Andrew Earles

Check out this review of the new Robert Pollard solo LP…

Posted in Uncategorized by Andrew Earles on September 27, 2012

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VARIETY POST: What happened when I tried to find, or find info about, Glen Galaxy’s (Trumans Water, Soul Junk) record reviews online, someone else interviewing Glen Galaxy, and some belated yet deserved words on seeing Bottomless Pit play in Memphis, TN on Saturday, September 22, 2012

Posted in Uncategorized by Andrew Earles on September 27, 2012

The handful of record reviews that Glen Galaxy (Trumans Water, Soul-Junk) wrote for Your Flesh Magazine in the late-90’s/early-00’s collectively showcase the rare instance of music-based non-fiction/rock-writing/my art/what-have-you elevated to the level of beauty…a truly inventive, inspirational and influential (on me, at least) example of my chosen art form. I have no idea what happened to the applicable copies of Your Flesh that were in my world of IMPORTANT STUFF, and I want my partner-in-crime to read them, so I hopped on my dying laptop to sniff around on the information highway. Here’s what happened:

‘No results found for “Glen Galaxy” “Your Flesh Magazine”

But here is a quick interview with Glen. The writing, for which I just used some strong language to describe, is not represented here, nor is it even mentioned. Even so, Galaxy is my kind of modern rugged individualist and Trumans Water is a very, very special band (even after he left).

Last Saturday night (9/22/12), EMM and I went to see Bottomless Pit perform @ The Hi-Tone Cafe. It was billed as a 7:00 PM show, though we missed the openers (locals The Family Ghost) and rolled up around 8:15 to see Tim Midgett and Andy Cohen wearing their respective guitar (and baritone guitar) necklaces, along with a bassist (didn’t recognize this dawg) and a drummer, the latter of which I knew as Seam’s longtime drummer but could not remember is handle. I saw Seam on the “The Problem With Me Tour” (probably not its name but that record…a very important record in the development of my early frame of reference and accumulation of favorite pieces/bands…was the reason for this particular tour) in 1993 at the long-defunct but immensely important (to me and hopefully some other folks) Memphis venue known as Barrister’s. They were stupidly added to an unrelated (in quality, form and logic) Southern Culture on the Skids show, and I cannot, no matter how hard I squeeze my brain-box, remember the order of the bands. Seeing as how I witnessed the culturally and creatively bankrupt irritant-merchants, who will not get their name in the same sentence twice, it makes sense that Seam would have headlined this show. WAIT…( and I am genuinely remembering something in real-time, this is not for dramatic or comedic purposes, and do not believe in self-editing myself or my thought process out of this post…at least I don’t believe in doing so tonight…it’s a mood thing)…Seam opened this show. I know this because as I stood on the balcony that overlooked the stage and main room, the pork-pie hat (or is it a bowler?) that drums for S.C.O.T.S. placed himself about six to seven feet behind me for Seam’s entire set. The four to five times I got a look at him (lighting a smoke, shifting body weight, leaning against a pole, etc) revealed that he spent the entirety of Seam’s set staring a hole through me, and there was nothing even remotely pleasant or positive about this brand of staring. I never figured out why this happened, but here some theories that I passively came up with while writing/typing everything you’ve read since the introduction of Seam/start of this anecdotal detour (aka “a boring abandonment of the original plot” as some may be calling it now that I’ve given their low-wattage, silent griping or mild irritation a name and origin)…

1. Paranoia about my possible bootlegging motives re: his band’s upcoming set. There’s no need for me to take this one any further or add some sort of punch-line…this one does all the work for me.

2. His contempt for indie-rock and its fans burned/burns at a quiet yet internally-raging intensity, so his course of action was to eye-fuck me for 30 – 45 minutes in an attempt at decreasing my enjoyment of the music he hated so much. This was a few years before such behavior would have been met with “WHAT?!?!” or “Seriously…I hate being stared at and I hate your stupid fucking hat” or some other response to a blatant lack of social graces…one of my biggest pet-peeves. But today’s random selection of strangers or single stranger behind an unexpected street-hassle? DON’T GET ME STARTED ON THIS ONE!!!

3. He was blocking my exit. I have no idea where I originally intended to go with this one….

4. He wanted to get it on – I remember this faintly crossing my mind at the time; that I was the recipient of the other kind of eye-fucking, and might be in store for a minute of public hassle courtesy of some wayward street hustler. Of course, once he was standing behind his upright drum kit while the band’s HCIC (“Head Cartoon In Charge”) threw fried chicken at the sparse audience and the female bassist did her best Kate Pierson-on-$3-a-day, my assessment drifted to theory #1 and I forgot about the “incident” until the writing of this post dislodged it from my brain-box’s cold-case corner.

So yeah, Seam’s The Problem With Me (1993) Kernel EP (1992) and debut album, Headsparks (from 1991…I had a fucking factory cassette of this album and wore it out during a stretch as a market-research auditor of cigarette retail that demanded a lot of daily driving in my 1982 Honda Accord, then subsequently my 1985 Honda Civic Hatchback). Loved that shit. I saw them post-Superchunk Mac, who the Bottomless Pit drummer replaced in 1992 or so. Anyway, this guy looks the exact same as he did 20 years ago, and he still makes a tiny drum kit sound like something else entirely.

Bottomless Pit played for more than an hour and a half….to very few patrons. In the back parking lot. Though I am a Silkworm fanatic and a Bottomless Pit fan, the show was great. Meeting Tim and Andy was great, too. I have worn myself out writing something that isn’t this post, so now that I’ve returned to finish this thing, my brain-box has stopped working. The nonsense below was put in earlier, and it is these words being typed right now….they will make for the closing crap…

Sorry about the wealth of text on bad music and the lack of it about the great shit that inspired this much-longer-than-usual entry…


Here are a couple of entries that got scrapped from a recent installment of Where’s the Street Team? … the monthly column I write for Magnet Magazine. The also-scrapped theme was “These bands started a movement that went haywire, and against logic and fairness, they are going to get 100% of the blame” or something like that….

ANIMAL COLLECTIVE – It is culturally impossible for an Animal Collective album to “flop”, so to speak, so I’m expecting this one to be on a lot of year-end lists. Also, they were part of my original theme for this installment, and I hate to waste material. You would think that this band would cringe at all of the Minus the Bear’s and ISLANDS and Yeasayers that flooded the indie climate in their wake, so how is it that their most recent musical offerings sound worse and somehow more irritating than all of those bands’ discographies combined? Oh, and the year 2006 was the pinnacle of band-formation when it comes to animal-themed names. Animal Collective formed in 1999, but only took hold in 2001 or so. The following statistics show how many bands with animal-themed names formed during the last decade: 2001: 18 2002: 21 2003: 29 2004: 30 2005: 32 2006: 33 2007: 23 2008: 24….and while the decline in this trend continues, the sonic impact of Animal Collective seems as healthy as ever.

And this one was scrapped from an also-scrapped theme of “Predictions for 2013″ because I got confused about the issue/month I was writing for and commenced with a year-end angle a month too early. Magazine lead-times still scramble my eggs every once in a while….


This one’s a no-brainer. Seeing as how album #2 ceased to even flop like a fish over two months ago, she’s going to make “her heavy record” if anyone allows her near a recording studio. It will be released in 2034 and will sound like the album L7 didn’t make after Slap-Happy. In the interim, Bethany will be institutionalized for several years after she repeatedly allows an aging Snacks the Cat to defecate on the doorsteps of certain music journalists responsible for negative Best Coast content.

Now, the only reason I’m posting these is to let some mistakes loose in the name of making less mistakes in the future. I felt that if I issued a threat to myself – something similar to “A certain percentage of my filler and crap has to be posted on my blog every two weeks” – it might lessen the amount that I write in the first place, therefore refining my craft. But at this very moment, it distinctly feels like a really stupid idea, just like my rule about not deleting any shifts in opinion, disposition, or quality as they occur and leaving in all of my “Wait a minute, it just hit me that…..” real-time observations.


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Bottomless Pit w/ Family Ghost Saturday 9/22 EARLY!!

Posted in Uncategorized by Andrew Earles on September 22, 2012

At the Hi-Tone in Memphis, TN. Bottomless Pit is Andy Cohen and Tim Midgett of Silkworm and the bassist was in Dis- (I think) and drummer hails from Seam. This is an early show (7:00PM!!) and I’m unsure how useful this post is, as I don’t know how many Memphians (or surrounding-areans) read my blog, but I needed an excuse for some content, so here you are.

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Check out Beth’s review of the XX LP, “Coexist”….

Posted in Uncategorized by Andrew Earles on September 18, 2012

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