chickfactor fanzine was founded 30 years ago by Pam Berry & Gail O’Hara (in DC/NY) and we are celebrating by having some parties in New York! We are so excited to have a friend-reunion and see all these rad bands play!
October 6 at the Frying Pan The Aluminum Group Jim Ruiz Set Dump Girl Scout Handbook + DJs Stephin Merritt & Gaylord Fields Vegan options in the restaurant, nautical photo ops and portraits and other fun stuff! Get tickets
The Aluminum Group are the brothers John and Frank Navin of Chicago and Detroit, who recently released a wonderful new album. John says of this event: “Our performance is very audience interactive. We start with a brief demonstration and teach attendees how to make paper laurel necklaces, then we sing 5 new songs. Show a new short film by Frankie. Then sing sing 5 more songs from the new record, then encore with a new unreleased song from our next record, called ‘Punch The Lights Out Of This Crazy World.’”
Jim Ruiz Set Led by the Legendary Jim Ruiz (guitar, vocals), the set also features Emily Ruiz (drums, vocals), Mike Crabtree (lead guitar) and Charlotte Crabtree (bass, vocals). The Twin Cities outfit has been playing CF events since the olden days and never ever disappoints.
Dump Brooklyn’s James McNew is the force of nature behind Dump, which was interviewed in Chickfactor 8 back in 1994. Some of you may have heard of his other band, Condo Fucks. We are pretty sure that he will be playing solo tonight and that this is the only Dump show happening anywhere in 2022.
Girl Scout Handbook Girl Scout Handbook was formed by Brooklyn high school student Beatrix Madell, an avid musician and music fan. The band is technically 5 people, Madell, another guitar player, a drummer, a trumpet player, and a keyboard player. They will be doing a set of covers for tonight’s show!
Sat. Oct. 8:
Seablite is a four-piece pop band from San Francisco inspired by 80s/90s indie and shoegaze. In June 2019, Seablite’s LP debut, Grass Stains and Novocaine was released by Emotional Response, garnering domestic and international praise. They’ve since released a 10″ EP, High-Rise Mannequins (2020) and most recently their new single, Breadcrumbs c/w Ink Bleeds (2022). Seablite are back in the studio recording their sophomore LP and looking forward to what the upcoming year will bring. East Coast/NYC debut!
Artsickis an indiepop band from Oakland/Seaside, California, consisting of Christina Riley (Burnt Palms/Boyracer) on guitar and vocals, Mario Hernandez (Kids On A Crime Spree, Ciao Bella) on drums and Donna McKean (Lunchbox/Hard Left) on bass. They formed in 2018 and released a 7” inch single, followed by their debut album “Fingers Crossed,” on Slumberland Records. East Coast/NYC debut!
Jeanines specialize in ultra-short bursts of energetic but melancholy minor-key pop. With influences that run deep into the most crucial tributaries of DIY pop — Messthethics, the Television Personalities, Marine Girls, early Pastels, Dolly Mixture — they’ve crafted a style that is as individual as it is just plain pleasurable. Alicia Jeanine’s pure, unaffected voice muses wistfully on the illusions of time, while My Teenage Stride/Mick Trouble mastermind Jed Smith’s frantic Motown-esque drumming and inventive bass playing provide a thrilling rhythmic foundation.
Gary Olson OG Brooklynite Gary Olson is best known as the leader and founding member of The Ladybug Transistor, but he made a wonderful solo record in 2020 as well, and has collaborated with many bands including the Aislers Set. He also runs a famous studio in Brooklyn called Marlborough Farms, and will be playing as a duo tonight.
Kiam Records Label head: Jennifer O’Connor Location: Nyack, New York
the latest installment in our new series on independent labels takes us to Kiam Records in Nyack, NY, where label head Jennifer O’Connor leads a very music-intensive life. Jennifer is a musician who records under her own name and has an ace new album coming out on Nov. 5 called Born at the Disco! She also runs a record-book-clothing store called Main Street Beat with her wife, Amy Bezunartea, who is also a great musician and Kiam artist. Check out the artists on Kiam here. She also talked about running Kiam Records on this podcast recently. Find out more on FBK, Twitter, Insta, etc. Meet Jennifer…
chickfactor: What year did you start a label? Where? Why? Jennifer O’Connor: 2002. To put out my first album. I was in Florida when I started it technically, but moved back to NYC soon after. What has been the most fun bit about running a label? The most fun part has been being involved in helping my friends and other people that I care about get their music out into the world. What have been the biggest challenges? I think the hardest part is that I need to be like 10 more people. Ha. How have things changed over time in terms of marketing and distribution? I feel like both marketing and distro are constantly in flux. When I first started there were still actual physical publications and that is not really a thing anymore. Magazines and zines and such helped a lot with marketing to people who actually care about music. And even early on in the web… before it was all just about personalities and clicks and social media. We are all so spread thin now that I think it’s harder and harder to reach people. There was no such thing as streaming!! Which I think of as a blessing and a curse. But I also didn’t own a record store when I started, which gives me an actual physical place to sell the label’s releases and has also provided me with a trial by fire education in many things I was not super knowledgeable about before…. What are the top sellers of all time on yr label? Like physical records? Probably The Martha’s Vineyard Ferries, Mass. Grave. or my album I Want What You Want. Overall sales on all platforms and if you included income from licensing it would definitely be I Want What You Want.
What new stuff are you working on now/soon? I have a new album coming out on Nov. 5 called Born At The Disco. It’s the first label release since 2019 and my first since 2016. What other merch do you sell? For the label we don’t have anything else yet. I’m thinking about getting a tote or coffee mug soon though. The store (Main Street Beat) did a tote this year—our first piece of merch—and it sold out already. What labels have inspired you? So many. Kill Rock Stars, Merge, Sub Pop, Stones Throw, Mello Music Group, Orindal, Thrill Jockey. There’s a lot. How do you find new records (not on your label)? For me personally to listen to? Mostly at my shop. I listen to a lot of old jazz and hip-hop and disco. But for new music, I listen to Sirius Radio a lot and also to WFUV and WFMU. And then I follow a few people’s playlists too. I’m trying to get better about listening to more new music. The store has helped with that for sure.
What are some great record stores and mail orders still operating? I love record stores so much. And I love to order from labels directly. I think Bandcamp has been great for keeping online ordering alive, but I think people should order more directly from label websites. It doesn’t have to be Bandcamp Friday to order a record. There are too many great record stores to list. I wouldn’t know where to begin. And they just keep popping up everywhere! Just go to any near you and you will find something good, if you are curious and open. Can people get your releases outside your country? Just from us, unfortunately and I know it’s so expensive to ship overseas. Hopefully, we will get that sorted eventually. What bands/records are you really excited about? I really love the band Dry Cleaning and their record from this year. What are you drinking, eating, listening to, reading, watching these days? Coffee/water This and that. I don’t know! Funk/Soul/Disco I May Destroy You and Ted Lasso most recently. I May Destroy did in fact destroy me, but in the best way.
Has the vinyl supply chain bottleneck affected you? Yes, my own release has been delayed and it affects me daily at the shop. Almost nothing comes out on time. It’s a mess. We pretty much stopped participating in RSD because so much nonsense is getting pressed now and it’s truly fucking up the little guys’ (independent labels) chances at getting their records out in a timely fashion.
Do you have a day job? Are you in a band? Do tell. Yes, I have several and always have. In addition to the label (Kiam Records) and my career as a musician, I also own and operate a record/clothing/book shop with my wife and label mate Amy Bezunartea. Hobbies? Interests? Pets? Kids? No kids. Had a sweet pup named Paco who we lost on Leap Day, 2020. I’m interested in traveling again hopefully soon. I’ve been going on a lot of long walks lately. I need more mental space in my life and I’m interested in doing more things that help me find some. Reading. Anything else you would like to add!? Thank you for being you.
Noise in hallway: can now identify every person in building by sound of their footsteps
Noise in car: alternator/ serpentine belt
Noise in toilet: fill valve
Noise from outside #4: fireworks (all summer, every night)
Noise from outside #3: maskless rich drunk asshole neighbors partying and blasting music in their well-appointed backyards at 2am (May–September)
Noise from outside #2: sirens (March–June: ambulances; June–December: cops)
Noise from outside #1: one minute of applause/noisemaking at 7pm daily, in appreciation of essential workers; said appreciation ended promptly June 1. More than one person within earshot has (= shouldn’t have) a trombone.
Stephen McRobbie (Pastels, Geographic, Monorail)
1. One of the best best things about 2020 for me was starting to see Glasgow in a slightly different way, one in which the river is the essential part. In May I started cycling to work on a daily basis along the Clyde, rediscovering landmarks that I had loved and forgotten and new ones too. It was a time of dramatic change and sometimes cycling slowly home or stopping off to examine something was the best way to find some perspective on what was going on and to feel hopeful that in the end there would be a way through.
2. Music was incredible in 2020. Not us so much us, in fact we didn’t play together at all. At the start of the year I thought I had three strong ideas for new songs. At the end of the year I had what I still felt were three strong ideas for new songs. So it was more a year of archive things. It was really nice to finally release two songs from a 1997 John Peel Session – “Advice To The Graduate” and “Ship To Shore” on a 7”. “Advice To The Graduate” is of course a David Berman song – thought about him often.
3. Music was incredible in 2020. Really fell for the Cindy album, Free Advice. It just had real confidence about playing softly and being there but not fighting for your attention or anything. And it opened up a scene of other groups via a mix cd… Present Electric, Reds, Pinks & Purples, Hectorine. It felt new but also existed in the spaces between Galaxie 500, Yo La Tengo, Movietone and various Flying Nun groups. There are always spaces, you can always make something new.
4. So many other great records came out. Amazingly Plone came back with Puzzlewood for Ghost Box, and by now more or less working from home, I’d lots of time to write about it for Monorail. It was a really fabulous return, so unexpected, I was often smiling their tunes as I cycled along.
5. The Jarv Is record was amazing too – he somehow managed to make it of the times but above or at least to the side of them too. I interviewed him on the day it came out. He said that when he was researching stories for This Day In History on his Sunday Service he realised that most news stories at any time are bad news and this had given him a bit of perspective on things. His group just now is dynamite.
6. As if that wasn’t enough he ran his Domestic Disco on Saturday nights for a large part of the year. These were magical (Jarvis is a great dj) and ok, maybe a little drunken at certain points. Along with Tim Burgess’s Tim’s Twitter Listening Parties and various BBC6 shows especially Gideon Coe, something similar to going out to shows was always there. We always felt we were part of a great community.
7. Great songs belatedly dropped out of the seeming nowhere. That Dump single, “Feelings 1 & 2” is so special. I got a preview of a new Johnny record (all Joe Meek songs) performed with a super lightness of touch and sheer pop joy by Norman Blake and Euros Childs. People are going to love this record.
8. I was working on various archival projects I thought I could close out but didn’t – Strawberry Switchblade, Pastels, a Glasgow music comp. I did manage to make a fanzine called Yesterday Was Another Day, Glasgow 1979-82 to coincide with the reissue of The Bluebells Sisters album. It was a collaboration with the group and my friend, Musho Fernandez, who is a great graphic designer. Felt a real sense of pride about how it turned out.
9. The more I think about it the more I realise that music more or less got me through 2020. It seemed deeper than ever with so much music – Jon Brooks, Robert Lippok, Andrew Wasylyk, Tenniscoats, Bridget St John, Stereolab, Broadcast, Movietone, Brian Eno. In the kitchen Katrina and I listened to lots of mix cds, probably the most played being one that Gerard made for the Monorail Film Club night we used to have at the Glasgow Film Theatre.
10. Steve McQueen’s Small Axe series was important and righteous. It was beautifully made too. Janet Kay’s “Silly Games” from the Lovers Rock episode became an absolute obsession. There are so many Janet Kay Top Of The Pops appearances on Youtube (a couple even with the great Dennis Bovell who wrote and produced it). Still not enough, song of the year, music of the year. Fight on.
Like many of us, I’m sure, I needed a mental break from the horrors of 2020, and books have always served as a trusty escape hatch. So, here’s a random sampling of ten that I happened to read last year. Just to be clear, this isn’t a list of “Best Books of 2020” or even my personal “Top Ten.” As you’ll see below, several of them didn’t even come out this year, and one of them I didn’t even really like! Just ten random books. Here ya go.
• When No One is Watching by Alyssa Cole (2020, Harper Collins) Described in the press release as “Rear Window meets Get Out” — and I legit thought “this is so Hitchcock-ian” while reading it — When No One is Watching is the gripping tale of a fictional Brooklyn neighborhood on the brink of gentrification… but there seems to be something even more insidious at play. I found this book breathtaking, and I consumed it in less than two days. And during a year of relentless (and disheartening) racial unrest, this book was even more powerful and unsettling.
• Earthlings by Sayaka Murata (2020, Grove Press) I loved Murata’s 2016 novel Convenience Store Woman, so I was excited to get my hands on her latest. That said, WHOA, this was nothing like that charming tale of a small store clerk; Earthlings has abuse, violence, incest, cannibalism, and more, all crammed into less than 300 pages. This was another one of those books that was just exhilaratingly engrossing, and the ending was such a smart surprise. I can’t say I “recommend it,” per se, but I’ll just say, it sure as heck was a page-turner.
• Wow, No Thank You. by Samantha Irby (2020, Vintage) Discovering comedic essayist Samantha Irby was one of the very few bright spots of 2020. I somehow stumbled across her 2017 collection titled We Are Never Meeting in Real Life, and felt an instant kinship. I then went on to inhale everything she’s ever written. Like me, she recently moved from a big city (for her, Chicago; for me, Seattle) to sleepy Southwest Michigan. And, like me, she loves Sassy magazine, receiving mail, and being indoors. I feel like she and I need to be friends, but I am also slightly afraid of her.
• Solutions and Other Problems by Allie Brosh (2020, Gallery Books) I bought Brosh’s 2016 book Hyperbole and a Half at the airport ages ago — I mean, just the fact that I wrote “airport” tells you it wasn’t in 2020 — and proceeded to annoy my fellow passengers because it was literally laugh-out-loud funny. But shortly after the book’s release, she mysteriously disappeared. There were Reddit threads of readers wondering if she was okay. The concern slowly died down as fans seemed to assume and accept that she had chosen the unpublished life after all. But, in 2020, she returned with her first new book in seven years! I’ll admit, I didn’t “LOL” as much as I did with her first one, but maybe that’s ‘cause 2020 just wasn’t a real “LOL” type year. But I liked it a lot.
• My Best Friend’s Exorcism by Grady Hendrix (2016, Quirk Books) This year’s season of the podcast Conviction sent me down a “Satanic Panic” wormhole. I wanted to read, listen, and learn everything I could about this weird ‘80s phenomenon, even culminating in an article for my day job (gratuitous self link here). I scrolled past this book on the library app while doing research, and the funny VHS-style book cover inspired me to check it out. It’s a fictional story of two best friends, one of whom seems to have been possessed by an evil spirit. It’s somehow both funny and creepy. Hendrix has also written a story about a haunted IKEA titled Horrorstör that I have definitely added to my “must read” list.
• The Witches Are Coming by Lindy West (2019, Hachette) I’ve been a fan of West’s since back in the days when she wrote for Seattle’s alt-weekly The Stranger. It’s been rad to see her writing get such national attention, and she even has a TV show on Hulu titled Shrill. (The aforementioned Irby is a staff writer.) The Witches Are Coming is a much-appreciated attack of “Tr*mp’s America” (sorry, I can’t even type it without throwing up in my mouth a little). She somehow released a new book toward the end of 2020 titled Shit, Actually that I’m currently reading.
• A Very Punchable Face by Colin Jost (2020, Crown Publishing Group) I don’t know why I like Saturday Night Live. It’s not even that funny most of the time. But, it’s something that’s been in my life since I was a kid. I still remember my best friend and I sharing Jack Handey’s Deep Thoughts on the playground during recess, or going to see Wayne’s World at the dollar theatre. So, I’ve read a lot of cast member memoirs, and this one was pretty entertaining. (I still enjoy Tina Fey’s Bossypants the most.)
• Over the Top: A Raw Journey to Self-Love by Jonathan Van Ness (2019, HarperCollins) The release of season 5 of Netflix’s Queer Eye was an all-too brief spark of sunshine during the dark summer of quarantine. I checked out Ness’s auto-bio audiobook to fill the void and found myself appreciating the grooming expert even more. He shares how he overcame childhood sexual abuse and drug addiction — stuff he can’t really address during the hour-long episodes, which are mostly focused on the nominees. (Do they still call them “heroes”? I can’t remember if that’s a throwback to the original series.)
• Let’s Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, Etc. by Jeff Tweedy (2018, Dutton) This book came out a couple of years ago, but, as I’m not really a fan of Wilco, I never bothered with it. But then, in April, a podcast I listen to (Rivals: Music’s Greatest Feuds) did an episode detailing the conflict between Jeff Tweedy and Jay Farrar during their Uncle Tupelo days, and I was so intrigued I wanted to learn more. What I learned is, Tweedy is a very funny writer. (Either that, or he has a good ghostwriter/editor.)
• Remain in Love: Talking Heads, Tom Tom Club, Tina by Chris Frantz (2020, St. Martin’s Press) I’ll be honest, this isn’t a very good book. Frantz isn’t the most engaging writer, and many of the chapters just blur into each other. (“We played a concert and got an encore. We ate fish for dinner. Some random lady was good-looking.”) But the David Byrne barbs are both relentless and hilarious, and you can tell from his writing how much he still really loves Tina, which is so sweet after 40+ years of marriage.
Rob Pursey (Catenary Wires, European Sun, Heavenly, Tender Trap)
I’ve been running an online poetry-reading event during 2020. Basically, I choose a collection, everyone gathers on a zoom call, and then we take it in turns to read out loud. Sometime the poetry is canonical and old, sometimes it’s contemporary (and on most of those occasions the real-life poet has joined us on the zoom call). It works better than I can have expected. Hearing 30 people’s voices, taking it in turns to read, is very moving and a good antidote to loneliness and isolation. So my top ten readings were
PARADISE REGAINED by John Milton. An old, blind man finds himself on the losing side of the English Civil War and tries to come to terms with the restoration of the hated monarchy by re-telling the story of Christ in the wilderness.
DIVISION STREET by Helen Mort. Legacies of the Miners’ Strike, passionately re-imagined by someone too young to have been there.
SONGS OF INNOCENCE AND EXPERIENCE by William Blake. Apocalyptic poems for children.
RECKLESS PAPER BIRDS by John McCullough. The excitement and fear of living in London when you are young and gay.
BRIGGFLATTS by Basil Bunting. On a par with ‘The Wasteland’, but less celebrated because rooted in the landscape and dialect of the North-East.
ISN’T FOREVER by Amy Key. Funny, fragile, sometimes self-lacerating poems by a really great new writer.
SONNETS by William Shakespeare. He couldn’t put his plays on because of a pandemic, so wrote lots of these instead. Lucky us.
HAPPINESS by Jack Underwood. Beautiful, funny, very self-aware poems on straight male identity and anxieties.
VENUS AND ADONIS by William Shakespeare. Him again. A little epic, where his medieval roots are audible.
SMOOTHIE by Claudine Toutoungi. Another really great new poet; spiky, witty, dramatic and energetic.
Bridget St John, Vashti Bunyan, Sandy Denny, Rodriguez
The Clientele, Oh everything. Musical anti-anxiety remedy and life-affirming soul boost. More please!
Yo La Tengo’s very sad but very necessary Hanukkah show. Please music gods, don’t make them go through that again. Shoutout to Amy Rigby (my friend Shawn called her “a female Jonathan Richman, but funnier”) and Ira’s sweet mom, slaying us.
All the best to everyone in 2021. Keep fighting evil.
most people know james mcnew from his other band, the condo fucks (and yo la tengo). as long as he has been in yo la tengo, he has been making his own recordings under the name dump. dump songs have sort have been filtered into yo la tengo these days so he is less prolific. we interviewed dump + yo la tengo for chickfactor 8 back in the mid-90s and again later, but here we are doing it again! we love dump and gilmore tamny conducts the interview this time and asks some excellent Qs. ps. dump performs at chickfactor 21 on june 13 with the pastels, lois and jim ruiz set. he also plays with the condo fucks and the pastels on june 15 at maxwell’s!
chickfactor: what chickfactor show do you remember best? missed but wished you’d attended? any particular fond/joyful/amusing chickfactor memories?
james: I think I Ioved every one I ever saw, and I definitely loved playing at them. I saw a lot of them. getting to see nice at under acme was a once-in-a-lifetime kind of thing. same goes for the georgia hubley trio at fez. versus were just bloodthirsty at the bell house last year (“another face”!). gail was really the only person who ever asked dump to play, and that always meant a great deal to me. I will always remember the sight of magnetic fields fans in the front row with their fingers in their ears while I played my opening set.
who else will be playing with you for the chickfactor show unless that’s ruining a surprise? are you getting besieged with requests?
that shit’s top secret.
how has your relationship with the dump songs (if it does) change over time? the things that you like/that bug you tend to be the same when you revisit?
I cringed a few times while putting together the reissues, but I guess everybody does that, like when you see old photos of yourself. unless you’re really good-looking. but I still liked most of the songs, or at least the ideas. I feel like I have gotten a lot better at writing songs since then, but I can still relate to old me. depression is timeless.
I was approached by thomas moor of the/his moor music label, of berlin. I was already a fan of their catalog & bands; he was a fan of the dump records. I am always kinda surprised when anyone says that, since they were so difficult to find. I dragged my heels on doing the project until he finally convinced me. so I spent a LOT of time turning it into a deluxe package; bonus tracks, photos, a bunch of new artwork and a ton of new notes I wrote for them. there’s no doubt at least one frustrated moor employee will punch me one day. still, I am very happy with the results. I’m glad he thought of it.
I read once that charles barkley was so keyed up after his games that afterward he’d often vacuum the house to relax. do you have to do any such similar things after shows?
I love charles, so I’ll try that. I also heard he would get his lady friends to shave his head for him. normally I like to pretend like I didn’t just play, and get on with my life, then scrutinize it later.
I’d think touring so much would—if you were inclined—turn one into a bit of armchair sociologist/anthropologist, noting regional differences or ways fans interact, or bass player vs. guitar personalities, etc. any thoughts?
everyone, everywhere, is nuts.
who do you know or admire that might prompt you to say: “that gentlewoman or gentleman, __. _______ _______, has exquisite taste.”?
walt “clyde” frazier.
are there any human virtues you admire or weaknesses that depress you that, when manifesting themselves in music, make you admire/loathe even more? like: subtlety. or: showoffyness. or, the opposite?
traditional “weaknesses” like not being a virtuoso, or having an unusual voice or take on reality, can be total pluses. fearlessness, whether to express yourself or challenge yourself, or just in general, is definitely something to strive for. also, personally, I don’t like when artists supply me with answers. I like mystery; I don’t want them to tell me what their songs mean. I don’t even want a lyric sheet. I prefer to use my imagination and come up with my own meanings.
what show have you played that has most felt like a hallucination? place you’d like to play you haven’t (parthenon, etc.?)
many of them feel hallucinatory, if all goes according to plan. the shows I played as a member of man forever were all that way. I have been insanely lucky to play at some pretty sweet places. that said, I would like to play at an aquarium.
what’s your perspective on musical literacy? If it isn’t too nosey, how technically literate are you or have you had to become? how would you say or observed it being a help/hindrance?
not very. I have learned to do some stuff. I am mostly self-taught, and completely self-taught on bass (I learned by watching and studying the greats, namely sue garner). I took guitar lessons from age 9 to about 12. one day my teacher refused (in disgust) to teach me a van halen song, instead trying to get me to play some fingerpicky blues thing. That was it for lessons. Technical proficiency is by no means a prerequisite for great, important music. by itself, without feeling or ideas behind it, it’s just dumb. to me, few use it for good. But just to name some who do, glenn jones, william tyler, mary halvorson, tortoise and the boredoms all make music I absolutely love.
what non-musical (piece of?) art(s) has had the biggest influence on your music?
the work of jim woodring, for sure.
do you ever feel like you glimpse, out of the corner of your mind’s eye, some instrument not yet invented that you wish was? can you describe?
no, but I would love it if I could get a car horn that is not only deafening but is also a flamethrower.
would you ever—presuming you haven’t, pardon if my internet research skills are lacking—like to do some sort of sound installation à la christo or spiral jetty (etc.)?
basically chickfactor has been into dump ever since we heard it and we have no idea why the rest of the world has been lazily ignoring it since its early ’90s brilliant genius recordings. now FINALLY some label has gotten the good sense to reissue some dump! at last! for chrissakes, what is wrong with the indie labels in the u.s. — um, matador, hello? if enchanté had the dosh, we’d have started the feeding frenzy way back in the day. instead we just forced james to play at our chickfactor parties.
earlier this year we saw the release of a new dump 12″ single called “nyc tonight,” try not to let the fact that it is a g.g. allin cover put you off! now chickfactor has the exclusive international news scoop that morr music of germany has the excellent wherewithal to reissue these first two dump albums that you see pictured here: I can hear music & superpowerless! according to james mcnew (also of yo la tengo, a band you may have heard of), these two will be available on vinyl (for the first time), CD and digital, with new artwork and lots of extra bells and whistles and bonus tracks! dump even had to consult chickfactor to find out the dates of all their shows from the olden days because apparently chickfactor is the only one who remembers (or wrote down this kind of thing). so there you go! there is no release date yet but we will surely be the first to have the scoop so check back with us. and hopefully all the other dump recorded work will be available soon on vinyl too!
dump is a lazy band from brooklyn. they never do enough music for the kids. they go on the road with some other band, which is really annoying! get to work, dump. for chrissakes, we need a new dump box set. we tracked down the dump guy for an exclusive interview.
cf: where is my new dump album?
dump: it’s not done yet. cf: what has dump been watching on tv? now that dump is a tv star who has starred on the gilmore girls and the simpsons, what other shows does he want to be on?
dump: I’ve been watching heroes,the wire, lucky louie,pitagora suichi and talk sex with sue johanson. I wouldn’t mind being in the audience of a judge judy. cf: what is dump eating on the road with his other band?
dump: I’ve been eating cuban food in miami, somewhere near the corner of stab whitey and kill whitey. bbq from dreamland (the tuscaloosa branch, but delivered to us in birmingham) was stout and soulful. I couldn’t find anything to eat in orlando so instead I bought records (eddie bo, skull snaps, chubb rock, beach boys “breakway” 45, released the day I was born!). fried chicken in tallahassee. very good cheeseburger at pete’s in knoxville. jonathan marx brought me cookies from nashville’s best bakery, becker’s. cf: what does dump download, listen to, watch, whatever, on the innernet?
dump: recipes, sports scores, directions, occasionally music, “can’t stop the bleeding,” hardcore pornography, flipper videos on youtube, and streaming wfmu. cf: where is my dump box set? badges? promotional vinyl carrying case?
dump: I don’t know where your dump box set is. same goes for the badges. I don’t even know how to address the matter of the promotional vinyl carrying case. those would all be pretty cool, because the first two things could fit inside the third thing, and you could carry them all around like that, and then it’d be really easy to know exactly where they all were. but I haven’t made any of those things yet. cf: why is dump ignoring the fans? when will he deliver the goods?
dump: I’m not ignoring dump fans, quite the contrary. I finally started a dump myspace spage, where I am conversing freely, practically like a normal person. I’m posting new, unreleased and hard-to-find songs there from time to time, as well as original artwork. cf: normal, hmm? ha ha, keep trying.
dump is on myspace apparently, but we would prefer a new vinyl product