As anyone familiar with the Melvins’ long history knows, Dale has been their constant, along with Buzz Osbourne, adding Big Business’ Coady Willis and Jared Warren in 2006 on the “(A) Senile Animal” record. And while he’s been with the band for over 20 years, he’s also known for contributing drum tracks to the fabled Nirvana album, “Bleach” and  continues to collaborate with all manner of musicians, most recently Sargent House’s Indian Handcrafts.

I had the good fortune to chat with Dale about all the great records and upcoming collaborations set to be released this summer and into the fall. Actually we chatted about all sorts of topics – art, collaborations, drum techniques, drum practice and Kiss (the band). Plus, much more, just like all kinds of random stuff.

Listen to the two-part interview here:

WARNING: This interview was recorded with an iPhone on speaker into a condenser microphone plugged into a MAC computer. In other words, it’s not the greatest quality. I apologize in advance. Also if I find the interviewee to be easy to talk to and not at all formal, I tend to adopt the same tone, which means this is less of an interview than it is me getting to ask a notable musician general things about their career and sundry, which devolved into a casual conversation. Not everybody likes this type of interview. If you don’t like it, turn it off. Don’t email me bitching about it. It’s just they way I am, that is, chatty. Also, again the sound isn’t fantastic and sometimes we talked over each other, but that happens and should be forgivable.

FLABmag: Obviously asking how you met and/or decided to collaborate together is not a feasible line of questioning (since we already know the answer), but I’d like to know: Why “Marriages” and why now?

D: Why not? We’d wanted to bring vocals in to Red Sparowes in a subtle way for a long time, but it just never seemed to work the way it should. I think this has been a way of keeping productive while being able to explore ideas and sounds that wouldn’t seem appropriate in Red Sparowes. Marriages originally began as a collaboration between Emma and Greg and then eventually they asked me to join in.

ERR: Marriages, why? Because we like you.

FLABmag: I know you guys were in the studio last summer working on a new Red Sparowes album, what became of that work? Was Marriages born out of those sessions?

D: Red Sparowes had been working on songs for a new album on and off for a while, but everyone’s schedules were really out of whack and it had been making it difficult to make a lot of progress. We have a good chunk of stuff written already, but decided to take a little break while everyone had a lot of personal life things to tend to — school, running businesses, weddings, etc. We plan to reconvene after taking a breather and see what more we can come up with at that time. Marriages is a way to explore other ideas as a separate entity.

ERR: Marriages was not born from any Red Sparowes ideas at all but from the working relationships Greg, Dave and I already had and a desire to explore ideas that might have been disruptive to the aesthetic of Red Sparowes.

FLABmag: Clearly people are going to make comparisons to Red Sparowes, and with good reason, a similar musical aesthetic is apparent and expected, except Kitsune feels less “atmospheric” in the way that RS often was (the many allusions to film scores come to mind), but what, aside from the addition of lyrics, is different about this project? 

D: I think it’s quite different, really. Obviously, vocals are a distinct difference. But, musically there’s more space and rhythmically it’s more driving in ways that differ from Red Sparowes. It’s also more experimental and in some ways, darker. I think an ongoing goal is to avoid defining our sound as one thing or another and just go with whatever feels right at the time.

ERR: Kitsune may feel less atmospheric because there are only three people making sounds at once vs. five. Kitsune is our first attempt and therefor ventures into different realms. In other words; we, as Marriages, are exploring what we are whereas Red Sparowes had a long established position in the world of “Post-Rock.”

FLABmag: You’re working with Toshi Kasai again, what, if anything, did you want to come out of your collaboration with him? Was there a specific objective in the recording of this album? 

D: Toshi is an exceptional engineer and really easy to work with. He’s very easygoing and patient, which helps as well. I love his drum sounds too. He has a great knack for capturing a band exactly as they sound and giving it a full, loud sound. Our objective was to do it as quickly as possible, and we knew Toshi would be able to get the whole thing recorded and mixed quickie and efficiently.

ERR: We love Toshi, plain and simple. He knows what he is doing and we are all comfortable working with him and spending time in his magnificent presence. The overall objective was to capture the music as it had been written as how it is performed.

FLABmag: I have to say, and this is a compliment because I personally love Pink Floyd, with or without Roger Waters, but so much of the album reminds me of “Delicate Sound of Thunder.”  I doubt that was intentional, but “Pelt” really reminded me of “Learning to Fly.”  I realize that this is probably not a compliment to you. No one seems to want to be aligned with or be compared to poor David Gilmour (He tried so hard). Anyway, has there been a musical parting of the ways with the other band members from Red Sparowes as there was with Gilmour, Waters, Mason et al?

D: Hmmm, I haven’t heard those latter Pink Floyd albums in many years, so I’m not too sure I can comment on that. Whatever it reminds people of, I just hope that it’s something that they enjoy. We haven’t parted ways with Andy or Cliff. Though I suppose that the Marriages album probably wouldn’t sound anything like it does if they were involved.

ERR: I wouldn’t say that there has been a parting of ways as much as there is just a new different band here. I love both Cliff and Andy as musicians and as people.

My “cleanse” buddy and I arrived at 5:30 sharp for our reservation which brought the two of us into an empty dining room – we were the first to be seated.  This gave us plenty of opportunity to watch as every seat became occupied; Millennium draws a mixed crowd; from hipsters to young families with adventurous children and everyone in between..  Since the restaurant has been open and successful for almost two decades, I’m not revealing anything insightful – but we were impressed to see this level of interest in a cuisine that highlights sustainable and organic veggies in place of a prime cut of meat.

We had both been a bit obsessive in studying the menu posted on the restaurant’s website and thought we knew what we wanted to order that evening.  Unbeknownst to us, San Francisco was celebrating Beer Week and Millennium was partaking in the festivities by offering a beer infused meal and pairings on their February Harvest fixed menu.   Since we were in a state of celebration, we decided to forgo our pre chosen menu options and agreed to enjoy the Beer Week selections, but without a doubt, the choice to enjoy a pre-appetizer appetizer was a no brainer.  Our Brussels Sprouts arrived and the deep umami flavors from caramelized molasses wafted through the air, complementing the bitter flavor of the sprouts and the standard accompaniment to sprouts of this sort, bacon, was replaced with home made dried tofu – it’s identity was hardly obvious when soaked in the Brussels’ molasses sauce.

To start us off on the fixed menu, we were brought the Saison de Wench from Bison Brewing in Berkeley, CA, served with the Roasted Pear Bruschetta.  The beer’s creamy mouth feel and faint anise seed and lavender aromatics enhanced the sweet and salty combo of pureed pecans and ripe red pear.  The light vinaigrette atop crunchy endive and bitter greens re balance the plate – every two bites and a sip, and you’ve come full circle.  Followed by Seared Dumpling’s, a well crafted mid plate, the chef was progressively leading us into the more complex main course.

The two available entrées offered were Pumpkin Seed Picadillo Tamale and Green Farro Brik Roll.  These hearty dishes, with their vibrant flavor and spice combinations stood up well to the hoppy Black IPA they were paired with.  The latter boast a carrot habanero puree and a chocolate chili emulsion, successful executions of the sweet and spicy enigma.  The tamale exceeded expectations of a vegan option as both its flavor and texture, generally associated exclusively with the inclusion of animal lard, were somehow recreated in this guilt free option.  On the other side of the table, the Green Farro Brik Roll exuded a more Italian spirit; rosemary and sage were gently infused into a creamy white bean puree, below a crisp phyllo filled with savory greens.  Anyone could have mistaken them for having been simmered in cream and fresh cheese.

It was refreshing to experience this fine dining restaurant as they continue to break the convention of what a fine dining restaurant is, not just by the food they serve, but also their location and quality of staff.  Housed within a generic Best Western, this destination is welcoming and in an accessible location.  Our waitress Stephanie reflected the ambiance in a casual yet professional manner, acting as a source of knowledge on our meals and accompanied pairings while working as part of a fluid front house team.  She even got my cookbook signed, while juggling our flexibly ‘set’ menu; while I had chosen the beer tasting, my cohort chose to pair her meal with wine and at the end of the meal, we opted out of the fixed menu dessert, picking out two from the regular menu.

We paired the Imperial Stout, “Raven’s Eye” from Eel River Brewing in Fortuna, CA with the Midnight Chocolate Cake and the Beet and Carrot Cake.  The stout had layers of chocolate and coffee that did not particularly match the flavors of either dish, but brought out the deep rich chocolate and nuts within the creamy mousse cake.  The dense, yet creamy texture of the cake held up to the more viscous beer, creating an ideal place for the subtle aromatics and flavor evolutions to develop.  The supremely moist beet cake carried a beautiful red color and the creamy coconut milk based ice cream could have passed for full fat cream and egg yolks; since the stout had both a chocolate nose and flavor, it also succeeded in accentuating the lighter flavors of this last dish.

At the end of the meal, though many plates had come full and left empty from our table, I didn’t leave in a foggy food coma.  The meal was delicious and the experience stimulating to both my body and mind.  Now when I do make a trip to my local ‘hippie’ grocery store or farmers market, the challenge will be to make my selection of ingredients from the produce section, based more prominently on their own amazing flavor and texture qualities, and less on the meat they will or won’t be served with.  Long live veggies and all of us who love them!

Millennium offers many prix fixe dining options, and even discounts your meal if you bring in a meat-eating friend to convert them to veganism!

Check them out when you’re in the Bay Area: Official Website

Dot Hacker is Eric Gardner, Jonathan Hischke, Josh Klinghoffer, Clint Walsh / Photo: Geoff Moore

FLABmag: Most band names are fairly mundane, and those that seem meaningful, often aren’t, which is a bummer, or they are banal rips on something obvious, like “Pretty Girls Make Graves.” Then, there are those that are truly clever – which one is “Dot Hacker”?

Jonathan Hischke: I would honestly say neither of the above! Dot Hacker is the nickname of Eric the drummer’s grandmother. Dorothy Hacker. It’s a weird band name for sure, but not a pretentious one, which is a plus. There is something kind of interesting in that a sweet grandma’s name could sound tech-y or even kind of savage! It was from an ongoing and tedious list of band names, and was the only one that caught the attention of all four of us. It initially had the vibe of being kind of a ‘working title’ for the band, but then ended up just kinda sticking.

FLABmag: Wow! No kidding? That falls into the clever category, for sure…I read you guys formed the band in 2008. Why did it take so long to release a record? How long did you guys take to record? Why the EP before the LP?

Jonathan: We began playing in 2008, yes, but this is quite a busy group of people, even more so now. We recorded off and on for many months in our really comfy and clubhouse-like home studio. Then the completed album was in purgatory for awhile as we all did different things, until Org Music came along and it made sense!

FLABmag: How did you come to be involved with the label Org Music?

Jonathan: They are friends of a friend, and expressed a genuine interest in what we do, and it doesn’t hurt that they work with people we appreciate, like Mike Watt and 400 Blows…AND they are vinyl aficionados and music nerds, just like we are!

FLABmag: What are your hopes for the band? Do you have any, or is this just a project you guys wanted to do for your own satisfaction with no long-term goals or aspirations to continue beyond the EP and forthcoming LP?

Jonathan: We are all very close friends, and I feel like we’ll always be a band. I feel like a huge piece of each of our hearts and souls and creativity live in this project, even though we all have our hands in many pots all the time. We did this only for our own satisfaction, but we are very proud of it, and eager to finally share it with the world. There are a lot of songs and ideas waiting in the wings to be finished and recorded, which is also exciting. Playing more shows is a priority as well.

FLABmag: I ask because lately there seems to be a “freelance” vibe in the music scene? I mean, it seems there aren’t many bands out there that have cohesive, line ups that are in it for the long haul. Does it ever frustrate you as a musician that you don’t have a permanent band? Or, having worked as a touring musician in a diverse array of acts, do you prefer to be a musician for hire? Or maybe the notion of a band with a permanent line up is an antiquated one in light of the shifts in the music industry itself, and the proliferation of independent labels, ease of creating music via Pro Tools…what do you think?

Jonathan: Great questions, and I can only answer on my own behalf; I’m sure my bandmates would each have their own personal take, but I feel like there certainly is a more “freelance” kind of approach to music making in this day and age, at least here in LA. The economic and media presentation realities have caused the music business and culture to mutate, obviously. I’m still trying to determine if it’s an evolution or not. On one hand, having recording technology readily available and relatively inexpensive has made collaborations easier, which is a cool aspect of what’s happening now, but it does seem that bands are not out there beating the pavement like they used to, generally speaking. It’s nice to see bands really become BANDS, by doing what bands have always done, but that doesn’t seem to happen as often these days. It’s understandable because it can be very expensive and frustrating being in a band! Gas is so pricey, making touring in a van a challenge…there are many challenges. I like being a band member and giving it my all, but I also enjoy having a variety of contexts and personalities and environments to experience and learn from.  As for Dot Hacker, it came together as a kind of haven for four people who are maybe more the freelance types. We are guys who always throw ourselves into ridiculously varied musical contexts for both work and pleasure; the list of projects we have all been involved with is lengthy. So it seems natural to desire a home base to be creative and comfortable in, and to make music without a lot of the usual limitations we face in other scenarios. After starting the band, our musical and personal chemistry quickly became kind of vital – we really enjoy each other, which makes the creative process blossom, and since we know and accept that we are all busy, a lot of typical ‘band’ pressures are avoided…thankfully!

FLABmag: The Org Music website has a pretty heady description of the Dot Hacker sound saying it’s “architectural” and “…supported by lush eclectic textures and angular rhythm.” I was thinking it was going to be inaccessible “art-noise,” but as it turns out the debut song, Order/Disorder is a shade poppy and definitely accessible. What do you make of music reviewers and their tendency towards hyperbole?

Jonathan: Yeah, I have always thought of this music as being very pretty and atmospheric and inviting and not necessarily experimental, but I suppose it is kind of “out there” in relation to much of the other music we play (in other projects)! I appreciate it when music writers risk using overwrought descriptive conjecture, sometimes insightful and sometimes cringe-worthy, rather than just leaning on boring references. I’d much rather the music I am a part of be considered “architectural” “lush” etc. than to be “if the smashing pumpkins and stereolab had a baby in Manchester… on acid” or something. I also think that particular description of our music you cited from the press release is actually pretty accurate!

FLABmag: Was the intended effect to be “architectural”?  I found the term slightly intimidating because it might beyond my frame of reference or understanding. What does that mean anyway?

Jonathan: I really like the term ‘architectural’ in relation to music; it gives me the feeling that it is more of an experience to have, rather than simply a song or performance to listen to. I appreciate when there are nooks and crannies and edges and textures to be taken in, and layers to sift through, all of which were included in the recording or arrangement with consideration and intent. Sometimes the sounds and orchestrations and strata become as important as the chords or lyrics, and I myself appreciate that approach and ambition very much.

FLABmag: Which is your favorite song on the EP? If you don’t have a favorite, why?

Jonathan: I really love ‘Inhibition’, I think it has an interesting mood, and is a lovely song. ‘Eye Opener’ is also a point of pride, to be sure.

FLABmag: Is the latest release in any way a teaser for the LP? Are we to take both as a whole or are they two entirely different stylistic iterations?

Jonathan: It is precisely a teaser for the album….The album is a deeper wade into the same waters.

FLABmag: Are there plans to tour extensively or at least throughout the west?

Jonathan: If we can figure it out schedule-wise, I’m sure we will!

FLABmag: You seem like the type of musician who enjoys touring. Am I correct? If so, what do you like about it most?

Jonathan: I love touring. It has been my favorite and most rewarding overall life experience thus far. It is life in exaggerated form; the highs and lows and excitement and mundanity are magnified and hitting you at a greater frequency. Many of the bonds forged and experiences offered couldn’t manifest under any other conditions. I think it was Lou Reed who once said “My week beats your year”…I wouldn’t be so smug, but I do feel that a week on tour could potentially equal a year at home, at least for me.

FLABmag: When we last spoke it was brief and I never got to ask you about your hair. It’s quite a head of hair! I think it’s the combination of the dark, sloping curls mixed with dashes of gray that makes it stand out. I’m slightly jealous because we had a similar hair cut, but it looked better on you. So, how often to you wash it? What product (s) do you use? How much time do you spend on styling it?

Jonathan: HA! Thanks! I think your coif looks great! I wash mine every few days, do nothing special in terms of cut or styling. I kind of hack chunks out myself when I’m feeling like it’s getting flat. I suppose I use slightly more product than a more macho fellow might. I was recently introduced to a sea salt spray that is miraculous.

For more information visit Dot Hacker on the Interwebs:

Facebook | Twitter | Org Music

Scion A/V has partnered with the Melvins for an EP titled Scion A/V Presents: The Bulls & The Bees,  a five-song collection that marks the band’s first original material since their 2010 album The Bride Screamed Murder.   The release will be available as a free download on Mar. 13 via Scion A/V’s Facebook page (www.facebook.com/scionav) with “The War On Wisdom” streaming this Friday on Pitchfork.com.

I was not a fan of Blue Valentine, the film, but I loved the soundtrack by Grizzly Bear.  So while I doubt I’ll love the new film, Cianfrance has a flair for dour dramatics, I’ll probably enjoy the soundtrack.

Patton has done a series of scores over the past few years including the Italian drama A Solitude of Prime Numbers, for which he created delicately atmospheric arrangements. It’s a lovely listen reminding me of the Austin instrumental band, My Education, especially the Sunrise record, so I have high hopes for this new project.

Patton is also currently working on a new Tomahawk album with a projected late summer release date.

Meshell Ndegecello stopped by the Great American Music Hall in San Francisco on her way to a three-night gig in Chicago. I’da missed the show had drummer artiste, Deantoni Parks not called me an hour or so before they went on to remind me he was in town.  The drive from Sacramento to SF took me an hour as opposed to the standard two, ya dig.

This was not my first time seeing Meshell in concert, but the last time I did Tupac had just been shot, and she was in no kind of celebratory mood.  It was also the time when she was bucking against the “angry lesbian” label having just came out with her masterpiece “Peace Beyond Passion” and receiving some flack for her incendiary track “Leviticus: Faggot.”

Dayum, let me tell you, I never seen so many hip black folk in Boulder, Colorado, which was the last place I saw her.  It was a beautiful night.  Religious.  Truly, she had a choir of three to ensure the analogy stuck (though I doubt it was intentional).  Passionate tears were shed by many. She commanded that stage, with clear-eyed fire and laser brimstone. Standing front and center in the spotlight she asked us to take a moment to consider the life of Tupac Shakur and dedicated the performance to him.

Sixteen years  and seven albums later the peace beyond passion she yearned for back then must have been attained.  On stage at the Great American she chose to stand further back, allowing her touring band to perform as the collaborators they are, rather than hired hands.  The set ranged from a shoe-gaze soul (I just coined that term, thank you) rendition of “Lady Cab Driver” (Prince) to the romantically spare “Oysters” ending with the punked out jam “Lola” – this is where Parks went buck-wild on his kit.  Though she sang one tune from her debut, “Plantation Lullabies” it wasn’t her neo-soul hit, If That’s Your Boyfriend (He Wasn’t Last Night) and there were no songs from my favorite “Peace Beyond Passion,” which I have to admit made me a little sad, but then, she’s beyond that now having traversed many musical landscapes since her inception.

I agree with the anonymous voice from the audience: She has gotten better.

I’ve never been, and probably won’t become a fan of Tool. But I can appreciate their contribution to rock music.  And after watching Blood Into Wine, the documentary that follows Maynard James Keenan’s attempt to put Arizona wine making on the map, I was interested him specifically as an artist and sensitive human being.  I was particularly touched by his devotion to crafting a wine befitting the name of his mother Judith Marie who passed away in 2003.

After that viewing I did some mild investigation into his other works and landed on Puscifer.  It seems Keenan has a unique voice that repeats itself on each musical project he’s been involved with. Puscifer’s sound is reminiscent of his work in his other bands Tool and A Perfect Circle with the minor exception that Puscifer seems to be a pastiche of musical genres that ultimately sound like everything else he’s done. Of course his fans would disagree but they are a rabidly biased bunch as one groupie proclaimed (after being groped by security to ensure he neither had cellphone nor camera on her person), “Anything for Maynard!”

Personally I don’t enjoy having rules imposed upon me, especially when they seem like arbitrary whims.  As a photographer there to cover the show – the entire show – my genuine interest and bon ami turned to piss when I was told I could only photograph the third and forth song of the set.  For obvious reasons I was concerned:  What if nothing interesting occurred during those two songs? What was the lighting like for those two songs? From what position would I be allowed to shoot? How close would I be allowed to get to the stage? If any of you have attended a performance at The Palace of Fine Arts in San Francisco you know it poses some challenges.

I asked the handler these questions to which he replied: “You can only photograph during the third and fourth songs. You can’t go past the 10^th row on either the left or right-hand of the stage. You cannot block a patron’s view as it is not fair to them.” Really.

I made a valiant attempt to respect these demands, but submission is not my strong suit, especially when the rules are arbitrarily changed.  It took all of three pre-recorded loudspeaker announcements intoning Keenan’s demands to make me want to rebel, but the clincher was a video of Keenan dressed in military uniform (an obvious gesture of authority and the fact he served in the military) once again outlining the rules of engagement which included not blocking another patrons view, i.e. not standing up to dance around or to get a better view of the stage. But lo, after the fourth song one intrepid VIP fan in the first few rows (he paid dearly for his seat so I guess he felt he had the right) stood up to rock out during the fifth song, after which Keenan stated, “He’s got the right idea, you know…you can all stand up! This isn’t L.A.”

After that all sorts of people stood up even though every message received previously stated we shouldn’t because it would most certainly block another patrons’ view! Guess what? People started getting pissy with each other because all sorts of views were blocked. That venue is not ideal for rock concerts, oh wait, this was akin to an “opera” Whatever Maynard! But he can change the rules if he wants to, and if he can, so can I.

Perhaps the imposition of rules was a form of reverse psychology? If so, it worked! As it turned out there weren’t many interesting moments to photograph, and the overall effect left me underwhelmed. But here is a selection of what I considered the more interesting moments onstage, including a spare opening set by singer Carina Round – Keenan’s dueting sidekick.

All photos: Maria Colòn for FLABmag.com

Justin Pearson at Harlows in Sacramento (Photo: Maria Colòn)

Retox is a punk/noise outfit born from members of such notable bands as The Locust, Holy Molar and The Festival of Dead Deer. The common denominator between them all is Justin Pearson. He has either played in those bands or collaborated with members of them. According to their press release, which was mercifully spare, the band was formed as a “…reaction to the world that the members and their comrades have lived in: shitty childhoods, bureaucratic frustration, and the overall justification of continuous war.” I was intrigued by the “bureaucratic frustration” angle and I’m fond of The Locust, so I was inclined to check them out when they passed through Sacramento as the opening act for the Japanese punk band, Melt Banana.

My immediate impression was that it would be best not to get on Pearson’s bad side, but like most first impressions I was wrong. He’s actually pretty easy going and a willing conversationalist. In this interview he describes the differences between The Locust and Retox, why screaming, rather than singing lyrics has its place and the ideal crowd for a Retox show.

LISTEN:

See more images from the show at Harlows HERE.

Visit Retox on the Web

Three. One. G | Facebook

Monday night at Harlows was an all-new music experience for me. I’d heard of Melt Banana but had never sought out their music. Likewise, I’d heard of Retox (only recently since they’re relatively new anyway) but had only that week listened to their new release, Ugly Animals. Both bands commanded the stage in their own way and were extremely enjoyable (especially Melt Banana) but the real surprise was seeing Nick Reinhart of Tera Melos performing an improvisational jam with a local drummer I’d never heard. Turns out his name is Jon Bafus and he is insanely good! Watching them both create spontaneously was an inspiration and for me, the best part of the night.

All photos © Maria Colòn