALL-AGES!!!! and places with a good sound system. Shea Stadium BK is a perfect venue in my opinion.

The Miscreant: When did you first start going to shows around New York? Where were the first venues you went to?

Frankie: I had just turned 14 when I started going to shows. The first cool show my brother took me to was No One And The Somebodies at the old Knitting Factory, the one in Tribeca. I used to go to the old Silent Barn a lot, and Death by Audio. Cake Shop when it used to have all-ages shows. Places like that.

And I remember this girl around my age had a couple really amazing house shows at her parents house in Brooklyn. I was

still just a tag-along to my cool older brother at the time, but going to all those DIY venues really shaped my view of what a music scene is and how awesome it is that teenagers can put on a show in a city where you get

treated pretty badly most other places if you are under 21. It’s really important that young people have places they can hang out where they feel like they belong.

The Miscreant: Who are some artists who have influenced you and your music?

Frankie: I would love to list all the musicians that I love that I’m friends with. But I’m really scared to do that because there are so many and I really don’t want to have to choose. So I’m just gonna name some artists who have directly influenced my music from the beginning, stuff I was really into when I was around 15 and first making my own songs: Beat Happening, Michael Hurley, Aaron Maine, Jeffrey Lewis, the Moldy Peaches, Old Table, Eskimeaux, Frank O’hara, Elizabeth Bishop. And lastly I want to name Connie Converse because even though I didn’t hear her until I was 17, I feel that her music is really important and more people should hear it, and I also got really into her at the time that I started putting my music out as Frankie Cosmos.

The Miscreant: What else is coming up for Frankie Cosmos?

Frankie: Hopefully reaching a Taylor Swift level of success in 2014.

HEAR ALL OF FRANKIE’S RELEASES HERE: Http://INGRIDSUpERStAR.bANDcAMp.cOM/‎

GEt FRANKIE cOSMOS FORtHcOMING FULL LENGtH ON DOUbLE DOUbLE WHAMMY OUt MARcH 4 HERE: Http://StORE.DbLDbLWHMMY.cOM/

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I think it’s safe to say that Nick Corbo lives his life putting the pedal to the metal.

And not just because when I initially reached out for an interview, he was busy touring. No, I mean it literally – he makes custom-made distortion pedals. Amongst his busy traveling schedule, he was able to talk to me about Totally Ruined Circuits, his favorite design and which audio signal sounds like a cyber dolphin.

Colleen: Can you tell me about how this started? Is this something you’ve always wanted to do?

Nick Corbo: Everything started for me with one class I took pretty much right before I graduated from Purchase. It was a class on audio electronics and how you can put together your own audio equipment from simple little parts that you can buy on the Internet or even find lying around. I’ve always been in bands and interested in gear and things like that, but this class was my first chance to see how electronics are actually made. I took to it really fast and got super interested. I’ve always been very slow to throw things out and I realized that I had a ton of broken amps and things lying around, so I took parts out of those and started making things with them.

Colleen: What are the products that you offer?

Nick Corbo: Right now the big one is MOUTHBREATHER, my fuzz pedal. I also have two noise oscillators available that generate their own sounds instead of changing the sound that your instrument is making. BAD VIBES makes a pretty simple three-note drone and BAD TATTOO makes its own crazy, scrambled, audio signal that you can make all sorts of crazy sounds with. It sounds like some sort of cyber dolphin.

Colleen: What is the process of creating them?

Nick Corbo: A pedal can take 2 days of chill work, or 1 day of really serious work. I do all the drilling and priming first and then paint/draw the actual design on the pedal. The final drawing needs to have a ton of polyurethane coating on it so that it doesn’t all chip off when you’re throwing it around and stepping on it all the time. It takes

ruined in all the right placesby colleen bidwill

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about 8 layers of polyurethane with 30 minutes of baking in between each coat to dry it. During that 4/5 hour period I put the actual electronics together for the pedals and then once everything is all set, I assemble and test everything. It’s much easier on my end if I have someone else doing the art, but I still love drawing on these things so I’ll always have some available that I did myself.

Colleen: What is your favorite design, if you can even say?

Nick Corbo: I think my favorite design is on the one thing I’ve ever made for myself. I used to make the BAD VIBES oscillators in old hollowed out 8-track cassettes but it took way to long and they broke all the time so I finally made one out of metal and drew a picture of Zeno from Bad Cello on it [PICTURED].

Colleen: Does this compliment your music business?

Nick Corbo: Yeah, I’d say so. I have so many musical friends that use pedals and love talking about equipment, so when I go on tour or go to shows or whatever there’s usually someone who want’s to talk to me about it and I’ve had some really good gear talks with people lately. I’ve been lucky enough to be able to help out some really good friends with cool custom pedals, which help us both out in the long run. I’m pretty sure that every member of High Pop has a TRC pedal and they’re one of my favorites. I also have a never-ending supply of guinea pigs for anything I want to test out in the future. Making pedals full time would also be the perfect job for me when I’m on tour a lot. Making your own hours is obviously the most flexible position to be in.

Colleen: What does the future hold?

Nick Corbo: I met this really great guy on tour just now who runs Rhed Rholl Records, a record label/record shop in Nashville, and he sells a bunch of really cool gear too. I think he’ll probably be the first store to have my pedals in it, which would be really sweet because kids could try them out on the spot instead of just watching the YouTube video. I have tons of plans that may or may not come true but they include: an octave pedal, a tremolo pedal, and a practice amp type deal that you could plug into a speaker cabinet and get fuzzy. I’ve also been circuit bending more now so some of those items might show up in the store. Fun stuff.

VISIT WWW.ToTAllYRuINeDCIRCuITS.CoM FOR MORE INFORMATION AND PEDALS FOR SALE. ALSO LOOK AT ZENO’S FACE.

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Everyone mostly remembers the first time they really started to listen to music. For me, everything music related before high school was shoved in my face and so I never really made any decisions of my own until ninth grade. Since then, I’ve made a lot of friends who share a similar time frame of introduction. Though, for this piece I really sat down and thought hard about exactly when my genuine introduction to music was. It was the summer before ninth grade to be specific and I realized this was the first of many summers clouded with endless plays from various music found on the web.

But before I had discovered the joys of searching for new music on the web, I had to explore my relatively new territory of residence. The only way to truly get around back then, before a license and before a car, was on a bike. I couldn’t go very far from my suburbs, but there were still plenty of worthwhile parks and locations within my distance worth exploring. Soon enough, the library became a really important spot for me as well. In the back of the building, beyond all short-fiction stories and S through U sectioned mystery novels, there was this little corner that held a vast collection of CDs, which may have not really been that large, but for me I had only

i was baptized (a unicorn)by george awwad

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ever seen a handful of CDs in one spot outside of a store.

This little corner became the bridge to my introduction of music and looking back it’s sort of strange to think a public institution was able to have so much influence over my life. I would spend countless hours listening to albums in that corner and by the time the library would close I’d already have several CDs ready to check out so I’d be able to rip them at home. As far as I was concerned, there wasn’t a more complete experience than loading up my iPod with new music every week. Of course, summer is never the same after high school too, where the relaxed social constraints and minimal responsibilities become foreground to the seemingly endless break before the next school year.

So like many others do, I have held onto the countless albums I’ve discovered over summer and it’s very instinctual to make a return to those albums whenever the season rolls around. But if I had to narrow my entire experience down to a single band that truly shaped my introduction to music, there’s no other discography that feels more important to me than what the Unicorns released in 2003. Yes, I’m including their self-released album, the Unicorns Are people too along with the Who Will cut Our Hair When We’re Gone? LP via Alien8 Recordings. To me, there is just no way their first release isn’t connected in many ways beyond housing the precursor demos to the same polished ones that appear on the band’s second LP. It was a release that gave us a much softer take on the brilliant songwriting Alden Penner and Nick Thorburn were able to churn out at the time. The nine-track album was the most personal release I had ever played through my headphones and by that I mean, its sounds were reminiscent of a self-recorded mixtape a friend would pass onto another. They even had their personal hotmail account printed on the album inlay for anyone to be able to contact them. Because even though the collection of tracks was more than likely meant to shop around their tunes to a label in pursuit of a polished release (ala Who Will cut Our Hair…), the several tracks that didn’t make the cut on their next LP actually became some of my favorite songs I could ever dream of coming across as a growing teenager with his angst-riddled days most assuredly ahead of him.

I can’t say everything on the release was spectacular but each track had its own charm. I was able to appreciate both versions of “Ghost Mountain” and most of the time I went back to the original “Child Star” more often than listening to its second rendition, but that was the beauty of having both releases. I liked to think of that first release as a prologue to their second LP and it was a way for me to fully appreciate each and every song the Unicorns were able to put together. I also don’t know where I would be today without “William Clap Your Hands” and “52 Favorite Things.” The several songs that you couldn’t find on their two later releases were exactly what made it worthwhile to return to the band’s first release. And without a doubt, it is safe to say Who Will cut Our Hair When We’re Gone? is a perfect release from the opening track, “I Don’t Wanna Die,” to its outro in “Ready to Die.” The album has carried its weight throughout many people’s memories, especially mine, and my only issue was that I had downloaded the album several months after the band’s break-up. A thousand plays later and the grief of never being able to witness the band perform live really hit me, but I knew I would be forever grateful for the tunes that were available. The same tunes that led me to The Secret Unicorns Forum lurking for bootlegs and unreleased demos to discover a community

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held together purely because of the connection the Unicorns were able to establish through their music.

Beyond that online community, I remember I had made several friends in high school mostly because of our shared ties as Unicorns fans. There was nothing more revealing to me at the time than another individual who shared a similar taste in music and specifically liked the same bands. I’m certain this notion applied to everyone growing up and going through high school. Until some time after, I never realized that those fleeting moments sitting on a bus and sharing Apple earbuds with friend would ever shape me as a person growing up and yet sharing music with friends is mostly what I live for these days. Humming every riff and lip singing all the lyrics, my soon to be good friends and peers would quickly catch on that I was the “indie” kid at the time. It was a label I had to learn to accept, but the Unicorns along with the rest of my iTunes library would make it all worthwhile.

Fast forward all the way to 2014 and this is my first piece that I’ve finally been able to reflect on what the Unicorns have meant to me. It’s kind of funny though because prior to the last few weeks, there was only speculation about a potential Unicorns reunion and this reflection on my gateway into music was mostly written with the presumption that 2014 is the best year to be hopeful for a reunion. There’s been a lot of fans calling for the reunion as well, especially given that the band’s final release was a 2004 EP titled 2014. My thoughts early last year considered the idea that maybe this is exactly what they have secretly been planning all along. But in the end, I knew and accepted that the hopeful idea was only pure speculation. Thorburn’s interview late last year with the Montreal Gazette, only gave us hope for a possible commemorative package of Who Will cut Our Hair... along with some B-sides. He even joked about how it would be more fitting for the Unicorns to have the 10-year anniversary of their break up instead.

Yet the most recent news is that a Unicorns reunion is already in the works. Alden Penner spoke on the Kreative Kontrol podcast and discussed everything in a lot more detail. For now, the former band-mates just want to start getting together to jam, while also discussing the details of their reissue.There were still a lot of maybes and things so far are tentative at best, but this has already been an unbelievable start to the year for music. The fact that this reunion is deeply rooted in friendship, rather than a platform for quick money and nostalgia, makes the whole idea that much more heart-warming. In the meantime, it might be a good idea to start re-kindling those friendships formed through the Unicorns and making playlists for those who are lucky enough to be able to hear them for the first time. And aside from the recent news in light of their reunion, one thing that was always certain on my end was that the Unicorns are forever and 2014 is now most assuredly the year of the Unicorn.

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Yellerkin is Adrian Galvin and Luca Buccellati, two Brooklyn-based musicians responsible for a recently released debut EP that fuses sincerely wistful songwriting with the experimental innovation of artists like Animal Collective and James Blake. This union of unique influence is largely the result of Galvin and Buccellati’s past work, Galvin fronting the folk-driven Poor Remy and Buccellati studying at the famed Berklee College of Music in Boston. The duo played their first show as Yellerkin in December, and they’ve been making big moves in the two months since. I had the chance to talk with them about the origin of Yellerkin, their recent project with Teen Daze, and their place in Brooklyn’s emerging music scene.

Quinn: You’ve said that Yellerkin is a feeling. Could you explain that a little bit?

Yellerkin: Totally, yelling is something we do when we can’t do anything else. Its that guttural vibration that seeps out between bouts of crying or between rushes of elation. yelling is a way of dealing with it. Yellerkin is yelling for your kin, your family, the ones you keep close to you. You should always yell for them, and know that they would yell for you, put their whole selves behind their screams for you.

Quinn: You guys have been friends for some time; how does that influence your music?

Yellerkin: Yeah we met in 1st grade. So its been a while, there have been times throughout our 20 year relationship when we weren’t close or didn’t see each other for 4/5 years during college but Luca and I rolled in a pretty tight crew for a while growing up. haha not anything gang/ish or anything, but we share certain childish ideas and experiences that kind of resurface in our relationship now because they kind of hold the seeds of our togetherness. I share different things with other friends I met in college and beyond, built more on intellectual and emotional similarities than on sharing a past. And yeah i think it deeply affects our music. When we’re together we talk about Radiohead and that time his Dad caught me making out with some girl in the basement. Certain things just resurface and those things are feels from way back when. I think in some ways we still think of this as a project we started in 5th grade, because the same questions are sill relevant in a weird way. I mean we articulate them differently and hopefully more elegantly than we did as 12 year olds but I don’t think we’re so far from where we started, not in a bad way, but in a really deeply sustainable way.

Quinn: You’ve been playing a lot of New York shows lately; do you have plans to tour anywhere else?

Yellerkin: Not really yet, we’re working on some recording right now and some other things we can’t reeeaalllly talk about but they are all good things and we will announce some shows in the near future for sure.

Quinn: If you could go on the road with any band right now, who would you guys want to play with?

q&a with yellerkinby quinn donnell

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q&a with yellerkinby quinn donnell

Yellerkin: Radiolab (NPR podcast, not a band we understand but its fucking Radiolab and they go on tour) Quinn: Teen Daze recently put out a remix of “Solar Laws”; how did that come about?

Yellerkin: Well we love Teen Daze, like even his earlier stuff like that beach-rock record he put out “Beach Dreams” all his shit is amazing and we’ve been fans forever so when it came time to maybe release a remix we were like well the dream would be Teen Daze. We sent the song to him asking if he would be into it and he was like “hell yeah”! and boom. dream come true. Quinn: You guys released the Yellerkin EP yourselves, and you’re really involved in New York’s DIY music scene; how do you think that independence impacts your music?

Yellerkin: Well, I think the DIY scene in NY and Brooklyn is first and foremost about community. Its about supporting the smaller venues in town, going to see your friends bands play and donate your mic stands even though you may never see them again. I play in another group called Poor Remy thats really involved in DIY venues like Fitness Center For Arts and Tactics, The Silent Barn, Apostrophe. These venues never stay open for too long because usually they arise out of people converting their homes into art spaces. But everyone is mad supportive of everyone else out here. No one wants to deal with shitty clubs in lower manhattan anymore. So people just do their own thing out here in Bushwick and it works. Yellerkin comes out of that energy, friends in RatKing and the whole Letter Racer crew and ANML, and Show me the Body, lots of dope hip hop and sludge stuff comes out of that community and is really supported by the community itself. They kind of let us know that if you just make it happen within the community, do it all yourself, eventually people will come to you wanting to help out the project cause they believe in it after seeing its success on grassroots level. Quinn: You recently put out an incredible Where The Wild Things Are-influenced music video for “Solar Laws” with a really intricate plotline, which is illustrated on your blog. When you were writing the song, did you have that specific plotline in mind?

Yellerkin: Yeah, it came out of a conversation about chasing. About striving to gain something, or remember something, chasing people, emotions, money. Us and the Director Nicholas Pesce who we also grew up with talked about what we chase. We then talked about what happens when you get what you chase, how that changes things and chasing is easy but changing is hard. When you obtain something or lose something you make a change and that change is difficult, we constantly resist change. SO this story came about as a kind of archetype for how we go through change; at first we revel in the freedom, then we realize its slightly uncomfortable, then we get angry and we lash out at circumstance and then we regret and wish we had never had to change. Change is hard. But it moves us forward and propels us on to the next challenges. And we believe its an important story to tell. Quinn: What’s up next for Yellerkin?

Yellerkin: Well, we’re going to be releasing a few live videos from a small house show we played a filmed here in Brooklyn, and we are doing some new recordings and we’re starting to talk to lawyers. And some Summer touring action we promise!

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OK, so a couple weeks back I wrote a list of three obscure podcasts that you should check out. Unfortunately, I have been informed that there are actually MORE than three obscure podcasts that are worth checking out. So, like George Clooney in Ocean’s 11, or George Clooney in Ocean’s 12, or George Clooney in Gravity, I’m being pulled back for just one more score. Score in this case meaning article about three obscure podcasts that you should listen to.

(SEPARATE FROM, BUT RELATED TO, THIS PODCAST LIST: In my last article, I might have mentioned that I made a podcast called Transmission. Well, that fact has not changed. I still made a podcast called Transmission, and it is still a rip-roaring space adventure with great music, exhilarating fight scenes, and some wonderful acting. Listen to it. Do it now. https://itunes.apple.com/us/podcast/transmission/id641090000)

1. Star Wars Minute https://itunes.apple.com/us/podcast/star-wars-minute/id656270845#

So, I’m basically starting off with a recommendation that will ensure I never feel the loving touch of another human being. But, and it pains me to say this, you should listen to the Star Wars Minute. The premise is fairly self-explanatory, two (self-professed) nerds go through the Star Wars movies (the real Star Wars movies. The prequels didn’t happen, and if you say they did I’ll cut you with a lightsaber. Or subject you to a 25 minute diatribe about how Jar-Jar Binks is essentially a minstrel character. Probably the second one.) minute by minute. By which I mean each episode focuses on a single minute in the movie. The episodes are twenty minutes long. By my calculations, they have spent 41 hours talking about Star Wars Episode 4. What I’m saying is, if you’re not that into Star Wars, you should steer clear of this podcast. And go off to “play sports”, or “drink Bud”, or “form healthy human relationships”. But if you ARE into Star Wars? Then dear god, this is the podcast for you. The two guys, a comic store owner and Alex fucking Robinson (for those who don’t know, Alex Robinson is one of the greatest

the return of the marcHow To wall Yourself off In Your own lITTle world

and noT InTeracT wITH oTHer Human BeIngs 2 by marc sollinger

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graphic novelists of all time. “Box Office Poison” is an absolute must read, a treatise on the perils of selfishness in the form of a lovely slice-of-life drama.) have some great chemistry, and they go deep into the cracks and corners of the movie. What emerges is a testament to one of the greatest movie worlds of all-time, and more than that, a truly fun listen.

2. A History of Oil https://itunes.apple.com/us/podcast/a-history-of-oil/id378694504?mt=2

Wait, did I say that Star Wars Minute was the nerdiest podcast imaginable? Yes, my ADD-addled reader, I did. And I wasn’t lying, but A History of Oil is ALMOST as

nerdy, just in a completely different way. A History of Oil...well, is a history of oil. I’m a sucker for long, in-depths histories told in an entertaining way

(I am a person who is currently reading a 500 page account of the California Gold Rush. No, I’m not dating anyone, why do you ask?)

and A History of Oil hits that sweet-spot. The history of oil is, as you might imagine, filled with tales of intrigue and betrayal

and dirty dealings. I mean, why else did you attend that protest as a college sophomore? And Peter Doran brings the whole thing to life in vivid detail, with a great sense of character and scene. Ever wanted to know how much of an asshole John D. Rockefeller REALLY was? Then this is the podcast for you.

3. Best Show Gems https://itunes.apple.com/us/podcast/best-show-gems-tom-scharpling/id306300026?mt=2

The feeling you had, as if millions of hipsters cried out in terror and were suddenly silenced, wasn’t due to American Apparel raising the price of leopard-print leggings. No, The Best Show on WFMU ended

it’s 14 year run. For people who don’t know what The Best Show was...well, it was special. It was this bright,

shining, special thing and now it’s over. Calling it a three hour radio call-in show sounds wrong somehow, but that’s

what it was. Technically. But it was so much more than that! Tom Scharpling created this fantastic world, he’d have regular

callers, and comedians, and rants, and I know I’m not capturing exactly how great it was. I’ll stop trying. Instead, you should listen

to “Best Show Gems”. You see, the best part of The Best Show on WFMU was when Jon Wurster (you might know him as the drummer from

Superchunk and the Mountain Goats) called in pretending to be a character from the fictional town of Newbridge, New Jersey. He’d be “Philly Boy Roy”, or

“The Gorch”, or “Timmy von Trimble”, and he would be absolutely hilarious. And eventually, the town of Newbridge started to feel real and alive and always absolutely hilarious. Best Show Gems collects the best of these calls. You should listen to it. It’s special.

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In a diverse music scene such as New York’s, it can be more than a challenge to stand out and emerge as a young label. It’s incredible to witness a breakthrough of a noisy and sometimes oversaturated community and prove that there is possibility and hope for anyone wanting to release artists who are truly deserving of exposure. Purchase’s own, Double Double Whammy is an impeccable example of how resources and passionately displaying artists they believe in, can quickly pay off. Andi: Brief us on the history of Double Double Whammy and how the idea of the label began. Dave: Mike and I started the label back in October of 2011 as a means to release the first LVL UP album, Space brothers. We were in college at the time, and we slowly started to release cassettes for our friends. We’ve done almost 20 releases at this point and I finally feel like we’ve built up a really nice aesthetic we can be proud of. Things are really exciting! Andi: We keep seeing really young labels (DDW is definitely a great example) popping up all around Brooklyn and New York/Jersey. What are your thoughts about starting a label right now and what advice would you give? Dave: These days it’s really special when record labels are born out of a local scene, rather than on the internet. Start small by going to shows and forming friendships with the musicians you like. It’s more fun that way and it’s really exciting to release good music made by good people. Don’t stress yourself out by trying to do too much, and keep your releases deeply personal.Mike: Couldn’t have said it any better. Andi: I’m pretty sure everyone (at least on the internet/in Brooklyn) have been noticing Frankie Cosmos’ rising popularity, especially with receiving Pitchfork’s Best New Track on “Birthday Song”. Do you foresee the forthcoming album, Zentropy to be a completely different process than your former releases? Mike: Yeah we’ve definitely had a little learning curve on this one, our representative at the pressing plant was super helpful throughout the entire process, plus we’ve had a ton of supporters and friends along the way offering to help with the screen printing process, artwork and design, etc.

never dark sided: the double double whammy story

andi wilson

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Dave: We already have a ton more pre-orders than ever before, so that’s gonna be quite the process. A little worried about it. We’ll see! I think we’ll be going in for a repress sooner rather than later.

Andi: Apart from running DDW, you both play in the band LVL UP. What are your guys’ upcoming plans? Mike: Right now we’re all in very transitional phases of our lives because we’re all moving/settling into new places (me and Dave just got an apartment together, new DDW HQ) and starting new jobs, so we’re trying to spread our shows out a little more. Since we graduated

college 6 months ago we’ve done three pretty lengthy tours, so we figure we’ll chill out for a minute. We do have a 4-way split 7” in the works though, can’t say who with

but I can say we’re all VERY excited about it. Expect that to be out in the summer. Also we just started recording our next full length, that’ll be out in the fall. Plus

a couple shorty tours in the spring and summer with some very awesome bands. We’re definitely keeping busy. Andi: In your eyes, what would you call a successful release? Dave: There are definitely a lot of factors. Above all else it’s most important to me that the bands are happy with their release. It’s hard though… there are definitely a few releases that I think we could have done better.

Mike: Yeah we definitely weren’t sure what we were doing for our first few releases, and just recently with our past few releases it’s

started to feel like we’re starting to get the hang of it all, but that doesn’t necessarily mean any of the releases weren’t successful in our

own eyes. I feel really good about all the things we’ve done, even our kinda crappy first cassette press of Space brothers, I was so excited

about how that came out at the time. But yeah I agree with Dave, in the end if the band/artist is happy, and we feel we did the best we could on that

particular release, it’s a success.

Andi: The recent DDW party at Shea Stadium was such a blast, congrats on such a wonderful night! What were some highlights of the show for you both? Feeling like proud dads? Dave: Absolutely! I was really psyched on the whole night. Elaiza from Crying made these sweet DDW pins for everyone in the bands, and I got to give them out, so that was really fun. Mike had to come to the show late, so that was a little bit of a bummer, but he hooked me up with an ice cold Budweiser right when he got there. Very good guy.

Mike: I had work and was fashionably late missing the first four bands, but when I walked in and saw Shea looking pretty filled up on a Wednesday night, full of super positive vibes, that was

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a really exciting moment. Tons of friends and supporters since we started DDW at Purchase were there, it was great to see so many people who seem to be as excited about the artists we’re working with as we are. Me and Dave had a nice embrace when I got there and drank a couple beers, then got tacos after the gig. A very good night. Andi: If you could describe DDW with one word (or phrase is cool too), what would it be? Dave: Oh wow, this is the perfect question for us because we already have a slogan picked out... “Never Dark-Sided” Andi: What are some of your favorite record labels? Mike: We joke around saying that Merge Records is our spirit animal, and/or Superchunk is LVL UP’s spirit animal. The history of that band and label is way too long and awesome to explain here, but to anyone interested in reading about who we think is one of the coolest labels around for the past two decades I’d suggest checking out the Merge Wiki article. True warriors against the Dark-Side, very real heroes of ours. Also I’d like to say Exploding In Sound forever. Love those guys, and all the bands associated with EIS have become some really great friends of ours.

Dave: Also a personal favorite of mine is definitely K Records. I think we’ve taken a lot of aesthetic cues from K, and everything they stand for is right in line with what DDW is all about. Birdtapes is bomb. Destroy the dark side.

Andi: Any other exciting news/upcoming events you would like to share with us? Mike: Zentropy drops March 4th. We’re starting work on DDW’s second LP with a super talented band from Brooklyn, I think a lot people are gonna be excited about how great this record is. Looking forward to releasing that split 7” with Lvl Up, ???, ??? and ???. Several more cassette releases on the way. So many things I wish I could announce right now, but we need to hold our tongues for a little while longer, all I can really say is I think 2014 is going to be a really great year for music, and we’re super excited and privileged to be working with some of our favorite musicians around right now. Andi: Thank you for releasing the best music. Dave: Thank you for listening!

Mike: God Bless.

For more info or to check out Double Double Whammy’s full catalogue, visit them at http://dbldblwhmmy.com/.

[pictured to the right: the bands of the double double double whammy label showcase at shea stadium on february 12, including Radiator Hospital (Solo), Generifus, Frankie Cosmos, Crying and QUARTERBACKS. photos by andi wilson]

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I love live music. I don’t understand why anyone wouldn’t want to queue for wanting to get to the front. Each to their own, I know. But the thought of it just goes right over my head. I guess I’m one of those people who are content with standing around doing nothing. Always waiting for something it seems. Live music is one of the most powerful things in the world. It has the ability to move you to tears within seconds as your hero walks on stage or being left speechless when it is all over. Time goes far too quickly when you watch your favourite band live. I remember when I first saw Morrissey live and as soon as he walked on stage I started crying. There’s no other band or singer that has done that. I’m pretty sure if I ever saw Garbage live I’d have exactly the same reaction.

As beautiful as live music is, there is always some idiot who likes to ruin it for others. I’m going to take great pleasure in releasing my rage towards idiots at shows. READY?

5. Put your phone away. I’ve got a few issues with phones at shows. My first one is people who take photos of themselves “having a nice time” every 5 seconds when at a show. No one cares because if you were having a good time you’d be watching the band rather than

shut up and listenby olivia cellamare

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taking photos of yourself and the person you’ve brought along with you. Secondly, people who record EVERYTHING and take photos constantly are just ridiculous. I paid to watch the band not watch the band through your phone. Of course take a few photos, but recording the whole thing on your phone? Don’t you get cramp? Do you concentrate on the shot? Are you even watching the band?

4. Please just shut up. There are some places where you just need to shut up/keep your voice down. I don’t want to hear your personal conversations when I’m on the train or bus, I don’t want to hear people talking when in a library and I really don’t want to hear you yell to your pal next to you as the band on stage are playing. I don’t get why you would pay to watch a band, and just talk all the way through it. If you’re going to open your mouth at a gig, it better be to sing and not talk about your life.

3. Move, please. I’m not a tall person. Me being short is an issue for others, not me. I don’t walk fast, that doesn’t bother me. One step for me is about 5 for another person. I’m not in a hurry, I’m not that kind of person. If I stand somewhere at a show, I stand in a place where I think I’m not really in the way of anyone else. Which is why I like being near the front. However, you always get that one idiot who can see where you’re stood and still thinks it is okay for them to block your view. I didn’t pay to look at your ugly lumpy head- I paid to watch a band. If you ask someone to move a little bit so you can see, they look at you as if you have shit on your face. Maybe I should bring a step-ladder with me or something. Also, don’t wear a hat when at a show. There’s really no need for it.

2. PDA. You’re in love? That’s nice. Oh you’re going to kiss your partner all the way through the show? Get out. If this band REALLY get both of you going, can’t you just listen to them at home and do whatever you need to do? Or get it out of your system before you leave the house? PDA is awful at the best of times. Couples eating each others faces on public transport or in restaurants is highly irritating. I don’t want to see it and neither does anyone else. The only acceptable PDA is old couples holding hands and sneaking in a kiss because that shit is CUTE. The absolute WORST kind of PDA at a show is when the couple are really close to each other, they sing bits of the song to each other and kiss repeatedly. Please just stay at home. Maybe I should go to more Death Metal shows, I’m pretty sure this wouldn’t happen there.

1. Drunk people. Drunk people annoy me in general. However, drunk people at shows who then proceed to then launch half their drink into the crowd or have lost the ability to put one foot in front of another and spill it everywhere are just stupid. The other night, I saw some guy walk back into the venue with his plastic cup full of beer and just poured most of it on the floor. Why bother? Why buy a drink and just then throw it all over the place. You are not a toddler!! Drunk people at shows are the worst because they just turn into obnoxious loudmouths who yell out things that have no relevance to whatever is happening. They yell out songs to be played. The setlist has already been chosen; a band won’t make an exception for a drunken fool.

Of course the main thing to remember at a show is to have fun but to also not be a massive asshole. It’s really not that hard!

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It is always a spectacular occurrence when a new band enters your ears and all of the sudden you find yourself unable to stop hitting the replay button. One listen to the Intermission Project and you’ll know exactly what I mean. This Ashford-based trio blends elements of folk and soul in a way that is both warmly familiar and intriguingly fresh. Formed in 2011 and made up of Jim Rubaduka, Alex Stevens, and Charlie Campbell, the band spent 2013 steadily performing in and out of the UK. Their first EP, Sorry, was released in September.

Here, Jim talks about his decision to pursue music, pros and cons of life on the road and what it’s like to play in his hometown. Mary: “The Intermission Project” is a really interesting name, and you mention that everyone goes through a sort of in-between phase in his/her life. I think that’s really eloquent and applicable especially to young people. Could you elaborate on what your particular intermission phase was and how that relates to your decision to pursue music?

Jim: Well, for me the ‘intermission phase’ or whatever you want to call it, was the period of time between finishing my A-levels and deciding what happens next. And it’s one of those tricky moments in time where you’re forced to make a choice that could affect your future in a significant way. And I always knew music was something I wanted to be a part of, I just wasn’t sure how it would all unfold until Charlie & Alex happened.

Mary: The instrumentation on “I’ve Been Waiting” is really unique with the banjo and the sax, what is your process for writing and developing songs? Along with that, how many instruments does everyone play?

Jim: The writing process normally starts with me writing a song and then handing it over for everyone to try to fill in the lines and shape it into a finished product. But it’s always changing so who knows what it will look like a year from now. We all play a few instruments reasonably well and others not so well. I think it’s a good thing to try your hand at instruments you don’t normally play even if you’re terrible at it, at least you know and you’ve tried.

Mary: Who are your biggest musical heroes?

Charlie: Quest LoveAlex: Justin VernonJim: Kenny Burrell

your new favorite bandby mary luncsford

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your new favorite bandby mary luncsford

Mary: Which artists are you excited about/listening to at the moment?

Alex: Bombay Bicycle Club’s new album Jim: “Armistice” by Phoenix Charlie: Half Moon Run

Mary: You guys are originally from Ashford in the UK. What’s the music scene like there? And how’s the reception been for you guys at home?

Jim: Well Ashford doesn’t really have a music scene although we do have one music venue that’s pretty cool. The reception has always been really nice, most of the guys that come to

hear us are our buddies/family. Ashford isn’t the biggest place in the world, it’s a place where most people know most people, but it’s always nice to play in our home

town.

Mary: You have said you want to play as many shows as possible, with that what is the best/worst thing about being on the road

which each other?

Jim: The best thing is playing shows. The worst thing is missing out on home cooked food.

Mary: Okay, really personal question -- who watches Grey’s Anatomy? I’ve seen the tweets (currently on season 5 myself).

Jim: I do... Wait till season 6. There’s an episode that is without doubt the most intense episode of anything I’ve ever seen.

Mary: What’s been the coolest place you’ve gigged at so far?

Jim: I think there’s been shows we’ve all come away from feeling really happy with but maybe they haven’t been the

coolest venues. But one gig that comes to mind that was both cool and good is the Thekla. It’s a music joint in Bristol that’s a

boat. That was pretty special.

Mary: 2013 was a banner year for you guys, with the release of your EP in September and gaining quite a bit of buzz online. How do you want to

follow that up in 2014?

Jim: This year we just want to play more, write more and share it all with our fans.

You can listen to the Intermission Project here: https://soundcloud.com/the-intermission-project

sleepless nightsby rafael grafals

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Lately it’s become a horrible habit of mine to fall asleep really late. Though it’s never something I do on purpose, most nights I don’t fall asleep until around three or four in the morning, only to wake up two or three hours later. As opposed to just lying in bed with my thoughts (most of these thoughts being, “What was that sound?”) I made an attempt to remedy the situation with a few go-to songs that comfort me. They don’t exactly comfort me due to their subject matter but more because of the sounds and textures they contain. Here’s a short playlist inspired by those sleepless nights and the songs that help me slip away into the few hours of rest I’m able to salvage. Maybe it’ll help you in a similar way or maybe you’ll at least dig what you hear.

Frankie Cosmos – “High There Ronni Underwater”noel thrasher – “flower song”Infinity Crush – “flowers pt. 1”Angel Olsen – “Miranda”Sea Oleena – “Untitled”Brother Sun, Sister Moon – “A Year’s Worth of Leaves in Your Heart”the bilinda butchers – “hai bby”HAPPY TRENDY – “January 6”R.L. Kelly – “Woke Up Feeling Sad”Cemeteries – “Summer Smoke”Fog Lake – “it was never enough”The Antlers – “No Widows”Birkwin Jersey – “Your Big Day II”eaves – “luv songs 4 kids”

sleepless nightsby rafael grafals

want more miscreant?dear miscreants,

i’m so thrilled to have my friend greta on the cover of this issue. her new record is already one of my favorite records of 2014. she and her talented band made something quite beautiful. it was a treat to get to speak with her for the zine and for portals. we’ve had some really great conversations -- talking to her makes me want to start a podcast really bad or something.

thank you so much to every one who submitted to this issue! as always, i feel totally blessed to have so many talented friends who continually send in their words and interviews and playlists and all, spreading the news about their favorite music and art. we’re coming in on three years of zine-ing. it makes me even more excited to see what the future holds. you all keep it so real.

all right so big news!! we are celebrating our 50th issue! this issue will feature our friends Swearin’! submissions are due March 25. no previous writing experience is required. send in your interviews with your cousin’s hair metal revival band, your top 10 songs to listen to in an airport, your essay about your favorite cyndi lauper song, anything to do with music or art. send your submissions by the deadline to themiscreant@miscreantrecords.com. also send questions you have about getting involved with the miscreant!

also, we will be having a huge party at silent barn to celebrate this forthcoming issue. stay tuned for details! we’re going to have art and lots of music and brooklyn lager. perhaps even a cake. if you have any ideas to contribute to the festivites, just let me know!

look to miscreantrecords.com and the miscreant facebook for more info on the music you read about here and more! check out the miscreant video series sad kids club at www.smarturl.it/SadKidsClub. and remember to read and enjoy all of issues of the miscreant at issuu.com/themiscreant.

love love love,the miscreant