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recentnews18-blog · 6 years ago

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New Post has been published on https://shovelnews.com/the-last-days-of-diarrhea-planet-a-band-thats-too-weird-to-live-but-too-rare-to-die/

The Last Days of Diarrhea Planet, A Band That's Too Weird to Live But Too Rare to Die

For three straight days last week, the symptoms of serious gastrointestinal upset arrived in a flash epidemic to the Midtown area of Nashville, infecting hundreds of people. To the untrained eye, it looked like a mysterious flu had sent 20-something punk kids into delirium: heavy sweating, aching bodies, sore throats, the occasional runny nose. But to the trained eye belonging to any doctor of shred, the sickness was as obvious as the antidote.

The city of Nashville had a serious case of diarrhea.

Playing sold-out shows on Thursday, Friday, and Saturday at the Exit/In, beloved local guitar heroes Diarrhea Planet had been the ones responsible for putting both natives and out-of-towners into this sudden feverish state. With their style of raucous performance—where the band crowd-surfed as much as the crowd, where pitch-perfect AC/DC covers were as much a guarantee as their own songs, and where even the most arms-crossed-and-clearly-over-it ticket holders became beaming kids again—no one left feeling the same as they had upon arriving. Diarrhea Planet shows induce an uninhibited madness, a madness for which the only remedy is more Diarrhea Planet.

Unfortunately, the antidote will soon be hard to come by. Though the band announced one final “victory lap” opening for Jason Isbell in October, the headlining shows on September 6th, 7th, and 8th served as Diarrhea Planet’s proper long goodbye. After thousands of gigs over the course of nearly a decade, the scatalogical punk six-piece announced in July that they’d be calling it quits.

It was the end of the planet as we know it, and no one felt fine.

The crowd at Diarrhea Planet’s last show. Photo by Wrenne Evans.

Bob Orrall suggested that this article be titled, “With the Demise of Diarrhea Planet, Is This Truly the End of Rock and Roll?” It was the Friday of the second-to-last show and we were in his office in the Wedgewood-Houston neighborhood of Nashville. Orrall runs Infinity Cat Recordings, which has put out every single Diarrhea Planet release, starting with 2009’s Aloha EP; from there, the band made two more EPs and three full-length records, the most recent of which, Turn to Gold, came out in 2016. He is both the spiritual and literal dad of the underground rock scene in Nashville—spiritual because of the bands signed to the label (DP, Daddy Issues, Music Band, White Reaper) and literal because his sons are Jake and Jamin Orrall, the two founding members of JEFF the Brotherhood. Technically the label is Jake and Jamin’s, but since the duo’s ascent early this decade, day-to-day responsibilities have fallen on dad.

“I think that people are always going to make loud noises with guitars, but [Diarrhea Planet] certainly were”—he stopped himself, remembering it wasn’t quite over yet—“are a great, great rock band. I’m 63 years old and they’re one of the greatest rock bands I ever saw.”

His favorite show of theirs took place in Chicago on his 35th wedding anniversary with his wife, where they both found themselves pressed against a barrier at the front of the stage, his wife telling him after the fact that Diarrhea Planet was the best band in the world. Uh, what about her sons’ band? “She told me they were going to have to step their game up.” Orrall’s favorite DP song is “Kids,” a scream-along anthem about the hard-to-capture innocence of youth. “The first time I heard it, I cried. What an incredible message.” For a brief moment as we talked, he teared up again. On Saturday, I saw Orrall screaming “we’re just kids!” a foot from the stage. Watching him, I cried a little, too.

Anyone will tell you that it’s not just the songs that get you—Diarrhea Planet’s live shows are infamous. Maybe it’s the onslaught of guitar harmonies—not one, not two, not even three, but four beautiful axes shredding in tandem—or the almost impossible energy that each member gives off until the very last second on stage, even when they’re only the opener. “Someone told me yesterday that they had seen one of the shows [when they opened for the Darkness]. DP had the place going crazy,” Orrall told me. When the Darkness took the stage, it was a different story. “They complained about the audience talking through [their] songs.”

From left to right: DP’s Mike Boyle, Emmett Miller, and Evan Bird during the last show. Photo by Wrenne Evans.

Or maybe it’s Diarrhea Planet’s fans that make them who they are. “If you read any article about DP, they talk about the crowd constantly because the crowd is our seventh man,” said guitarist and singer Jordan Smith during an emotional thank you speech Friday. He had just watched The Sixth Man, a 1997 film about a basketball team that gets a ghost as a ringer. Like Marlon Wayans playing alongside that ghost during the NCAA championship, Diarrhea Planet couldn’t have done what they did without the assist of their devoted fanbase.

At the top of that set, Smith had negged the audience. “Last night was a little bit like a Tame Impala show: a lot of people standing around and smelling their own farts.” It was time for the crowd to show up, which they did in immense proportions that night and the following. In the balcony, the bands’ parents, aunts, and uncles were exuberant: taking photos, singing along, buying rounds of PBR tallboys.

After having seen Diarrhea Planet play at least a dozen times myself, nothing compared to seeing them play their final hometown run, with not just a crowd of locals but kids who had come from all over the country. I spoke with fans who had come as far as Indiana, Georgia, New York, California. One Instagram I caught came with the caption, “22 hrs in Nashville with no bags and no hotel to see these goons play one last time.”

“It’s really hard to describe how I’ll continue my life without Diarrhea Planet, but these three shows really will hold a special place in my heart,” Michael Rivera, a 25-year-old cardiologist, told me. He first saw the band at Bonnaroo in 2014, where he said he heard the faint sound of electrifying guitar solos in the distance and turned to his friend to say, “I need to see this. I need to.” I watched Rivera, who has the same long, curly hair as Slash, completely lose it on Friday and Saturday nights, and by the end of Saturday night, he was up on stage with the band during their encore, screaming a song actually called “Ghost With a Boner.”

Which is another thing. It could be the humor in their songs that makes the band such a cult favorite—the juvenility can be a put-off to many, but it’s also the reason that others are drawn to them in the first place. “Ain’t a Sin to Win” is about challenging God to a motorcycle race; “White Girls (Student of the Blues, Pt. 1)” is a love song with the lyric, “I will always save the last slice just for you,” a reference to the Papa John’s that employed several of the guys over the years. “I don’t have one negative thing to say about them,” Laura Lee Volkerding, the manager of the store for 21 years, told me when I visited her. “They were very loyal. You couldn’t ask for better. They started to get much bigger and pretty soon they weren’t able to work as much, but I was so happy that they were able to do something they loved.” Volkerding still can’t say their name, though. “Diarrhea and the restaurant business don’t go together. I call them the DP Band to this day.”

Breaking up when they did felt natural, Smith told me Monday by phone. “It was a sprint from the start. We never really took time off and we never really slowed down. Most bands break up because they get mad at each other,” he said, which he affirmed wasn’t the case for DP. “Everyone was starting to get to know depression, not because of any specific turmoil, but because the lifestyle really ground us down. We just want to be happy and experience life in a normal way again.”

The finale of DP’s last show, in which fans crowded the stage; spot Michael Rivera upfront in the NHL jersey. Photo by Wrenne Evans.

Diarrhea Planet represented a different time, and not just the era of hair metal they sometimes drew from. The band came up in the early 2010s, long before Trump had been elected president, before we began to live in an age of disturbing parody that continues to eat itself. Now that they’d decided to break up, there was an element of “too weird to live, too rare to die” in their passing, for better or for worse. They were funny, ridiculous, and necessarily innocent of the world around them. To pull off the kind of music they made and the shows they put on, they kind of had to be.

I remember a woman guitarist I’d spoken to years ago who lamented the popularity of Diarrhea Planet, arguing that the last thing the world needed was a throwback to cock rock, which was considerably hostile to women. I had always seen Diarrhea Planet’s shows as a rejection of those ideals, like their deference to Marnie Stern’s guitar skills and their insistence on the pit being a safe space for all. “The whole point of DP was building culture,” Smith told me. “I think we made something really special with this community. It was just really cool to see that overall message of positivity and love manifest itself so intensely.”

The face of the DIY scene in Nashville had been changing for a while anyway, according to Olivia Scibelli, guitarist and vocalist for Idle Bloom (Friday’s opening act). Scibelli was a huge fan of Diarrhea Planet as both musicians and people, and she knew that they’d leave a hole in the scene when they retired. While male fans appeared to outnumber women roughly three to one at DP’s final shows, Scibelli acknowledged that something was in the air—a shift away from all-male bands with a predominantly male fan following. “I volunteer at the Southern Girls Rock Camp, and every year I see more and more young women and nonbinary kids wanting to start bands.”

In that moment, the focus was not on the rock scene to come but what everyone could enjoy right here, right now. Julia Martin, owner of an eponymous gallery in Nashville, told her friend Stephanie as DP’s set began that she was gearing up to head for the pit. “You might have to hold my purse.”

The sweaty close of the final show. Photo by Wrenne Evans.

Five hundred people were chanting “DIARRHEA PLANET! DIARRHEA PLANET! DIARRHEA PLANET!” at the highest possible volume. Nearing midnight on Saturday, the band left the stage after covering Rage Against the Machine’s “Bulls on Parade,” and they hardly even pretended that a blowout encore wasn’t coming. “There is literally no tomorrow for this and that’s the best you got?” a ghost voice announced over a microphone from backstage. The crowd began to sound legitimately desperate.

“This is really weird, it’s really surreal, it’s a really emotional thing,” Smith said after he bounced back on stage. “Thank you for keeping people safe in the chaos, thank you for creating an atmosphere of love and acceptance, thank you for enduring years of social strain for going to see a fucking band called Diarrhea Planet.” With that, they launched into a heartbreaking rendition of “Kids.” “I looked out and everybody was bawling, and half the dudes on stage were bawling, too,” Smith told me later. The experience itself felt like the pains of growing up and moving on.

They closed with “Ghost With a Boner,” one of the first songs they’d ever written. By the very end, the band and the crowd had sort of swapped positions: On stage, 50 to 60 fans crowded around the chaos, while Smith spent the song crowd-surfing around the room. He requested that those carrying him hoist his body up until he reached the venue doors. By the merch table, he looked like rock‘n’roll Superman.

“Maybe this sounds dumb because their name is Diarrhea Planet, but I just think that they’re a really inspirational band,” Ale Delgado, former lady of all trades at Infinity Cat, told me after the final show had ended. It was at 12:30 a.m. and she and her friend Michelle were standing in the center of the room looking shell shocked. “Yesterday, there was somebody about to crowd-surf and a guy turned to the girl next to her, who was much younger, and covered her head. They’re so good and the people they attract are so good. There’s none of that rock‘n’roll bullshit.”

Say it ain’t so. Photo by Wrenne Evans.

By last count on Sunday morning, I had seen one man cry, five say they were about to, at least 200 people with clothes so soaked through with sweat that they looked like they’d been caught in a biblical flood, one shirt with a well-endowed ghost drawn in Sharpie, and no fewer than 50 emotional embraces. I’d been shown one Diarrhea Planet tattoo, watched one woman stage dive with a broken foot, heard one guy ask a friend if his ear had fallen off, and been given one horrified look by a future bride out in a very different part of Nashville when asked if she was a fan of Diarrhea Planet. My favorite part of the entire weekend was looking back into the crowd as stage lights lit up fans’ faces: every single person was either singing or smiling, and most often, both.

As fans filtered back out into the humid city in the early hours of Sunday, the fever that Diarrhea Planet had caused finally broke—this time for the last time. Hundreds of people had screamed until they were hoarse. The aches of being tossed around in a pit or stage-diving into a sea of fists would subside by Monday, and persistent ear-ringing was sure to pass after a few days.

The only symptom that would remain after all was said and done was the one that was hardest to cure: heartbreak over the fact that a band that had really meant something to a lot of people had hung up their guitars for good.

Source: https://pitchfork.com/thepitch/the-last-days-of-diarrhea-planet-a-band-thats-too-weird-to-live-but-too-rare-to-die/

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musiccosmosru · 6 years ago

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Jake and Jamin Orrall, the relentlessly prolific siblings known as JEFF The Brotherhood, are gearing up to put out another album called Magick Songs, the followup to 2016’s Zone and the previous year’s Global Chakra Rhythms. This new LP is marking a pretty major shift for the brothers by adding new members to the lineup: Jack Lawrence of the Dead Weather/the Raconteurs and Kunal Prakash of Viva L’American Death Ray Music. Magick Songs will also feature collaborations with Daddy Issues’ Jenna Moynihan and Bully’s Reece Lazarus, both of whom you can hear on the lead single “Parachute,” out today.

The new song sounds spacey and ecclesiastical, flirting with some newer influences that the full album will showcase like Japanese experimental music and Gamelan Indonesian forms. From the sound of this track’s experimental, twisty composition, it’s a pretty stark difference from their days of cyclically-structured garage rock. On the upcoming LP, you can also expect to hear touches of heavy psych, drones, and metal blended together and rounded out by the duo’s ramshackle charm.

According to a recent press statement, “The lyrics for ‘Parachute’ began with a dream Jamin had that seemed to fall into place within the themes of the album as a whole, an off world interplanetary/interplanar apocalypse, a psychic battle against an impossibly powerful destructive force not only in the physical dimension but in one’s own mind and humanity’s collective consciousness.” The psych-oriented track is loose enough for new sounds to breeze through but still solid enough to flex JTB’s powerful songwriting. You can listen below and then check out the full tracklist for Magick Songs.

TRACKLIST: 01 “Focus On The Magick” 02 “Camel Swallowed Whole” 03 “Singing Garden” 04 “Parachute” 05 “Celebration” 06 “Locator” 07 “Wasted Lands” 08 “Relish” 09 “The Mother” 10 “Magick Man” 11 “Heavy Journey” 12 “Farewell To The Sun”

Magick Sounds is out 9/7 via Dine Alone. You can pre-order it here.

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The post JEFF The Brotherhood Announce ‘Magick Sounds’ LP: Hear “Parachute” appeared first on MusicCosmoS.

#beauty #healths #kids #royal espanol

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allbrooklynveganposts · 6 years ago

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JEFF's Jake and Jamin Orrall made this record as a four-piece and is pretty far removed from the party jam rippers found on their early records.

#BrooklynVegan #music

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tyleroakley-obsessed · 8 years ago

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Ed. Note: We’re bringing back the popular Listen Up! column, a monthly sampling of live music shows in Memphis. Contributor Baylee Less has put together this sweet list for March 2017. Wesley Paraham also contributed to this post. You can submit a show for inclusion in April’s Listen Up by emailing me at [email protected] by March 22. Please use Listen Up April in the subject line. Then go submit your show to the calendar, too. This March, Memphis has all kinds of live music events: intimate shows, jazz shows, loud shows, old-school shows, and even an Australian punk rock show. Consider this list my attempt to offer you a taste of everything. Southern Avenue. Photo courtesy of the artist. 1. Southern Avenue, Loflin Yard, Friday, March 3, show at 9 p.m., $10, 18 and up Welcome the March weather with a soulful Southern Avenue night at Loflin Yard’s Coach House. The Memphis-based quintet will celebrate their debut album release this Friday night – the show is a chance for you to preview their eponymous record, which was released on Feb. 24. If you want to relax and dance a little to their soulful, bluesy ballads this is the show for you. Read more here. 2. Terrance Simien & the Zydeco Experience with Marcella & Her Lovers, Halloran Centre at the Orpheum Theatre, Saturday, March 4, show at 7:30 p.m., $25, all ages Join Grammy Award winning artist Terrance Simien and his daughter, Memphian Marcella Simien, for a night of zydeco, funk, and soul. This is the first time Marcella and Her Lovers will open for her father’s band. Read more about Marcella and see her video for “We Rewind” here. 3. Ben Folds and a Piano, Minglewood Hall, Saturday, March 4, doors at 8 p.m., $35, all ages When I think Ben Folds, I think peak angsty 90’s rock. Luckily for us, Ben Folds is still kickin’ it in 2017. Although he won’t be “Rockin’ the Suburbs” of Memphis, you can catch him at Minglewood in midtown for a fun Saturday night. Ann Wise. Photo courtesy of the artist. 4. Anna Wise, The Hi-Tone, Wednesday, March 8, doors at 8 p.m., $10, 18 and up Anna Wise gained major attention (and a Grammy Award) from her collaborations with rapper Kendrick Lamar. Now, she’s pursuing her solo career and decided to hit up Memphis on one of her stops. I’d describe her music as sultry, feminist electro-pop with a splash of jazz. Her music sounds like a tequila sunrise. 5. Thigh Master w/ Aquarian Blood and Fresh Flesh, Murphy’s Bar and Grill, Saturday, March 11th, show at 9 p.m., free but accepts donations, 21 and up Australia’s Thigh Master are heading to the Land of the Delta Blues to show off their strummy, British-esque punk rock. Memphis-based band Aquarian Blood will kick off the night with their messy and fun garage punk. This is a solid event to support local talent and the host of the event, Goner Records. (Picture of Bon Jovi) 6. Bon Jovi, FedexForum, Thursday, March 16, show at 7:30 p.m., $20-$200, all ages Ohhhh we’re halfway there … well we’re halfway through the list. Bon Jovi will undoubtedly rock, but would anyone expect anything less from the iconic group? If you’re looking for a high energy rock concert with a dose of nostalgia, grab your tickets fast. 7. JEFF The Brotherhood w/ Yesse Yavis, Wiseacre Taproom, Friday, March 17, show at 7 p.m., free, 21 and up Hailing from Nashville, brothers Jake and Jamin Orrall will bring their psychedelic garage rock to the Wiseacre Taproom this month. Give their album “Zone” a listen and I dare you to not bob your head. Stoop Kids. Photo courtesy of the artist. 8. Stoop Kids, Lafayette’s Music Room, Thursday, March 22nd, show at 9 p.m., free, 21 and up Surely the most eclectic show on the list, the Stoop Kids sound equal parts like Sublime and 1950’s diner music. Weird, right? Weird, but also very fun to dance to. Grab a bite at Lafayette’s (I like the Salmon Salad) and stay for the Stoop Kids first performance in Memphis. 9. Earth, Wind, and Fire, The Orpheum Theatre, Thursday, March 22nd, $65-$125, all ages Do you rememba the 22nd of March? You will if you snag a ticket to see Earth, Wind, and Fire at the Orpheum. Go get your groove on with one of the most iconic bands of the 70’s. 10. Margo Price, 1884 Lounge at Minglewood Hall, Tuesday, March 28th, $16-$18, 18 and up Margo Price recorded her debut album, “Midwest Farmer’s Daughter,” at Sun Studio – now she’s heading back to showcase it at the 1884 Lounge. Her country has that cheeky twang and frank lyrics that’ve been absent from the genre for awhile now: a refreshing sound for country fans old and new. 11. Victor Wooten Trio, Germantown Performing Arts Center, Wednesday, March 29th, show at 7 p.m., $25-$35, all ages Funky and, fresh, and Grammy award-winning artist Victor Wooten will stop in Memphis for a can’t-miss Wednesday night show. Joined by drummer Dennis Chamber and saxophone player Bob Franceschini, there’s no doubt this trio will thrill. ) 12. Johnnyswim, Minglewood Hall, Friday, March 31st, doors at 7 p.m., $20, all ages I was lucky enough to see Johnnyswim perform at Moon River Music Festival this past fall, and cannot urge you enough: do NOT miss this show. The duo (and married couple), Abner Remirez and Amanda Sudano, create breathtaking music that draws from country, singer/songwriter, and folk roots. About The Author A born and raised Memphian, Baylee Less recently returned to her roots after her four-year hiatus at the University of Maryland. A new contributor to ILoveMemphis and Memphis Travel, she is excited to share the reasons she’s always loved Memphis. She enjoys live music, Asian food, and being outdoors. Follow @bayless005 on Twitter for updates about being vegan in the land of barbecue. Are you a home owner in Memphis, with a broken garage door? Call ASAP garage door today at 901-461-0385 or checkout http://ift.tt/1B5z3Pc

http://ilovememphisblog.com/2017/03/listen-up-11-shows-to-see-in-memphis-in-march-2017/

#I Love Memphis

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theseventhhex · 9 years ago

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JEFF the Brotherhood Interview

Jamin & Jake Orrall

In the wake of their latest pulsating release ‘Wasted on the Dream’, JEFF the Brotherhood come loaded with grungy guitars, head-banging riffs and effortlessly catchy choruses. Creating something similar in feel to a lot of the rock records that came out in the ’90s, the duo continue to accommodate their wall of sound and expand to a highly voluminous, all-out rock attack... We talk to Jake Orrall about hating the music business, downtime and misconceptions...

TSH: How would you sum up the transition and shift in your sound for the latest release ‘Wasted on the Dream’?

Jake: We wanted to make an album that was more polished and accessible sounding because we had a big budget and Warner Brothers wanted to push the record really hard.

TSH: What was the band dynamic and level of focus like when you were recording the record?

Jake: We were extremely focused on drinking a lot of wine and messing around with synthesisers.

TSH: Compared to previous works, were there specific challenges that you faced and had to overcome?

Jake: We had a lot of challenges with Warner Brothers; it seemed like everywhere we turned they had put another obstacle in our way. Thankfully they are no longer an issue for us.

TSH: ‘Black Cherry Pie’ took three years to write because you couldn’t finish it. How did it end up popping out just in time for the recording session and what changes were needed to be made?

Jake: We really just needed a chorus! And I really just needed to sit down and write one. We took six months off to write about 35 songs; we were very focused in that time.

TSH: Talk us through your fondness for performing ‘Voyage into Dreams’ live...

Jake: We love playing Voyage because it’s got a lot of riffs and kunal. Also, I get to do a lot of shredding, and it gets people juiced up!

TSH: With a song like ‘Prairie Song’, what sort of ideas and motivations did you draw on to pen the track itself?

Jake: Hating the music business.

TSH: What can you tell us about your experiences in bringing together the striking video for ‘In My Mouth’...

Jake: Our friend Halle asked us if she could make a music video, we said yes, and a week later she showed us, we were blown away!

TSH: Do you feel it’s less important what the songs are about and that you normally end up with fragments of images to make into music?

Jake: Yeah, we don't really care much for "lyrics".

TSH: What has impacted you most musically over the last few years?

Jake: Mostly alcohol.

TSH: When performing live, what are the aspects that you keep in mind for your blistering performances?

Jake: We just try and keep everyone engaged in the performance; usually we cast a spell before the show to ensure that people bang their heads, black magic, you know.

TSH: Whilst on tour, how do you guys commonly like to use your downtime?

Jake: Mostly masturbating and reading books.

TSH: What sort of distractions do you want to stay clear of?

Jake: Beholders, displacer beasts, gelatinous cubes, rust monsters, owlbears, mindflayers, the drow, and whitewalkers.

TSH: How do you feel your song writing has evolved many albums in?

Jake: We are better at writing songs, more practice!

TSH: What are the biggest misconceptions of JEFF the Brotherhood?

Jake: That we play garage rock and come from Memphis.

TSH: What albums in particular have you been most attached to over the last few years?

Jake: The first three King Crimson albums.

TSH: Finally, if you could go back in time to see one live performance, who would it be?

Jake: Prince Far I.