Pomegranates

Auxes
workspace Invaders
Now,Now every children
Horsebites
Randy Laybourne - 20x20
Robindale330
Editors Memo . . . . . . . . . . . . . . . . . . .4
Adam Sever
Chris Pernula
Variance . . . . . . . . . . . . . . . .5
Contributing
Photographers Change is Sound . . . . . . . . .6
Nick Wosika
letter3photography.com Pomegranates . . . . . . . . . . .13
Neal Shipe
Auxes . . . . . . . . . . . . . . . . . .18
Michael Stenerson
michaelstenerson.blogspot.com workspace Invaders . . . . .22
Jamie Maldonado
www.jcm-photo.com/ Now,Now every children . .28

Cover Photo
Horsebites . . . . . . . . . . . . .32
nick*L3p
Rider - Nate Reimnitz 20x20 . . . . . . . . . . . . . . . . . .40
Contents Photo
Michael Stenerson Robindale330 . . . . . . . . . . .43
Rider - Matt Sterbenz
photos . . . . . . . . . . . . . . . .52

Contact Swimmer’s Ear

P.O. Box 1616 • Monticello, MN 55362
swimmersearmag@yahoo.com • myspace.com/swimmersear
 MEMO
It’s Last Call
In November of 2008, Chris and I had a discussion as to how we wanted the future of Swimmer’s Ear to play out. We’ve both
become increasingly busy with our lives outside of Swimmer’s Ear, and with each issue of SE coming out farther apart from the
ones before it coupled with the ever rising printing costs, we decided to discontinue Swimmer’s Ear after issue #25. Chris explains
in his own words that he “would be content at doing 25 issues, most people can't say that about a self-published zine” and I com-
pletely agree with him. June of this year will mark ten years since we released our first issue, and to think we’ve been doing this
magazine for ten years kind of blows my mind when I think that I’ve been doing this magazine more that a third of my life. How
many of you can say you’ve done something for ten years?

We’ve met a ton of amazing people, done a ton of amazing things, and heard a bunch of stories of people seeing our magazine
under a rock near Duluth or on the back seat of Rob Sissi’s car. The experiences alone have made making this magazine worthwhile.

While I am going to try and list everyone that I want to thank, don’t be mad if you’re not listed, you are special too. First off I gotta
thank Chris for his amazing ideas and passion for SE, this magazine would’ve been dead long ago had you not helped. A second
thanks goes to my wife and kids for their imagination, understanding, and love.

And in no particular order: Linda and Josh at the Hot Spot, Fobia, Brian Perry, Luke Hunt, Jack Boyd, Skunk Magazine, Ricki from
Board to Death Sports, Evan Nagan, Brian Nagan, Paul Pernula, Casey Copenhaver + everyone else in the SE videos. Chris
Patnaude, Mike Carlson, Mark and Steve at 3rd Lair, Steve Nesser, Tucker Gerrick, Familia Skateshop, Dennis Swearingen, Jamiel
Nowparvar, Mike Guy, Brian Godfrey, Michael Stenerson, Sam McGuire, Mike Munzenrider, Matt Roesch, Thurman Lewis, Jesse
Reed, Dom Hess, Rob Norland, Emeric Pratt, Neil at Roots Skateboards, Todd Brown, Anthony Nollen, SPRNTRL, Rob Sissi, Elijah
Collard, True Ride, Medium Control, Jeff Meyer, Matt Peterson at Academy Snowboards, Youth Shelter Supply, Mike Theines, Randy
Laybourne, Ricky Oyola, Bob Kronbauer, Chuck & Will at Beartrap PR, Nasty Little Man, Sheila Breen Kenny, Jessica Hopper, Carrie
Klein, David Lewis, Fanatic Promotion, Riot Act PR, Jamie Sellers, Regan from In the Works, Joe Blum, Dan Monick, Colin
Simmons, Seth McCallum, Zach Windahl, Todd Bratrud, Neal Shipe, Chris Dietz, November Snowboards, Vern at Listen, Powell,
Lakai, DVS, Dekline, Tumyeto, Crimson, Craig at Satori, Jason Rothmeyer, Ashton at Etnies, Robb at Bones Wheels, Erik Olsen at
SLAP, Pat Milbery, Russ Pope, Shad Lambert, Chris Strong, Tom Loftus, Jeff Bauman, Cal Surf, Volume Skateboards, Zombie
Boardshop, FL Project, Benji Meyer, Sheldon Sabatini, Nick Wosika, Stencil Steve, Erich Dummer, Anthem Boy Skateboards, Indy
Trucks, Handjob, Jimi Nguyen, Charlie Allen Kraft, Laura Austin, The Hut, and Damage.

All the bands, skaters, artists and photographers we’ve interviewed. Anyone who has contributed. All the readers of this magazine.

Thank You!

-Adam

04
 POST - A Look at the Influence of Reasons Why

VARI Post-Hardcore 1985-2007

I never get sick of Randy Laybourne's zines. Each one is unique
and an interesting read. Reasons Why is no different. It’s 40

ANCE Written by a former Punk Planet writer

Eric Grubbs, POST, is a fantastic look into
the evolution of post-hardcore/emo from
its birth in the mid-1980s. POST picks up
pages of graphic goodness. Unlike past zines, Reasons Why
doesn’t have any outside contributors, but it does give you a peek
into Randy’s amazing 20x20 project. Check out more information
where Michael Azzerad’s Our Band Could at lookforwardtothepast.com.
Be Your Life leaves off and follows a simi-
lar narrative style. This book features sec-
tions on Dischord, Jawbox, Sunny Day
Real Estate, Jawbreaker, Braid, The
Promise Ring, How Water Music, The Get
Up Kids, At the Drive-in and Jimmy Eat
World. Grubbs does a great job of giving
detailed information on each band and
also including a deeper look into bands
and labels related to the bands featured,
like for instance detailing the rise of Sub Pop and Foo Fighters in
the Sunny Day Real Estate section. If you are a fan of any of the
bands mentioned above, do yourself a favor and buy this book.

ClubMumble.com Paper Egg Books

In early 2007 BobK. launched Chicago’s illustrious indie publishers, Featherproof, have cracked
Mumblemagazine.com, an on- the shell on their new project, Paper Egg Books. Paper Egg is a
line magazine that included subscription-only series of books. For $20 a year they will send
comics, reviews, interviews, you two limited edition books that are written in the novella and
videos, and tons more. In 2009, short story disciplines. If you sign up soon, they will throw in a
the 2nd version of Mumble
launched as ClubMumble.com.
Bob got 120+ of his closest
friends to join and have them
contribute as often as they can. The result is an eclectic blend of
“blogs” from the industry’s writers, photographers, artists, com-
pany owners, and skateboarders as well as interviews with Club
Mumble participants. The amount of information uploaded is
astounding. The odds are you can refresh the page during your copy of Amelia Gray’s AM/PM, and it wont count against your
visit and get new content. Clubmumble.com is definitely worth a subscription. Featherproof has always been pushing the envelope
daily visit. with their designs, books and ideas, and Paper Egg is a great
example of a forward-looking publisher.

05
 CHANGEINSOUND
Air Above City Andy Shauf
Thunderballoon Darker Days
Air Above City This young Canadian folk songwriter can
is a New sure pen a tune. Each song is elegant and
Jersey band craftily arranged. Shauf show off his abilities
that mixes by playing every instrument on the album
elements of and he doesn’t disappoint. (P is For Panda)
Minus the
Bear, Maps Annabel
a n d Each and Everyone
Atlases, Kent, Ohio’s Annabel is back following a
Get Him Eat impressive debut EP. Each and Everyone is
Him, and Glassjaw. a quick blend indie pop, catchy melodies
Thunderballoon, and post-punk. One listen of the opener
their first release, is an “Sleeping Lions” will have you hooked.
album overflowing with creativity and origi- (Count Your Lucky Stars)
nality that you can scream and dance too.
(Self-Released) The Appleseed Cast
Sagarmatha
Algernon Cadwallader The Appleseed Cast said that their next
Some Kind of Cadwallader album would have less vocals and they
I believe Algernon Cadwallader’s popularity weren’t kidding. The opening eight-minute
is somewhat due to their uncanny likeness track features vocals for only the last 2 min-
to the musical stylings of American Football, utes and even then they are sparse.
Cap’n Jazz and Tim Kinsella’s vocals. For Sagarmatha is a quite good album with a
years people have ached for someone to few hits and misses, but sure to please any
replicate Cap’n Jazz’s youthfulness and off- fan of the band. (The Militia Group)
kilter music and Algernon Cadwallader has
hit the mark dead on with Some Kind of Auxes
Cadwallader. Some Kind of Cadwallader is Sunshine
not a complete Cap’n Jazz rip-off, these Auxes is the current project of Milemarker/
guys have plenty of musical talent and have Challenger ringleader Dave Laney. On
added their own twist which can be heard Sunshine, Laney played all the instruments
on “Motivational Song” and the title track. and wrote all the music. The sound on
(Be Happy) Sunshine is similar to the lighter material
found on Milemarker’s album Ominosity but
shows Laney's wide range as a songwriter.
(Lovitt Records)
06
Banner Pilot
Resignation Day
Featuring Members of Off With Their Heads
and Pyongyang Metro, Banner Pilot’s latest
release, Resignation Day, is a testament that
good punk is still alive and kicking. With
influences like The Lawrence Arms,
Jawbreaker and Dillinger Four, Banner Pilot
has the skill to continue releasing great
punk. (Go-Kart Records)
Bears
Simple Machinery
At an instant, Cleveland Bears can be
grouped together with indie pop bands like
The Shins. The opening track, “Please
Don’t” is the standout on the album with its
driving organ. For a genre that has lasted
longer than it should, Bears have put their
own spin on it with Simple Machinery.
(Self-Released)
Beep Beep
Enchanted Islands
Beep Beep, what happened!?! Your previ-
ous album Business Casual was a sex orgy
of wailing guitars, angular lines and it was in
your face. It’s hard to believe Enchanted
Islands was made by the same band that
made Business Casual. This album isn’t all
bad, there are a few bright moments here
and there. (Saddle Creek)
Beware of Safety
CHANGEINSOUND
Dogs
Beware of Safety is an instrumental band
that mixed rock with ambient to make an
interesting sound similar to what The
Appleseed cast has done. Dogs in good in
many ways but at over an hour long, it was
hard to listen to the album all the way
through. (The Mylene Sheath)
The Blackbelt Band
A New Community
The members This New Orleans band have
been playing together for more than ten
years and the chemistry shows on A New
Community. At times, the singer’s voice
gets a bit annoying but the music somewhat
makes up for it. (Sickroom Records)
Boris Smile
Beartooth EP
Sounding sort of like Say Hi, with less com-
puters and better instrumentation, Boris
Smile’s Beartooth is dark, moody and clever.
This band’s full length is definitely being
anticipated. (Count Your Lucky Stars)
Bound Stems
The Family Afloat
I don’t know what Bound Stems did with
their sophomore album, The Family Afloat,
but whatever it was it worked. They have
grown musically ten-fold since their last
album, Appreciation Night and it shows with
every song on the album. Highly double rec-
ommended! (Flameshovel Records)
Brighton, MA
Amateur Lovers
Featuring ex-members of The Scotland Yard
Gospel Choir, Brighton, MA’s Amateur
Lovers is adventurous as it is dour. Some
songs have you down in the gutter, while
other have you skipping in the sunshine.
(Loose Tooth Records)
Call it Arson
Mothwash: The Old Flames 7”
This two-song 7” is a good introduction to
Call it Arson. “There’s a Way To Be On”
shows off their heavier side with its crash-
ing cymbals while “Sharpie” shows off their
soft, sensual side with its quivering vocals.
(Kill Normal)
City of Ships
Live Free or Don’t EP
Live Free or Don’t compiles City of Ships’
2008 Tour EP on Side A and the "Live Free
or Don't" EP on Side B. Both EPs are raw
heavy rock with crunching guitars that any
metal head would enjoy.
(Forcefield Records)
The Color Wheels
The Color Wheels
The Color Wheels are a husband and wife
duo that play sugary sweet indie pop rock
music. “Green Means Go” is the kind of
song that record execs ears perk up to
based on its simplistic sing-a-long style that
everyone would enjoy. (Viper Bite Records)
Cursive
Mama, I’m Swollen
Cursive’s Ugly Organ was the first material I
was exposed to by this Nebraskan band and
I think that because of that, I have a hard
time getting into their later releases. Mama,
I’m Swollen is Cursive at their finest and this
release will push them further into the lime-
light. (Saddle Creek)
Daemon Familiar
Dawn of the Albatross
Daemon Familiar play an intense mix of
power pop garage rock with fuzzed out gui-
tars. Daemon Familiar show a lot of poten-
tial and would benefit with working with an
experienced producer on their next release.
(Self Released)
Driving on City Sidewalks
Where Angels Crowd to Listen
This Canadian duo plays the type of emo
that is quiet then loud kind of like Hum. The
vocals tend to get lost in the instrumenta-
tion at times but works nonetheless. The
title track on this EP is the definite stand
out. Unfortunately, the other four songs
can’t compare. (Count Your Lucky Stars)
Edie Sedgwick
Things are Getting Sinister and Sinister
Justin Moyer aka Edie Sedgwick creates
some very interesting pop jams that can
only be described as Rah Bras meets Barr.
It’s arty, complex and damn original.
(Dischord)
07
 CHANGEINSOUND
The Evening Rig
Is Doin’ Stuff
If Never Been’r was their album about
breaking up with the girl, then Is Doin’ Stuff
is about the new girl. This album is bright,
upfront and shows the band doing their
best. Jason Miller has a knack for writing
great timeless music. (Heart of a Champion)
The Everyday Visuals
S/T
From New Hampshire, The Everyday Visuals
are an infectious pop band with a sound
reminiscent of Wilco and The Beach Boys,
this band is sure to start turning heads all
over the country. (Self Released)
FIRS
I Will Come Back As a Volcano
You may know Joey Cook as one of the
members of Cincinnati's Pomegranates.
FIRS is a lot like Pomegranates sound wise,
almost like these songs could be from a
Pom B-sides album, but they are A-side
quality. If you’re a fan of Pomegranates,
then you’ll enjoy this too. (Self-Released)
Gatorface
Sick and Stupid EP
Gatorface has risen from the ashes of New
Mexican Disaster Squad with a sound simi-
lar to NMDS but totally their own. Sick and
Stupid is a great EP that shows tons of
promise from this band. (Paper + Plastick)
08
Good Old War
Good Old War
Who would’ve known that a band of
acoustic jams and three part harmonies
would be so good. This is an excellent
album to unwind with that’s perfect for
summer. (Sargent House)
I Am Alaska
A Day in A Life
On A Day in A Life, I Am Alaska poorly
attempts to be the next Thursday/At The
Drive In. Influences from both bands can be
heard and rather than create something
original, I Am Alaska butcher any credibility
those two bands had. If I were the state of
Alaska, I would be embarrassed that this
band claims to be me. (No Sleep Records)
Joan of Arc
Flowers
While Joan of Arc’s two previous albums,
Eventually, All at Once and Boo Human,
were more straightforward indie rock
albums, Tim Kinsella and crew’s latest,
Flowers, throws the listener a curveball.
Opening with a slow electronic pop song,
similar to early Askeleton recordings, the
album skips onto a piano driven number
with chant like background vocals. There
are glimpses of past JOA recordings
throughout Flowers, which hardcore JOA
fans will recognize, but even those fans will
have to listen to Flowers a few times before
it’s completely grasped. (Polyvinyl)
Joie De Vivre
Summer Months
Sounding like a midwestern emo band, circa
1997, Joie De Vivre sound like early
Promise Ring, pulling influences from
Mineral, Pavement and American Football.
This is emo before it got all mainstream and
taken over by mall stores. Summer Months
is an excellent debut album.
(Count Your Lucky Stars)
Jumpercable
EP
In just over nine minutes, Jumpercable
blaze through all nine of their songs with
such ferocity and urgency it would make
Gorilla Biscuits and Kid Dynamite proud. It
is solid hardcore with old school roots.
(Monkey Wrench Records)
Junebug
Share
Share is a well written and perfectly played
album of summer jams. Junebug blend
influences ranging from classic rock to
grunge, with a little bit of funk groove and
do it extremely well. The singer has an inter-
esting vocal delivery that fits well with the
music. Definitely worth checking out.
(Self Released)
La Dispute
Somewhere at the Bottom of the River
Between Vega and Altair
Twelve remarkable songs is what you will
find on Somewhere at the Bottom of the
River Between Vega and Altair. Jordan
Dreyer’s quick, almost beat poet like deliv-
 CHANGEINSOUND
ery, combined with his ability to weave sto-
ries with emotion, along with the inventive
musicianship of his bandmates makes
Somewhere at the Bottom... one of the most
engaging albums I’ve ever heard. Do not
sleep on this album, pick one up now!
(No Sleep records)
Lady Dottie and the Diamonds
S/T
I’m not a fan of blues rock, but Lady Dottie
has got me clapping my hand and shaking
my ass on the dancefloor. The songs are
piano and guitar driven soon-to-be party
classics led by the sultry vocals of Dorothy
Mae "Lady Dottie" Whitsett. Nine of the
songs are originals and three are covers
including The Jefferson’s theme song
“Moving On Up” (Hi Speed Soul)
Lanterns
Apocalypse Youth
Lanterns five song EP is an interesting mix
of pop rock jams and indie attitude. Like a
combo of Weezer and Jimmy Eat World. The
result being clever songs, loud distortion
and solid melodies. (Self-Released)
Lipona
Atlas
Rooted in melodic hardcore and skate punk,
Lipona, have written a quite impressive full
length. I was pleasantly surprised by this
album after a couple listens. At first I
thought of it as generic, but after frequent
listens, the layers start to be exposed and
you’re left with a innovative and thoughtful
album. (Self-Released)
Living With Lions
Dude Manor
Sounding like a heavier version of Broadway
Calls mixed Polar Bear Club, Living with
Lions’ Dude Manor is a great short EP. One
can only hope that they have a full length on
the way. (Adeline Records)
Longwave
Secrets are Sinister
This Brooklyn band is like a more straight-
forward rock version of The Strokes.
Secrets are Sinister is Longwave’s fourth
album and it shows that they still have the
creativity to write radio friendly pop rock
tunes. (Original Signal Recordings)
Look Mexico
Gasp Asp 7”
Gasp Asp shows so much growth from their
previous album This is Animal Music. If
these three songs are any indication what
Look Mexico’s next full length will sound
like, than I am giddy with anticipation.
(Tiny Engines)
The Makeout Party!
Lengths and Limits
Lengths and Limits takes you back to a time
when emo wasn’t a household name and
was still fresh. The Makeout Party’s sound
isn’t original but they still have created a lis-
tenable release. (Make Music Collective)
The Marked Men
Ghosts
The Marked Men are kings when in it comes
to writing excellent short pop rock tunes.
The sound on Ghosts doesn’t vary much
from their last release Fix My Brain, but fans
will still surely be pleased with the output.
(Dirtnap Records)
Memorial
The Creative Process/Berlin LP
Former Renee Heartfelt members make up
Memorial and this vinyl LP contains 8 songs
that was to be two separately released 7”s.
With Heavy guitar riffs and atmospheric
tones, this album would interest any fan of
Quicksand or Texas is the Reason.
(Flight Plan)
Merit
Arson is for Lovers
Merit is a female fronted punk rock band
that is like a faster, heavier version of Rainer
Maria. I’d think this album would be boring
if it weren’t for lead singer Brenna Merritt.
Her voice adds a totally new and fresh
dimension to the music. Totally worth
checking out. You can download a free copy
at www.gomeritgo.com. (Self Released)
mewithoutYou
It's All Crazy! It's All False!
It's All A Dream! It's Alright
Over their past four albums, mewithoutYou
has slowly evolved from a heavy intense
band to a laid back, feel good band. It’s All
Crazy!... is by far the biggest departure in
mwY’s discography and is sure to leave fans
puzzled. Singer Aaron Wiess has traded in
his intensity for preachy intimately sung
vocals. It’s All Crazy!... isn’t bad by any
means, it shows the band adding numerous
09
 CHANGEINSOUND
instruments; tubas, accordions, violins, and
creating beautifully arranged songs in the
process. The religious references are more
pronounced on It’s All Crazy!... which might
turn away their secular fans. While some-
what of a disappointment, It’s All Crazy!... is
a really good album that shows band invent-
ing a new sound for themselves. (Tooth and
Nail)
The Modern Society
The Beat Goes On
Atlanta’s The Modern Society sounds like
Connecticut’s Hot Rod Circuit if they were
from New York. The Beat Goes On, their
sophomore release is quite good and is
filled with many rocking songs.
(Original Signal Recordings)
Now, Now Every Children
Cars
Cars is one of the best releases of 2008.
Cacie Dalager’s innocently haunting vocals
backed with Brad Hale’s exact drumming
create such mood and emotion throughout
the entire album. This duo knows how to
write meaningful songs and will assuredly
be known by all soon. (Afternoon Records)
Oceans
Nothing Collapses
Listen close to Nothing Collapses and you
will faintly hear the sounds of gang vocals
delicately complementing the post rock
instrumentals. Oceans’ instrumental sound
close to Explosions in the Sky, but blend in
their native Chicago/Urbana into the mix.
(Copper Lung Records)
10
Off With Their Heads
From the Bottom
It took me a couple of listens to get into Off
With Their Heads. Something about the
vocals kept putting me off, until during one
listen it finally clicked. From the Bottom is a
great punk album that stands out on every
track. (No Idea)
Olehole
Hole Mole
Featuring ex-members of The Ghost,
Hanalei, and Burial Year, Olehole harkens
back to the sound of The Ghost, but moves
much farther past. Each song oozes with
thick bass lines and heavy guitars, compli-
mented by Brian Moss’s sing/scream
vocals. (Underground Communique)
One Win Choice
Define/Redefine
One Win Choice aren’t redefining hardcore
with their releases, they are contribution to
it and so far, those contributions have
sounded good. The same intense sound can
be heard on Define/Redefine.
(Jump Start Records)
Only Thunder
Lower Bounds
Featuring former members of the Blackout
Pact, Ghost Buffalo, Cost of Living, and the
Mediks, Lower Bounds fails to impress.
Sure the music is good, but many of the
songs are easily forgettable, save for the
standout track “Splatterhouse”. They got it
right on that song. (Bermuda Mohawk)
Outclassed
This Might Be Coincidence 12”
This Might Be Coincidence is 15 minutes of
shouted vocals and screeching guitars
which translates into pure raw fury through-
out all five songs. (Forcefield Records)
Paper The Operator
Solemn Boyz EP
In addition to recording solo material and
playing in The Color Wheels with his wife,
Jon Sebastian also mans the full band indie
rock goodness that is Paper the Operator.
The Solemn Boyz EP has a sound of catchy,
melodic pop similar to Jimmy Eat World or
The Stereo. (Viper Bite Records)
Pele
A Scuttled Bender in a Watery Closet
Existing form 1997-2004, Pele was a staple
in the indie instrumental scene. Their cre-
ativity was unparalled and has since carried
on with Collections of Colonies of Bees. A
Scuttled Bender in a Watery Closet is a col-
lection of songs that spans the entire Pele
discography and includes rare, b-side and
vinyl only tracks that combined is over two
hours of music. This is a definite must own
for any fan of Pele or instrumental music.
(Polyvinyl)
Pomegranates
Everybody, Come Outside!
Cincinnati’s Pomegranates make music that
is fun to listen to. They play an upbeat indie
with jangly guitars and sing with joy in their
voices. Everybody, Come Outside! shows
the band growing into their sound and hon-
ing their skill. (Lujo Records)
Push-Pull
CHANGEINSOUND
Hello Soldier
This is re-issue of their debut by the same
name from 2005. The album is thick distort-
ed post rock that at times is quite clever and
inventive. (Sickroom Records)
Quatre Tête
Art of the State
Quatre Tête play mathy post rock with a
prog influence that is similar to another
Chicago band, Shellac.
(Sickroom Records)
Quieting Syrup
Songs About a Sick Boy
Quieting Syrup is the solo output from
Pinebender’s Stephen Howard. There are
twelve songs on Songs About a Sick Boy
that were written in a span of twelve years
and it focuses mostly on the heath battles
he has endured. The songs are filled with
desperation and hope and are played with
heartfelt emotion from someone who has
experienced a lot. (Lovitt)
The Reptilian
Boy’s Life EP
The Reptilian instantly reminded me of Iowa
City’s Ten Grand, right down to the vocals
and music. There is a lot of influences from
the midwest heard on this EP, but it is one
of the better ones released so far this year.
(Count Your Lucky Stars)
Rise Against
Appeal To Reason
At the dusk of a lengthy presidential elec-
tion, Rise Against has released a powerful
politically charged punk album. Not much
has changed in their sound from their previ-
ous releases, except for maybe the acoustic
tear-jerker “Hero of War”. As with any Rise
Against release, there are plenty of punk
anthems to pump your fist to.
(Interscope Records)
Say Hi
Oohs & Aahs
I was a bit surprised to see a new Say Hi
album when they released one just over a
year prior. I was a even more surprised
when I saw that it was being released on
Barsuk. For the history of Say Hi, leader Eric
Elbogen has released all of Say Hi’s materi-
al through his own Euphobia Records. Oohs
& Aahs is no stretch from their previous
material, just a bunch of good pop rock
gems. (Barsuk)
Scream Hello
Everything is Always Still Happening
With Everything is Always Still Happening,
Scream Hello has crafted a well-rounded
working-man’s feel good rock album that
won't bore the listener. They keep getting
better and better with each release.
(Red Leader Records)
Sharks and Sailors
Builds Brand New
With rotating male/female vocals, Sharks
and Sailors sound like 90s grunge. Three of
the songs on Builds Brand New are instru-
mental. Builds Brand New at time gets a bit
monotonous at times and may not be for
everyone. (Self-Released)
Sonny
Gypsyhook EP
Featuring former From First to Last vocalist,
Sonny Moore, the Gypsyhook EP sounds
like sugary dance music that the Disney
Channel would produce. I can only imagine
that this project was greenlit due to From
First to Last’s popularity, cause it certainly
wasn’t due to the music on this album. If
this is the future of music, then the future
looks bleak! (OWSLA/Atlantic)
Starflyer 59
Dial M for Martin
Jason Martin has been releasing music
under his Starflyer 59 monikor for over 15
years and with his latest release, Dial M for
Martin, he shows no signs of letting up. Dial
M continues Martin’s ritual of writing well
crafted pop rock songs. (Tooth and Nail)
Stay Sharp
Four Songs
You’d never guess it but Four Songs only
has four songs on it and it lasts just over six
minutes. This Philadelphia's band brand of
east coast hardcore is a bit refreshing and
it’ll be interesting if they can convey the
same feel on a full length.
(Monkey Wrench Records)
11
 CHANGEINSOUND
UltraChorus
Words Keep Talking 7” Single
UltraChorus is a Minneapolis production
duo who create electro pop Postal Service-
esqe jams that are quite awesome. This two
song release is a great intro to the duo and
if they keep making songs like these, they’re
gonna be huge. (Self Released)
Take No Damage
The Shambles EP
Coming off the heels of their Mushroom
Clouds and Silver Linings full length, Take
No Damage is back with their computer
effected Rentals-esque sound. They use an
abundance of audio clips and fuzzed out
synths in their music that adds an interest-
ing element to their noise pop recordings.
(All Hail Records)
These Arms are Snakes
Tail Swallower and Dove
With every release, These Arms are Snakes
re-invent themselves slightly so each album
has its own sound and the same applies for
their Suicide Squeeze debut Tail Swallower
and Dove. It really seems that they have
found their groove with this release, as it is
the best they’ve done yet.
(Suicide Squeeze Records)
Three Second Kiss
Long Distance
For me, saying your album was produced by
Steve Albini is like telling me your album
has songs on it. It doesn’t sell me on the
album any more than it would if somebody
else produced it. Long Distance though,
12
sounds like it could have come from Albini’s The Wooden Birds
personal discography. I do enjoy the mathy Magnolia
guitars on Long Distance, but I can’t see For quite a while now I’ve been wondering
myself playing this constantly. what American Analog Set frontman
(Sickroom Records) Andrew Kenny has been up to. I was hoping
for more AnAmSet music but instead
Tigers Jaw Andrew got a band together to create beau-
Tigers Jaw tiful simple music. Relying mostly on his
When I first listened to Tigers Jaw, I had the acoustic guitar and his voice, Kenny and
same feeling as I did when I first heard The band create twelve wonderful folksy songs.
Promise Ring. It was the feeling of a bunch (Barsuk)
of kids playing music, just to play music. No
pretensions, no motives, just raw produc-
tion and an upbeat tone. You can tell from
this album the guys and lady of Tigers Jaw
are having the time of their lives.
(Prison Jazz Records)
Vacations
I was a Bikini / But Rain Afraid
Featuring Jeremy Bolen and Bobby Burg of
Chin Up Chin Up and Love of Everything,
Vacations music is a blend of both bands
but leans more towards the Chin Up side. I’d
imagine this is what Chin Up Chin Up would
sound like if they were more abstract.
(RecordLabel RecordLabel)
Virgins
Miscarriage
Virgins, like Gatorface, feature ex-members
of New Mexican Disaster Squad. Virgins
sounds like an 80’s hardcore version NMDS,
due to Sam Johnson’s vocals. Just like
NMDS, Virgins triumphs on Miscarriage
(Kiss of Death)
pomegranates
cincinnati, ohio’s

interview with joey cook

13
14
Everything is Alive was well received by critics and fans, was there any pressure to out do it when writing and recording your new
album Everybody, Come Outside!?
Everything is Alive was really just a continuation of our first batch of songs, like an extended sequel to Two Eyes, so when people really
seemed to like it it was a surprise to us. With Everybody Come Outside!, we felt pretty confident with the songs from the beginning and
we actually wrote it intentionally as an album. Depending on how people feel about this one, the real pressure will come for the third album,
I think.

Did you use the same approach to writing and recording with the Everybody, Come Outside! as you did with Everything is Alive?
Not at all. We recorded "Everything is Alive" totally live at Sound of Music in Richmond, VA with the wonderful Miguel Urbiztondo and
went back to do overdubs and vocals and stuff. Also, like I said, the songs on Everything is Alive were written randomly and sequenced
in a way that we thought made most sense after we recorded them. Whereas with Everybody Come Outside! we nearly wrote the songs
in sequential order, and knew how we wanted everything to flow before we even went into the studio. And the "studio" was the other big
difference. We tracked 9 of the 12 tracks at our friend Steven Howell's home studio in Newport, KY, which was also a great time. We got
to do 2 of the 12 at Inner Ear with T.J. Lipple, which was incredible. The remaining song, “Sleepover”, which ended up being the b-side
for “Corriander”, we got to record right here in Cincinnati with our good friend Cameron Cochran and the sweet Mike Montgomery at
Candyland Recording Studio. So far we've had nothing but good experiences with recording. Very nice.

What can be expected of Everybody, Come Outside!?

Three things: Time Travel, Ocean Swimming, and Wormhole Cruising

You'll be releasing Everybody, Come Outside! on CD and vinyl, how do you feel about releasing the album on vinyl and what do you
think the importance of vinyl is?
Actually the vinyl release isn't working out anymore. At least not right now. However, my opinion on the importance of vinyl is as follows:
I think CDs are on their way out, fast, making way for a quickly growing digital world - perhaps a very basic observation by now. I've just
been afraid that no one will care about holding a tangible piece of art that accompanies the music. Album art, and liner notes, and what-
ever else are a big part of why I love buying albums. I know these things are still available with a lot of digital media, but it's just never
the same as being able to hold something, and smell it. You know?

How's it been working with Lujo Records?

Lujo is amazing. From the time we got on board with them in June, I think, of 2007 to this very moment, in February of 09, we've been
counting our blessings with them. A huge "thank you" is owed to our friends/label-mates Look Mexico, who saw us play a pretty rough
set when we played with them once back then. They liked it somehow, and passed word along to Lujo. I feel like it was really lucky how
it worked out. But they've been incredibly helpful, and patient, and encouraging - oh boy, encouraging like you wouldn't believe! Amazing
people, Erik and Jocelyn, they are.

After reading through some of the blog posts on the Everyone Outside blog, one would assume that religion is a part of your lives?
Do the members of Pomegranates share similar beliefs?
Well, I'm pretty sure that we were all raised going to church. It was definitely a talk we had when we started the band. I think we don't
necessarily see eye to eye on every smallest detail of everything, but religion was something that Jesus was pretty into, and I know we
all value what He taught.

15
 Do your spiritual beliefs play any part in the lyrics?
I think that whatever someone focuses their thoughts on will be reflected in their lyrics. We're all definitely influenced by Jesus' life,
and beauty in our lives that we feel He is responsible for.

Are the lyrics a collaborative effort or do they come from one member? How does the song-writing work?
Our lyrics and song-writing are extremely collaborative. Someone might have five seconds worth of an idea, and we'll maybe just jam
on it for a while, and start asking, "Oh, what if it did this next? or What if we tried this here?" So much fun.

You also release music under the moniker of FIRS. How is is different writing music for FIRS than with Pomegranates? You're also
releasing FIRS music for free on the Bandcamp.mu website, what's your reasoning behind this?
I wonder how you found out about this? Oh well, I'm glad you did. The biggest difference in writing for FIRS is that I'm doing it alone
mostly. Sophia Cunningham has been a lot more involved on the newer stuff, but it's still so much different from writing with three
other guys who will all be calling it their own. It's really just been a lot of fun trying to get better at recording with extremely limited
gear and trying to write mostly on my own. I just really want as many people to hear it as possible, and knowing that people don't gen-
erally like paying for things, why would I charge anything? Besides I made it for free.

I've heard people say that Pomegranates are a Cincinnati band that sound like they’re from the east coast, can you expand on that?
What do east coast bands sound like? I think Cincinnati probably has more of a punk and noise background, so maybe, because of all
the reverb and groove, it's harder to say we're a Cincinnati band and then just leave it at that. That's my guess.

Most people wouldn't think that Cincinnati has a large music scene, describe the music scene in Cincinnati and it's benefits and
drawbacks?
The Cincinnati music scene: Matthew Shelton,The Seedy Seeds, The Sheds, The Read, Bad Veins, Peter Adams, The Greenhornes,
Buffalo Killers, Eat Sugar, Daniel Martin Moore.. the list goes on, literally, for one entire eternity. There are definitely awesome things
coming out of this city. And the best part is, it's like a big family, as cheesy as that sounds. All these people are just great, as humans
and as artists. Drawbacks? No.

Would you consider what you do with Pomegranates art?

Oh my yes. I think anyone could just sit around writing songs. In fact, people do that.. and I think you can tell. Even so, I believe music
is art, and we're really trying to do something more purposeful. I know not every song is going to be the best, but hopefully at some
point in what we have to offer, someone is moved or changed by something they've heard from us. I'm sure not everyone will get it,
but even if one single person does, I'll die feeling pretty good.

What experiences did you gain from touring with Islands?

We got to experience some of the most fun shows we've ever played, with some of the nicest guys we've ever played with. I remember
learning how to be comfortable playing in front of (relatively) a lot of people. It doesn't have to be scary like I always thought it would
be! How freeing. Thanks, Islands.

What plans do you have for touring in 2009?

2009 = busy busy busy. We've already done really fun shows with Bear Hands, who were great. We leave in less than a week for the
rest of February which I'm very excited for. March holds six shows with Headlights (Polyvinyl) on the way to SXSW and then most of
April 13 to May 16 will be with Wye Oak (Merge) to support Everybody, Come Outside!, which will be released April 14 on Lujo. I can't
wait to see what the rest of the year holds. I love playing music and this is awesome and fun!

16
17

Was Auxes started after you moved to NC or before?
It was conceived of and began post-NC move, largely as a product
of having left long-term band mates in Chicago.
What prompted the move from Chicago back to NC? Do you have
any plans to move back to Chicago?
A combination of factors triggered the move from Chicago to NC.
My family lives in NC and there were things happening in my fam-
ily that demanded I be closer to them. After years of having a train
going through my backyard in Chicago, I also had the bright idea
that I would like to live in the woods - an idea that quickly retreat-
ed into fear of silence and bugs. My family situation seems to have
stabilized and (though I do love NC) I am currently living back in
Chicago.
18
Is Auxes a side project for now or a full time band?
It's the main band that I am involved in. I suppose that makes it
more "full time," but we also make time for lots of other things!
I know people that would like to hear more from both bands, so
what is the status of Milemarker and Challenger?
Both bands have always been extremely free form in terms of line-
up and playing habits, and both were difficult to maintain due to my
living in NC while Al was in Chicago. With my move back to
Chicago we'll see what happens. Milemarker recently did a short
European tour (summer 2008) and have a Chicago show booked
for March 2009. Hopefully both bands will become more active
then they have been over the past couple years.
Has writing music with Auxes been different than writing for
Milemarker or Challenger?
Much different. Holding both the aforementioned as comparison
points, it was most similar to Challenger, for which most of the
songs were written by Al and myself outside of a traditional
rehearsal space setting. Milemarker usually writes songs together
in a practice space. The Auxes album was just me, so it was piles
of layers and trial and error. Hopefully fewer of the errors ended up
on the finished product than once existed.
How long did it take to write and record Sunshine?
Delays and all considered, it was roughly two years between the
first song being written and the album being released.
What were the advantages and disadvantaged to playing all the
instruments on Sunshine?
One in the same actually: playing all the instruments. It was an
interesting experience full of driving myself mad - but it was some-
thing I had wanted to do since I learned how to play music. So in
that sense it is a token of completion. But I don't think it will hap-
pen again. There's a lot to be said about collaboration on a song...
like someone saying "Dave - do you really think that 23rd guitar
track is necessary?". So in that sense, deadlines were the only fac-
tor in completing songs for Sunshine. Otherwise I'd probably still
be screwing around with it, trying out slide flutes and other instru-
ments that don't need to be there. When other people are involved,
things tend to get done much quicker as band mates can edit ideas
before they turn into tracks. I seem to have a hard time with that.
What bands/musicians influenced the way Auxes would sound?
From a musical perspective that would be my entire record collec-
tion which is relatively all over the place. There's a lot of stylistic
play in terms of albums. But I think music is a product of your envi-
ronment as much as it is a synthesis of musical influences. Where
people are in life - both physically and mentally - can have an enor-
mous effect of what mood or feelings they produce with instru-
ments and words. In terms of other bands and musicians, the pile
slims substantially when I consider what is behind the band: the
way they conduct themselves, their politics, the way they treat
other people around them, their intentions for being involved with
a specific scene. Does their merch table look like wal-mart? If so,
what is the underlying importance of or rational for that? These are
questions that have shaped this band as much as any assortment
of albums have.
19
 Compared to other projects you've worked on, where does Auxes
rank?
It's impossible for me to really rank anything that I've done. All the
projects and songs - good and bad - have been important to me in
terms of paving the path to wherever I currently am in life - both
personally and musically. Auxes is the main focus at this moment,
so in terms of that I suppose it's top of the list.
You've worked with numerous labels in the past, what attracted
you to releasing Auxes material on Lovitt?
Brian has been a long time friend and I have always respected his
intentions with and operation of Lovitt. I wanted to work with a
label that feels like it's part of my family and I have a long term rela-
tionship with. Additionally, his smiling record logo is top shelf (very
important). Furthermore, Lovitt is dedicated to releasing albums in
the way that I understand an album - which is in physical formats.
With many smallish labels in the US, we're starting to see a dimin-
ished amount of bands seeing their albums on vinyl, and even CD.
Labels are being forced to "develop" bands in the digital domain
with download-only "albums". While my heart goes out to these
labels for attempting to keep up with a bastardized ratio of new
bands vs. drowning record sales and record store closings, this
isn't the format in which I understand an album. Lovitt began with
and continues to operate in very simple terms that begin with
Brian's personal relationships with his artists. I respect this
approach. It's more about the music then the business of music.
In your opinion, how has touring changed since you started over
10 years ago? Is it easier now or more difficult?
Well touring in the DIY scene has never been "easy" per se. That
archetypical band scenario portrayed in movies where a band
packs their bags and hops on the bus to be driven around to the
next town helmed by their tour manager is a reality never seen by
any DIY band. We always know where we're going because some-
one in the van has been emailing or calling the next venue (be it a
club, house, art space, etc) for the last few months. Then you're
scrambling to figure out plan B when the venue gets shut down or
someone flakes out. That is the common tour experience to me. So
in that way touring seems largely the same. Of course many things
have changed since my involvement with this community. Some
things for the better, some for the worse. There are realities of tour-
ing that have come into sharper focus for me personally - mass
consumption of gas, unethical treatment of t-shirt factory employ-
ees, being surrounded by endless hours of gas station food, the
balance of the involved people's personal lives vs. being away on
20
tour. In essence, the global and personal impact of touring. These
are things that have always existed but have become more impor-
tant for me personally.
What musicians have been playing with you on tour?
Quite a few actually. On the last tour, we had Pete Wagner on bass,
John Crouch on drums (plug for his other bands: Caltrop, Hazerai),
and Adam Kish on guitar (plug: Hazerai). Previously, the band has
included Ben Davis (plug: Ben Davis and the Jettz, Bats & Mice,
Milemarker, Sleepytime Trio), Mike Triplett (plug: Fin Fang Foom),
and Noah Leger (plug: Head of Skulls!, Milemarker, Tight
Phantomz, Hurl, Taking Pictures).
For someone who has toured the U.S. and Europe many times,
which one do you prefer to tour most? How would you compare
touring in the U.S. to touring in Europe?
That's a tricky question. I think the typical answer is that touring
Europe is generally a more hospitable experience. There are most
often places to stay, most often there is some sort of dinner and
breakfast provided, most often drinks are provided by the venue,
and drives are often under the 5 hour mark. For smallish bands
touring the US, these things are often non-existent. I've had an
increased pull towards Europe for sometime. There are social and
political conventions and ideas here (hmmm... currently spending
the month in Hamburg) that make sense to me. Without going into
some sort of comparative analysis, it slims down to me liking both
of them very much. And while I do think that every single place I've
been in Europe is more exciting than the Ohio Turnpike, there's also
something untouchable about driving through the desert of
Arizona. It's easy for me to navigate the states, to read people's
sarcasm, their aggression... ingredients at the grocery store are
easy to find. Both continents resonate dearly and both have their
own pros and cons.
Are you still doing the MediaReader zine?
Unfortunately it has been inactive for 3-4 years. I'm always think-
ing it may be time to roll out another issue but then create other
projects that occupy my time. I hope that one day a new issue will
see the light of day and the darkness of night.
How are you feeling about this year's Presidential election and what do you hope for the future?
Wow. I hope for lots of things. In terms of Obama's election, it seemed to be the only sane choice in terms of this country maintaining
itself in any realistic manor. So the first check is for some resemblance of self-preservation. It also represents something the media is call-
ing a changing american mentality. I hope they're right. We've entered a curious time - the Republican party has devalued itself even in
the eyes of long time Republicans while the Democrats have become even more moderate. The economy is a total wreck and is being felt
by the general population - from the mega-rich CEOs to the DIY punk labels. I have friends being laid off from their jobs, friends foreclos-
ing on their houses... Obama is walking into a nightmare but has managed to stimulate people into caring. Hopefully his presidency will
continue to be grass roots based and he will continue his promise of letting the government be run by the people instead of the leaders.
So in terms of the first question - yea - I feel incredibly excited and am looking forward to an Obama-led America.

In terms of what I hope for, there's a big list! I hope for the end of a two party system. I don't think it works for anyone, Republicans and
Democrats alike (and most definitely anyone who doesn't identify outside of those two labels). I've never understood how there can exist
an intelligent political discourse when an entire "side" is represented by a single party. The idea of "sides" in politics is of course also two-
dimensional and likewise a discouraging concept. I think communities should be run by their people, not by politicians. I think healthcare
is a non-negotiable right that should be given to everyone free of charge with no questions asked. I hope that teachers will someday be
paid what they deserve and that we can switch our focus to being a country who emphasizes education and rehabilitation instead of pun-
ishment. The list goes on and on. There's an interesting letter that Jello Biafra wrote to Obama
(http://www.alternativetentacles.com/page.php?page=jello_openletter) that I recently read and think is pretty good. To keep the answer a
bit more in focus, I hope that Obama can stick to his promises and do the things he platformed on - including keeping his supporters
involved. If he can do this, we're putting a tremendous foot forward into the arena of treating people in a more respectful and globally
conscious way. I think this is a very good place to start at!
21
 The majority of my home workspaces have been small storage
rooms or walk-in closets, both of which were not very conducive for
inspiration when designing. There is nothing like being in a ventless,
windowless, outletless room while trying to generate ideas with the
feeling claustrophobia looming over your shoulder. Because of this
I’ve found an interest in other people’s workspaces. I wondered if
their spaces were as cluttered as mine and what surrounds them to
give them some inspiration. We talked to four skateboard artists,
Andy Jenkins, Patrick Jilbert, Mark Fos, and Michael Sieben, and
asked them to give us some insight into their workspaces.

Work Workspace (top)

I'm at this workspace exactly 8 hours a day, 40 hours a week. It's called a 9 to 5 job
kids. Since I'm here all day, 99% of Swimmer's Ear and Manual Dexterity Music
Zine are done here. I stay pretty busy with work "work" but it's fairly easy to squeeze
in personal design during downtimes and lunch breaks. The cork board behind the
computer features some artwork done by my daughters, who seem to have more
artistic talent than I do. There are 2 broken skate decks painted by Chris Pernula,
that you may remember from SE21.

Home Workspace (right)

My home workspace also doubles as a walk-in closet or vice versa. Its cramped and
it feels a little claustrophobic when the door is closed. The size is about 9ft x 6ft, sim-
ilar to a prison cell, and has no windows, outlets or vents. Since the I blew out the
sound on the computer and the fact that it is a little slow, the computer is now most-
ly used for internet usage and the occasional design idea. Any serious work is usu-
ally done on my work computer. On the wall behind the computer are some posters
for Braid, The Summery Execution, and a couple posters by Adam Turman and
Sharon Werner, that I picked up at the Poster Offensive in 2004. One thing of note is
the enlargement of the review Swimmer's Ear had in Transworld Snowboarding in
2003. That's about the highest point of recognition we ever received.
22
 Patrick Jilbert
Garage:
Presently I live at home with my father. The garage is where I do
all of my painting. The kerosene heater on the bottom right
keeps it warm during the cold winter months, while the bike on
the right (1968 CL350) bums me out when it's too cold to ride.

Desk:
Here is the desk where most of the drawing is done. Nothing too
fancy here. Just a wobbly fold-up table and some supplies.

23
 Andy Jenkins

Home Workspace:

The trail through my workspace to the back yard. The board on the right is a makeshift wall I've been using to work on. There's always
a bunch of extra crap in the studio that shouldn't be there. Like that scanner/copier that doesn't even work. 9/20/08.

1. This is the cast from Emmet's broken elbow earlier this year... trying to figure out what to do with it. Certainly can't part with it.
2. This is a Tobin Yelland poster that I ruined on the way home after getting it. It's the spraymount backdrop now. Sorry, Tobin!

24
 5

Girl Skateboards Office:

This was my office in the midst of work on the Freestylin' book with Lew and Spike. All the boxes are FedExed contributions from a
bunch of the old school freestyle and BMX guys. 4/30/08.

1. An Andy Schansberg wooden OG doll.

2. This box is filled with my zine collection from the '80s and early '90s.
3. This is Sean Cliver's original ink drawing for the OG Shiffer/Mariano board. Got to get it back to him...
4. My original copies of Freestylin' magazine in their original binders.
5. The Skateboard Mag.

25
 Mark Fos
When I told my girlfriend that I was taking some photos of my
workspace for a magazine.

"ARE YOU KIDDING ME??" She yelled at me, "That's not a work-
space, that's a shed" She hates it. HATES IT. It really winds her up,
a mass of unopened bills, receipts, candy, Skate mags, CD's,
DVD's, Mini DV tapes, stickers, skate tools, train tickets, contact
lenses, vouchers for the local curry house, pens, and pretty much
anything else you can think of.

Sure, it's a little untidy, but I like it, and I can always find what
I need. Well, usually.

Main things I need are my crap computer, monitor and scanner,

pantone book, sketchbooks, video camera, and loads of Popstar
pens that I buy in Japan.

26
 Michael Sieben
Workstation1
I have two work stations in my house - one for commercial/com-
putery type of stuff and one for painting and drawing for my per-
sonal work. This is a photo of my personal work space. It has
really good natural light in the mornings. I've been trying to get
up early and sit here and drink coffee, listen to NPR, and paint
for a few hours every morning before getting on my computer
and losing the rest of the day to emails and "work" work.

Workstation2
This is the drawing table in my commercial workspace. I've been
trying to make mental separations between my commercial work
and my private work and having two separate spaces to make
the work in has helped on some level. This drawing table is usu-
ally completely covered with sketches, scanned ink drawings,
and random bits of reference materials. I need to buy a better
table for this room because this one is really wobbly. I have tons
of art hanging in my commercial studio room. Inspiration from
friends reminding me to always try hard.

27
jcm-photo.com
28
jcm-photo.com
You two met in the high school marching band. How long after
meeting did you start writing songs together? Was starting a
band something that either of you had planned before meeting
each other?
Brad and I started writing together probably about 10 months or so
after we first met. We had both messed around with writing and
recording before we knew each other. But I don't think we really
knew where to go from there until we started playing together.
How long after you started writing music together did you play
your first show? How did it go?
We had been recording together for probably a little over four years
before we actually started playing shows. We were suuuuper nerv-
ous! We had just started added our other two members a couple
weeks prior to that show so we had no idea what we were doing.
Haha, we only ended up playing four songs. But the other band
was super sweet to us and we're still friends with them. So it was
a really good experience for us.
How has the marching band experience helped with songwriting?
Well, they are two totally different kinds of music. So I don't think
they really had that great of effect on each other. It might have
influenced Brad's drumming brain a little bit though.
How does the songwriting work? Do the lyrics or music come
first?
It kind of depends on the song. Sometimes I will have a few lyrics
written down for months and months that I won't ever do anything
29
 jcm-photo.com
with and then one day I'll play guitar and realize they fit with what
I'm playing. Or sometimes I will have a guitar or keyboard idea that
I will be messing around with and eventually add words. It's pret-
ty varied.
What influences the lyrics you write? Some of the lyrics can be
interpreted differently from listener to listener, was it your inten-
tion to write lyrics that listeners can put their own experiences
behind?
I guess I'm just influenced by things that are happening in my life
or the lives of people around me. Not always people I know or sit-
uations I am a part of but anything that affects me enough to feel
30
the need to get it out of my system. I basically write about what-
ever is making my head explode at the time. And yes! That is one
of my main goals actually. I like listening to bands where you can
interpret what they're talking about in different ways. Or where you
kind of wonder what it is specifically they're referring to. I tend to
like less literal lyrics.
With both previously released EPs getting a fair amount of
praise, was there any pressure to do better when writing Cars?
Oh of course! There's pressure to do better with every release, but
there was a significant amount more for Cars since it was our first
full length. When people already have a little bit of an idea of your
music and like what they've heard so far but haven't heard enough
to really figure out how they feel about you, you don't want to dis-
appoint them. Also you just want to be able to be happy with what
you're doing and hopefully improve as much as you can with every
new thing you do.
Why did you decide to re-record songs a couple songs off your
EPs for Cars?
Everything we'd worked on since we started working with AR has
been leading up to the release of our first LP. So the EPs were to
get our feet wet a little and hopefully get our name out there as
much as we could but also for the promotion of Cars. They served
as singles kind of for the full length.
You've had Brad’s sister, Britty, and a bass player perform with
you on stage, do either contribute to the song-writing as well?
Brad and I write our music since we have worked with each other
for years and we know each other's brains the best.
Did the final output of Cars come out as it was imagined when
you started?
I honestly had no idea how our record would turn out. I had a gen-
eral idea of what I was expecting but it was a pretty vague expec-
tation. I mean obviously there was a direction we wanted to go in,
but I didn't want to limit anything too much. But I am really proud
of our record and I'm happy with how it turned out.
Are you surprised by the attention your band has received so far?
YES. I am totally shocked. I never thought any of this would hap-
pen. It's been so weird and awesome.
Were you actively looking to get signed to a record label before
you signed with Afternoon Records?
We weren't all that active at hunting down a label. We didn't really
have a clue as to go about making things happen. We have been
unbelievably lucky so far with things just kind of falling into place.
We had our sights set on AR and they were the only label we had
any interest in working with. So we almost peed ourselves when it
came together.
I basically write about whatever is
making my head explode at the time.
Ian Anderson, the owner of Afternoon Records also produced
your album. How has it been working with him on the album and
his label?
Ian has been the best thing that has ever happened to us. Hands
down. For our band but also just us as people. He's become one
of our best friends. Working with him has been so awesome. He
does so much for us it's out of control. I have no idea where we
would be without that dude.
The chemistry between two performers can often been seen on
stage and heard in their music. What makes it easy to work with
each other? Do you spend a lot of time together outside of the
band?
I'm not really sure what it is. I can't even call Brad my best friend
because it's more than that. Haha, he is like my soulmate. I feel
like we're to a point where we know what we want out of each other
musically so it makes working together super easy. Since we are
such good friends we know how the other operates, and that is
super important when you're creatively involved with people. Yes
we are around each other quite a bit. Haha we live together so I'm
around him more than probably anyone else.
Brad’s sister, Britty, plays keyboards during the bands live
shows, do they come from a musical family? Has your families
been supportive of the band?
Playing with Britty has been way too much fun. They get along
really well and have a pretty hilarious brother/sister relationship.
Britty's one of our best friends so it's seriously been the most fun
I've ever had. Their family is pretty musical so they've been pretty
cool about it.
What kind of experience have you gained opening for Mates of
State and Rosebuds? Are these bands that are influential to you?
Mates of State is to date the best show we've ever played. It was
one of those surreal moments when you're like "Oh my god. Is this
seriously happening." There have been a lot of little moments like
that, but I STILL can't believe that happened. Everything about that
experience was perfect. I respect both of those bands and love
their music, but I don't think they are necessarily influential to us.
Your "Upcoming Shows" list on your MySpace page shows a
"work in progress" Euro/UK tour planned. How is the scheduling
coming along with that? Are there any countries that you are par-
ticularly interested in touring?
It's been kind of up and down, but everything has come together
super nicely. We are just happy to be going at all, so I'll be totally
delighted wherever we end up.
31
HORSE
EBITES
Did drawing come easy to you as a kid? When did you notice
that you had a talent for drawing?
Ever since I could remember I started drawing. My parents
always put art stuff in front of my face. My mom painted and my
sister was really good too so I just thought it was normal to draw
all the time. I noticed that I was a little ahead in elementary
school when all my friends would ask me to draw stuff for them
like the designs on their skate decks or shirts like T&C surf and
skate because they always had rad illustrations on them.
INTERVIEW WITH RICHARD MININO
Your art has a pretty distinct style, was this something that was
developed over a period of time or how you've always done it?
It's definitely influenced by everything I loved as a kid such as
Garbage Pail Kids, Santa Cruz skate decks (Jim Phillips), movies
and anything bright colored and gross. I just drew those things
for a long time and it kind of came back in the style that I'm
doing now. It's more natural and things that I would like to see in
a design or painting. My style changes a little over periods of time
so I'm sure it will evolve into something different soon.

Did you have any formal education in drawing/illustration or
are you self taught?
I guess I'm self taught to a degree. I always loved taking art
classes when I was younger but it was my teachers in community
college that inspired me to paint more and practice that. That
helped incredibly. They gave me confidence and helped define my
style more. After I learned what I felt I need I dropped out so I
could tour more with the band I was in and to start doing designs
for bands.
Did you ever imagine being able to make a living doing art?
Never. I delivered pizza for almost 10 years and thought that I was
stuck doing that forever. I didn't really have much confidence in
my art until a couple art teachers inspired me and some people
in the punk rock world pushed me into doing design full time. I
didn't really want to do it at first because I was nervous and let
people step all over me in the beginning.
What's it like growing up in Orlando?
Amazing. I love it. Luckily I got see almost all of the states in the
US and got to see 10 other countries so far because of touring so
I have a good feeling of what other places are like and there are a
ton of other places a lot shittier than Orlando. I like the feeling of
this concrete paradise. It's fake in a good way. Besides I love the
sun and living close to a beach and freezing my nards off in the
winter.
How does living in Orlando influence your artwork? Do you
think that if you had grown up in a different geographic location
besides Orlando, that your art would be different?
I think it would be very different. Like I said Orlando can be very
fake because we are known for our attractions and tourism. It
goes way deeper than that. When you have a place like this
natives tend to reject what is seen to everyone else and just like
any normal city we have our cliques and hangouts that aren't
tourist driven. My work resembles Orlando a lot because it can
look inviting at first with bright colors and bold imagery but when
you look closer there are gross things like guts and grime. Just
how Orlando is seen.
Do you do all your drawings on the computer first, or pencil
and paper, then to computer?
Everything I draw is on paper with pen first. I can't shake that. I
don't care how clean or perfect it can be if I drew it on the com-
puter. It just doesn't feel right to me. I just color everything in the
computer and texture in there. Besides, it's way cooler to see
black and white drawings from years ago and look either how my
style or performance has changed.
With the projects you do for other people, do they come to you
with an idea or do you have an idea all ready in mind?
It depends, it's usually either or. I like it if they have an idea
because I can't tell what they're thinking so I don't want to waste
my time drawing something that I won't know if they're gonna
like or not. I like people to be specific because I hate doing revi-
sions.
Is there a certain time of the day when you feel most creative?
What inspires you or gets your creative thoughts flowing?
I feel creative when I look at the bills I need to pay. I usually get
inspired from art magazines and watching movies. Also looking at
old punk records helps me a ton.
What people, places, or things influence your illustrations and
paintings?
I love hanging out with my friends so I guess subconsciously I'm
influenced by what they like too. I want to impress myself and my
friends at the same time so I just create what I think would be
cool or they would wear. I love to travel too, that probably has a
big influence on my creative process. I actually try not to think of
it that much because I feel like it would become a process to
be creative and natural.
What do you want people to take away from your art?
I don't really care. If they like it then that's good enough for me, If
they don't like it then I also feel like I've done my job. I'm defi-
nitely not trying to impress a mass of people, just people close to
me or myself.
What came first for you drawing or music?
Definitely drawing. I had no clue what I liked musically when I
was younger. I just listened to oldies and Weird Al Yankovic.
Playing in bands New Mexican Disaster Squad and Gatorface,
what are some benefits of having a designer in the band?
Amazing benefits. The obvious is the band gets all of the art done
for free but more importantly I get meet a ton of other bands that
need art and are super cool people. I hate to call it networking but
it is.
As you get busier with Horsebites, do you find you have less
time to do personal projects? How do you balance it out?
I do struggle sometimes with projects getting turned in on time
because of my bands and doing other stuff but you have to have
balance in your life. No matter how much I love drawing it can
still become work sometimes and I have to lay off for a bit or I
get way burnt out. I just got a new moped so I've been riding that
around a bunch.
How are you balancing your time between design and music?
I don't really tour anymore so it's a lot easier to balance those
things. I just play shows every now and then and it's amazing to
be able to do that. Now I don't go broke from going on tour and I
actually get to make money doing what I love. I'm also in another
band because NMDS just broke up and played our last show(s) at
the Fest 7 in Gainesville. The new band is called No Friends and
it's most of the guys from NMDS except the singer is Tony from
Municipal Waste. It's really raging and fun as hell!
How did you get involved with doing the artwork for Fest 6 and
7? Will you be doing future Fest's artwork?
Tony Weinbender is the head dude for the Fest and we've been
friends for a while. I was still pretty fresh in the design world and
he asked me to do stuff for Fest 6 and I was way nervous
because so many people were going to see my art. It was an
amazing opportunity and I'm so grateful for it. I always have a
blast at Fest and it's surreal to see my art everywhere.
You've done art for skateboards and snowboards, do you have
any limits as to what you won't put your art on?
Not really. I love seeing my art printed on different things. The
weirder the better. Hell, I would design a burrito wrapper if some-
one asked me to.
What's your opinion on doing art shows? Do you enjoy doing
them?
I love doing them. It's a totally different experience. The one thing
is talking to new people always gets me a little nervous and I get
wicked pit stains but hey that's the price you pay. And I don't
mean small pit stains I mean gnarly pit stains. Woooo!!
What's the future of Horsebites look like?
It's looking pretty bright, in fact so bright that I gotta wear
shades. I'm actually starting a new company that's top secret
right now but it's gonna be great. I'm really excited about it and it
should open up a lot of doors for opportunity in my art career.
Stay tuned and here's a hint, don't "AXE" me any questions about
it if you see me in person. Ok, that was lame.

What are some projects that you've done or bands that you've
done designs for, that people might not think would be associ-
ated with Horsebites?
I've done a few things stepping outside of my style. I like doing
cut and paste collage stuff. I did a shirt design for a local Orlando
band called VIRGINS and it was just photocopied images pasted
together. Some people can still tell it's me which is a good thing
but I love people didn't know I did something because the style
looks different but still tasteful.

What projects have been the most rewarding for you to have
done?
I really enjoyed doing the Less Than Jake Deluxe Box Set. The
package included three 7inch records with covers that you have
to line up to see the whole image, a poster with a pic of the band
covered with my illustrations, a CD sleeve and a DVD sleeve. All
of this comes in a special box with the cover wrapping around the
sides and the back. It turned out really cool. I also had a blast
doing the GATORFACE 10" record because I got to do an etching
on one side and it turned out incredible!!

You recently had your first solo show in Chicago, how did it go?
That was incredible, the people over at Threadless are some of
the nicest people I've ever met! The show went over really well
and they told me that it was the most people that ever showed up
to one of their gallery openings. That was a good feeling and I got
to hang with my friends and meet a ton of new people.
 Sometimes when making art it feels like I work in a small cave, draw-
ing with charcoal on the walls. Even if the cave is a website.

For a few years I've been doing some larger work (drawing/painting)
that very few people have seen. It started off as a vague idea of some-
thing fun to do but as time went on, a world of its own was developed.
The characters have come to life and the environment has been made
real.

The process of creating the 20x20 work has pushed me to go further

with what my art could be. Small sketches and drawings are great and
fun to do but spending months and years on a project gives me a
broader understanding of the world and its meaning.

Along with the 20 main pieces in the show, there will be a zine (in the
same size and format as my past zines) with a narrative story that
incorporates characters featured in the 20X20 art work.

-Randy Laybourne

20X20 Show Pieces

Nothing For Granted, 2005 We Spend Our Time, 2006
Go Along, 2005 True Vision, 2006
Everything Done, 2005 Going Forward, 2006
Thing Can’t Undo, 2005 This Time, 2006
Long Way, 2005 Days Are Few, 2006
What You Have, 2005 Mind Your Busyness, 2006
Real Results, 2005 On With, 2007
All Right, 2005 Matter Of Facts, 2007
Could Have, 2006 Almost There, 2007
Try Again, 2006 Done For Good, 2007

40
41
42
portfolio:
ROBINDALE330
John Straub aka Robindale330 is an Akron, Ohio based graphic designer,
photographer, and screenprinter. He’s done posters for numerous bands
and most recently worked on materials for The Pretenders world tour. His
latest collaborative project, 10xyourcity.com, will function in designing
and producing "local-centric" merchandise (shirts, buttons, magnets, and
other accessories) for his hometown of Akron. Their facebook exclaims “If
you’re proud of your stomping grounds, let everyone know. From the sub-
tle “I Love Akron” to the not-so-subtle “Fuck You, I’m From Akron,” our
merchandise provides a creative outlet for expressing local pride.”

I
AKRON

43
44
45
 Treasure Cat

46
47
 Sofa King Killer

48
49
50
51
 Tyler Benson
Crooked Grind
P: Nick*L3P
52
Matthew Stanek
Front Board - Buck hill
P: Nick*L3P
53
 Dan Narloch
Wall ride
P: Neal Shipe
54
Jackson Roman,
pivot to frontside flip out
P: Michael Stenerson
55
 Donny Gabes
Wall Ride
P: Michael Stenerson
56
Nick P.,
nollie flip
P: Michael Stenerson
57
58
Davis Torgerson
Fakie 360 Flip
P: Neal Shipe
59
 Luke Boehne
Front Board
P: Nick*L3P
60
John Armendariz
kickflip
P: Nick*L3P
61
 Jake Perrizzo
boardslide
P: Nick*L3P
62
Dan Narloch
blunt
P: Neal Shipe
63
the end is near...