Pretty Cunning, Doncha Think?

My brother kHill actually leaked word of this project to me a while back, but I was sworn to secrecy. Thankfully as of this AM the cat is fully out of the bag, so I can at last share with you my excitement for Adam WarRock's forthcoming Browncoats Mixtape.

Now before you watch the following embed I'd like to point out two things. The first is the fuckin' theme song-based beat used for the bulk of the teaser. That shit is hot! Second is the fact that the official project page lists the release time as "Fall 2011," which ain't too far away.

Shiny!

The (Super) Power of Love

Food One is the shit. Kirby Krackle? Also the shit.

Can you feel my excitement, internet? Does it positively radiate from your monitor?

No? Really?!

Okay, if you're viewing this on a mobile iOS device you're probably not getting it because my excitement is Flash-based, but the rest of you have no excuse.

I am positively aflutter over this morning's release of the debut single from Kirby Krackle's forthcoming full-length Super Powered Love. Promising 13 tracks of geek rock majesty and another amazing piece of cover art by renowned marijuana connoisseur artist Jim Mahfood, it's set to drop on the 19th of this month.

Pre-orders are available for a mere $15, and right now you can score both free shipping and an illustrated, 8-page lyric book. I've been pestering talking to vocalist Kyle Stevens throughout the recording process, and he's let slip that the project marks a new direction for Kirby Krackle's comic-centric songwriting.

A dash of soul-pop is certainly on display in the title track, which you can experience right the hell now via Bandcamp.

Americana

In a tiny Austrian village a child is born to a doting mother and a police chief (and former Nazi Party member) father, an unremarkable boy from relatively unexceptional circumstances. Yet that child would go on to win the Mr. Olympia contest, to shoot lots of 'roids and smoke lots of weed, to grope many women, to garner cheese-ball accolades as a Hollywood action movie star and, eventually, to become the governor of the great state of Kahl-eee-fawn-eee-ah.

I believe that's what we call the American Dream. So to commemorate our country's independence let us pause to enjoy a new video from the Illbotz. It is thematically focused on what is clearly the aforementioned thespian's cinematic masterwork.

And while we're at it, how about another video? This one ably demonstrates true Yankee Ingenuity. By mashing up Wu-Tang Clan and My Little Pony.

Welcome to my America.

Sharks on a Train

Attention New Yawkaz! If you find yourself in the L.I.C. this pre-holiday weekend looking for some quality entertainment, I humbly suggest you make your way to the Secret Theatre for a double-feature of epic proportion.

In "grindhouse" tradition, GRINDHOUSE MUSICAL features two shows back-to-back: the first, Local, takes place on a downtown 6 train and chronicles a morning commute that will change its passengers' lives forever. It will be followed by a highly anticipated revival of the smash hit JAWS: The Musical, which premiered in a sold-out run at the Creek and Cave in June 2010 (clips from that run are available here: http://www.midnight-buffet.com/jaws-videos.html). For the first time ever, JAWS will be performed with a live full band. A trailer for GRINDHOUSE is also available on Kickstarter here: http://www.kickstarter.com/projects/29647987/grindhouse-musical-featuring-local-and-jaws-the-mu

Show times are tonight, July 1, and tomorrow, July 2, at 8:00 PM, and the ticket price is a scant $15. In addition to boasting two hours of songs about trains and sharks, Grindhouse Musical also features your friend and mine (Uncle Monsterface's) Mr. Marty Allen as Quint the shark hunter.

Alls I'm saying is that it's a classy affair. And you oughta go.

Might Makes Right

Maybe it's the beard, but lately I've been in a metal mood. After years of slowing things down, of listening to The Smiths and singing Replacements tunes to my kids in their cribs, I've once again gotten in touch with my inner shit-kicker.

This was a rather fortuitous development, as my recent return to heavier music just happened to coincide with the proper debut album from chaotic Californian clique The BossFights. Those with proper memories will recall that the crew wowed me at last year's Nerdapalooza, and they managed to channel the bulk of that stage energy into their self-titled LP.

"Ctrl_Z" opens the album with fire and fervor. The guys sound amazingly tight with ZeaLouS's lead rhymes and Awkward's smooth chorus weaving between the solid groove of the Juggernaut/Kevonious rhythm and Bishop's metal-tinged hook. The only problem is that the mix feels distant and, at times, paper thin, but while the production sounds rather demo-y the track itself is a marvelous monster.

"Shatterhand," on the other… uh... hand, feels grand, sweeping and weighty. A war(craft) anthem that's actually a subtle cry for peace, it plays well off the more prog-metal style of follow-up "Before The Dawn," a track in which Dr. Awkward shines thanks to appropriately soulful vocals. Sadly, it loses points due to some obnoxious over-modulation on the pre-chorus harmony vocals.

"Eye of the Rising Sun" fares much better. A triumph of lyricism and musical mechanics, it might not be my favorite song on the album, but it's likely the best. With inventive (but never over-the-top) use of a talk box and delicately layered guitar tones, this one is Bishop's song, but the rest of the boys do far more than just pull their weight. "Take it all Away" continues the album's thematic build with an intoxicating blend of soft-spoken lyricism and in-your-face instrumentation. Again, the production feels a bit too mid-rangey for my taste, but its bass line is so engaging that you have to listen hard to notice.

The album's first single, "The Cake is a Lie," certainly wasn't chosen on a whim. Pitch-perfect from top to bottom, it integrates the aggressive prowess of …And Justice for All-era Metallica with the musical acrobatics of Infectious Grooves. Less funk-metal than soul-metal, it's unique and accessible. Especially considering it was written by a group of guys who all look like extras from The Road Warrior.

"Dogfights & Dynamite," by contrast, brings the funk. Another musical highpoint, it all but abandons the group's traditional hip-hop leanings, but still somehow sounds at home on the album. It is followed by "When It Rains," a joint that takes things in a jazzier, more experimental musical direction. It could conceivably challenge the uninitiated listener, but to me it's just another example of The BossFights mastery of pop sensibility even within a distinctly underground framework. Relatable and inspiring, it's easily a personal favorite.

"Conspiracy Theory" takes things quickly back into metal territory, but, to the guys' credit, it's far from jarring. Dual guitars are the song's strength, but the back-and-forth between Z1 and the good Doctor is its heart. Follow-up "Six Feet Under" is the closest thing to a filler track across the album's 15 song arc. Atmospheric but plodding, it's an interesting diversion that mostly forgoes ZeaLouS1's trademark growl in favor of Awkward's ethereal crooning throughout. It's not bad by any stretch of the imagination, it simply feels a little distant from the album's other offerings.

The BossFights begins its final act with the abrupt melody of "The Banished Prince," a song that boasts and amazingly satisfying verse-to-chorus shift and some quick stops that serve both to punctuate and to power the song forward. Lyrically it's a powerhouse, but the complex interplay between the vocalists and musicians really drives home what superb songwriters The BossFights truly are.

"Beautiful Nightmare" stands out for its delicate instrumentation that borders on folk-metal. Doc probably gives his most earnest-sounding performance of the album and the guitar solo adds an eerie but nonetheless aggro element that would otherwise be missing, but the lack of ZeaLouS1 is certainly noticeable. A delicate transition brings us to the crunchy "3 Days," but a sloppy build causes the energy to wane before Z1's triumphant lyrical return.

"Left for Dead," a track originally included on the band's introductory EP, sounds as thick and resonant now as it did a year ago, and it certainly showcases the band at its most nerd-friendly. An instant crowd-pleaser, it ably makes way for the musical denouement "The Lion's Den." Trippy and groove-heavy, it's an excellent closer with stereo rapping from ZeaLouS1 and Dr. Awkward and a sound that beautifully builds, but sadly fizzles.

The BossFights are a band that, even while occasionally struggling with a consistent sound, possess an indubitable style. Though I, like others, was quick to call it rap-rock shortly after their big reveal at Nerdapalooza 2010, I am even now in the process of refining my premise. Presently I am content to say that The BossFights are instead a new school thrash band. And not merely a thrash band, mind you, but a goddamn excellent thrash band.

Moreover, their self-titled full-length is a phenomenal neo-thrash album. Yes, the predominant form of lyrical delivery is rap and, yes, there are times when the production is thinner and less aggressive than I would've preferred, but the bottom line is in a world where metal has again been relegated to the underground The BossFights stand out as an ideal example of its unique power, innovation and continued evolution. Like its frontman, The BossFights is big and loud, but at the same time subtle and thoughtful. As with any project, there are times on this album where one element or one member falters. The trick is that doesn't seem to faze The BossFights in the slightest.

They are an outfit that is more than the sum of its part, a construct sturdier than its raw materials. The BossFights are a bundle of sticks; at times one may bend, drop a beat or lose a note, but their cohesiveness, the sheer density of their combined strengths, renders them unbreakable. 

A dark fantasy analogue to the sci-fi majesty of the late Optimus Rhyme, The BossFights are a blessed union of traditional instrumentation and hip-hop lyricism. And though it shows the occasional chink in its tank-like armor, though it often recycles the same ending fadeout and sometimes zigs when it should likely zag, that doesn't make their debut full-length any less impressive.

An early frontrunner for my album of the year and a fucking steal at under 10 bones, The BossFights is all that stereotypical rap-metal is not. It is cohesive. It is groundbreaking. It is relevant. And, personally, it's likely the most fun I've had with an album of aggressive but accessible music since the skate rat days of Among the Living and How Will I Laugh Tomorrow When I Can't Even Smile Today.

"You can trim off the waste and what's left? / Excess."

Radio Free Hipster Special Edition: Parsecs on the Beach (2011 Parsec Awards Sampler)

With Nerdapalooza prep and some personal health issues – nothing serious, folks, I'm fine – I had to forgo your regularly scheduled late June episode of Radio Free Hipster. Thankfully I still had my 2011 Parsec Awards special waiting in the wings.

I am exceptionally proud to receive my third consecutive nomination in the category of "Best Speculative Fiction Music Podcast," and I certainly owe it all to you. Y'all rock! Hard!

For those who don't know, the process has three steps. The first is the open submissions, a hat which you folks are always nice enough to toss my name into. After that there's a verification of eligibility, just to make sure no one was erroneously put into the wrong category, and a call for sample submissions. That's the point we're at now, and hopefully my sampler will be judged worthy for consideration as a finalist, which is the final phase before a winner is chosen.

I managed to actually pull off a win at last year's Dragon*Con, and though I can't imagine I'll do the same two years in a row there's something both exciting and satisfying about making your way to the final round.

I like to share my submitted mini-casts, and this year is no exception. I always try and pull a trio of sample tracks that are both indicative of what I do at RFH and are also some of my favorites from the previous year's worth of shows. This time around I was particularly pleased with the results.

Give the show a listen and let me know if you agree.

Download Radio Free Hipster Special Edition: Parsecs on the Beach (2011 Parsec Awards Sampler) [hosting provided by Antisoc] Size: 9.23 MB Running Time: 7:22

Show Notes:

Intro: Baddd Spellah - "Radio Free Hipster Theme (feat. Beefy)"
Because there's no better way to start a podcast, canonical or otherwise.

Track 1: virt - "10th"
A cover of the Doctor Who theme by composer Jake "virt" Kaufman (arranged for Nintendo DS) starts off the proceedings. virt is one of my very favorite chiptune artists/composers, and I thought this one really gave the project some energy straightaway.
Originally included in Radio Free Hipster Ep. 93: Elegant Mess (August 12, 2010)

Track 2: mc chris - "Han Solo"
It's followed up by a parody of Jason Derulo's "Ridin' Solo" from the incomparable mc chris. I've been really jazzed about how many of these parody tracks mc's released of late.There's a not-to-subtle filk element to them that I find quite pleasing.
Originally included in Radio Free Hipster Ep. 96: Drunk and Awe (September 29, 2010) 

Track 3: The Oceanic Six - "Monster Eats the Pilot"
Lastly there's a bit of Lost fandom from the Wizard Rock alumni of The Oceanic Six. I would never have believed that "4 8 15 16 23 42" could make such a powerful and engaging chorus!
Originally included in Radio Free Hipster Ep. 98: From Beyond (October 28, 2010)

Though I won't be interviewing Hex this time around – I took care of that on the latest edition of HipTrax – I will be pulling together a Nerdapalooza-themed show for early July. It'll collect some of my favorite joints from this year's performers, and I'll likely use it as an opportunity to wax poetic about how I perceive the event and its future. Like I do.

Chapters of the Chosen

I have made no secret of the fact that the gentlemen of Florida's geek rock juggernaut Sci-Fried are, as they say in the modern parlance, my boys. Thus it is with great pleasure that I present to you The Chosen One, an 8-bit RPG themed around their song of the same name.

Lovingly crafted by Sci-Fried's own KSV, it's an epic tale of… epicness provided freely for your amusement. It also contains what is likely my favorite disclaimer of all time:

Many of you playing this game will actually be in it somewhere. Do not read too much into your role in the game. If you have a small part, I don't think you're unimportant. If you die, it doesn't mean I hate you. If you die easily, it doesn't mean I think you're a wuss. It's a game. If I made it accurate, it would be boring.

But enough of my idle bullshittin'! Take a moment to download it from the band's official web site. Enjoy the nostalgic visuals, the midi-style Sci-Fried tunage and the utter lunacy of a game in which you must learn to play piano in order to free Dr. Vern.

Also be sure to check out the band at next month's Nerdapalooza festival in Orlando. They will be onstage rocking it out. And, if history has taught us anything, I will be offstage drinking their beer.

Hit You Where You Live

Bonus points for a Steve Martin parody album cover!

The Kinks. The Who. The Beatles. Pink Floyd. Alice Cooper. Mastodon. When I hear the phrase "concept album," these are the acts that immediately spring to mind. And whether it's The Kinks Are the Village Green Preservation Society or Blood Mountain, these are the albums that always tend to stand out not just for their thematic cohesion, but for the genuine joy of the listening experience. They are grand, sweeping labors of love that remind us that the musical narrative is an art form as old as language itself.

Recently my fellow music geek Marc with a C has taken up the task of penning his own concept album, his own extended story in song. It is a tale of failed relationships, compulsions, indie rock angst, the internet and religious cults. So, yeah, it's kinda fucked up. Which only serves to make it all the more relatable.

Motherfuckers be Bullshittin' kicks off with super charming break-up anthem "Try to Just Stop," an amazing opener that sets the stage for our tale as Jenny Oliver expresses, in no uncertain terms, her dissatisfaction with her current beau. This transitions effortlessly to a chauvinistic rebuttal in the form of "You're My Princess." It's an important piece in establishing the personality of Brian, the album's chief protagonist, but sadly Marc sacrifices a bit of his typical songwriting savvy in order to properly channel his creation's surly attitude. Lyrically it comes off as low-hanging fruit, but musically it's an impeccable offering.

"Since I Left My Baby, I Can't Stop Flossing" marks the true build-up of Motherfucker be Bullshittin'. Combining a Replacements-style guitar hook and enchanting harmonies into another example of Marc's classic slice-of-life lyrical storytelling, it's an unlikely charmer about an all too likely heartbreak. "Goodnight, Miss Oliver," on the other hand, plays like an Elvis Costello b-side that never was. It mimics all the strength and energy of "Since I Left My Baby" but with an additional level of subtlety and uniquely pleasing doo-wop-style vocal layering as Brian tries to reconnect with his lost love via IM.

"Why are You Keeping Tabs on Me?" feels a bit uneven at times, but it builds to a desperate vocal crescendo that contrasts perfectly with the subtle jangle rock of its instrumental backing. The surreal collapse at the track's end marks a shift in tone to the unapologetically menacing "I am Going to Hit You Where You Live." Though not as strong as many of the album's other selections, it does ably set the stage for the power pop majesty of the title track.

Likely the best of the best, "Motherfuckers Be Bullshittin'" fares well both within the album and without. As Brian flirts with regret but refuses to let go of his anger, we are left to ponder his fate. At least within the arc of the album. As a standalone, however, the track just plays like another one of Marc's instantly enjoyable pop culture riffs, and it has quickly become my new favorite due in no small part to its outlandish outro.

Brian's unlikely salvation comes in the form of religion, though, as "Love My Little Squiddy" points out, it's not your typical hard luck conversion story. Amid church organs and what I reckon we can all agree is some delicious borderline sacrilege, Marc exposes us all to the gospel of Squiddy, a vaguely Cthulhoid being who reaches out to the needy from his icy prison. It's a nicely stripped down production that 's easily another of Marc's finest. It's also revealed in the waning moments that Brian has found another brand of hard-fought salvation, in this case in the form of music.

"The Kindergarten Steely Dan," is a delicate dirge for the struggling musician that winds down our tale with an amazing musical catharsis, but it does little to wrap up the story-proper. This task is instead handled by the back-porch boogie woogie of "Epilogue: Brian, Jenny & The Mayans." With a broken rhyme scheme and stream-of-consciousness lyrics, it’s a bit of an odd duck, but it closes our surreal story by reminding us that some relationships are doomed to fail. And also that the world isn't going to fucking end in 2012.

If pushed I'd say that Motherfuckers be Bullshittin' is a concept album that's occasionally a bit light on concept. The tale of Brian and Jenny is told in such a way that it often doesn't make a helluva lot of sense. Because, honestly, love seldom does. And yet an odd silver string of continuity runs through the songs themselves. Perhaps the lyrical content doesn't always provide enough cohesion of its own, but the beautifully crafted production, with its perfect transitions and gradual textural shifts, manages to hold it together exquisitely.

It's important to note that such profound narrative ambivalence isn't a detriment to the concept album. It is, instead, almost a legacy of the art form. Shit, fans have been debating the finer plot points of Welcome to My Nightmare for 36 years, and that's a project with both a dramatic full concert performance and a television special under its belt.

The narrative of Motherfuckers be Bullshittin' similarly leaves a lot of gaps to be filled within the mind of the listener, and, had it not been spelled out in the liner notes, I likely wouldn't have been able to piece together this tale of functional heartache myself. But while the songs of Motherfuckers be Bullshittin' might not always perfectly coalesce, they always manages to satisfy. And that's more than enough for me.

Available via Bandcamp for $5 (for just the digital version), $7 (for the downloads and a CD) or $14 (for both the aforementioned and a limited edition vinyl pressing), it's an easy recommendation for any budget. Give it a listen and pull together your own version of the story in this sharp twee-popera. That's half the fun. The other half is simply closing yours eyes and soaking up this musical masterpiece.

"The most punk rock thing to do is just be nice."

Quick Picks

We're less than a month out from Nerdapalooza 2011, and my excitement is building. Earlier this week I did my first piece of promo for the festival over at GeekDad, and, in lieu of hosting Hex and the boys on Radio Free Hipster for the umpteenth time, I'm planning to have the Nerdapalooza crew on the next edition of my Wired.com podcast HipTrax.

What can I say? Supporting NAP has long been a personal mission of mine.

I think the most intriguing thing about this year's event is the wider variety of artists and styles represented. Nerdapalooza 2008, my first geek-centric music festival experience, leaned very heavily toward nerdcore hip-hop. Last year's iteration, however, made serious strides to include significantly more geek rock and VGM artists.

Nerdapalooza 2011 has continued this trend, and, while the absence of regular headliner MC Frontalot makes me a bit wistful for year's past, I think this new direction is the right move. That's not to say that the pendulum has already swung the way of the rock, mind you. In fact I'd argue the lineup strikes a nice balance, with Dual Core contrasting nicely against Sci-Fried and so on.

The roster of debut performers is especially impressive, and I've spent a great deal of time pondering over whom I'm most excited to check out. On the off chance that you actually give a shit, here are my top picks for must-see Nerdapalooza newbies:

• The OneUps - Bringing an ample serving of jazz-pop to the typical grinding guitars of Videogame Music is exquisite Arkansas-based collective The OneUps. Both a pleasant surprise and a totally logical choice, this is one featured act that will surely stand out from the crowd.
• Consortium of Genius - Comedy music (specifically from the Funny Music Project community) is well represented this time around, but New Orleans's mad scientists Consortium of Genius are a personal favorite. Renown for both their stylistic flexibility and their over-the-top stage show, I am fully expecting to be wowed by the pure power of their COGitude.
• Metroid Metal - Last year aggressive geek music came to us courtesy ofThe BossFights and local legends Sci-Fried. This time around they will be joined by both the metal majesty of Arm Cannon and the epic concept rock of Metroid Metal (featuring founder Stemage and Arm Cannon's own danimal.) I've been waiting ages to catch this crew live, and Nerdapalooza 2011 has finally afforded me the opportunity.
• Illbotz - As evidenced by the frequency with which they're played on my podcast, the Illbotz are my boys. In fact, they're possibly my most anticipated new act of NAP 2011. I am looking forward to both catching their live performance and getting totally shitfaced with them immediately thereafter.
• Adam WarRock and Tribe One - I've been an Adam WarRock fan since the first verse of "I am Him." The good news is Adam rolls through the Atlanta metro area regularly. The bad is that I'm never on that end when he does. Once again, Nerdapalooza is enabling me to see one of my favorites perform live for the first time.

Ahoy and Avast!

Dating back to the Viking raiders of the early Middle Ages and their Muslim counterparts in the Mediterranean, pirates have long been renowned for their unparalleled seamanship, their savage ferocity and their propensity to bust the occasional rhyme. Sadly, while the Somali pirates of the modern era have forgotten their hip-hop roots – I blame Gilbert and Sullivan – one privateer and his motley crew are keeping the art form alive. Witness as Captain Dan and the Scurvy Crew lock lyrical cutlasses with Admirality of His Majesty's Royal Navy. Surely it's the fiercest round of lyrical pirate warfare since Calico Jack battle rapped Blackbeard on the windswept beaches of Jamaica in July of 1716.

Radio Free Hipster Ep. 112: Steal Big Steal Little

My thoughts on music sampling are as follows: Take what you need, be never deny it. I reckon that is tantamount to steal but don't lie which, while not exactly biblical, is a pretty measured statement of morality.

There are those among us who would say that mash-ups, that sample-heavy mixtapes, that unauthorized remixes in general are the basest form of musical expression. And to those people I give a hearty fuck you. To my mind, it's like saying that re-purposing sound chips as instruments or re-orchestrating your favorite TV theme is somehow artistically bankrupt. It's like saying that borrowing from the past negatively impacts the future.

And that's some bullshit.

So enjoy the following collection of dirty cheats and their filthy illegal music. Because, just like their predecessors, they are merely building on the music that came before. They're just a bit more honest about it than those ancestors.

Download Radio Free Hipster Ep. 112: Steal Big Steal Little [hosting provided by Antisoc] Size: 68.3 MB Running Time: 48:09

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
Is there unauthorized sampling in this theme song? Only my hairdresser knows for sure. 

Track 1: The Reborn Identity – "American Days are Over"
The Reborn Identity does some of the most engaging and understated mash-ups I've ever heard. 

Z's 1st interlude: "Despite the fact that it is an integral part of our national identity."
The notion of representative democracy? Stolen. Personal liberties? Stolen. The very land I am standing on? Wait for it – stolen. 

Track 2: MC Frontalot - "Good Old Clyde"
I actually included this one way the hell back in episode number 48. 

Track 3: Positive Attitude - "Killin' My Boner"
Surely the strangest thing to come out of Akron, Ohio since DEVO. 

Track 4: Mastgrr - "Cooking by the Book (Lil Bigger Mix)"
The word "infamous" comes instantly to mind. 

Track 5: A-1 - "Family Matters"
Gonna take this opportunity to once again pimp A-1's After School Special. It is the very epitome of a tightly themed modern mixtape. 

Track 6: DJ Tripp - "Dynamite Pressure"
The importance of including an "Under Pressure" boot shouldn't be lost on most of you. 

Track 7: mc chris - "MC Chris Ownz Paper Planes (M.I.A. Remix)"
Originally included in Radio Free Hipster Ep. 68. 

Track 8: K.Flay - "ON the bridge"
I still jam out to K.Flay's MASHed Potatoes. 

Z's 2nd interlude: "So think about that shit."
Did the whole Verve affair change the way I feel about the music of the Rolling Stones? No, but it continued to erode my faith in the traditional music biz. 

Track 9: Illbotz - "Tales of an 8th Grade Dooshnut"
"Used to call me Shitty McShitShit from Shitville and Shit, shiiiiiiiiiiiiit!" 

Track 10: DJ Fox - "Club Can't Use Somebody"
Am I the only one that thought "Club Can't Handle Me" was another goddamn Black Eyed Peas song? 

Track 11: Kabuto the Python - "American Song"
While I love the hell out of this track, I do reserve the right to be offended on behalf of various European hip-hoppers. 

Track 12: Antisoc - "A Completely Original Song"
Thanks to my buddy Tim for suggesting this one. I think it wrapped up this set quite nicely. 

Z's final interlude: "It did prepare the modern musical palate for the backlash that is the current mash-up phenomenon."
The more oppressive the IP-versus-fair-use debate gets, the more widespread and inventive bootleg remixers will become in response. 

Track 13: Jay-Zeezer - "Surf Wax off Your Shoulder"
This one is, if you can believe it, from way the hell back in episode 5!

Common knowledge holds that good artist borrow while great artists steal. I would argue that all artists do both, be it consciously or otherwise.

The trick is to wear your influences on your sleeve, to – and I'm saying this a devotee of the Modern Language Association – cite your sources. This blog is, for example, a little Lester Bangs, a pinch of Seanbaby, a dash of Bill Hicks and a great big ol' goddamn chunk of Jerry Holkins. I would never deny otherwise.

More to the point, this podcast is really just a glorified hybrid of Beefy's classic Just Another Lazy Podcast and my UK brother Tim's Radio Clash. (Okay, and maybe a tad bit of Wolfman Jack.) So if I ever find that someone has stolen my format or shtick please remind me to kindly shut the fuck up and take it.

The true strength of the internet, my friends, is that it allows us all the chance to steal quickly and more discriminately. And as digital culture evolves we shall surely morph into more perfect thieves, beautifully repurposing the old to fabricate the new.

That's the Anthem

In another time, in another life I was a musician myself. I gave it up eventually because, frankly, I wasn't particularly good at it, and I've never felt that was any great loss to the listening world.

The one thing I do miss, though, is songwriting. Again, that's not saying I was particularly adept at it, but I always enjoyed the process. Lyricism is a peculiar art, one where the sound of the words is as important as the meaning, and I've always believed that such is where the true magic of language lies.

So when my pal John Anealio approached me about co-writing a proper tribute to our fellow GeekDads I was honored. John's an amazing musician and an impeccable songwriter, but he still wanted me to help him carve a genuine song out of the larger idea he had going in.

Using a melody and some scratch vocals provided by John, I started writing down tiny snippets. These odd little vignettes based on things that I saw or did during an average week – everything from driving to work to watching Doctor Who – were eventually pared down into some simple verses that Sai Anealio then polished to a brighter sheen.

Still, my meager contributions are nothing compared to John's fantastic performance and skillful production, not to mention his underlying verse-chorus concept that got the ball rolling. He really managed to combine the best of both his straight-ahead, guitar-guy sound and his bigger, broader electronic sound into a truly unique outing. (Hell, I'd go so far as to call this the most John Anealio-y John Anealio song yet!)

So give it a listen. I'm really happy with how it turned out, and I hope you dig it too.

Powerful Stuff

I am presently suffering from what you might call the day job blues. I have done what is conceivably a week and a half's worth of wholly work-related recording, editing and production over the past three days alone. That's the kind of shit that tends to eat into one's blogging time.

But I think I've found a way to atone for my sins, to make up for my neglect of you, faithful denizens of the internet -- with more music videos.

Not just any vids, mind you, but two brand new visual feasts from my homies The ThoughtCriminals and Illbotz. Moreover, these feature two of your very favoritist things:

Drinkin'!

And also Jenny Lewis!

You're welcome.

I Catch a Glimpse of Evil Light

Jim, Kyle and the rest of the Kirby Krackle Experience are currently in the studio working on their third album, and I couldn't be more excited. Well, I imagine I could, but not without markedly more erotic undertones.

Of course that doesn't mean the guys have abandoned their legacy material. In fact a new video from their triumphant sophomore release E for Everyone, easily my geek rock album of the year for 2010, has just surfaced. It's for Green Lantern tribute track "Ring Capacity," and the animation was again ably handled by Betsy Lee. (You may remember her work from the "Up, Up, Down, Down" video.)

Peep the embed below, and remember it's not too late to throw your support behind the movement to get this song on the official soundtrack for the Green Lantern movie. Okay, maybe it's a little too late, but hope springs eternal!

Free Karl Olson

It's Friday, Friday, and common knowledge holds that you gotta get down on Friday. And I am, as always, here to aid in that getting down.

My longtime homie Ultraklystron recently hipped me to the fact that the sum total of his nerdcore output is now available for free via Bandcamp. What does this mean for you the listener? Essentially it means that everything from his 2004 otaku rap breakout LP Revision 4920 on up through 2009's Romance Language 2 are available for nuthin'. And that's somethin'. Hell, you can even cop Haven, an 11-track album boasting anime inspired DnB tracks.Which is also somethin'.

Is there a reason for Karl's new-found generosity? Is this merely a temporary fire sale? Where can I find the Picross level featured on the cover of Opensource Lyricist?

I don't have the answers to any of those questions. All I have is a link to tons of free J-culture-inspired electronica.

And I reckon that's more than enough, friends.

Makin' Passes, Shakin' Asses

I sometimes fear that I overstep my meager bounds re: Nerdapalooza. In previous years I was the guy who suggested that acts begin including cover songs in their sets, and already this year I've planned to help my boy kHill coordinate an admittedly ill-fated hotel room mini-show after the event's official pre-launch party.

I mean who the fuck do I think I am? This ain't my party! This ain't my disco! This ain't my foolin' around!

But of course all this self-flagellation is really just the lead-up to another of my harebrained schemes.

Don't act like you didn't see it coming.

Nintendo's newest handheld, the 3DS,hasn't exactly been the runaway success that many of us anticipated, but it's certainly managed to move an acceptable number of units in spite of its currently less-than-stellar game lineup. Part of the reason for this – at least from my own personal experience – is the cleverly implemented social features, and chief among these is the StreetPass.

StreetPass lets you share user data with other 3DS users simply by virtue of proximity. This data not only relates to specific retail titles, but also impacts the system's built-in games. The problem, at least for users in more remote areas like yours truly, is actually stumbling across another 3DS gamer within range.

To remedy this Nintendo has designated Saturday, June 25th as sort of an official meet-up day for 3DS users, a time when we can StreetPass to our very hearts' content. But it occurs to me that, though it occurs several weeks after this particular push, the Nerdapalooza audience's geek- and tech-friendly makeup would prove ripe for a similar event. The best part being that since most of us are staying at the same hotel, we can really just pack our 3DS systems in our carry-ons and activate StreetPass when we get to the venue. Easy peasy. George and Weezy.

So here is my modest proposal: bring your Nintendo 3DS to Nerdapalooza 2011. Turn on the StreetPass feature and then toss it in your cargo pocket or your swag bag. (Hell, you could even just leave the thing in your hotel room!) This way when you're checking out the gallery or grabbing a drink between sets or rocking out to Adam WarRock or even just roaming the halls, you can also be fighting it out in Figurine Mode or picking up new warriors for Find Mii.

Do it for your fellow gamers. Do it for you fellow Nerdapalosers. Do it for America.

Radio Free Hipster Ep. 111: Goes the Weasel

I don't often say this, but I fuckin' love this episode! I think I've finally got my sound quality and bitrate issues settled, and (aside from some weird plosives in the third act) I think the mechanics of this show are on par with my best work.

And the song selection? Phenomenal! At least from where I'm sitting.

I think you're in for a treat, listening audience. A genuine treat.

Download Radio Free Hipster Ep. 111: Goes the Weasel [hosting provided by Antisoc] Size: 67.8 MB Running Time: 51:28

Show Notes:

Intro: Baddd Spellah – "Radio Free Hipster Theme (feat. Beefy)"
Contrary to popular belief, I receive props far less often than nonstop.

Track 1: Supercommuter - "10th Generation (Klopfenpop Mix)"
I love me some Klopfenpop. I also love me some Supercommuter.

Z's 1st interlude: "But I am back… in the proverbial house."
Which is likely where my proverbial ass belongs.

Track 2: Kirby Krackle - "Tony Stark (Live)"
Buy this EP and help a koala. No, I haven't' recently suffered a stroke or anything; this really is a fundraiser for a koala sanctuary.

Track 3: seal of quality - "Thor"
Okay, maybe not exactly about the Avenger of the same name, but a great track nonetheless.

Track 4: Adam WarRock - "Spider-Woman"
Adam makes mad mixtapes. This one, for example, was dedicated to the West Coast Avengers.

Track 5: Americans UK - "[Inappropriate] Word[s] To Your Mother"
I really dig Jef UK's vocals on this one. I dig 'em hard. 

Track 6: Danny Dementor - "Fight to the End (Pre-Adolescent Mix)"
I would go so far as to say Danny Dementor made some of the greatest Wizard Rock of the scene's latter era.

Track 7: The Factory Kids - "The City (killsaly remix)"
Much like Klopfenpop, killsaly is one of those cats I truly believe can remix anything.

Track 8: Mega Ran - "Metal Dance (feat. The Megas) (Acoustic Mix)"
Upon much reflection, I actually think I prefer this to the original "electric" version.

Z's 2nd interlude: "Props to Church for turning me on to that one."
And since I know you're gonna ask, here's a link to that King of Thrones theme song cover. 

Track 9: Marc with a C - "Motherfuckers Be Bullshittin'"
Though Marc sings the titular phrase with a bit less conviction than I would've hoped, the building repetitive vocal coda at the track's conclusion is true pop genius.

Track 10: Aperture Science Psychoacoustics Laboratory - "Turret Wife Serenade"
I can't imagine anyone missed this, but if so: linky.

Track 11: Insane Ian - "Super-Powers"
Again, not my favorite work from Ian on the verses, but the chorus more than makes up for it.

Track 12: The Amazing BrandO - "ZELDA 3 [Episode2]: Hyrule Castle"
BrandO really channels Link's borderline psychopathy in this one.

Track 13: Parks and Recreation dialog / Dethonator - "Rock of the Dress"
I really didn't understand how big My Little Pony fandom had gotten until folks started requesting remixes from the show's soundtrack.

Z's final interlude: "From the cartoon series My Little Pony: Friendship is Magical."
Okay, the actual subtitle is Friendship is Magic. I'm pretty sure that one mistake alienated all my bronie listeners.

Track 14: Robin Skouteris - "One Hell or Another [Avril Lavigne vs. Katy Perry vs. Blondie vs. A-ha vs. Toni Basil vs. The Knack vs. Offspring vs. Ting Tings]"
This track is a bit long, but I felt it made a perfect closer for this episode.

In addition to my regularly scheduled episodes, next month I will also be preparing my Parsec Awards nomination sampler. I will, in keeping with tradition, share it with y'all. The only question is when.

A lot of that depends on how I choose to do things during July, as that is Nerdapalooza month. If I can still swing two shows then that mini-sode will simply be an added bonus. If that proves too problematic it may instead have to replace a regular episode.

Still, I have to submit the thing to the judging panel by June 15th, so if anyone has some sort of compulsive need to hear it early, just give me a yell and I'll link you straight to it.

Return of the Merch

For those who missed my flurry of tweets concerning this late last week, I ordered some new Hipster, please! swag. More specifically, I ordered some 1" buttons… or badges… or pinbacks depending upon your personal preference and country of origin.

I actually sprung for 50 each of two different designs. The first combines the tattoo flash my friend Denika put together for me "back in the day" – the one that is even now, in a slightly altered form, etched into my arm flesh – and the TSR-style logo Dave the Knave used on the 20-Sided Rhymes album art. The second is a takeoff on the old school DC Comics logo. I made this one myself. Which means it took exponentially longer than it rightly should've.

I've already had a couple of folks ask what I plan to do with them. I have responded to these queries by shrugging my shoulders and knitting my eyebrows together comically.

The original idea was to take them to Nerdapalooza, and that was about as far as I got in my dastardly plan. Once there I suppose I'll give 'em away. Or sell 'em. Or maybe try and trade 'em for beer. I seriously have no idea.

In the meantime, though, if you aren't gonna be all up ins NAP 2011 and simply must have a set, just let me know. I am sure we can work something out.

Take the Wheel

If you missed the triumphant first episode of the new Beefy/Shael Riley project Captain Podcast – in which case shame the fuck all over you – then you likely missed the demo for a new Beefy joint featuring the great Adam WarRock entitled "Shots." It was produced by my brother Klopfenpop using a beat cribbed from Gnarls Barkley. Oh, and it is, perhaps unsurprisingly, about drinking. So, y'know, there's really a lot to love.

Earlier this week Beef posted a more polished iteration of the track up on the YouTubes. It's not a music video, per se, but it does boast an amazing illustration from Rusty Shackles so as to give your eyeballs something to do while your earholes are treated to the musical sweetness.

I have embedded it below so as to share its subtle glory with the rest of the nerd world. And also because if you're spending time on YouTube today it is likely just to rip chiptune plagiarist oncewewererobots a new one.

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.