Of course, the downside with there being so many folks is you were bound to have missed some cool stuff. To think of it, you probably missed a lot of cool stuff. But fear not, here’s a list of the raddest creators that may of flown under your radar.

Who: LA-based cartoonist, metalhead, and Catholic school survivor Gabe Martinez.

What: Martin The Satanic Raccoon, a comic about (you guessed it) a devil worshiping raccoon.

You should have picked up: Gabe’s latest collection of illustrations 101 Drawings of Jesus, 101 Drawings of Hitler: The 1st Installment, which features your favorite son-of-God and totalitarian dictator in some less than usual artistic renditions (I know, that’s a total oxymoron). Examples? Just imagine Jesus dressed as psychedelic Super Mario analog and Hitler drawn as Mickey Mouse from Fantasia with a swastika emblazed shooting star flying overhead and you’re somewhere along the right path.

Who: Jason and Eric, The Brothers Washburn

What: Only the coolest art journal/activity book/B&W periodical on the planet, Color Ink Book

You should have picked up: Every issue of Color Ink Book features a slew of amazing artists, but few of them have ever gotten their own toy based on their work. That’s all the more reason why you should snatch up one of the “Lurker” resin figures modeled after fan-favorite artist Skinner’s character of the same name. BONUS: they even glow in dark, which is great for adding a little bit of light to your already bleak existence.

Who: Stephen Linquist, Travis Linquist, and Miguel Cervantes

What: A reeducation on the demise of our favorite pre-historic pals, fittingly entitled, The Dinosaurs Are Dead: The Truth Behind the Extinction.

You should have picked up: Quite possibly one of the best deals at the show, these guys were selling The Dinosaurs Are Dead book (a hardcover no less!) and t-shirt for only 10 bucks. Since I only own about four t-shirts as it is, I was all over this. What really sold me was when I asked Stephen to give me his elevator pitch for the book, in which he gladly replied, “It’s The Walking Dead meets Jurassic Park.” He was right, except his book has a whole lot less Jeff Goldblum and way more gruesome decapitations.

Who: Avi Ehrlich

What: The one and only Silver Sprocket Bicycle Club

You should have picked up: Oakland’s galactic pioneers, The Phenomenauts, might as well be a group straight out of a comic book, so why not give them one of their own? Avi and the gang at Silver Sprocket thought so too, and the end result is Adventures in the Third Dimension, the band’s latest release which comes with a “Martian” green vinyl EP and a full size comic book, marking the space explorer’s 2D debut.

Who: Cartoonist and Dogpatch resident Ray Sumser

What: An acrylic, 6′x9′, 1,546 cartoon character manifesto called “The Comicosm” (pictured above).

You should have picked up: Ray had some cool oversized prints of “The Comicosm” for sale, but the big thing to keep your eyes open for his next project, “The Cartoonuum“. Similar to his previous work, it’ll be a celebration of Saturday morning nostalgia, but this time around it’ll feature over 2,000 characters and will scale 11 feet in width; Ray will be showcasing both paintings at the Treehouse Gallery on October 23rd, so check it out and show your support for the inner 5 year old in all of us.

Words & photos by Sean Logic
—————

Check out the official Alternative Press Expo website for info on guests, creators, and next year’s show.

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How did the new EP come about? Did you say “Now it’s time for new songs to be put out” or was it a process that was built from the ground up?

Koley: We’re really, really lucky with our studio situation. We’re good friends with the owner, and we’re always there hanging out. The owner will have the intern let us demo our stuff. We started demoing, and realized we had all these new songs. We felt we needed to get them out, not because you can’t write a song that lives longer than that, but mostly just because when you have that much music it’s nice to get it out. I don’t want to be that band that only puts out one thing a year.

Troy: This EP also shows a different side of our musical abilities. Some of our other songs are a little bit different. We wanted to show our audience a different side of the band too.

You guys get the “Beach Sound” comparison quite a bit, but there is also a very strong British Invasion sound in your music as well, which I feel seems to get often overlooked by the press. How do you guys pull those influences into the band?

David: I think those bands being a part of our music is a very natural thing. Bands like The Kinks or The Zombies. It’s what we love, so it’s there.

Koley: Really, I think the thing we try to get into our music is the vocal harmonies. There is always that one lead singer doing the melody, along with the whole gang there doing the background “aaaahhhsss.”

Specifically for the song “In And Out” I hear a new sound coming on. It is very reminiscent of Pet Sounds, but at the same time it’s also very different in its tonal structure.

Koley: Yeah, that song is strange. It’s really not a pop song structure at all really. How that song came about was that I was at a BART stop, and there was a man playing the Banjo. He was playing an A Major chord over, and over, and over. I kind of just started humming this melody and I heard this melody over and over again afterwards. I started writing lyrics about this homeless guy playing banjo non-stop and the flow of the BART station. It eventually becomes a song about life, and a lot of different things.

Are there any bands that have come out recently that you really like?

Troy: Dale Earnheart Jr. Jr.

Joe: A band we all found out about recently that we really like are called Foster the People.

Koley: This band isn’t that new, but I’d definitely say the Mystery Jets.

Speaking of the Mystery Jets, do you find yourselves listening to a lot more foreign music?

Koley: We all sort of have our own little roles when it comes to keeping up with music. Troy is always down with the new local music scene. Joe is really, really into Top 40 shit. It’s all different. We all love pop music, and we have no shame in that. We all listen to old records around the house, probably more than anything, but on top of that we all like new music.

Joe: Dave is really into Jazz, and the blues. It creates a really interesting dynamic.

So on that topic, you guys do have a very retro-60’s feel to your music. Did this just happen out of the blue, or was it built out of your passion for older music?

Koley: It didn’t really start off like that.

Joe: We sounded really different when we started out, back when we first met.

Koley: Joe and I started by ourselves, because we didn’t have a full band. The point of the band was to be a little more simple, and less produced than a lot of the stuff that was going on, hence “A B & The Sea”. People thought we had a somewhat “beachy” vibe, but it was just two acoustic guitars. We started meeting more people, and I began to write little vocal harmonies. It really became this thing where I was saying “Lets add this, and add this! And add this!” It was really not at all what the point of the band was when we started, but it turned into this homage, to all the music that we love, but also keeping it alive in a new way that still makes sense and is relevant.

It’s funny that you say that, because you guys have a cover song of Katy Perry’s 
“California Gurls”. That’s a very modern song. Explain a little bit about why you chose that track?

Joe: When the song came out, my girlfriend had showed it to me. I just instantly loved it. At the time, we were listening to a lot of Beach Boys. We tossed around the idea of covering it but kept saying “Oh, it’s just going to be too cheesy.” But then someone said “Well, what if we did it, but just added a Beach Boys twist onto it” to make it more our style.

Koley: We also did it because we’re all into different things, and we wanted to show people that even though we love this vintage style of music, we’re still fans of pop music. It has a great melody, it’s a song about California, and we’re a very California sounding band. Lets do it man!

Troy: We’re “Hip Popsters.”

At the same time, you guys also did a cover of The Zombies! Did you guys go into that cover wanting it to be pure and simple, or did you also want to try some new stuff with it?

Koley: That was a weird one. It just happened. We were recording for the new EP, and I was sitting at the piano. The engineer Patrick said “Alright, we’re rolling. You gonna do that cover song?” I said ok! So I laid down the piano and then we began adding stuff to it.

What are some of the difficulties of pursuing music full-time?

Koley: I think the hardest thing is that being a band is a catch-22. You do it because you love it, and it doesn’t necessarily matter about the money, but in order to keep going you need the money to fund your band. So in order to make that money, do you play high-paying gigs? Do you get your music onto a movie with a synch or licensing deal? You try to dedicate as much time to the band as you can, but in the down time you give your time to your job to have money, but then you don’t have time for the band.

Do you ever find yourself doing that? Working more than playing music just to stay afloat?

Joe: We kind of luck out. We all live together. We’re all invested together in the same project. It makes it easier. We help each other out.

Do you guys see yourselves being somewhere else musically in the future? Are there new places you’d like to go musically?

Koley: We have so much music right now, and there is some stuff that we’d like to put out, but would honestly scare the shit out of our fans. I think we’d like to put out a folkie album to show off some of our more country and folk sounds that we’re really into. A lot of the music that Dave writes is different too.

David: Yeah, just a lot of different time signatures, and things of that nature.

Koley: We really try to throw in as much stuff as we can get away with. Maybe that’s an interesting time signature that doesn’t scare the listener.

David: If it’s all done well, you don’t even notice it completely.

If you could be remembered for one thing, what would it be?

Troy: My joint rolling abilities.

David: I guess it’s more individual *laughs*

Joe: We try really hard to focus on making a great piece of music. Even down to how we sequence the music on the album, there is a lot of thought that goes into that. Making great music is really our goal.

Koley: We strive really hard at not writing a song that is a trend. We try to write songs that can fit in with songs that we wrote ten years ago, and maybe songs ten years from now.

Interview by Nikolaus Bartunek
Photos by Jayne Liu
—————

Listen to “Take It Easy”
Listen to “In & Out”

Find A B & The Sea online and follow them at @abandthesea for news, shows, and updates.

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When I first opened Crash Course, I wasn’t expecting anything revealing. Maybe just a fun, lighthearted story with bright popping colors. What I essentially got was still something lighthearted but something more as the narrative hooked me instantly. The author, Melaina, was very personal and relatable for the gamer generation and the typical “San Franciscan” when it comes to driving. I could see the first page as a good long-form joke, but what I loved the most is that the story got more relatable as a lesson for drivers.

Was this morality disguised as fun? Yes, and I love it. The black and white 16-page zine provided the pros and cons of driving (short length destinations compared to nauseating traffic), statistics (one person dies in a car accident every 13 minutes), and the degrees of aggressive driving (the definition includes not turning signals, extreme tailgating, the finger, and flashing high beams). This was like school but trained by the students!

To top off the story, the author provides an epilogue of excuses. I was not expecting anything revelatory, but I got exactly that with an added sense of morbid caution. They are frightening to think of because everyone has those same exact thoughts. It can happen to anyone who has a car or just an innocent pedestrian.

The author’s narrative never slows down, stops or bore. It is always interesting and very informative while still keeping the energetic fun. Thank you, Melaina. I will be a more cautious driver cause you scared the shit out of me.

-Chris Huqueriza

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blog.melainacomics.com

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Its not every day that you go to Hell. In fact, its not every day that you get to have a chat with the Roman poet Virgil. Al Burian, on the other hand, does.

In the quirky and philosophical Al Burian Goes To Hell, our favorite depressed protagonist visits his very own personal hell, in a chapter by chapter comic structured around the levels of hell in Dante’s Inferno. Drawn in simple black and white, what this comic lacks in extravagant and complex art it makes up for in its simple approach. The humor in this comic is gold at times. Amidst the philosophical and mental musings of our hero, Al Burian, there is the much beloved Mallrats-esque one-liner. Its not every day you read a comic with the phrase “F**k you Virgil! I read your book and it sucks.” The flow of the comic is easy, and before you know it, you’ll be at the end wishing for another adventure. Al Burian is a very self-aware fellow, and amidst the sometimes cliché rants about the unstable and retarded aspects of western culture, he still manages to get down to brass-tacks and ask if he himself isn’t just a complaining misanthrope in the end.

What I love about the comic is that regardless of the “F YOU” attitude towards large corporations, and pretentious demographics, there isn’t a sense of self-righteousness, only a sense of sincere and genuine questioning of morals and motives. If you love comics, and want to experience a talented and funny writer, then ABGTH is right on the stand waiting to be picked up.

-Nikolaus Bartunek

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microcosmpublishing.com

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I threw this album on when I woke up this morning, still a little dazed from the beer and champagne of the previous night…really not the best time to try and listen critically to any kind of music. That being said, it’s a credit to the band that I actually really enjoyed it. Hailing from Louisiana, Wolves, Where? are like some weird hybrid between The Darkness (remember those guys?) and any prog rock band with a higher pitched Danzig on vocals. That’s not going to make sense to anyone except me, but fuck it.

Wolves describe their sound as good, authentic rock and roll. I partially agree, I guess. Those basic characteristics bring to mind a band like the Stooges; loud, gritty, no frills, and still fucking mind blowing; no tricks, just “raw power” (yeah, I totally just said that). Now, Wolves are good. Very good, in fact. But here is where I disagree with their description of themselves. They have tricks, and this is not a bad thing. I repeat: their fancy musicianship aka musical talent makes them extremely fun to listen to. BUT…it’s not just your good old basic rock and roll.

A friend and I were conversing the other day about how it’s awesome when you are listening to a song that sound-wise could be few separate tracks. That’s definitely our generation’s complete lack of attention span coming out. Wolves execute this perfectly, switching tempo and melody throughout their songs and leaving you no room for boredom.

To try and sum up Wolves, Where? in some comprehensible way, I leave you with a quote from the band: “Head exploding tunes that make you want to take off your pants as you dance like you’ve never done so before.” If I had pants on when I was listening I totally would have gone for it.

-Kelly Dalbeck

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wolveswhere.com

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When we met with them at the Rickshaw Stop it quickly became obvious how amazingly in tune they appear to be, musically and otherwise—completing each others’ sentences, songs, and roaming curiosities. It’s refreshing to see a community of musicians so supportive of each other performing as one, and as their name would imply, the sweet result is collaborative effort of genuine musical symmetry.

You were all friends before forming, what made you guys decide to play together?

Emily: Kacey and I have been best friends forever, and I wanted female back up singers so I started getting all my ladies [together]. I invited Nate to play Sonya Cotton’s album release show because I knew he was wonderful from seeing him with Kacey…just sort of all these random ties that just fell together naturally.

I read somewhere that a bunch of you guys live together, is that still true?

Emily: Yeah.

What’s it like sharing creative space and personal space?

Emily: It’s crazy, I mean it can be really convenient and it also can be a little overwhelming sometimes.

Do you guys keep your musical stuff separate when you’re just at home or is it pretty mixed?

Kacey: There’s a little bleed but for the most part we all we create music together, we do a lot of things together, [but] have our own lives separately obviously. I wish there were more just like random musical experiences—you’d think there would be more—but we’re all really busy.

Emily: I’m a full time student and everybody has their own music project other than Honeycomb… it’s kinda crazy but I think it goes through different phases; sometimes we all have more free time and are spending a lot more time together and playing more music together, and other times it’s really trying to squeeze it in.

Would you say you guys have really similar musical aesthetics or are you guys meshing together a lot of different things that you wouldn’t normally do?

Emily: We all have a big range.

Kacey: But it’s definitely mashed up for sure, and I think that’s what makes it so unique, because we’re all coming in with different musical backgrounds and on our own would not make this kind of music.

What are some examples of those different backgrounds coming in to play?

Kacey: I think Emily has this organic sound that’s kind of all her own but maybe you can speak more about it. You kind of developed on your own just really intuitively—I’m coming more from of this like soulful background, and Nate’s coming from this more electronic, even classically trained kind of place.

Emily: Yeah half the band went to music school and half didn’t study it at all.

Kacey: It’s a nice balance of total experimental wackiness and then focus.

You’re talking about Emily’s organic sound; was there somewhere you picked that up or developed it further?

Emily: I started as a solo artist for a long time but whenever I made recordings I would add all these other vocals. I just like all the possibilities that voices can bring, I mean having other instruments is great but there’s something really unique and special and soulful—I mean religious people go to church and sing because all those voices put together can be really powerful.

Kacey: I know singing this song with my voice alone wouldn’t mean at all the same thing it’s adding to; it’s just a richness you that you can only achieve with multiple voices.

So when you guys are writing the songs does it start with just your vocals…

Emily: Up til now it’s sort of shifting but in the beginning I would have a song written, record them on Garage Band, and come up with some ideas but more and more as the songs get written everybody jumps in with ideas, and Kacey is amazing at arranging harmonies and really directs the girls in what harmony to sing.

Kacey: Emily will come with a pretty strong idea of what she wants but there’s tons of space for us to come in and build on top of it.

I noticed the human body, both internally and externally, going through metamorphoses and changes seem to be a recurring theme in the music, any specific reason behind it?

Emily: My visual art and my song writing is a means of self-exploration and it can be pretty self indulgent I guess but that is truly what I find useful. I guess thinking about my physicality allows me to express all parts of myself in my world.

Another thing I picked up on was an allusion to the sense of the rise and the decline. In general the whole idea is reflected in the music with the highs and lows in the harmonies, but is that a part of it that’s done consciously?

Emily: We find it really dynamic to have moments of almost nothingness, its like when you watch a film and you know a lot of sound and music can be powerful in the climax and you know when there’s no sound that can be just as powerful.

How do you find a balance between ambiance and action happening in the background?

Emily: Well I think all the songs have such different parts to them that some of them just naturally call for all the instruments going full force and being complicated and then other parts of it allow for everything to chill out.

Nate: I think we use our ears, we never really spend a lot of time calculating our parts. I remember when I first played with Emily and Andrew the first thing that we played sounded great, so we just listened to each other a lot.

Kacey: It’s intuitive, there’s so much emotion behind the music and the songwriting that you kind of just get swept up. There’s an intention I think set by all of us just knowing the tone of the music and the point of the music that we all want to deliver as truly as possible.

Andrew: The other instrumentalists are pretty mature in that we understand only want to play what really should be played, what really needs to be played. Like if Nate’s playing something I’m gonna think about what would work well with it but I’m also gonna think about if it works best on its own and let that be if it does, or try to come up with something where we’re all working off of each other.

You work on other projects too?

Kacey: Yeah

So what’s it like being really involved in another project?

Kacey: My main projects are honeycomb and my own, and I feel really fortunate to be supported in my own music and my own career on top of honeycomb.

Do you feel like you’re exploring two different parts of your musical self?

Kacey: Totally, and they both benefit one another as a songwriter, as an arranger, as a musician all around I’ve been challenged so much by playing with honeycomb but it feels really natural its like I’m part of a community these are the musicians that I’m drawn to and we’re just exploring different parts of ourselves

I saw a video where you were painting everyone’s faces, where does that tradition come from or why the face painting?

Emily: Because it’s such a large group it can be sort of tricky to be eight separate people and then come together on stage, but by getting to connect with everybody first [the face paint] sort of unifies us yet make us all unique.

Kacey: It’s like having a mask on—it kind of allows me to get into this zone, this “Honeycomb zone” where I’m performing and I am going kind of some place else that’s mysterious.

I have one more question for you guys if you guys could characterize your sound as a taste or a food what would it be?

Emily: Ooh that’s a good question (laughs). I would say like chocolate cake with strawberries, but with something spicy.

Kacey: Yeah like something sour, not bitter, but something tart.

Nate: To me it’s like pumpkin squash.

Kacey: Something really rich and decadent and gooey, but just some flavor that’s just kind of…

Emily: Tang!

Kacey: Yeah tangy but just some little sour bit in there…maybe Andrew knows.

Emily: Yeah, if Honeycomb the music was a taste what would it be?

Andrew: Honey flavored ice-cream but with a blind fold on.

Okay, good answer.

Interview by Vanessa Ta
Photos by Sean Logic
—————

Listen to “Milky”
Listen to “Sparrow”

Visit Honeycomb online for shows dates, new releases, and more.

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In Nine Gallons #2, Susie Cagle provides an inside look at her life dealing with social issues. What type of issues? Well, food politics, urban blight, and the new trendy eco pseudo-revolution in San Francisco are her main dishes of educational awareness. Her zine focuses on these but shows how she deals with volunteer burnout, misguided agendas, and activist in-fighting. She cares, but runs into numerous difficulties on the activist philosophy for caring about Mother Earth.

It’s roughly 32 black and white pages and provides funny and interesting moments, but they mostly come from miscommunication or difference of opinions within the various characters the author interacts. Throughout the span of a couple of days, Susie interacts with her roommate, other multiple eco-activists, her superiors, and messengers about her main plights of activism.

The question that essentially pops up in the zine is what the readers get from reading about Susie? It’s an enjoyable tale, but a lot of conversations muck up what the essentials are. Was there a message through her actions or did she gain anything after? I didn’t get it and the zine ends on a whimper after her conversation ends with her roommate finally volunteering for something “selfish” according to Susie. Her conversations were thought-provoking and were definitely argued against by the various characters which make it an interesting read, but the end left me unsatisfied. Here’s hoping her next tales still provide the fun attitude, but with a clearer purpose.

-Chris Huqueriza

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microcosmpublishing.com

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In some rare cases, the formula can have a pay off. Andy Warhol capitalized on this. Even Blink-182 made some catchy tunes using a pop-punk formula. Sadly, Sundowner’s We Chase The Sun was not one of those rare cases. A ten song full length from songwriter Chris McCaughan, the album sounds like a first attempt at folk with a singer-songwriter twist.

Packed from front to back with the same four chord campfire sing-alongs , I’d say at a general overview this album is very weak. Songs seamlessly flow into each other without any pause for change up in tonal, lyrical, or music direction. I fought my way through each song, only to be greeted with what appeared to be a doppelganger of a tune on the next track.

The only detail that piqued my interest was that this album was recorded primarily live at a local street corner in Chicago. The down side is that I think this completely open aired and carefree approach to the album could have led to its downfall, in songwriting quality control and in approach. The strongest song, although, is “Jewel of The Midwest” a fast paced folk romp which in essence captures the overall album with its nostalgic lyrics and neo-roots feel… We Chase The Sun does have a healthy dose of energy, and conviction in its delivery, but sadly this remains a “I’ve heard this all before” album.

-Nikolaus Bartunek

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myspace.com/thesundownermusic
asianmanrecords.com

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I was trying to think of a clever intro to this review, but it’s just not happening. Instead, I’m just going to say that BRAINFAG IS AWESOME. Do yourself a favor and buy this now. You’ll be stoked, I promise.

BFF is a collection of the majority of Brainfag, the now defunct journal comic about the everyday life of its’ (seemingly) antisocial author. I don’t know how he did it, but Nate somehow made usually dull activities like doing housework and navigating romantic relationships funny and entertaining. On second thought, navigating relationships is always entertaining, but I think I made the point. Ex-girlfriends, rainstorms, and bowel problems were enthralling enough to keep me up all night finishing the book. He also happens to be an excellent illustrator whose stylistic evolution is documented within the pages.

I’m not sure how I missed out on Nate Beaty’s work for this long, being a self-proclaimed comic nerd and all, so I’m stoked to have been sent this (did I really just use the word “stoked” twice in the same review?). I’m stoked on Nate and Brainfag, and you’ll be stoked on him too. Stoked, stoked, stoked. Go out and read this ASAP so I can stop saying stoked.

P.S. Look out for the various ways Nate depicts himself throughout the comic. It’s fun to compare and contrast.

-Kelly Dalbeck

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brainfag.com
microcosmpublishing.com

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I’m not going to lie about this one—when I first got a hold of this record I had some reservations. The band’s shmedium t-shirts, gauged ear plugs, and hipster-style comb overs had me wondering just what the hell I was about to get myself into. After a few listens though it was clear these guys are devoted to their punk roots, but their undertakings into newer territories are mixed at best.

Let’s start with the parts I really dug; the opener, “When You Wake Up,” brings a vigorous vitality to the forefront that sets a strong precedent for the first half of the album. “Side of the Road” is an upbeat enough number with a slight rockabilly twang to it that embraces the group’s youthfulness, and “The Process,” which deals with the inner conflict in every artist, stood out as a particularly spirited highlight, if for nothing else than the fact every writer, artist, and musician should know just what it’s like to deal with the struggles of creative output.

But then…then things start heading to parts I just couldn’t dig, starting off with “Train Song.” I’m not really sure what this is doing on the album, as it’s sort of an overly drawn-out jam session by a handful of punks, but it doesn’t really go anywhere and just feels a bit unnecessary. From there there are bits and pieces that had me bobbing my head but the rest of the record is a bit repetitive at times, especially considering nearly every song is given some kind of over-extended intro rather than just getting to the parts you really want to hear. Ultimately I wouldn’t go as far as to say the record is bad by any means, but I feel like once all their playfulness has passed and a real attitude is established this group could kick some serious ass. For now though enjoy their reckless youth—you can tell they are.

-Alexander Zeddemore

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myspace.com/dirtytactics
say-10.com

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