Glen and I had the utmost pleasure of seeing the Ausmuteants this past October at the Whitehaus in the midst of their gigantic U.S. tour. You can catch some cool, funny moments including some shots of the dudes playing Goner Fest, chilling with The King Khan & BBQ Show, firing off some guns (and farts) and more!
More importantly listen to theses Aussies here: http://ausmuteants.bandcamp.com/
Bands: ACLU Benefit, Willy Mason, Bong Wish, Goat Of Arms
Date: Saturday, November 29, 2014
Venue: Lilypad (Cambridge, MA)
ACLU Benefit – Mr. Benefit is one of our favorite guys around Boston, no shit. I don’t mean to ass kiss, but it’s true. We’ve had the pleasure of catching him two weeks in a row. Last week was at Noah’s (Mr. Benefit) favorite venue in Boston and possibly the whole world, the Whitehaus. That show was superior (more environmental, can’t compete with ACLU in a basement), but this doobie is on the level.
Everyone is seated, gazing as Noah in sweat pants (I think) starts to strum his guitar. He invites anyone up to the front and Glen and I make our way, why not? Noah’s voice calmly roars – an oxymoron that is amazingly accurate. Ahh those deep baritone vocals start to serenade the audience. He’s got the “mmmmmmmm” down pat, rivaling Calvin Johnson, Adam Green, Leonard Cohen, and that Crash Test Dummies guy. I’m way too lazy to actually look his name up, come on now.
The set begins with “Love Your Family,” one of the dude’s strongest hits. It should be a hit and Noah could play in front of thousands, but then it wouldn’t be as fun. It would lose those campfire, sing along vibes that are a vital part of any ACLU Benefit set and is what largely separates the man from most other singers and performers.
Audience participation is key and as Glen mentioned in his review last week or whenever that was, you feel the desire to sing along more here than you typically would in other performances. Often, singers will ask everyone to sing along or say this word/phrase over and over again or clap or tap or do this or do that and I just don’t feel it. It feels like they’re just trying to get a crowd going and that’s fine, but it doesn’t feel like a real moment for me, it’s not really about me or anyone else in the crowd, it’s about the singer, it’s about the band. When Noah asks the crowd to sing a line or clap their hands together (which is minimally requested and he also suggests stomping, which I prefer!) it matters.
Many of his songs are seemingly written with an audience in mind, meaning a physical group of people singing a certain part, otherwise the songs don’t work. A chief example is the classic (alright, alright I’ll do my best to lay off the ass kissing) “Love Of My Life.” Noah instructs us to sing “Love of my life, I’ll never get over you” the entire song while he sings his own thing, eventually joining us in what becomes the chorus “Love of my life, I’ll never get over you.” It’s hard to articulate it in print, but trust me it’s riveting. You’ll just have to see it and sing it for yourself at an ACLU Benefit show coming soon to you.
A more professional writer would have gone out on that last line, but I’m not a professional writer. Thank God. “Don’t worry about professional, worry about it being good” – Ian Mackaye. Thanks Mr. Mackaye. Anywho, another terrific and distinguished quality to an ACLU show is Noah’s constant interaction with the audience. This is in addition to all of the sing along instructions and so forth. Before, in the middle, and after songs, Noah converses with the crowd, often recounting stories that led to the creation of the song, and not in a boring lecturey way or corny “unplugged” way, God I hate that shit. He tells a different story each time he plays and in this way you never see the same ACLU Benefit show twice. With most bands (even the best I’ve seen) they end up doing the same stuff practically every time, it’s only natural, and even Noah isn’t totally free of this, no one is. Here though, hearing these amusing little anecdotes and seeing how they bounce off the crowd makes for a fresh experience.
ACLU Benefit provides a range of emotions, ultimately uplifting. There’s a striking amount of humanity in Noah’s music and in particular in the performance, where the songs really come to life. I know that sounds hackneyed, but in this instance for the reasons stated in previous paragraphs, it’s true. These songs aren’t just Noah’s, they’re for everyone in the room. He’s the Bill Hicks of music, transcending their given medium and reaching out into the audience and becoming one. It’s a catharsis. More on this Bill Hicks comparisons in future “reviews” I assure you. I’m a nut.
I vowed to not suck too much cock in this review and I failed. I’ll think of something negative to say. He closes with a new song called “Everyone Will Die,”(not exactly the most life affirming in his catalog, but not the most depressing either) a number he claims is an awful closer. I agree. A good tune, just not a great closer. That’s all I got for now. KLYAM LOVE. http://aclubenefit.bandcamp.com/
Willy Mason – I didn’t realize until now Willy Mason has made quite a name for himself over the last decade. He’s a big deal apparently. On Virgin and EMI and shit. I had never heard of the man or his music until tonight. Willy plays guitar and a woman delivers backing vocals. He plays a bluesy, folksy country set and tells tales of touring and travelling. About halfway during the set, Willy is accompanied by Noah Bond on guitar and Jesse Gallagher on drums. In the words of Forrest Gump, that’s all I have to say about that. http://www.willymasonmusic.com/
Bong Wish – This is my first Bong Wish, though this certainly isn’t my first time seeing Mariam Saleh rock out on guitar. I’ve seen Mariam a million times before in Fat Creeps and she’s brought along a friend, a Bongette, Ana Karina Dacosta of local groups, 28 Degrees Taurus and Slowdim. It’s a slower, mellower set, though from what I am told they usually have a full band or something like that. They even throw in a Fat Creeps jam, “Last To Know,” an oldie I had actually never heard live until now. http://bongwish.bandcamp.com/
I only catch a couple minutes of Goat Of Arms, before I have to depart. Ahh well. A pleasure as always at the Lilypad.
Bands: Gangbang Gordon, Miami Doritos, Ben Tan
Date: Friday, November 28, 2014
Venue: Club Bohemia/Cantab Lounge (Cambridge, MA)
Ben Tan – It’s been exactly a year (well shave off five days) since I’ve seen my homie Bad Boy Tan play a solo set. Welcome back brother. He begins the show with his guitar in arms and tapping away with one foot behind the bass drum. I think it’s a new tune or simply one I’m less familiar with, who knows?
Following the first number, he abandons the drums altogether and comes closer to the crowd; BBT upfront and personal. He strums away on the guitar, singing a song about “Marielle” and life with the “Upper Lower Middle Class Blues.” Classic BBT.
Next up are the keys, the core of BBT’s work. This is where he truly hones in on his Brian Wilson influence. I sound like frigging Patrick Bateman describing his music. The guy from American Psycho. This is where the sweet, softer songs kick in, tunes such as “Come Out” and “Dance The Night Away.”
As in my previous BBT experiences the last few songs are reserved for cover songs and any other special audience requests, within reason. Much to my amusement and pleasure, the bad boy belts out covers of The Carpenters’ “Superstar,” The Beatles’ “Martha My Dear,” and R. Kelly’s “Ignition (Remix).” With the last song, he even has the lyrics down to a tee, including the opening lines: “Now, um, usually I don’t do this but uh….” Sharp, sharp guy. http://bentan.bandcamp.com/
Miami Doritos – Well, look who it is, couple of doritos on the loose from Miami, eh? Yes, yes sir. Whenever I tell people that I have a band on my label (KLYAM Records, in case you’re a wiener and didn’t know) named Miami Doritos they usually chuckle and say “that’s a good name,” those exact words. They roll over and laugh and nearly die due to the unending hilarity that ensues. One fella even said to me “boy, I’d sign them based on the name alone.” True story.
Alright, now that we all had a laugh or a wince, let’s get down and dirty, if not outright filthy. Kurt (throat & axe) and Alex (skins) are the savage duo behind this mess. Ancient Greek gladiators. These two can cause a real commotion, you’d think there was three, four, or five guys tugging away. A mini mosh pit even erupts, a quick little pick me up, that’s right.
Miami Doriots are a metal machine, it’s as if Metallica and Slayer molested Phil Spector. You see what I did there, haha haha, what a funny guy.
Among the chart topping bangers in the Miami Doreets catalog, I request “Bike Cops,” I in fact scream it at the band as an encore. It’s simply one of those tunes that makes me feel okay with the world, even though it’s a totally shitty world. Yeah. Others request “Price 2 Pay,” a tune that appears on the Miami Doritos Splifft 7″ w/ Nice Guys on KLYAM Records. Hey! check it out here: http://miamidoritos.bandcamp.com/album/splifft-7\
Gangbang Gordon – Is the name Gangbang Gordon inherently offensive? I don’t think so, but that’s not my problem. I mean who is Gordon anyway? That’s part of what makes the name NOT offensive to me. If it was just Gangbang, maybe. Probably not though. Then again, I was under the impression that a gangbang was a bunch of people fucking a lone, but willing participant. I thought when it was rape it was called a Gang Rape. Recently, I looked up the term Gangbang and apparently it could go either way. Regardless, it’s understandable if you feel uncomfortable by the name (feeling uncomfortable is part of the GBG charm), but rest assured no harm was intended. GBG (we’ll just go with that) is so oblivious to everything anyway. That brings me to my main point or at least one of them. I have no interest in actual music reviews.
Oblivious, yeah I like that. Awkward perhaps. Nauseating maybe? Or just plain old fun. GBG is self-described “outsider tard rock ‘n’ roll.” One man’s ambition to make rock ‘n’ roll music within the confines of limited technique, inability to “properly” sing, and somewhat ignorance in terms of the history of the music he is trying to emulate. Picture it on stage (or floor): GBG squeals and huffs and jerks off his gutiar, whilst his co-gangbangers drop loads of magic on “noise guitar,” bass, and drums. Ben Tan returns as Mr. Tambourine Man or better yet Benny the Bunny(he slaps on a pair of bunny ears). Nobenny! Haha!
Ahhhh right, going back to the weirdness, it’s crucial, a GBG set is like no other. Think or say whatever you wish, but you can’t say you’ll see this same performance somewhere else, at least I never have. The typical mantras spouted in the underground (and sometimes aboveground) world is “hey you can do this too!” “anyone can make music!” Whether it’s The Kingsmen, Ramones, Beat Happening, Black Lips – the idea is a few blokes get together, make some noise, bash away till they can adequately play… to be able to play a show and so on and so on. Most of the time, it’s something shitty, but they have their shit together. They really do. They’re adequate as hell, even if it’s incredibly shitty. You’ve seen this band before, you saw them five years ago, you may have seen them five days ago, you’ll see them again, you’ll probably see them five years from now. They never stop. Same band, different name, different faces. NOW, GBG is not this band.
They do not have their shit together. It’s as if every member, every banger, is playing their own individual show. Don’t get me wrong there are songs, this is music. Eschew any nonsense GBG spews about it being non-music, that’s a cop out for the music sounding odd, which it does. Trust me, I’m friends with the guy. The man, the myth, the legend. Well, it could be considered non-music, I suppose, but it’s not some lame, ironic, art house project. Fuck that. It’s entertainment, there’s songs, they are played for your entertainment. GBG flops to and fro in a peculiar fashion in front and frequently within the audience for their enjoyment. He’s well aware that there are people in front of him watching, paid their money, and have other things to do. You often see bands (like the shitty ones I alluded to earlier) that are up their playing and they’re not moving or saying anything or doing much at all. Damn, did I miss something? Do you owe someone money? Is some miscreant sticking a 45 to your head and saying GET UP THERE AND FUCKING PLAY. What a bore. GBG’s music may be comparatively inept, but he sure is an entertainer. He’s quite aware of what he’s going through.
Seemingly, anything can happen during a GBG show. There’s this, dare I say BEAUTIFUL element to a GBG show. It’s a certain atmosphere rarely tapped into by other lads. Everyone stares, perhaps head bobs, Mario Epstein dances his ass off, but legitimately anything could happen and it wouldn’t interrupt the show, the show would keep going on. Someone could waltz over in the middle of the band, drop their trousers and take a steaming dump right in the middle of the set and it wouldn’t stop the show. It may result in some glares and naturally people will pinch and/or cover their noses… but it wouldn’t ruin the moment. It would just be like ohh that’s Bill. Bill comes in around 14:32 and takes a dump. That’s part of the show. Similarly, songs often abruptly end OR they don’t know when to end. Regardless, the crowd typically has no clue when one is beginning and one is finishing.
Let’s hope they never finish. GBG: http://gangbanggordon.com/
So, that’s that. This was a KLYAM Presents show and we are more than grateful for all of you fine individuals that played this show, attended it, or even if you wanted to make it, but couldn’t or didn’t, whatever! WE THANK YOU. And of course a big thanks to Mickey Bliss and the Cantab/Club Bohemia for having us. We’ll be back very soon! Keep your eyes peeled…
Sick! If you’re a rock ‘n’ roll nut (why wouldn’t you be?) then The Monsieurs are just what the doctor ordered. Raw and nasty rock ‘n’ roll with a pinch of bubbleyum sweetness. All on display here in this new music video for “Young Gun,” a tune that appears on their new record out on Black Gladiator/Slovenly.
Record Release show this Friday at the Cantab Lounge with Nice Guys and Free Pizza: https://www.facebook.com/events/542009525942992/?ref=br_tf
HEY ALL, feeling stuffed after Thanksgiving dinner, eh? NO WAY! It’s Friday night, make extra room for this wild ass punk rock ‘n’ roll, KIDS LIKE YOU & ME (KLYAM) show at Club Bohemia (Cantab Lounge basement) in Central Square, Cambridge. Featuring the mighty Ben Tan, Gangbang Gordon, Durt Dog The Band, and KLYAM Records’ own Miami Doritos. Damn, after all that punk slime, if you’re not totally stuffed, then helll, that’s one Punk Slime eater there!!!
FB EVENT HERE, GO!:https://www.facebook.com/events/580285072118132/?ref_newsfeed_story_type=regular
MIAMI DORITOS: http://miamidoritos.bandcamp.com/
DURT DOG THE BAND: http://durtdogtheband.bandcamp.com/
GANGBANG GORDON: http://gangbanggordon.com/
BEN TAN: http://bentan.bandcamp.com/
Heyyooo hey hey, it’s the Thieves Grotto’s 69th anniversary or something like that. Hats off to those straight shooters and all the memories they have created over the years. I saw the Nice Guys and Miami Doritos tour kick off at this very place some time ago, that was a tasty swell if I ever saw one. Now, here we are November 21, 2014. Crazy to believe it’s twenty fourteen. Wild times. The police are trying to kill me, Ted Bundy’s been laughing at me, Charles Manson’s getting married and I’m not getting laid! It’s not even Thanksgiving and I already feel full. Luckily, there’s a show, several shows on the horizon. Time to kick back and rock and/or roll with some of my favorite bands, local and otherwise.
This is my second time here at Thieves Grotto and tonight is a flashback to my first experience, those equally frigid times circa February 2014. Indeed, I froze my ass off on the walk here, wearing merely my leather jacket and my Cumstain shirt beneath. Ironically, one of my cleanest dirty shirts. I kept the attire on the lower end, having remembered how sweaty this place can be in the midst of all the hysteria. Most basements can get toasty at times, but hell this place is body to body packed, so it gets HOT, especially during the sets.
The Grotto has their shit down pat, a whole crew. Right as you walk in they’re right there at the door for the donations. On top of their shit and rightfully so cause this place is huge in a way. Its as if this is a scene from some hip, mumblecore flick and the director wants to capture a house show. It’s the Great Scott of basements, if you will, housing rosy cheeked, eager students and a series of twenty somethings whining about the work week, desperately missing their own college days of yesteryear.
Upon my arrival, Lady Bones are blasting away and they sound decent. I can’t see much if anything, however, so I virtually miss their set. Apparently, Dinoczar has also played as well. This place takes their set times seriously, on top of their shit.
Fortunately, KLYAM Records’ own Nice Guys are up next. Before they begin, a young gent busts out a few acoustic tunes and some beats including a cover of the Chili Peppers “Under The Bridge,” which riles up the anticipating crowd. I didn’t catch his name, but if you attended the show and know who he is or you are him (what up), then by all means let us know.
Off to Nice Guys! Damn, I love those few seconds before a crazy set is about to begin. It’s like being on a rollercoaster and getting strapped in for the ride. You can see where the ride will take you and it’s about to set off any second, but this very moment is exhilarating all by itself. The moment of anticipation.
The dudes kick it off with a new banger that is as feisty and catchy as ever and as I suspected, the crowd goes ballistic. It’s non-stop, slamming and blamming back and forth to all your favorite Nice Guys hits and one Andy Kaufman number where the Soul Eater shines. I TRUSTED YOU. The moshing is a lot of fun and it really makes the songs that much more enjoyable. I’ve seen 20+ Nice Guys shows and unfortunately I can’t say all of them are this nuts. That isn’t a knock against the band at all, but even in basements audience appreciation is typically much mellower. Here, you could be tossed from one side of the room to the other and I love it. So do, the Nice Guys themselves, thanking the Grotto on several occasions throughout their performance.
Cheers to more off the wall Nice Guys shows in the future (leans back and pounds 40 ouncer). Now you’ve heard it from me before and you’ll hear it again, pick up the Nice Guys/Miami Doritos Splifft 7″ from KLYAM Records: http://niceguys666.bandcamp.com/album/splifft-7
Free Pizza – Dayemmm son, first Nice Guys, now Free Pizza, dayemmm, devour these mouth watering slices before it’s too late. Yep, Free Pizza, one of Boston’s finest and a personal favorite are leaving us very soon for Miami, FL :( . Now, there’s teardrops on my pillow and telephone, I cried for four hours last night. As they (and Nancy Kerrigan) say WHY? WHY? WHY? WHY? But, it’s alright, at least we have these last few, precious shows. COME ON EVERYBODY, LET’S HAVE SOME FUN! It felt like a caps locks kind of moment.
The Free Pizzas – Jesus, Santiago, and Nick open their set with a cover of Ramones’ “Havana Affair.” Crazy song, crazy lyrics, just reminds me of how fucked up the Ramones really were. At least, it’s not as disturbing as “53rd and 3rd.”
Much like every band that apparently plays at Thieves Grotto, the kids are flippin’ and floppin’ about during Free Pizza. Though, it’s not as rambunctious as it was during Nice Guys or I’m in a less chaotic place in the basement, who knows? I have a nice spot right up front, holding on to one of the amps for dear life.
Songs about Boston, Massachusetts, ducks, and love ensue. Good times had by all. See these slices before they are eaten by that Miami monster I call Ricky Martin. http://freepizzarocks.bandcamp.com/
They’re playing with Nice Guys and The Monsieurs on Friday, December 5th at the Cantab Lounge for The Monsieurs Record Release: https://www.facebook.com/events/542009525942992/ HOLY SMOKES! BATMAN THAT’S A GOOD SHOW!
HAPPY HALLOWEEN! Celebrate this gory, ghoulish, gut busting holiday with the one an only NOBUNNY! “Lizard Liars” meets teenager slasher flick y’all.
P.S. cameo from a green one….
Bands: Ty Segall, La Luz, Boytoy
Date: Friday, September 19, 2014
Venue: Great Scott (Allston, MA)
Boytoy – I’ve never heard nor seen these knickerbockers before, but apparently at least one of the members is originally from Boston or at least was a part of the Boston music scene some time ago. Alright, we’ll give them that. I would have preferred seeing a local band such as one Nice Guys, but it’s all good, Ty Segall is playing tonight!
I get my typical spot right up front and center for Boytoy. I wouldn’t have it any other way. I spend most of the set mildly rocking out, if you will. Swaying a bit to and fro, doing the headbob. Most of the crowd looks like they could use a big buck of water splashed upon them; I guess like myself everyone is just waiting for Ty to hit the stage.
I like Boytoy’s set as a whole. Poppy, easy to get into, but doesn’t cut too deep for me. Reminds me a little of Boston’s Mean Creek and I have similar feelings for them. Not too shabby, but not something I’m in love with either. In any case, check them out here: http://boytoy.bandcamp.com/
La Luz – Alas, I missed most of La Luz’s set and what I did see I was way in the back for. I’ve heard a lot of positive things about this Seattle band from reputable sources i.e. friends and musicians, whose taste in music I respect. Based on what I’m listening to now on their bandcamp, it sounds like they have a soft, surf/dream pop feel to them. Brings to mind Dum Dum Girls and local favorites Littlefoot. Give it a listen: http://laluz.bandcamp.com/
Ty Segall – The full band arrives on stage. The classic line up, y’all know. Emily Rose Epstein on drums, Charlie Moothart on guitar, Mikal Cronin on bass/vocals, and of course the man man himself Ty Segall on vocals/guitar. These aliens/glam rockers, I mean glam rockers are pretty much aliens anyway, are introduced by a gentleman in a white cowboy hat and suit known as Jimmy Longhorn. Jimmy speaks of Boston glam legend Lou Miami (early 80s) to an antsy and puzzled crowd. You mean to tell me you fuckers don’t know LOU MIAMI?!Ahh I probably wouldn’t either if it wasn’t for Papa Georgio. Okay, back to the present.
Ty is the global ambassador for rock ‘n’ roll. Mmmhmm. At the UN, he represents rock ‘n’ roll. He stands proudly, shredding his guitar and bringing peace and unity across all the countries. Maybe not… yet.
For one thing, he has a legion of followers or let’s say dedicated fans. Followers makes it sound like we’re all ass kissing wannabe cult freaks. Needless to say, Ty’s done well for himself and he’s pretty fucking big at least by my standards. He may not be mainstream, but he’s up there and at this juncture in his career I honestly would have never thought I’d see the dude headlining Great Scott, a 24o capacity venue. He could sell out Middle East Downstairs, The Sinclair, Brighton Music Hall, Paradise, hell even *cringes* the Royale no problem. On a Friday night to boot! I saw this guy and his cronies sell out Great Scott on a Monday night last year in his band FUZZ.
At this level, Ty playing Great Scott as a regular tour stop seemed unthinkable. Unfair even. There’s at least a few hundred more fans that missed out on his performance, because Great Scott is a relatively small venue. With that being said, I’m grateful to be seeing the dude and his band in such a comparatively intimate setting. I’ve seen him a few times before including a visit to Brooklyn’s outdoor venue, The Well, and that was a behemoth, a thousand or more fans in attendance. So yeah, you get the picture, being up front here with the small stage, mere inches away from the band is an entirely different experience.
Without digressing, I also want to mention that this is the band’s first time back in Boston since playing the Homegrown Festival four years ago. Welcome back sir! Ty even acknowledges this absence and apologizes for it. I don’t know why, it’s been so long, but who cares you aliens are here now and that’s all that matters.
From beginning to end, the set is a banger. Ty, Mikal, Charlie, and Emily never waste a second, rarely interacting with the audience, instead letting the music speak for itself. The crowd goes nuts as one can expect. A constant barrage of moshing, crowd surfing, stage diving, the whole nine. As a pint size punker (ehh, I’m not really a ‘punker’ I just love alliteration) I find it difficult to maintain my front and center spot, but I manage. A friend even comments on this following the show, asking how I was doing, “you took a few blows,” ahh nothing I can’t handle at this point.
I’ve found that Ty typically plays newer material at his shows and that’s perfectly fine with me. While Melted (2010) will probably always be my favorite Ty record, I’m more than excited to hear the freshest dish of raw, guitar grit he has to offer from his latest LP Manipulator. Indeed, the bulk of the set is music from the latter album and one of my favorite moments is when he plays the song “Feel,” ohh we feel it Ty.
Naturally, I go berserk (in the best possible way) when he whips out some of the vintage cuts such as “Standing At The Station,” “Skin,” “Girlfriend,” “Imaginary Person,” “You’re The Doctor,” “Thank God For The Sinners,” and an unexpected highlight in “The Drag,” a personal favorite.
Anyway you can take it, Ty is king. At the same time, he’s just another dude like you and me. Err, I mean kid like you and me ;). Ok, ok, I”ll wrap this up real quick. Point being, he’s not too cool to stop and chat with hundreds of fans including one Gangbang Gordon haha.
Until we meet again, thanks for one of the best shows all year and simply ever…
If you weren’t here, then you missed out! At least you can check out this video from youtube user FrontRow Poster:
Hey there! Get yo’ ass down to Deep Thoughts in Jamaica Plain: The freakiest and friendliest record store (not to mention a personal favorite of yours truly) in all of Boston and perhaps the world over, perhaps. And guess what??? It just got a little kinkier, because we got some new KLYAM Records tapes up in that beattch! KLYAM-003: Back Pages – Singles 13′ & KLYAM-004: Electric Street Queens – Live From Your Dreams, We’re The…
Back Pages – Singles 13′
“Rage teen punk of the Reatard variety.”
http://thebackpages1.bandcamp.com/
The Electric Street Queens – Live From Your Dreams, We’re The..
“8 songs of pure, unadulterated mayhem.” http://electricstreetqueens.bandcamp.com/
Of course, I can’t forget. These bad boys are also hanging out at Deep Thoughts and waiting to rest in the warmth of your treasured arms:
Fat Creeps – S/T 10″ EP
Nice Guys/Miami Doritos Splifft 7″
Lastly, all of these sick puppies are available right here on our KLYAM Records online store: http://klyam.bigcartel.com/
Don’t be a damn fool and pick up these fine records and tapes TODAY!
Yo! Check out the new music video for Cretin Stompers’ “Adult Child” off their full-length LP Looking Forward To Being Attacked. The video is directed by Joslyn Crocco and it’s pretty nuts, may cause seizures. You’ve been warned. They weren’t foolin’ when they said they were stomping and attacking.
Listen to the whole album here: http://cretinstompers.bandcamp.com/album/looking-forward-to-being-attacked
Kids Like You & Me (KLYAM) 