Introductions, 30+ years as a group, discovering improv concurrent with songwriting, using influences to come up with something new, Ken Nordine, “Perfect Angel,” the fear factor when improving, absent bass players (Colin & Fred), “truth is a tiny hunter,” Art’s hammer-on technique, “Dr. Pavlov,” giant worm eras & “Old Red.”
Black Cactus, reclaiming physical media, the changing music industry, music as a forum of thought, playing collaboratively, the evolution of Instagon, starting out noise and becoming a jazz-jam hybrid, playing with Greg Ginn, an evolving line-up, creating a live happening, how venues respond to noise, Luna’s Cafe & Juice Bar, noise as the new punk rock, the supportive NorCal NoiseFest scene, starting to organize the event in 2005, “it’s more like a convention,” the early NoiseFests in the mid-90’s, the tape trading scene of the ‘80’s feeding the ‘90’s noise scene, the Japanese noise scene, Masonna & Merzbow, Nurse With Wound, the school of punk rock, the Green Day wave (the post-Stiff Little Fingers wave), the Epitaph Sound, the vastness of noise as a genre, the variety of acts and sounds, unique audio happenings, situationist & dada, NoiseFests past, the samurai sword story, The EMRL, the importance of stage managing, Rubber-O-Cement, Monte Cazaza, Floyd & The Conceptual Music Union, Sidewalk Brujeria, Big City Orchestra, Radio TroUBle/dfm, Salty Sea Shanties, Lob’s poetry & poetry readings, how Instagon got started, the metal band version of the group, The Temple of Psychic Youth, Instagon’s four initial faces, running out of places to play, the various phases of the group, discovering bass, becoming a band leader, Lost High Desert Tortoise, avoiding band drama, Lob’s varied tastes, his record store years (1985 to 2002), being 15 in 1980 in LA, zine and cassette culture, and making connections through trading physical media.
Started at KALX in 1975, Mick & Marc’s Noise 30 Minute radio show in 1976, starting The Jars, working at Rather Ripped Records, making records, The Jars evolving into The Art Faggots, Bo, the difference between SF and LA, Crime, the difference between punk before and after 1980, Syncopated Pandemonium radio show in the early 70s, breaking records on the air, KALX flips to Punk Rock, (The band Austin was thinking of and fails to mention at this point in the interview was The Dictators), The Museum of Unfine Art / Sonar Map radio show / Shawn Mediaclast, The Sunday Morning Hangover, archive.org, Honey Vizer, getting bored with the status quo, the problem with college radio, Rumours & Fleetwood Mac, record rummaging and shopping by cover, The Sunday Morning Hangover TV show, retro vs new music, Time of the Assassins, records vs digital life, rebellion and culture, Christmas & religion, the influence of being lied to, and digital life vs real life.
Krackwerk album, 10 years in solo, Noisegasm five year in, Master’s in Music Composition, started playing music at 13, the sonic & visual pallet of finished work, learning technology to create new work, the wider range of Noise music, working with Doug Haire & Sonarchy radio, Dark Energy, Juiced, Goldenrod, driving long distances for a show as there are fewer places to play, and listening to music.
The House of Records “Switched-On Eugene” release event, the Numero Group approach, three years on the project, started playing classical as a child, skipped out between 11 and 19 to pursue architecture, graduated U of O with a BS in Music (piano) & sang in the choir, discovering Stratosfear by Tangerine Dream at 15, began pursuing electronic music at various college labs parallel to his other school work, actually stolen recordings, the intersection of sci-fi & electronic music, doing it all yourself with a sound you like, Carl Juarez introduces Brian Eno & Pere Ubu, the New Dreamers on KLCC, meeting people and discovering music, starting Another Green World on KLCC with Nathan Griffith in 1984, the legendary Halloween shows, Waiting For Toast, The PM Show, Carl & Brian’s xerox design aesthetic, Diane Arbus, the packaging of Switched-On Eugene, the influence of DIY punk aesthetic in Eugene at the time, The Carrion Commandos, recording bands and booking shows, where the comp misses the mark and what it gets right, other impending releases, Phyllyp Vernacular is retired, the influence of the reel to reel recorder, outlying industrial areas, Clock Facelift & Fervent Torpor.
Touring and the practical aspects of being on the road, living on the road for over a decade, activist throughout his youth, the interconnectedness of everything, “The Hundredth MONkEY Generation, Difference Between Everything Anarchist Can-Do Whether or Not the Cops Will Let Us Bicycle Band,” rebelling in different ways as you get older, improv & anarchism, composition vs. improv, being creative at times and in ways that aren’t traditional, Bob Bucko Jr. & Personal Archives Records, being human, Rent Romus & Edgetone Records, an impending Nels Cline collaboration, working with Sarah Lund, grew up with punk & Jazz in San Jose in the early ’80’s, collaborating with Andy Kaufman through dreams in 2002.