Giant Robot Store and GR2 News

Wendy and I flew into Portland, had dinner with my old college friend and his family, and then rolled up to the Land Gallery where we immediately ran into even more friends: artists transplanted from Los Angeles Souther Salazar and Monica Choy, musicians from Brooklyn Aaron Hartman and Alicia Jo Rabins. Portland may be a small town but I guess the world has become even smaller…

Like me they traveled to Portland’s Mississippi district to attend the opening night of Tae Won Yu’s art show, REMAKE: The World in Paper. As fans of his album cover art for Built To Spill and Versus might guess, Tae’s paper constructions are as whimsical as they are meticulously crafted. Wendy and I couldn’t not buy a print.


The art was amazing but the other reason we flew up from Los Angeles was to see Tae play in his new duo, Poses, with fresh drummer Victoria Salvador. As Paul Weller went from the harder-rocking Jam to the more soulful Style Council before finding middle ground in his solo career, Tae has gone from the art-punk Kicking Giant to the R&B-tinged KG to something in the middle with Poses. Fans will not be disappointed and, yes, he is still a rock ‘n’ roll animal. And who is that setting up in the top right photo?

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Before they played their songs at today’s noontime free in-store at Amoeba Hollywood, Wayne Kramer and Billy Bragg talked about Jail Guitar Doors. The organization was started in England by Bragg, with the intent of raising money to give guitars to prisoners. Not so they’ll be musicians when they are released but so that they have a creative outlet for the rest of their lives. Of course, its namesake is a song by The Clash, and when Bragg was telling the MC5 guitarist about the cause and the tune, Kramer’s response was something like, “That song is about me!” Bragg was embarrassed but excited when the Detroit musician agreed to sign on to spearhead the U.S. arm of the group. When the British punk/folk singer relayed the story to Mick Jones, the singer of “Jail Guitar Doors” didn’t even remember that Kramer was in it!

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Before they played their songs at today’s noontime free in-store at Amoeba Hollywood, Wayne Kramer and Billy Bragg talked about Jail Guitar Doors. The organization was started in England by Bragg, with the intent of raising money to give guitars to prisoners. Not so they’ll be musicians when they are released but so that they have a creative outlet for the rest of their lives. Of course, its namesake is a song by The Clash, and when Bragg was telling the MC5 guitarist about the cause and the tune, Kramer’s response was something like, “That song is about me!” Bragg was embarrassed but excited when the Detroit musician agreed to sign on to spearhead the U.S. arm of the group. When the British punk/folk singer relayed the story to Mick Jones, the singer of “Jail Guitar Doors” didn’t even remember that Kramer was in it!

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Has Mario Rubalcaba ever been in a less-than-killer band? John Reis? Ian Svenonious? James Canty? No way, not even sub-par despite surveying a variety of collaborators, genres, and styles. Add to the list of rad musicians in a ton of impeachable bands Sandra Vu. I dug Midnight Movies, love Dum Dum Girls, and am a massive supporter of her psychedelic goth solo gig, SISU. I’m dying to hear her new material live and extra stoked that she and her crew are touring with Alex Hungtai a.k.a. Mr. Dirty Beaches. Dude. That is a rad lineup and I hope this brief Q&A inspires some of you to check it out. MW: I still haven’t heard the new Blood Tears LP! How does it compare to the Light Eyes EP in terms of recording or even just the sound in general? SV: We need to get you the LP! We had no budget for the EP, so the main technical difference is that Lars Stalfors didn’t mix it and Ryan Wood wasn’t as involved in making it. He was just too busy so I pretty much made it on my own. There are also no live drums on the EP, which was a limitation of not having enough to make it sound good enough. The EP is just about as lo-fi as I’m willing to go. Other than these technical things, the songs themselves are relatable but different. Blood Tears is more immediate to me, the songs on the whole are tend to be structurally more simple. I worked on the bass guitar more on the EP, and two of the main songs “Light Eyes” and “Two Thousand Hands” are meatier–longer, denser. The songs on both LP and EP were written in the same time period, but the EP was completed after. It came about in the long waiting period of trying to plan the LP release. MW: During the Dum Dums’ downtime, SISU plays a lot! How has the band been evolving? SV: We play any opportunity we get! I’m really proud of how the band has evolved. SISU is essentially a studio project, but it’s been really fun to take it further in the live show. Since I switched from playing bass to guitar live, it’s opened up a whole new world. Playing bass for me is more rigid, you’ve got to play it 100 percent correct and on, or else the bottom will drop out. On guitar, I get to wiggle around a little more which is really fun. I add parts that aren’t on the recordings; sometimes I wing it a little. On the other hand, it’s a pretty challenging job for my bandmates, who have been thankfully open to adapting to so many different configurations. We can play shows as a 2-, 3-, 4-, or 5-piece band, with different members on both coasts. It’s insane! Tito can now switch between stand-up drums, second guitar, and bass guitar. We had Jules pick up the guitar when we do...
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Has Mario Rubalcaba ever been in a less-than-killer band? John Reis? Ian Svenonious? James Canty? No way, not even sub-par despite surveying a variety of collaborators, genres, and styles. Add to the list of rad musicians in a ton of impeachable bands Sandra Vu. I dug Midnight Movies, love Dum Dum Girls, and am a massive supporter of her psychedelic goth solo gig, SISU. I’m dying to hear her new material live and extra stoked that she and her crew are touring with Alex Hungtai a.k.a. Mr. Dirty Beaches. Dude. That is a rad lineup and I hope this brief Q&A inspires some of you to check it out. MW: I still haven’t heard the new Blood Tears LP! How does it compare to the Light Eyes EP in terms of recording or even just the sound in general? SV: We need to get you the LP! We had no budget for the EP, so the main technical difference is that Lars Stalfors didn’t mix it and Ryan Wood wasn’t as involved in making it. He was just too busy so I pretty much made it on my own. There are also no live drums on the EP, which was a limitation of not having enough to make it sound good enough. The EP is just about as lo-fi as I’m willing to go. Other than these technical things, the songs themselves are relatable but different. Blood Tears is more immediate to me, the songs on the whole are tend to be structurally more simple. I worked on the bass guitar more on the EP, and two of the main songs “Light Eyes” and “Two Thousand Hands” are meatier–longer, denser. The songs on both LP and EP were written in the same time period, but the EP was completed after. It came about in the long waiting period of trying to plan the LP release. MW: During the Dum Dums’ downtime, SISU plays a lot! How has the band been evolving? SV: We play any opportunity we get! I’m really proud of how the band has evolved. SISU is essentially a studio project, but it’s been really fun to take it further in the live show. Since I switched from playing bass to guitar live, it’s opened up a whole new world. Playing bass for me is more rigid, you’ve got to play it 100 percent correct and on, or else the bottom will drop out. On guitar, I get to wiggle around a little more which is really fun. I add parts that aren’t on the recordings; sometimes I wing it a little. On the other hand, it’s a pretty challenging job for my bandmates, who have been thankfully open to adapting to so many different configurations. We can play shows as a 2-, 3-, 4-, or 5-piece band, with different members on both coasts. It’s insane! Tito can now switch between stand-up drums, second guitar, and bass guitar. We had Jules pick up the guitar when we do...
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