#it was also like… the point when being alt was trendy and being weird and funky was cool

[we-are-inevitable]

warm up???

little frog lad

a different kind of bloom

we think of rot as a solitary thing, i think lying in the fetal position on an unmade bed hugging a pillow to your chest, praying that it’s spared when the skin slides off your bones and the house caves in on you alone but have we not all rotted before? will we not all rot again? scrolling for miles, addicted, thousands of censored words tattooed on our corneas the coroner will say the cause of death  is the social rot we all hold close to our heart- the sign of being teens when the world stopped but were we not rotting together? did the  rot not spread? our parents will weep for children lost to fairy lights and little frog lads to mushroom earrings and eyeliner on lips to pronouns and pride flags and the beginning of being forever fifteen, forever realizing that the rot clears away the exterior and the bone underneath  is something unifying, a reminder that we are alive beneath the skin we wear when there are no expectations, when there is no social norm to conform to, when the rot seeps through the perfect child and exposes the rest- the messy, the sad, the lonely- to the world. will  we ever recover? will we ever find ourselves again? will we ever need to?

a commentary on the rise of alternative individualism (and the fall to yet another form of social commodification). ironically, this will be posted to tiktok.

[youcantfiremebecauseiquit]

theguitardiary said: I love finding new music! Especially when you’re not expecting it. We seem to have similar tastes in music! Who do you listen to now in this modern age? There’s only a handful of bands I like but I’m convinced there’s more out there. They’re just not as well known.

Yes, it seems so!  :)

Hmm, i don’t like that much of modern bands, if saying modern we mean completely new bands with young people being around for a couple of years. I’m aware that i probably don’t search enough, but these days i don’t even know where to look for bands, 2000-2009 days were much easier in this case.  Maybe it’s just me, but sometimes i look at new trendy bands and just can’t treat them seriously, for example i take one look at this Youngblud guy and i don’t have to listen to him to know he’s just another variation of 5 seconds of summer or 21 pilots or Imagine Dragons shit. “New British rock poet” lol, i just can’t. Or Pale Waves, they dress like tumblr goths so you expect goth music, but they play watery pop and the girl says she wants to be like Taylor Swift and Avril Lavigne. I listened to Avril Lavigne in elementary school, but ever since i found lots of actual punk/rock artists and it’s not like it’s the best thing under the earth (anyone remembers times when Avril Lavigne was the biggest faux pas in rock circles?). It’s just some weird trend with people my age/younger becoming some “punk rock/indie queens” with edgy mall goth looks, and of course press falls all over itself in praises and calling them new punk rock princesses and whatnot, and it turns out they don’t listen to classic stuff, they all actually listened to Taylor Swift and want to be Avril Lavigne, each and everyone. This or hair metal bands.  I’m not saying it’s neccesarily a crime, but it’s such a common thing, you can see how they compile clothes or videos or even straight up stylize their own songs after “Let Go” or “Under My Skin”. I’m all for nostalgia, but “imitation is the highest form of flattery” saying isn’t an explanation, all that flattery mostly ends up as clowning and copying rather than a wink to your influences. What’s with all that recent acceptance for copying and ripping off older artists? We reached the point where the world is obsessing over old cringe tumblr aesthetics sold as “new wave”, with skinwalking this rock star or another. Everybody claps and grins as if they haven’t seen it all somewhere else before. And then we have horrors like Starcrawler ripping off Katie Jane Garside look and everyone being fine with it. Develop some sort of personality, make up a new one if you dont’ have it, stop ripping off your teenagehood idols, ffs.

*End of a massive modern bands rant*  

For the record, I’m sure there are some good independent bands, but i honestly don’t know where to find them and i admit i’m very picky. 

Forever Still - at first they may look like a “throwaway Arch Enemy opera metal lady + a bunch of black-wearing random guys” type of band, but thankfully it’s not the case. Maja Shining has an actual personality and a pretty voice. They’re from Denmark, they play alt rock with melodic vocals, mainly a cross between calmer ballads and more metal songs, people compared them to Evanescence because of a trained vocals singer and emotional lyrics, but to me they’ve developed a thing of their own. They use elements of metal, but they actually have memorable riffs and melodies. There’s also a lot of piano in their music and on “Breathe In Colors” (and live shows) they use theremin, which is rarely used instrument in rock. 

 This band is very impressive, i followed them since their independent days, they eventually were signed by Nuclear Blast but they literally did everything themselves, from cover art to music videos to producing their music. The bass player  was apparently an apprentice of Metallica producer/engineer, don’t remember which one though, and you can hear it, i believe they were recording stuff at home but their early songs were top notch in production. It’s funny how their first EPs and first album were self released and sold through internet and yet they sounded like a major label band! And they could literally go on without signing anyone cause they got fans and were selling CDs and merch themselves, but Nuclear Blast got interested in them and they got signed. For a modern day band, they’re doing pretty well which is impressive especially considering everything they achieved, they did it themselves. I think 15 years ago they would be bigger, blame rock’s role in mainstream, or lack thereof. If it was 2003, they would be MTV’s favourites probably. They take care about even small things and i’d say a part of the success is how they’re all in contact with fans instead of playing big rock stars. They toured with Lacuna Coil, Children of Bodom, etc. 

Also CONCEPT ALBUMS! They do concept albums. First album “Tied Down” was more emotion driven with ups and downs of a sort, calm and aggressive points, the newest one is much heavier and electronic. “Tied Down” is about depressed person going through some shit and then idk letting go of toxic stuff, “Breathe In Colors” album is much cooler to me, cause it’s darker and heavier and has that electronic cathastrophic decay feeling, i’d say it’s their “Blade Runner” record (i’d say the cover and “Breathe In Colors” video are direct references), especially since they said they were inspired by “Blade Runner” and “Akira”. It’s been released in 2019 and it’s cool, cause i really missed that sort of element in music, the “social fear of the future”/”digital era emptiness” kind of cyberpunk stuff that was in before turn of the century.

I’d say to listen/watch  Miss Madness ,  Scars , Break The Glass   Rewind  Breathe In Colors

Bandcamp: https://foreverstill.bandcamp.com/

Destructive Daisy - that’s an all-girl grunge band from my country, Poland. Unfortunaly they no longer exist i think, they stopped posting/playing apparently... They were a big hype awhile back, cause they were the only grunge girl band in Poland (at least that we knew of), they’ve got some attention after they released EP and they even supported Mudhoney at their Poland show in 2013 or so. Then they recorded Ophelia’s Dreams album in 2016 and vanished. That’s a shame, cause althought i wasn’t so crazy about them at the time, they’ve got some nice songs and they had those L7 / 7 Year Bitch kinda grunge girl vibes and people looked up to them expecting some next move, but i guess everyone expected too much from them and they played for fun without big plans, idk.  

I’d recommend Destructive Daisy EP. Haven’t listen to their stuff in a few years tbh.

Bandcamp: https://destructivedaisy.bandcamp.com/

Hmm, i only listened to select songs from Le Butcherettes and never cared enough to follow their new records, I like this video:

But I like that weird crossover the chick (Teri Gender Bender? I think that was her name) did with... Melvins. I’m a simple man, I see Melvins, i click.  The band’s Crystal Fairy and it’s been a bit of surprise to me. I don’t know if they tour/plan anything more, i suppose it’s a one-off project from 2017. But the album is dope. It’s very Melvins though, don’t know how much of guitar work is done by Teri, to me it’s 100% Melvins and she probably wrote lyrics and melodies, but i don’t know. “Crystal Fairy”, “Sweet Self” however sounds to me like Teri composition. Hard to tell, cause to me both bands have some “twisted blues” quality, it’s just Melvins are heavier. It’s basically Melvins led by a female. If anyone ever wondered how it’s like to have female-fronted Melvins, this is it. 

https://crystalfairy.bandcamp.com/ 

I like Evanescence and Linkin Park, but that’s not exactly “modern” anymore, haha. When you know for example “In The End” song is 20 years old... crazy. Most surprising band i listen to is maybe Sum 41. All the older bands and punks hated them a lot before and call it pop punk, and yes, they had a few irritating happy boys songs, but they’ve got some darker “punk-metal” albums. They had the best guitar skills of those pop punk bands from 00′s, added a good deal of metal (”Chuck”) and piano (”Screaming Bloody Murder”) at some point, but they’re totally fine if someone likes that fast melodic punk like Green Day or NOFX. 

Maybe also White Lung, i don’t know all of their albums and listen to it more casually, but it’s female fronted and they’ve got that various layered guitars sound. 

Ok that’s it, if i were to tell you in person, i’d probably say 3 words, but in writing i always end up writing long essays :p 

If anyone else following this blog has any recommendations of new bands, of course you can send me in ask!

[jessejostark]

Jesse Jo Stark

When Jesse Jo Stark was in high school, she took regular road trips from her native L.A. to San Francisco. Her soundtrack of choice? The Misfits, AFI, and the Circle Jerks (it was her punk phase). Stark can detail “stages” of musical upbringing, which was an eclectic one, thanks to her parents; in the late-‘80s they founded the fashion brand Chrome Hearts, which has been worn by many a musician, and Stark remains involved in the family business through designing. They introduced her to everything from country (Merle Haggard) to rock (Fleetwood Mac), and she rebelled with pop powerhouses like Christina Aguilera. Nowadays, Stark looks more to the former than the latter as she shapes her own sound. “I’m not trying to recreate anything completely from the past,” she explains, “but if I’m looking up some inspiration, it’d probably be Cher from the ’70s.”

The result is an alt rock sensibility and an emphasis on songwriting, which became a passion for Stark when she graduated from her aforementioned punk years around age 18. In January, she released her first single “Driftwood” and today, days before the month comes to a close, premieres her second, “April Flowers,” below. “I wrote it quite a bit ago,” she says. “It’s about love, but it’s also about the idea of having everyone else involved in that and everyone having an opinion of what it is, handling your relationship.” Produced by Jason Lytle (formerly of the band Grandaddy), whom she met through a mutual friend, and co-written by Isaac Carpenter, it’s an unhurried, reflective song with surreal lyrics like, “All the spooky little kids / That can creep under your lids / With their Barbie Doll brains.”

Interview recently spoke to the 26-year-old, who plans to release two songs this summer with a full-length album to follow come September, by phone while she was at home in L.A.

HALEY WEISS: Has your perspective on your music changed at all? What do you think of these songs now that you’re a year out from writing them?

JESSE JO STARK: It’s all a development—I write and I go in and I record it, and then I mix it—so it’s building it into what it is now. It’s kind of a beautiful process, it’s not tiring and I don’t get tired of the songs, surprisingly. So it hasn’t really changed much, I’m still [working] on the body of work I’m releasing right now.

WEISS: You worked with Jonathan Rice on some of these new songs, or is it the whole album?

STARK: No, just some of them. I think it was six songs together.

WEISS: What do you value most in a producer or collaborator?

STARK: They’re going to challenge you, but also allow you to not be stuck in a corner, and accept the weirdness factor a little bit. I think it’s a vibe: when I meet someone, I can tell if we’re going to be able to spend intimate time together for a long time, and vice versa. With Jonathan, he’s a friend of mine, and we had a relationship over time and then sat down to write together and decided to go into the studio, so that was a really slow relationship; our relationship grew and I was able to create with him. Jason [Lytle], who I worked on “April Flowers” with, we really hit it off. He was able to pull a lot out of me; he dug deep with me, so it was cool to work with him.

WEISS: Is that a difficult thing to do? Meeting someone, when they’re not a friend first, and diving right into that personal, creative process?

STARK: I think it is challenging. Over time, it becomes a little less challenging, but it’s a really intimate thing. I call them blind dates: you go into this room with someone, and it’s hard to put yourself out there, but it’s what you’ve got to do in this world. It’s challenging but it’s cool, for me at least, because I’m really introverted and it allows me to grow as a person when I get to be put in a room with different people.

WEISS: How would you describe your writing process? Would you consider it autobiographical, methodical, are you writing from the point of view of characters?

STARK: I do write from points of view. But I really do love writing about love, and it’s from personal experiences, I think with a dramatic touch on it. I enjoy writing about the darker side of love and putting beautiful tones to it, so it’s not completely dreary. Most of my writing is about a lot of me, but I’ve definitely written with another viewpoint in mind.

WEISS: Do you write anything in addition to lyrics or is it exclusively songs? Do you write poems or fiction?

STARK: I’ve written short stories, and I started with poetry; when I was younger I would write poems, and it slowly developed. Then I realized I actually enjoyed writing, and I started to write songs.

WEISS: And your first song you wrote at age 12, right?

STARK: Yeah, I think I was younger than that. It was really short, but it was called “My Heart’s on Fire.”

WEISS: Do you recall any of the lyrics or what spurred you to write it?

STARK: I think I was pissed off at this boy in school, who was probably my first crush. The lyrics were pretty intense for being so young and feeling that way.

WEISS: When you wrote that, were you also singing songs publicly, or just writing them?

STARK: I was little, so I was just singing them in class and trying out different instruments—that kind of stuff.

WEISS: Were you equally interested in learning to play instruments as you were singing?

STARK: I was when I was younger. I did guitar lessons three days a week, but when I turned 18 I was really intrigued by writing. I wanted to write a lot more.

WEISS: When did you first decide to share your music in a more serious way and pursue it professionally?

STARK: I would say 18.

WEISS: What made you make that decision?

STARK: I’m very shy, and I think I was just ready to put stuff out there in that way. I’ve always done videos and I’ve always done performances here and there, but it wasn’t until I was 18 that I started actually wanting to book shows. You get to a point in your career where you’re ready, but I always wanted to do it. I knew what I wanted to do, not exactly what path I wanted to take, but I always wanted to be playing.

WEISS: If you’re on the shy side, how do you get past that to go on stage? I can’t imagine doing that.

STARK: It’s really crazy, but I think you just do it. I don’t know how anyone does it.

WEISS: Have you learned to enjoy it? You’ve been able to get to a comfortable place?

STARK: Yeah, 100 percent. I truly enjoy it. I don’t think the same fears come into your head. It’s just about getting the first foot onto the stage.

WEISS: I read that you grew up with an eclectic range of music. Who were the artists that your parents played while you were growing up? Do you come from a family that’s passionate about music?

STARK: I was raised on a lot of the Clash and a lot of country, and I think one of my first concerts was Motley Crue or Cher. I guess I was always immersed in it. At the time, I didn’t really like to admit that I liked what my dad was playing; I wanted to listen to Britney Spears—which I still love. [laughs]

WEISS: I feel like everyone has that experience with their parents.

STARK: For sure, and I can’t help but want to put on [those] songs [now]. Some of my friends are into it, but some of them would rather listen to rap, and that’s just not my vibe.

WEISS: In the artists that you admire most or listen to most, do you find that there’s a particular quality you’d like to emulate or that you really value?

STARK: I think that they’re—I feel like it’s everlasting. It’s not a fad. It’s not a trend. They kind of carry the same feeling; the first time you listen, 10 years later, they hold this feeling, and I have a respect for that.

WEISS: It’s hard to avoid trends, in a way. How do you determine what that everlasting quality is? Is that in the lyrics?

STARK: I think it’s in the lyrics. I could treat it like clothes: there are pieces that you always go back to, that your mom wore, that you’re then wearing again. I know everything is a cycle, but it definitely has to do with the lyrics, and country, for me, I feel like it’s so poetic. But then again Fleetwood Mac isn’t necessarily country—they do such a good job of that too. I don’t know what it is. I can’t say that my song isn’t trendy. But I do think we’re in a really different time for music, and I feel a lot more inspired by things that have been created a long time ago.

WEISS: You mentioned clothing, and I know you come from a creative household—your parents started Chrome Hearts—and you have an interest in fashion as well. Do you see your interest in fashion and music as totally separate entities, or do you see a crossover?

STARK: It helps to wear something that I feel good in when I play. I do think there’s a crossover; they’re all a way of making you, you, and you stick out. I want to feel good when I play, and I put on whatever makes me feel that I can carry the song I’m playing. I think everything connects, everything’s a way of communicating what you vibe is.

WEISS: You started a label, Sugar Jones Music, when you started releasing music. What was the impetus behind that? Are you looking to sign other artists?

STARK: I’ve actually not thought about that. Probably not, but you never know.

WEISS: Why is it important for you to release under your own label?

STARK: It was just the move for me, and I didn’t want to be held back because of my position. I have songs that I want to put out there and play, and I think it was the right move for me right now to self-release.

WEISS: Now that you’re nearly done with this collection of songs, and you’re releasing it piece by piece, how do you feel about it as your first complete body of work?

STARK: I’m nervous, but I’m happy, and I feel like I’m in a good place with the songs that I’ve chosen to release right now and I’m proud of them. It’s been a while since I’ve put out music, and I feel really stoked about it. I’m playing a show tonight and on Monday, and that’s the cool thing, being able to finish it and play it and see people’s reactions, and to be proud of something you put out. So I feel good. It’s always nerve-wracking putting things out for judgment, but I’m pretty proud of what I’m putting out right now.

WEISS: Is there one reaction in particular, that say a fan or family member has had to one of your songs, that surprised you or has stuck with you?

STARK: I’ve played a lot of rock, and the last two tracks—the track I put out and the new track I’m putting out—they feel more mature to people. It’s been interesting to see my family react and give me really good feedback. The cool thing about them is they won’t lie to me; I was kind of shocked by their response and it was a good one.

WEISS: Once you finished making this music, who was the first person you wanted to hear it?

STARK: Jonathan, who I wrote with, has been a big inspiration, so I play a lot of my stuff for him, but also my boyfriend. He’s kind of brutal, so if he doesn’t like it he’ll tell me and we’ll have a little fight about it, but it’s always nice to hear the negative, too, and not just have a pat on the back. I like to know the truth.

[roamingmom]

You finally made it to Tokyo. Where do you possibly start?

The Japanese capitol is swimming with a whopping 38 million people. You’re likely overwhelmed and tired. So tired. The jetlag is a painstaking reality after your 12 hour (maybe longer) haul.

Depending on the time of day you arrive – you might want to take a power nap. I did and it saved me. After a quick disco nap – I could face the glorious mania that I came to see.

Shibuya Crossing

No other place in Tokyo highlights the sheer madness of the city better than Shibuya Crossing. Some accurately refer to it as the Shibuya Scramble.  People literally seap from every imaginable angle.  Picture Times Square on crack. Each street light has an estimated “2500 people crossing” at any given time.

Shibuya Crossing

Shibuya Crossing

Shibuya Crossing

Shibuya has lots of night life: restaurants, clubs and izakaya (informal Japanese bars).

Kobe Beef (a quick lesson).

We had our first dinner in Shibuya.  Of course, we went straight for the mouth watering Kobe beef. Not to be missed. The infamous Wagyu (meaning: Japanese Cattle) is good but Kobe (a strain of Wagyu) is a whole other off-the-chain level of goodness.

To be labelled Kobe, cattle must meet the following criteria:

Bullock (steer) or virgin cow.

Tajima-Gyu born within Hyogo Prefecture.

Fed on a farm within Hyogo Prefecture.

Meat processed within Hyogo Prefecture.

Marbling rating (BMS) of 6 or higher on a 12 point scale.

Meat quality rating of 4 or higher on a 5 point scale.

An overall weight not exceeding 470 kg.

Source my: Steak University

Mouth watering Kobe Beef

Kobe Beef in Tokyo

Just eat it. Once it melts in your mouth, you’ll forget the price tag.

Tsukiji Market

You have to hit the fish market when in Tokyo. If you’re a sushi aficionado – it will blow your mind. If you’re not a sushi lover – then you might be in the wrong city.

To be clear – Tsukiji Market no longer holds the famous tuna auction. Tsukiji is a sprawling outdoor street market. The tuna auction has moved to the brand new Toyosu Market (indoor). If you want to watch the tuna auction – you must apply to the online lottery.

Time your visit so you can have lunch at Tsukiji. It’s teeming with all types of traditional Japanese food but it’s best known for sushi.

Tsukiji Market

Tsukiji Market

WTF, right? – scary fish?

Delicious Sushi – Tsukiji Market

Lots of Temples

Zojoji Temple

Nestled amid sakura (cherry blossom) trees in the heart of Tokyo is where you’ll find this little gem.

The temple is the burial ground for six Tokugawa (Edo) shoguns. The shoguns ruled through the Edo period (1603 to 1867), the final era of traditional Japanese government, culture and society. The long reigning shoguns (supreme military leaders) ruled for over 250 years.

Next to the Temple is a garden rowed with small stone statues called Jizos. The sweet faced Jizo statues wear little red knit hats and sometimes bibs. They are beautiful – some are adorned with beads and others have trinkets and flowers next to them. Sadly, the Jizo represent miscarried, still born, or children who died young. In general, the Jizo is said to protect over all lost souls.

The Daibonshu Bell

Cast in 1673, it weighs 15 tonnes and tolls 6 times twice a day.

Daibonshu Bell

The Zojoji Temple is also beside the Tokyo Tower. 

Seisho-ji Temple

Not far from Zojoji is Seisho-ji Temple in the heart of Tokyo cloaked by skyscapers. This is a peaceful place of medidation and seems to be off the tourist radar.

Roppongi Hills

A short walk from the Tokyo Tower and the downtown temples will put you in Roppongi Hills.  A trendy urbanization with apartments, cafes, restaurants and shops. Also, a great place to view the sakura blossoms in April.

Sakura Blossoms

Sakura Blossoms

Sakura Blossoms

Takeshita Street

Takeshita Street is an pedestrian shopping street in the Harajuko District of Tokyo. It’s known for it’s colourful whimsical shops – popular with teens. It’s also a haven for sweet lovers. Candy shop after candy shop adorn this zany strip.

Take 5 on Takeshita Street in Tokyo, Japan

Yoyogi Park

Near Shibuya Crossing is Yogogi Park. A sprawling park with loads of green space and lots of people. Also home to the Meiji Shrine, a Shinto shrine dedicated to Emperor Meiji and his wife.

Senso-ji Temple

Tokyo’s oldest Buddhist temple dating back to the 7th Century. It was heaving with people so I took a pic from across the street.

Oldest Buddhist Temple in Tokyo

Honourable Mention

Akihabara – “Electric Town”

This is a shopping street with every electric gadget you can dream up.  Sorry, no pics.

Where to Stay

We stayed in Tokyo Bay which was perfect. It’s a little removed from the madness of say Shibuya and other downtown areas. Yet it’s walking distance to Tokyo Tower, Zojoji Temple, and Tsukiji Market.

About Tokyo

There is very little English spoken. If taking a taxi, have the name of your destination on paper and present it to the driver. Note: d/t the upcoming 2020 Olympics – English street signs are being put up.

  The taxis are clean, drivers are well dressed and typically wear white gloves. Taxis are reasonable if travelling en masse, as we do.

  The subway system is meant to be really efficient and reasonable. But see above: 38 million people in the city. I didn’t go anywhere near the subway.

  Tokyo is clean. I found myself carrying around my rubbish (sometimes for blocks) before finding a bin. A bit inconvenient but it works. The streets are spotless.

  Traffic is not that bad. Most people don’t seem to own cars and travel by subway. You can actually move around the city quite efficiently in a taxi.

  You must have an International Drivers License to rent a car. Not something you likely want to do in Tokyo, but we ran into problems later in the trip.

  The currency is Japanese Yen. Quite a few places don’t take credit cards, and International ATMS are found in all 7/11 stores. Weird, I know.

  Despite the tens of million of people  – your personal space is respected.  Nobody pushes or crowds and somehow pedestrian traffic flows without mayhem.

Japanese 101

It’s important to know a few words in the language of the country you’re visiting. Simple manners go a long way – wherever you are.

A few simple words that will win a smile every time:

Hello – Konnichiwa

Good bye – Sayounara

Thank you – Arigatou

Please – Kudasai

Good morning – Ohayo

Good night – Oyasumi

Excuse me – Sumimasen

I hope you liked this post.

Pleaes stay tuned for….

Confessions of a Geisha Stalker

How to Eat like an Okinawan

Still here? Drop me a note. Or read more below. x

The Bag On The Train

Paradise Lost

A Fiver for Australia.

  3 Days in Tokyo You finally made it to Tokyo. Where do you possibly start? The Japanese capitol is swimming with a whopping 38 million people.