Asleep in the Wild Kingdom (1990 DIY short film) & Fallout Records/Skateboards

by Brent Eyestone

A little while back, I digitized a VHS tape for my friend Peter Whitley. It was a short DIY film called Asleep in the Wild Kingdom that he helped his buddy Benjamin Beebe with back in 1990. Benjamin lived in Seattle and rode for the Fallout Records/Skateboards team. He attended shows, made zines, and constantly pushed himself to create things. I never knew him, but it was nice getting a peak into his brain via the film.

From the back cover of the hand-made packaging:

'ASLEEP IN THE WILD KINGDOM' is the only film I know that successfully integrates themes of media addiction, alienation, and Tolstoyan redemption with 'The Price is Right,' 7-11, an especially manic junk food scene.

The Man's television is his electronic siamese twin, his perception filtered through the dull red-green-blue of its six inch screen. Even in his dreams, the television is an alter (sic) at which he sacrifices his will.

'ASLEEP IN THE WILD KINGDOM' is the 'Reefer Madness' of television addiction, a provocative parable of... uh, I gotta go. 'Sgt. Bilko's on.

- W. Shellabarger

Digitizing this tape triggered an inspiration to try to dig up my old Fallout Records newsprint catalogs from the late 80's and early 90's... those things kept me tremendously occupied as I tried to learn and understand the punk/hardcore/underground stuff going on at the time. I remember the selection being rather comprehensive and I would spend hours wondering what Pussy Galore or Big Black even sounded like. Here's Robert Crumb and Husker Dü hanging out in front of the store before it ultimately closed shop in 2003.

From the Fringe: February 19, 2017

by Brent Eyestone

We've got a couple of BLACK ARMY JACKET reissues coming up on digital and streaming platforms via Magic Bullet Records on 2/22. The response from music press has been excellent and I've enjoyed seeing the guys get their just dues. Metal Hammer over in the UK ran an interview with Carlos Ramirez and a full stream of 222 here. Noisey did the same with Dave Witte and the 50-song Closed Casket compilation here.

BLACK ARMY JACKET reunion at Best Friends Day in Richmond, VA: circa 2010

BLACK ARMY JACKET reunion at Best Friends Day in Richmond, VA: circa 2010

Decibel Magazine took notice of the VHS tape digitization project I've taken on this year. All of the tapes tend to be from the 90's and early 00's and the individual sets have been uploaded to YouTube. I've been pulling from Larry Herweg (of PELICAN)'s collection heavily, but am also in the process of digitizing tapes from Charles Maggio (RORSCHACH) and my own collection. It's been a fun and nostalgic process that should go on throughout the rest of the year. If you're sitting on a stash of your own and would like my to include it into the queue, drop me a line for an address to send to. I can currently work with VHS, VHS-C, and Hi8 tapes. Decibel's curated playlist of videos to watch is posted here

POWER TRIP's new album Nightmare Logic is almost upon us via Southern Lord. Riley had sent me an advance some months back and I've been relentlessly playing it ever since. If you don't pick up a physical format of this one, please consider streaming via Spotify, as that platform publicly displays the number of total plays. A high number of plays leads to better tours. Better tours yield more opportunities and stability for one of the most underrated bands currently out there. Check out the premiere of "Executioner's Tax (Swing of the Axe)" via Stereogum here.

La La Land recording studio in Louisville, KY, courtesy of Wailin Storms

La La Land recording studio in Louisville, KY, courtesy of Wailin Storms

WAILIN STORMS is currently recording their second album for Magic Bullet at La La Land Studios in Louisville, KY. The official music video for "Ribcage Fireplace" (off of 2015's One Foot in the Flesh Grave) was recently made an official selection in the Final Girls Berlin Film Festival. Watch the entire thing below (and thanks to Crone Cult Pictures for helping us out on this one).

Huell Howser: Godfather of Public Television Bedlam

by Brent Eyestone

Somewhere around the advent of video tape and subsequent, affordable video production, there was an alarmingly sharp spike in grown-ass men with no prior experience just completely going for it on the weekends; self-producing their own slice of life and hobby-driven content. I remember my dad and his military buddies starting some sort of custom fishing rod-decorating side business that delved headlong into video production in hopes of standing out at trade shows and perhaps getting picked up by whatever regional sportsman programming opportunities they imagined were available at the time. Like all things baby boomer, much of the small-production video programming of the era was marked by cocksure, surface level narratives and all the compelling grit of a deleted scene from “The Andy Griffith Show.”

And then there was Huell Howser.

Huell Howser (right) with his friend Bill Esparza

A man whose given name was an amalgamation of his parents (Harold and Jewell), Huell was clearly on some other shit when it came to his contemporaries in the baby boomer video production auteur movement of the 1980’s. While his hosting and production style had nearly all the markings and common practices of the times, there was a diabolical waggishness at the core of his creativity. One could even perceive of Huell as an early progenitor (if not outright inspiration) for the chaotic pseudo-documentary-comedy style later brought into mainstream television and film by Sacha Baron Cohen via his Ali G, Borat, and Bruno characters.

Check out this clip of Huell completely pushing every button of a United States border patrol guard in December of 1991:

Invasiveness. Feigned lack of comprehension. Repetition. Straight up SETTING A PICK for a Mexican guy to sprint into the country unchecked. Soft yellow fleece… Huell Howser was all about that life and set the template for Cohen, Tom Green, "Wonder Showzen," "Loiter Squad," and countless others to pick up and run with on much wider platforms years later.

Sadly, Huell passed away on January 13, 2007. Most of his productions were regional in scope (“California’s Gold” being the most notable at 24 seasons on KCET in Los Angeles), so he never got full credit and appreciation for what he was doing at the time. If you check out the all-knowing smile toward the camera at 0:22 in the clip above, I’m not even so sure adulation mattered that much to him. Regardless, roughly thirty years after the home video revolution that gave us Huell Howser, we celebrate his work via another form of revolutionary video distribution: countless clips archived around the web. You can check out out any number of his episodes and outtakes via a simple search for his name.

Long live Huell Howser.

02.13.17 Update

On the music side of things, we are currently completing The End of Everything Good, which will be the band's first 12" release. Essentially, I need to finish the vocals and then it's off to gang vocals, mixing, and mastering.

We are also currently working on the first issue of a print zine. A portion of the copies will be accompanied by a 7" lathe featuring an exclusive song called "I Killed A Werewolf Once (It's On Film)."

Today, I created this website for the band (you're on it). The discography section will keep up with our recorded output and the online zine section will feature articles and updates written by us and our friends. The online zine will focus heavily on articles and features that are impractical for the print zine (for example, pieces that feature a lot of video references) but will also eventually archive most of the print zine content once the physical copies are gone.