Custody Battle

10” 2010

I think of Custody Battle as the refined version of Anomic Suicide. It contains Travis and Pickle from said band and adds Zombie Religion singer, Loren, on bass. The sound is similar to Anomic Suicide’s in that it sounds like all the good players from the early SST bands formed a band that somehow didn’t suck. The playing is tighter and the songwriting has gotten slimmer and more minimalist and more focused. This is also the best recording of any of Travis’ many bands that I’ve heard. Because I know these guys it’s hard to separate how mean this sounds from what nice mellow guys they are. The music makes them sound deranged and heat fried. Ain’t one trace of that hippie love folk shit that is popular in all the bars up in Flagstaff. This is the type of music you can only see in basements and house shows where underage kids are getting loaded and making out and rocking out. Easily one of the best bands in Az. right now.

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Anomic Suicide

The First Four Years CD 2003-2007

I think Anomic Suicide played as “The Skags” when they first started, but I only saw a couple of their last shows when they were firmly established as Anomic Suicide. They had a good four year run, which in Flagstaff band years is more like twenty years. One of the main songwriters was Travis Coutts who came on my radar when the Cuntifiers played with his old band, the incredible KGB, in Flag once. Travis and the rest of these guys have been a major influence on the Flag scene through their many bands (Emo Wars, Custody Battle, Lipniki Kids, Wedding Band, Landlord, KGB etc.) and by throwing a ton of local parties/shows for many great touring bands. Anomic Suicides’ sound sometimes comes off like raw early 80s hardcore punk, as the Black Flag style art work and title suggests. Other times it feels like they were listening to a lot of Jawbreaker or Replacements, but most of the time it feels like they were eating a lot of acid and listening to Flipper and Sonic Youth or early Amphetamine Reptile bands. Some songs are thirty seconds long and some songs are nine minutes long. Drummer, Pickle, has a sledgehammer style of playing that works with all their styles. Whole thing is rough from conception, to playing, to recording and probably could have been trimmed to a best of rather than complete discography, but there is a rough beauty that comes through in enough of these songs to make it worth checking out.

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H.O.A.

Fighting the Lost War of the Anonymous demo cass. 2010

Here’s a current band out of Tempe whose demo I picked up a Toxic Ranch last week. Bill told me it was some pretty good noise out of Phoenix. I said “noise like Amphetamine Reptile stuff?” and he said “no like Throbbing Gristle.” Naturally I was intrigued and if Bill says its worth checking out it usually is. But I think we both missed the mark on what kind of noise this is. It reminds me of the early 90s riot grrl stuff, but only aesthetically, because it seems like its three young girls who have no idea of how they're "supposed" to play their instruments yet are still able to create great interesting music. This is way more creative than most of the stuff like this that was done in the 90s. I would fit this somewhere between contemporaries like Trash Kit and Finally Punk while giving a nod to Crass and Huggy Bear. It’s very menacing, a little creepy and so good that HOA (along with Gay Kiss and Sorrower and a few other newer bands) gives me hope for Phoenix.

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Gary Bear

Gary Bear as Kelvin 296 & the Beat Hip demo cass. 1997

The first time I remember seeing Gary Bear was at the DPC when it had just opened (’90 or ’91?) and a great band from England, Thatcher On Acid, played. They were like a better, poppy version of the earlier English anarco-punk bands (Crass, Conflict et al.) and I listen to their records regularly to this day. In the middle of one of their songs they did this break down thing where the music got quiet and they invited anybody from the audience to come up and take the mic for a while. The stage was on the east side of the venue and for a short time had steps directly in front of it so there was easy access. The crowd was thin, but five or six people got up there and did their thing. Some sang along (with real passion, and the band reacted accordingly) others just said stupid shit. Then Gary Bear gets up and recites a poem that I don’t remember verbatim, but the basic idea behind it was that if you drink and you become an asshole when you drink, then you have no right to use alcohol in public. That simple wisdom, put so elegantly in poem form, with the great Thatcher On Acid backing him up, stuck with me over the years and occasionally pops into my head when I see drunk assholes in public. This made his face stick with me and I would recognize him performing as a solo act from then until now. Every time I’ve seen him perform live I’ve found it very annoying. It seemed like he got lost on the way to the Renaissance fair and somehow landed a spot in between two good bands I really wanted to see. This three song demo reflects that kind of freak-folk-pop stuff he does live, but here it’s not annoying. The songs are actually good. They’re still weird as fuck and very Renaissance-y as if he was scoring a very weird Willy Wonka directed by Jodorowosky set in Italy in 1525, but with love song lyrics. Listening to this makes me think about Gary Bear as that type of artist that works best in the recorded medium.

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