Re: Your Brains

May really is a workhorse of a month when it comes to dubious holidays. In addition to containing the well-meaning but thickly commercialized Mother's Day it has also been recently minted Zombie Awareness Month. Oh, and this year it likewise played host to Not-Quite-the-End-of-the-World Day, which I think we can agree is a nice touch. To commemorate two of these three delightful fauxlidays – and the third as well if you're willing to stretch a bit – the Zombie Research Society has released a fun new book that has been described as "a cautionary tale that teaches kids how to recognize a zombie outbreak in its earliest stage."

Written by the Matt Mogk, head of the ZRS, and colorfully illustrated by Aja Wells, That's Not Your Mommy Anymore is what could easily be called a children's book for adults. Falling somewhere between the classic Uncle Shelby's ABZ Book and the currently buzz-worthy Go the Fuck to Sleep, it's a simple, lyrical anti-bedtime story that explains with childlike wonder the warning signs of early-onset zombism.

Combining nods to touchstones like Night of the Living Dead, Return of the Living Dead and Zombi 2 with a certain skewed Seussian sensibility, it's really little more than horror film fan service. But that's enough for me.

Written with tongue firmly in cheek, That's Not Your Mommy Anymore doesn't bother to step outside its kiddie book shtick, and it doesn't have to. At 32 pages, it never overstays its welcome, and, though neither the art style nor the simple sing-song narrative are exactly ground-breaking, both are competently managed and play extremely well together.

A mere 8 bones at Amazon That's Not Your Mommy Anymore is what I would term an easy recommendation. Leave a copy around your den, office or dorm room to shock and amuse unsuspecting guests, or maybe snap one up for the new geekparent in your life.

And while I'm making this solitary sojourn into the Hipster, please! Undead Book Club, let me also shine my own gritty light on 2010 Philip K. Dick Award nominee The Reapers Are the Angels by Alden Bell, a book I picked up on the good word of Seattle Geekly. The first real grown-up book I've managed to read this year, this novel runs the typical zombie apocalypse survival story through the filter of naturalism, both philosophical and literary.

While properties like The Walking Dead tend to project the arc of the zombie holocaust to a fairly linear mid-point, Bell takes a different approach. His tale of adolescent protagonist Temple, a girl who's lived her entire life in a world populated by ravenous meatskins, takes place after the hysteria and the looting and roving bands of gangs vying for control of meager resources.

It is instead a world that has at last achieved an odd equilibrium, a land of scarce reconstruction where hope for the future is tempered by a measured acceptance of its present reality. Beautifully penned in the voice of a hardened southern illiterate who, despite both her own flaws and those of the world around her, still manages to see the beauty and order of nature's machinery, The Reapers Are the Angels is a tale that begs to be experienced.

And thus concludes what appear to be reviews of two books. As opposed to, y'know, albums. Which are more firmly in my wheelhouse.

I hope that the shock of this unlikely missive hasn't driven anyone to an early grave. But if it has, I reckon we can all agree that's an oddly appropriate outcome.

The New Sincerity

It's clobberin' rhymes!

Rapper Adam WarRock won me over as a diehard fan with the proverbial quickness. His lyrical dexterity, fearsome yet reserved flow and penchant for comic book allegory got me hooked, but it is his unprecedented prolificacy that truly keeps me coming back. Since the release of his debut full-length The War for Infinity, Adam has made comic shop rap a common occurrence with a steady stream of regular freebie selections disseminated through his site's TrackLog. These have been punctuated at irregular intervals by larger, more cohesive works typically centered thematically on his own favorite comic publishers or properties.

Not bad for a cat that's only been doing the full-time musician thing for a year.

WarRock's latest is an oddly introspective affair that pairs him with producer (and fellow Radio Free Hipster regular) Dale Chase. Though smaller in size and scope than his previous Bandcamp release, it is still somehow no less enjoyable, impactful or insightful.

This Man... This Emcee kicks off with one of Dale's soulful, breezy beats in the track "Marvel vs. DC." Despite a slight lyrical stumble out of the gate, Adam comes through with an impassioned plea for broader peace and understanding that masquerades as a simple deconstruction of fanboyism. "New Sincerity" switches things up slightly with thickly layered production and speedier rhymes that combine to make it an instant triumph. My only knock against it is the singular bout of navel-gazing that seems to involve Adam's recent adoption as a poster boy of the nerd music movement.

Oddly enough this theme continues, though in a slightly skewed manner, in follow-up "Nerd Corps." A dense and sinister-sounding joint that's part cultural call-to-arms and part cultural criticism, it channels an odd element of snark and anger not often present in Adam's work, but pairs it handily with raw emotional confession. Likely his most aggressive song to date, it's an amazing effort that explores the duality of the geek rap phenomenon.

"Sad Ultron," by contrast, is a typical slice of WarRock's comic book storytelling dedicated to Marvel's premiere killer robot. Adam kills it – See what I did there? – on the mic, and Dale Chase's production is equally flawless. The whimsical "Johnny Wanderin'" winds down the meat of the EP with a beat that's so evocative of Dale's style that I almost swear he's used a variation of it before. Adam provides an enjoyable lyrical primer to the webcomic Johnny Wander that manages to be wholly relatable even to those of us unfamiliar with the series. Likely the strongest selection from this release, it's followed up by a pair of remixes.

The "Nerd Corps (Core Nerds Remix)" is even more epic than its original iteration, and additional rhymes for Dual Core and Beefy add some amazing new vocal textures. Adam's 11th hour admission that he "think[s] some party rappers're dope" and "think[s] some nerdcore music sucks," however, seems a tad too obvious to be profound.

The closing track is an exclusive DJ Empirical remix of Adam's tribute to mutant master thief "Fantomex" that goes in a completely different direction than everything else on the EP. It's a fun change of pace that spotlights a song that some would have otherwise missed, and though it and its predecessor aren't exactly canonical within the arc of This Man... This Emcee both do nothing but enhance the listening experience.

Mechanically-speaking This Man… This Emcee is a practically flawless creation. Though it only represents the work of a scant five contributors (Adam, int eighty, Beefy, Dale and guest remixer DJ Empirical), each obviously gave the project his all. In fact, my only complaint against the release – and this is not an indictment of Adam WarRock as it's an unfortunate trend presently cropping up across nerdcore hip-hop and its periphery – is the occasional lapse into overt meta-rhyming.

In the olden days of geek-centric rap, MCs would often pepper their lyrics with glowing endorsements of nerdcore, salutes to the glories of nerd life and the triumph of the outsider. It was a particularly noble strain of pride and a suitable reaction to a world only just becoming aware of the power of geek culture, but it quickly became trite and overdone. It also became laughably overblown, with the style being touted in verse as the only solution to the evils of radio rap and hollow corporate hip-hop.

Now it seems that the pendulum has swung back the other way; acts are seeking to actively distance themselves from the conceptualized catch-all that is nerdcore hip-hop, or further they overemphasize the term and others' perception of it in hopes of challenging its conventions. This too has quickly gone from an effective means of self-critique to hackneyed internal shorthand.

Adam WarRock struggles with being a dedicated hip-hopper and a perceived nerdcore artist, and this is a common and understandable affliction. Yet to his credit he also manages to provide an alternative, a true antidote to the self-referential poison of overt cultural dissection: sincerity.

Adam crafts uniquely enjoyable music by focusing on the things that he loves (typically comic books and hip-hop itself), but he adds to that an uncanny level of skill honed over years of listening to, writing and genuinely enjoying music. And that music, no matter what you or I or even Adam himself decides to dub it, is nothing short of amazing.

"And Adam WarRock is here to keep the tape playin'."

Nerdapalooza Cometh

With the responsibilities of family, a day job and multiple blog/writing/podcast projects constantly weighing on my tiny shoulders, I am not exactly what one would call a traveler. I sort of have to budget out my trips with extra care, as both time and money are rather scarce. That being said, I will once again be spending my meager vacation days supporting the geeky musical community at this summer's  Nerdapalooza festival.

Actually, it occurs to me that I keep saying I'm going to Nerdapalooza, but I haven't, y'know, actually done anything with regards to arranging my travel or accommodations. I better get on that shit. But first, let's talk shop!

Thus far the lineup is looking pretty damn amazing. Random, Dual Core, The Protomen, Schaffer the Darklord and a handful of other phenomenal acts that I can't help but think of as "the regulars" have already been announced, and with the addition of my favorite sophomore performers, Florida's own Sci-Fried, I can't help but get a little giddy about the bill. Add to this outstanding newcomers like Metroid Metal, Adam WarRock, The One-Ups and my boys Illbotz, and you've got the recipe for an unbelievable musical weekend.

The best part, for me at least, is that there are still performers yet to be announced! Personally, I'm holding my breath for the inclusion of NC's The ThoughtCriminals, the return of Kirby Krackle and, of course, Frontalot and Co. Still, part of the fun is in the discovery.

With the big event less than two months away, those of us that closely follow the scene are gearing up for it a number of ways. GeekDad's a sponsor of Nerdapalooza 2011, so Curtis and I are even now scheming for ways to both promote the festival and cover it from within. Likewise, Hex's own Nerdy Show is getting into the proverbial groove by featuring a number of this year's featured MCs in their next remix contest, The Marvel Vs. Capcom Mixtape. Of course as the duly elected emperor of the land of Hipster, please! I am also doing my part to remind performers and attendees of Nerdapalooza's long-standing cover song tradition. You know how I do.

But mostly I'd like to know your thoughts on this year's celebration of musical nerdery. Who are your most anticipated acts? What are your picks for the last handful of artist reveals? What are you plans for Nerdapalooza weekend itself? Most importantly, can I bum some gas money and sleep on your floor? ;)

Radio Free Hipster Ep. 110: The Southern Accents Mixtape

In case you haven't realized, I've been thinking a lot lately about my region. About how the South has shaped me, as well as about how I view it. It took me years to make peace with the fact that I was a nerd, and it's taken even longer to come to grips with my innate southerness.

I don't for a minute think that my particular geographic area is somehow superior to others, but I have also begun to accept that it's also not wholly inferior either. Admittedly, we have a rather sordid past, but so does our nation. So does our world.

I like to think of the current era as the New New South. And unlike previous iteration its strength is a genuine sense of self-awareness. Not an overinflated view of heritage or a skewed personal history, but rather an understanding that we are not our fathers or our father's fathers. We have reached an understanding that there is more to the world than our meager boundaries, so rather than just being simple southerners we simply are.

Nerd music tends to shine when it is inherently nerd rather than intentionally so. The same goes for southern music. Here are some examples of both. It's a selection of geeky music from southern artists that refuses to outright pander to either demographic.

Download Radio Free Hipster Ep. 110: The Southern Accents Mixtape [hosting provided by Antisoc] Size: 69 MB Running Time: 52:38

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
By this point you all know that a fucked up theme song = a mixtape-style episode, right?

Track 1: Parks and Recreation dialog / DJ Earworm – "If I Were a Free Fallin' Boy"
To me, Tom Petty really defines the contemporary end of the southern musical tradition.

Track 2: The Mudbloods – "Glenrock Falls"
Much like that Petty mash-up, this is actually the kind of song I'd typically reserve for a show closer. Still, it felt pertinent to represent Austin, TX early (and often) in the ep.

Track 3: The Emotron – "Bigger than J.C. (demo)"
Emotron is a notorious live act in the regional music scene.

Track 4: Illbotz – "Ride On to the Real, Death to the Fakers"
I'd like to point out that this joint cribs the musical hook from Drivin' N' Cryin's "Fly Me Courageous" and the ending lyrical rant from Guns 'N' Roses's "Get in the Ring."

Track 5: The OneUps – "Bowser Castle"
Fayetteville's OneUps are on the Nerdapalooza 2011 bill. They're another act I have yet to see live, so I'm pretty excited about finally getting the opportunity.

Track 6: Nuclear Bubble Wrap – "Sharktopus"
NBW hail from Nashville, a town renowned for music. Still, I wonder sometimes if people really understand how much more it produces than just simply roots rock and country artists.

Track 7: HDninja – "Fighting"
I had to decide which of Florida's many nerd-friendly acts I would spotlight. I ended up going with HDNinja, mostly because they have long been a personal favorite.

Track 8: Metroid Metal – "Norfair (NES)" / Matt Davis "You Don't Talk Country" dialog
Though Metroid Metal now has a number of members in other locales, it was founded by North Carolina-based arranger Stemage.

Track 9: Sci-Fried – "Geek Rock"
Another Florida outfit that's particularly near and dear to my heart is Orlando's Sci-Fried. Them's my boys!

Track 10: Marc Gunn – "Samwise Gamgee"
Marc Gunn is a cat dedicated to keeping Austin's music scene healthily weird. He also provides this edition of the podcast with the proper dose of Celtic-flavored filk.

Track 11: The ThoughtCriminals – "Earthbound (feat. Adam WarRock and Random)"
The TCs are my Carolina brothers and Adam WarRock also spent his childhood in the South. Ran? Not so much, but I give him a pass. ;)

Track 12: Bill Hicks "Flying Saucer Tour" dialog / John Lennon vs. Bubba Sparxxx – "Oh Yoko's Ugly"
I played this Bubba Sparxxx mash-up years ago, but felt it was the perfect time to revisit it.

Track 13: Marc with a C – "Satellite" / Foghorn Leghorn dialog
Marc has some really amazing songs, but this one's always seemed particularly strong to me. I settled on it as the show's closer very early on.

I'm still not entirely happy with the sound quality of this episode, but it should be good enough to get you through a single show. Expect more tweaks as I figure out my new recording/editing setup.

I have a few more proper show themes brewing, but I think I'm going back to the potpourri approach from episode 111. Then again, I'm sure there's some sort of weird numerological concept I can mine from the show's number itself, so don't quote me on that.

Just to Feel Alive

Oliver Hindle is one of those cats that never ceases to amaze me. Whether with bands like Scared of Dinosaurs and Tetrastar or from his own sometimes-solo-sometimes-group project Superpowerless, he always manages to combine the best elements of lo-fi electronica and punked-up pop rock.

Just last week the aforementioned Superpowerless – now a duo with Tetrastar's Jaylyn Coffin – dropped a brand new single entitled "We Throw Shapes." And I dug it. I dug it so much that I actually did the unthinkable – I purchased it via iTunes. With real money. (I still feel kinda dirty about it, truth be told.)

Oliver let slip to me that he plans to shortly release another single before dropping the forthcoming album in its entirety, and I for one can't wait. To find out why I suggest you peep the following official video for "We Throw Shapes." It provides appropriately amazing visuals for what may well be your new favorite song.

Funny Business

When nerdcore took its first tentative steps into the mainstream, it was very careful to brand itself as something different than your typical comedy rap. Not wanting to be seen as a performer of parody is always a pressing concern for white rappers, but nerdcore's insistence that it wasn't a "joke genre" seemed to run counter to the keen humor inherent in the concept.

This clearly underscores the problem with comedy music, or rather the perception of comedy music; it's easy to write off a humorous artist as insincere or as the producer of a pale reflection of another more legitimate form simply because his output is comical in nature. Phrases like "parody artist" and "musical comedy" have accordingly become thinly-veiled slights, often insinuating that the act in question is somehow less important or less legitimate than his more straight-laced peers.

But what about when the music isn't merely a conduit for the humor? What about creators who instead use comedy to truly express themselves musically?

From the classic filk circles of old to the Dr. Demento show to the internet's prolific Funny Music Project, silliness and sarcasm have always had an apparent, unapologetic place in the music of nerd culture. With the advent of YouTube and the glut of social media and sharing options afforded to today's musicians, what may have once been a standalone novelty track success story has morphed into endless opportunities to shock, amaze and delight.

Still, the very act of billing oneself as a musical comedy act can provoke derision from the countless haters in the scene and beyond. Yet this doesn't stop everyone from defiantly exploring the power of lyrical humor.

My first exposure to Nashville's Nuclear Bubble Wrap was an early, demo-y version of their comedy Wrock track "Draining the Lizard on a Dead Gay Wizard," and I was...unimpressed. It was juvenile and trebly and repetitive, but just like other humorous punk rock outfits, the kings of which were certainly the late, great Dead Milkmen, Nuclear Bubble Wrap manages to turn those same liabilities into strengths.

Their latest release, Exploding Head Syndrome, is all about sharp guitars, arrested sexuality and lyrics that walk the fine line between ridiculous and inspired. And what makes it work is the band's unique self-awareness. Nuclear Bubble Wrap isn't talking about the plight of indigenous peoples of the piss-poor state of the global economy. They are instead writing puns about Pokémon names and making sweet musical love to poultry.

While the comedy is often lowbrow, the songwriting itself is generally clever and the instrumentation eclectic and satisfying. The album kicks off with "Burning Ambitions," a hard rocking joint about pyromania, before switching immediately to the off-kilter folk-punk that is the delightfully dirty "Inyourendo." The guys exercise their parody muscles early on with "Food Belongs in Me" featuring a great guest spot from Johnna Day, but follow-up original "Raichu a Song" stands out as the most geek-friendly of the album's offerings.

The key-heavy "Captain Abduction" likewise channels broader popular culture – casting the alien abduction phenomenon as a Fallout Boy number – into a proper pop rock anthem that could easily be mistaken for the work of a more vanilla indie outfit, like the one that inspired it, if not for its laughable lyrical slant. The laidback "Birdfucker," itself a Neil Cicierega cover, scores points for production and melody (not to mention its pure conceptual depravity), but gets lost among the album's more enjoyable fare like TMBG cover "I Never Go to Work" and the surreal indie pop of "Sharktopus."

"Avada Kedavra" is a sharp mash-up of Potterdom and Disney fluff that succeeds more thanks to clever instrumentation than its hammy Borsht Belt lyrical delivery, but it does play well off the mock arena rock of Green Day send-up "Know Your Power Chords." The album's final movement begins with "Lesbian," another great track that falters because the core joke isn't quite as strong as the song deserves. "Holes in the Fort" likewise stops just short of Jonathan Richman-level humor-punk.

"Words Like Arsenic (Thyne Eyes Befell the Celestial Carnival)" continues this unfortunate trend, sounding like a dark cabaret piece that never quite gels despite fantastic use of accordion and acoustic guitar. This, of course, makes way for the aforementioned "Draining the Lizard," a song that certainly sounds like a more polished version of the original track that put me off the band to begin with.

But just as I begin to give up hope on the latter moments of Exploding Head Syndrome, closer "In Space No One Can Hear You Scream" comes along with the same blend of funny writing and true musical chops that the band exhibited earlier. A perfect juxtaposition of twee pop and blues, of strong, upbeat melodies and humorous hopelessness, it's a truly solid ender.

Exploding Head Syndrome starts off strong, but it loses much of its steam in its waning act. Still, it's an excellent example of snarky alterna-rock that heaps humor on top of already skillful writing. Also, at 15 tracks Jace and the boys hit far more than they miss, and that alone says a lot.

If Nuclear Bubble Wrap puts you in mind of punk's classic pranksters, from the Milkmen to the Minutemen, then surely Virginia's Illbotz are their spiritual kin from just the other side of the rock 'n' roll dividing line. Known for mining hip-hop's oft-forgotten comical past, the boys go so far as to show their old school roots in the very title of their latest LP. Pudding is Delicious, itself a classic LL Cool J reference, further takes strides to keep funny rap alive.

It's "Fair Eastside" intro is a soulful slice of surreality that segues nicely into the bombast of "Illbotz Rock the Spot and Go Crazy," a veritable party jam already unleashed on an unsuspecting word as part of the crew's All Bot and a Bag of Chips collection. Still, as weird as it is it can't hold a candle to the eastern funk-rap of "Throw Me That Eggroll." While not exactly an example of Poe Mack's most groundbreaking production, it's a solid banger to help kick the album off in style.

"Dinosaur, Dinosaur" on the other hand shows both Stevie D and Poe at their best on a dirty club track that's almost too ridiculous to be believed. The "What's That All a Bot?" skit doesn't exactly stand up to many of their best segues, but it does pave the way for the stellar "Bot Life." "Stevie D's iPod" brings back the Illbotz charm in spades, and partners perfectly with "Your iPod Sucks," a song which I've already fervently praised. The one-two punch of "True Love and a Fat Boys Record" and silly soul number "Baby Bot" also keep the dream alive by showcasing the crew at its finest. (Though these too were included on the band's previous career retrospective.)

Stevie and the boys switch shit up with 50s-style pop "Zombie Girl," and then bring things back to the 80s with "The Power Glove (Lucas' Theme)." The "Scenester Joke" skit is mercifully short and it doesn't do much to setup the fierce sex rhymes of "Can I Put it on a Sandwich?," but it's certainly no stranger than spontaneous hardcore punk number "Stupid Lazy Eye (Get Off the Couch)." The punk rock-style lingers through both "Enter Marshall" and "Marshall (the Friendliest Punk in Town)," which are rather middle-of-the-road tracks that mostly serve to add a new character Illbotz mythos. They also lead us to the only real disappointment of the album "Perm's Poem," a great gag from the group's co-MC that lingers entirely too long.

"Give a Little Love," a song previously shared on the first Nerdcore Now comp, is another genuine standout that helps wind the album down, but the down-home gospel of "Jesus Gave Me Water (But What I Wanted Was a PBR)" surely succeeds as both the biggest surprise and the strongest joke on the entire album. It showcases the wholly bizarre chemistry between Stevie D, Big Perm, DJ Samson and Poe Mack by taking them as far away from their core hip-hop element as imaginable. "Perm's Got Bad Breath" gets the giggles, but seems a tad superfluous save to setup the excellent "Stank Ass Rappas," and Poe and Stevie again shine on closer "My Crown," which gives the producer a rare chance to rhyme on an Illbotz joint.

Of course an Illbotz album never ends without a hidden track, and this time around you get two-for-one. The first is a goofy New Age joint about 2012 that gets points for skillfully working in many of the album's recurring comedy motifs (specifically ODB and the all-important Brown Sugar Cinnamon Pop-Tarts.) But of course the real knee-slapper is the impromptu cover of Billy Joel's "For the Longest Time." It finishes up the boys' best album to date, not to mention one of my new personal faves, in true Illbotz style.

With notable exceptions like The Lonely Island, Tenacious D, Flight of the Conchords and, of course, the indubitable Weird Al, the idea of a successful, respected purveyor of comedy music is all but unheard of. At least in the mainstream.

But out on the periphery, on an internet where memes reproduce like tribbles and a funny tune doesn't need a the love of some shitty drive-time DJ to make it a stick, countless acts toil away stacking silly puns and bawdy one-liners atop skillfully crafted instrumentals. And as inspiring as it is to think of artists combining the strengths of their twin passions of music and comedy in an indifferent world, it's even more so when you realize that, rather than apathetic, much of the surrounding musical landscape is downright hostile.

But the true funnyman doesn't care if you're too cool to get the joke, nor does he worry that his efforts will be branded as insincere. Instead he plies his craft and makes the music he wants to hear without fretting over whether his efforts will merely land him in the novelty bin.

Dropping Science

There are few things in the realm of geeky hip-hop that surprise me anymore. Concept album about a rural police department? Sure. West Coast Avengers mixtape? Why the fuck not?!

Still, when I received a recent message from The Ranger urging me to check out the first track from his new project The Saganites I was astonished. Ranger himself has been known to rhyme about everything from D&D to genetically modified crops and the Far East skin trade, so hearing him wax poetic about Sagan's Cosmos doesn't exactly seem out of character. The same can be said for Pelicaine Einhander, a Texas-based beatsmith whose eclecticism is only overshadowed by his own inexhaustible productivity.

It wasn't the players themselves that took me by surprise, nor was it the care they obviously took in crafting such a sweeping piece about the award-winning series. Instead it was the simple fact that a track had at last supplanted "A Glorious Dawn" as my new favorite piece of science-centered music.

The Saganites have plans to expand the idea into a 13-song album, one for each episode of the original series. If we're lucky, a proper Bandcamp release won't be far behind.

Radio Free Hipster Ep. 109: Shut Up, Have Fun

Lately I have been letting stuff get me down. Music and politics and the culture in general have become increasingly infuriating. Except they haven’t.

The problem doesn't seem to be the world at large. I mean, it's pretty much the same as it ever was. I'm the reason I'm getting so stressed. It's me. It's always me.

I allow myself to become emotionally invested in some fairly trifling matters, which isn't wrong in and of itself, but then I sometimes let those same things tear me up. I overthink. I overindulge. I overinflate the importance of my own input or become infuriated by the differing opinions of others, and that shit's just not healthy. Worst of all, it's wasteful.

That's what this show is about. Rather than stewing and ranting and giving in to my baser nature, I for once decided to take a step back and just… enjoy things. I resisted my urge to bitch, and instead tried to leverage that energy constructively.

Okay, I mostly resisted my urge to bitch. But, y'know, baby steps.

Download Radio Free Hipster Ep. 109: Shut Up, Have Fun [hosting provided by Antisoc] Size: 43.3 MB Running Time: 47:21

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
Geeky hip-hop? Check. Mash-ups? Check. Whatnot? Oh, I got your what-not right here!

Track 1: Glenn Case and Rachael Layne – "Blackbird"
This is a live cut from Glenn's YouTube channel.

Z's 1st interlude: "Willing to that bet that you suffer from a similar affliction."
Because who doesn't take silly shit too seriously sometime?

Track 2: Illbotz – "Stank Ass Rappas (Feat. Sarah G)"
Really hoping I get a chance to catch Illbotz live at some point in the not-too-distant future. Kind of a longshot, but hope springs eternal.

Track 3: Devo Spice – "Earworm (feat. MC Lars)"
From Devo Spice's new album Gnome Sane.

Track 4: oki – "Love Will Crush us Apart"
oki is working on a project that combines Joy Division instrumentals with female vocalists' a cappellas. It's fairly epic.

Track 5: The Garthim-Master & DJ Extend – "Mynocks & Jawas"
Mynocks! Those fuckers are always chewing on the power cables!

Track 6: Toolshed – "Round Table (feat. More Or Les, Wordburglar and Savilion)"
Just got my proper copy of The Lost. I am nine different kinds of excited!

Track 7: John Anealio – "Angry Robot (dalechase remix)"
I henceforth propose that a guest verse from Robot Dale Chase appear on every song. Every. Song.

Z's 2nd interlude: "Neat little factoids about the bands included."
Although sometimes I do just make that hit up. ;)

Track 8: Sci-Fried – "Tech Support" / A Little Dead Podcast bumper
One of my favorite joints from the new Sci-Fried album. It's rock solid across the board, but Jim's percussion is my favorite part.

Track 9: DJ Morgoth – "Viva la Vida Mr. Nice Guy"
This one stands as a nice callback to the Death*Star track I played during the podswap, but mostly I just couldn't resist the opportunity to rock out to some Alice Cooper.

Track 10: The Efts – "Lyon Among Wolves"
The Efts combine lo-fi anti-folk with chirpy electronica. I find this to be an intoxicating blend.

Track 11: Mike Bauer – "Friday (as performed by Bob Dylan)"
Because yesterday was Thursday. 

Z's final interlude: "Really isn't any worse than double-platinum single 'My Humps.'"
Seriously, kids, as bad as that Rebecca Black song is, is it really any worse than most other modern pop hits?

Track 12: Adam WarRock – "Meantime"
I can't tell you how long I've been waiting for a rapper to sample Space Hog.

This week I'm in the process of changing recording machines. I'm moving from my current laptop to a (hopefully) more stable desktop. This means I'll be tweaking my recording setup as a result, and while I'm at it I might try upping the bitrate of the podcast. I'm noticing some growl on my spoken interludes, and I'm hoping that boosting the fidelity and using a bit less compression can remedy that.

So I guess the only question is would you guys be willing to trade a slightly larger file size for a better quality sound. It's sort of your call.

My Taste is Exquisite

My long-delayed review of Illbotz's latest Pudding is Delicious should be available shortly. Hopefully. But in the meantime the boys have released yet another strangely fantastic music video.

This one is for standout track "Your iPod Sucks," simultaneously a loving tribute to Stevie D's musical tastes and a passionate condemnation of rampant wackitude. Keen listeners will likely note that the beat is cribbed from Run DMC's iconic "My Adidas" while the lyrical structure parallel's Mickey Avalon's "My Dick." This should give newbies a fairly good idea as to the unique hip-hop headspace of Roanoke's finest.

As with most Illbotz video productions, this one goes to some weird places. (Not the least of which is into the bathroom with Samson.) Still, it's a ton of fun and a great introduction to the newest disc.

Also, I can't help but think that Church is gonna love the finishing line about the Zune.

Parsectual Healing

He needs a friend.

It's Parsec nomination season, which means I once again get to juvenilely substitute that term for the word "sex" in the title of a pop song and feel almost clever about it. (Probably not my finest hour, but at least I make my own fun.)

Founded in 2006 by Mur Lafferty, Michael R. Mennenga and Tracy Hickman, the Parsec Awards celebrate the unholy marriage of speculative fiction and podcasting. Each year the ceremony itself is conducted at Dragon*Con with winners picked by an independent panel of judges from a number of finalists chosen by a specialized steering committee. The nominations, however, come straight from the fans themselves.

With categories ranging from the very literary ("Best Speculative Fiction Story") to the technical ("Best Podcast about Speculative Fiction Content Creation") to the distinctly community-centered ("Best Speculative Fiction Fan or News Podcast"), the Parsecs cover all the bases with regard to sci-fi, horror and fantasy fiction in podcast form. And this time around they're doing even more with the introduction of the "Best Youth Driven Speculative Fiction Podcast" category.

Last year my own Radio Free Hipster came home with the trophy for "Best Speculative Fiction Music Podcast," and it was a pretty huge moment for me. So that being said, please take a few minutes to nominate the 'casts that you think deserve a little attention. Am I gonna ask you to toss my name in the hat again? Sure. I mean, if you feel like it. Of course, if you're short on inspiration I could also recommend a few suitable candidates for both Magazine or Anthology and Fact Behind the Fiction Podcast.

I'm just sayin'.

Sexy Skeksis

I'm on a bit of a mini-vacation with the fam for the first part of this week, so don't expect a lot of content around the ol' blog. (Though I will endeavor to keep the Twitter feed hopping in the interim.) Still, since it didn't seem right leaving you all high and/or dry, I figured I'd point you toward an interesting development from our neighbors to the north to keep you proper entertained.

It's a video teaser from Saskatchewan-based art initiative Secret Cloud promoting the forthcoming release by its own The Garthim-Master and German producer DJ Extend. Clocking in at just over 3 minutes, it highlights a half-dozen songs focused on Star Wars, Heroes and, of course, The Dark Crystal, and promises additional enticing amenities like guest spots from Kitty Pryde and SJ the Wordburglar. I'm very much looking forward to exploring the finished product, but in the meantime I've secured an exclusive cut which I'll be sharing with you in the next podcast.

You know how I do.

Oh, be aware that within the following clip there are some exposed breasteses, so, y'know, NSFW and all that. Enjoy, and I'll holler at y'all later this week.

Bonebat #65: The J.R. Ewing of Seattle!

This year's podswap was my favorite to date. Not only did Steve and Gord do a bang-up job holding down my regular duties, but I was able to parlay my guest stint on their feed into a musical tribute to Seattle. It's an idea I've been batting around for a while now, and as that fine city is Steve's base of operations it seemed like the thing to do.

Now I must explicitly state that I have never visited Sea-town, but it is nevertheless a very important locale to me and mine. It is the nerd Mecca, the geek motherland, and one day I shall walk its rain-soaked streets and imbibe its pretentious coffees. Such is my destiny.

But until then there's this.

Download Bonebat #65: The J.R. Ewing of Seattle! [hosting provided by Antisoc] Size: 51.8 MB Running Time: 56:29

Show Notes:

Intro: The Bonebat Show Theme / Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
Bonebat boasts what has to be my favorite show disclaimer of all time.

Track 1: The Goondocks – "1st and Yesler"
Where else does one start off a show about Seattle if not with a song about Seattle?

Z's 1st interlude: "Geographically explicit."
I have been known on occasion to turn a phrase.

Track 2: Optimus Rhyme – "Worms"
Obviously I was gonna play OR on this one, but when it came down to choosing an actual song I had a hard time deciding. In the end I elected to go with something from their swan song, the TransfORMed EP.

Track 3: Kirby Krackle – "Up, Up, Down, Down"
Kirby Krackle is my new Optimus Rhyme. Y'all know what I mean.

Track 4: Billy the Fridge – "Put 'Em Up"
Billy has a new EP, but I've been so bogged down with reviews that I haven't managed to cop it yet. I feel confident saying it's shit-hot, though.

Track 5: King.Of.Pants – "Bucky-Done-Boom-Boom" / Sleepless in Seattle dialog
I really do apologize for the Tom Hanks. Sure, it was April Fool's Day, but still…

Track 6: People Within – "Stand Closer"
I seem to recall playing this track on a previous episode. Google, on the other hand, disagrees.

Track 7: Stenobot – "Far Too Far (feat. Jeff Suffering)"
Sink or Swim was my favorite chip album of 2010. If my constant praise of the release didn't spur you to pick it up, perhaps this song will.

Z's 2nd interlude: "They are one of my favorites. And I am gonna play you some."
Which is the unofficial mission statement of Radio Free Hipster.

Track 8: Supercommuter – "Robot Party"
I was looking for a valid excuse to play the studio cut of "Robot Party" even though I played the live version just a few months back. Suffice it to say this podswap presented itself as just such an opportunity.

Track 9: Leeni – "Animatronic Remix"
Another amazing find courtesy of Crunchy Co.

Track 10: Southside – "Dirty Book (Live at the High Dive 9-12-2009)"
Someday I'm gonna have to do an entire show of live cuts from AlienBobZ.

Track 11: Rai Kamishiro – "Shinjuku Holocaust (7zombies Mix feat. Ultraklystron)"
Rai and Karl have a Japan relief fundraiser album due out in the near future.Keep and eye out/an ear open.

Track 12: Brux Callison and The Entangled Photons – "The Henchbabe"
Brux was nice enough to slide me an exclusive just for this show. It's very Tom-Waits-meets-60s-filk-circle.

Track 13: Death*Star – "Villain of the Day (feat. Klopfenpop)"
Another fine lyrical narrative for D*S (and K). 

Z's final interlude: "Your annual dose of podcast treachery."
This year I actually managed to surprise some of you with the podswap. I am sneakier than I realized!

Track 14: Metaforce – "In the Rain"
I toyed with the idea of pulling a demo from my pre-release version of Metaforce's Feared Science, but I thought this one captured the spirit of their city more aptly.

One of the coolest things about podswappin' is that it gives me that all important illusion of productivity. You see, while I am writing these show notes I am simultaneously prepping for RFH episode 109, which'll hit later this month.

But likely not as late as usual. ;)

Capital Ideas

So you've already got your tax money in hand, huh? You've paid some bills, maybe bought yourself some nice new duds. Oh, and donated to our Japanese brothers and sisters, of course. But you've still got more cash than you know what to do with, right?

Well, I'm here to help. Or more to the point KickStarter is here to help.

Sometimes artists are long on ideas but short on funds, and that's where fan-sourcing for scratch comes in.

My boy Insane Ian, for example, was all ready to drop his new CD/DVD combo Grand Theft Audio when he ran out of money. That sadly put the kibosh on his plans for an epic collection of live and b-side material, fresh new music vids and other assorted madness. Currently he's about month out from the KickStarter deadline and approximately one-third of the way to his goal, so if you like your music with a healthy dose of comedy you'll wanna consider ponying up.

You naughty boys and girls, however, may be more inclined to help out rocker Americans UK in their latest effort. Departing the world of comic book rock for the land of sassy sexitude, their forthcoming release Luxuria promises "smooth jazz, new wave, easy listening, and bachelor pad music." So it's fitting that the lads are collecting funds for a proper vinyl pressing. With only a couple of weeks left to go Am UK is still 500 bones short, so dig deep, my friends.