On this episode of Turned Out A Punk, Damian gets to chat to Le Sera’s Katy Goodman about going from watching New Brunswick basement hardcore shows, to playing at Coachella in the Vivian Girls. Listen in as two discuss touring together, the low points of riding high on the indie hype bubble, and punk.
Also touched on in this episode:
-Trying to get into NoFX and accidentally getting into the Germs
-Seeing shows at Ridgewood Lodge
-Fletcher And the Sticky Wickets: the pre-Real Estate Cricket referencing ska band
-Interviewing Lars from Rancid for… nothing… or no reason… and not recording it.
-Missing out on Emo?
-The importance of the Gossip
-New Brunswick, New Jersey: the capital of New Jersey Hardcore
-No Way Records
-Meeting future bandmates because of their choice in socks
-Following the Tragedy, Forward, Warhead Tour deadhead-style to Chaos In Tejas
-The infamous Mark Pesci’s Marked Man stage dive
-Rolling solo to the Fucked Up Hidden World Weekend
-The pre-Vivian Girls bands: The Gutter and We’re Not Virgins
-Finding a bass in a basement
-Having to curse when talking about the Wipers
-The origins of the Vivain Girls name (it’s not a Fucked Up reference, DAMIAN!)
-Poison Idea: literally the best
-Vivian Girls as a Punk band
-Brooklyn Vegan and learning the hard way to never ever read the comments
-People coming to see you play just to hate you
-Lots of Coachella memories
-Some light Sam Smith discussion
La Sera on Singing Like a Child and Her Secret Album
“If Katy Goodman’s first group, Vivian Girls, embodied the spirit (if not the sound) of late-’70s Ramones — pretty, primitive guitar-based pop with a nihilistic edge — her third record as La Sera, Hour of the Dawn, is like late-’80s Ramones. A great singer skillfully executing hit melodies derived from ’60s girl groups, Goodman is backed by aggressive yet controlled guitar playing and slick production. The songs themselves cover a range of emotions with complexity and nuance that is so often lacking in mainstream pop, which gives the album a darker edge — like if California hardcore guitar hero Rikk Agnew’s post-Adolescents solo work had been collaboration with Belinda Carlisle.
Tobi Vail reached Goodman by phone to talk about Stephin Merritt, writing a secret record and her new album.”
Bonus: Pictures by Linda Flores: https://secure.flickr.com/photos/djlindalovely/tags/viviangirls/
Is Storm’s End a Game of Thrones reference? Also, are you all planning to announce any new concert dates soon? I would absolutely love to see you in Columbus, Ohio.
It is a Game of Thrones reference! When we made that song, I thought it sounded like an evil surf song, which would be perfect for the Ironborn.
Hey, thanks for coming out. Who is your musical inspiration? Do you have any non-musical inspirations?
I don’t know if I have ONE musical inspiration, but the first person that popped into my head was Jonathan Richman. As for my non-musical inspiration, I would say Marie Curie.
“In a little more than five years, Ali Koehler’s managed to do what some musicians spend their whole lives trying to do. Opened for Weezer? Check. Played on Letterman? You betcha. Toured in Tasmania? Crossed off the list. Started a band with Patty Schemel? Duh.
Since joining Vivian Girls in 2008, Koehler–who’s left her mark in Vivian Girls, Best Coast, and her new project, Upset–has experienced all the highs and lows that come with being on the road for much of the past few years. You name it, Koehler’s probably seen it, or at least been pretty damn close to it.
I caught up with her after Upset’s jaunt to SXSW to ask about tour plans, the finality of Vivian Girls’ last shows, and favorite bands. (…)”
Read the interview: http://sexbeatlondon.com/2014/04/02/ali-koehler-interview/
She might not be much for flashy costumes or wanky solos, but over the past seven years, Cassie Ramone (neé Grzymkowski) has become an increasingly influential figure on the national indie rock scene, a musician whose embrace of her imperfections is one of her greatest strengths. While indie culture often tries to squeeze female performers into one of a few archetypes—the golden-voiced nymph, the feminist warrior—Ramone’s musical persona resists easy categorization, sounding at turns strong and weak, happy and sad, melodic and noisy—an everyday guitar hero in scuffed-up Converse sneaks whose main superpower, besides writing catchy tunes, is being true to herself.”
The first night was at my favourite venue, Death By Audio, a perfect match from their DIY beginnings. That they decided to play here instead of a much larger venue, which they surely could have, definitely seemed like a treat to long-term fans.
Opening the night was Juan Wauters of The Beets. I’ve seen Juan on various bills over the last year and I think this was his best set (I’ve found the others hit and miss, truth be told). Maybe it was because I wasn’t standing around waiting endlessly for the flags and lightbulbs to get set up like normal and was enjoying a beer instead, or maybe playing solo as opposed to a two or three-piece strips the songs down in a more endearing way.”