MUSIC - BOOK - ART - SHOW REVIEWS AND MORE

MARGINAL MAN INTERVIEW

DOOM FEST REVIEW

FUNNY FIENDS

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Welcome to the third installment of this zine, run by a bunch of mostly like-minded folks to promote the “un-bland” in Frederick, Maryland. Don’t get us wrong—we realize Frederick has a strong art and music community, but we just felt that something was missing…some art seemed overrepresented and other types seemed to be totally missing. Maybe this zine will help fill that void and provide an open space for individuals to express themselves artistically, musically, or however.This is a collaborative effort and we welcome any and all contributions. This is your local zine: be a part of it and make it what you want it to be.

Manifesto: Subversive is a Frederick zine dedicated to all things that are not bland with particular emphasis on music and art in the city. We aim to bring people together who share this interest.We are looking to feature original artwork, music, reviews, interviews, articles, and other relevant works. Submissions are encouraged, and zine custodians will choose which items to feature in each issue and the zine will be distributed regionally. Views do not necessarily represent the custodians. We reserve the right to edit submissions and print them online as well as in hard copy.

CONTACT US WITH SUBMISSIONS,SUGGESTIONS, HATE MAIL, WHATEVER:

SUBVERSIVE.FREDERICK@GMAIL.COM

SUBVERSIVE ZINE

ADVERTISE WITH USFull page (5.5” x 8.5”): $50Half page (5.5” x 4.25”): $30Quarter page (2.5” x 4.25”): $15

MAIL! Hey there, how the hell can i get a subscription? Just wanted to give mad props on that wonderful free magazine that I happened to stumble upon cruising downtown! It’s about time that someone took the time to commit, collaborate with locals and publish something like this-Dan

cover art by John Detrich

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CONTENTS From The VaultInterview w/ Mike Manos of Marginal ManAlbum Review: Out of the Voiceless Grave by The Lurking Fear

Subversive Music ReaderGET YOUR SUBVERSIVE T-SHIRTMusic ReviewsFunny Fiends (John Detrich & Stephen Blickenstaff)Reader Submiss ion, Part 1, by Chad WilkesRozwell Kid album release show reviewResponses to the Open Letter to the Arts SceneA Comprehensive Guide To Getting Involved In Your Creative Community

Bring in the Drums: A Subversive PlaylistDoom Fest Review

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It had been some time since I last talked with the guys from Internal Void and, just like the band did while sporadically playing only a handful of shows in the last decade, we picked up where we left off. We talked about the 80’s/90’s Frederick, Maryland scene, their first “official” album, Standing on the Sun, and relived some of the band’s history, all the while dwindling Adam Heinzmann’s stocked refrigerator of beer including the special edition 2017 Doom Fest – Bury The Sun IPA. Everything was so fitting, including the name of the beer.

It was in 1987 when Kelly Carmichael (guitar), Adam Heinzmann (bass), and Eric Little (drums) decided to start Internal Void after attending a Saint Vitus concert. They eventually

recruited JD Williams for vocal duties. From their beginning practicing in a log cabin that sat on Little’s parents’ place off Alt 40, unbeknownst to them they pioneered Frederick’s doom metal scene. Carmichael humbly remarked, “We were just the first doom metal band in Frederick, we never thought about paving a way.” Calling Internal Void, “doom” is rather ambiguous, as Heinzmann explained, “The term “doom” has really morphed from the sound it was 25 years ago. Back then it was “doom metal”. If you mention doom today, someone may not relate our stuff to that label. But we embrace the term doom metal.”

In 1988, at the legendary Soup Kitchen shows on the corner of Market Street and All Saints Street in

Unearthing Standing on the Sun, with Internal Void

Internal Void, circa 1993, from L to R: JD Williams, Eric Little, Adam Heinzmann, and Kelly Carmichael.

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Frederick, Internal Void had their first show. Carmichael remembers, “It was Josh Hart who booked those shows at the Soup Kitchen. The flyer read, Internal Void – local Doom.”

It was those shows and others like it that became the catalyst of unity for the Frederick underground music scene. Heinzmann reflected, “I believe Frederick had such a unique scene in the late 80’s. When Internal Void got started the scene was very open minded. There weren’t all these terms and labels on music. If there was a show you went regardless if there was a metal band, hardcore band, and punk band on the same bill. It was all supportive. Everyone stayed and listened to all the bands and all the types of music. There was unity to it. Whether you had spiked hair and Doc Martens or had a jean jacket and long hair, we were all pissing off somebody, we were all angry about similar things, and we were having so much fun.”

Fast forward to 1993. It was after two demos, one of which was a studio quality self-release called Voyage, that Internal Void found a label. When Hellhound Records in Germany started signing Maryland doom bands such as The Obsessed, Saint Vitus, and later Unorthodox and Revelation, they took heed to Frederick’s own Internal Void. “I

think Wino [Scott “Wino” Weinrich of Obsessed and Saint Vitus], probably pitched us, and possibly received a finder’s fee,” smiled Carmichael.

With a minimal advance from Hellhound, the band got busy in the studio for 2-3 days until the funding dried up. It went so fast, that Carmichael never got around to mixing in a second guitar to add some sonic fullness to the album – but upon hearing it, it may never have needed it. The outcome was the cd release of Standing on the Sun, which still resonates as one of their best releases even today; although arguably, Unearthed, may be their benchmark. “We wanted to create something genuine, real. We never made music to imitate someone else’s music, except for being heavy as shit. We wanted to make music we loved. And that is maybe why the music still holds

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true today,” Heinzmann reflected.

Since the record label was in Germany, the band had prepared for a European tour to support the album. The planning was going well, until it didn’t. Internal Void’s label mate, The Obsessed, signed to Columbia Records, which caused chaos at Hellhound Records. Caught in the shrapnel, Internal Void’s European tour was canceled. Taking everything in stride, the band quickly pulled together an east coast tour with label mates, Saint Vitus.

For the next seven years, fans waited patiently for their next release. Carmichael reflected on the struggles during this period, “We parted ways with Eric [Little], then we parted ways with Hellhound. We passed on the option at Hellhound, and received the rights back on our music. It took us awhile to recover from the drummer loss. We bounced around between drummers then right before we’d record we’d lose another drummer and have to start over again. They were great guys like Tony Saunders, Brian Goad, and others. Then we landed Ronnie Kalimon who opened things up for us.” In 2000, the band released Unearthed on Southern Lord Records.

The band subsequently changed drummers again, this time adding Mike Smail and self-released Matricide in 2004 and later reissued

Voyage in 2012. The band has only played a handful of shows since, with Brian Goad taking back command of percussion while holding the honor of the longest drummer in the band with no recordings. When talking about future shows and releases from Internal Void, Heinzmann said, “Internal Void may have been put to bed for a while,” at the same time Carmichael shrugged and mumbled, “But never say never.” ■

artwork by Dan Banes

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INTERVIEW: MIKE MANOS, DRUMMER FOR MARGINAL MAN

WHO ARE YOU AND WHERE DID YOU COME FROM?I hail from a humble little town called Bethesda. I’m a proud lifelong Maryland resident. I read emails, press keys on a keyboard, and attend meetings for a living (*). In my spare time I play African hand drums in drum circles and also keep bees. I like to think I bring a punk rock ethos to beekeeping.(*) software engineer

WHY FREDERICK/WHY NOT?My wife and I moved up here in 1992 because we were having kids and were in a small house in Wheaton. Frederick was close enough, affordable, and away from a lot of the traffic congestion down toward DC. I had to be talked into it, but I’ve come to absolutely love Frederick. I love that it’s its own city with its own history, not just an overgrown suburb of DC.

TALK ABOUT THE BEGINNING, PRE-MARGINAL MAN. YOUR FIRST BAND WAS CALLED ASSAULT & BATTERY? THAT WAS FOLLOWED BY ARTIFICIAL PEACE. WHAT WAS THE CATALYST FOR ALL THAT? It all traces back to Walter Johnson High School in Bethesda. Brian Gay and Rob Moss were classmates of mine. Brian played bass in Government Issue but wanted to start a side band and play lead guitar. In 1980 he recruited me on two merits: (1) I owned the first Ramones and Clash albums, and (2) my brother owned a drum set.Our very first band was actually called the Indians. There was no reason for this name; therefore it was ironic. We invented irony. The Indians had a female singer whose name I can’t recall. We played one basement show and sucked, so we fired the singer and recruited Steve Polcari, who was a mild-mannered classmate. Picture this: his audition was in an empty classroom during lunchtime. We put on a crappy recording of ourselves and handed him some lyrics. He turned into a different person, growled, howled, jumped on top of a desk. We swooned.Assault and Battery was a pretty rough band. I barely knew how to play drums, and we played standard super-fast thrash. I think the most notable thing about A&B is some of the weird shows we played. One was a talent show at Walter Johnson just after we had graduated, in 1981. It was in the cafeteria, no stage. Most of the kids there didn’t even know what punk was. A few ringers showed up and slammed in the big empty area in front of us. I think Ian MacKaye showed up too. Most of the audience sat as far away as possible. Steve jumped on top of a lunch table at one point.

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Another was the Infamous Pow Wow House show. The Pow Wow House is a little rec center building on the grounds of the Bethesda YMCA. Rob booked it for a show by telling the YMCA that it was a new wave dance. Assault and Battery played, as well as Minor Threat, SOA, Youth Brigade, Red C, and others. Minor Threat had only played a couple of shows at this point. When people started slam dancing [for the youngsters: moshing] the Y people thought it was a fight or riot, so they called the police. A line of cops came with police dogs, and the YMCA shut off the power in the middle of Youth Brigade’s set. It was such a Punk Rock moment. In 1981 Brian went away to college in Chicago (later joining Savage Beliefs), so we recruited Pete Murray from Red C, which was breaking up, and Artificial Peace was born. After a year or so of playing, Artificial Peace broke up, at which point Steve, Pete and I joined Kenny Inouye and Andre Lee to form Marginal Man.

MARGINAL MAN FORMED IN 1982/83?Yes, 1982 or 1983. Give me a break; I can’t even remember what I had for breakfast yesterday. Just kidding! It was Fiber One and prunes, as usual.

MARGINAL MAN PLAYED TOGETHER FOR 5 YEARS, PLAYING YOUR FINAL SHOW IN 1988, AND HAS SINCE PLAYED SEVERAL REUNION SHOWS. TO ME, AT THE TIME, MARGINAL MAN & GOVERNMENT ISSUE WERE SUCH SEMINAL BANDS. WAS THERE A SENSE AMONGST THE BAND AT THE TIME THAT YOU WERE ONTO SOMETHING SPECIAL?We definitely had the sense that we were doing something that was totally outside of the mainstream. In those days, pre-internet, even before the CD was invented, it was difficult to hear anything that wasn’t the corporate rock approved by The Music Industry. So equally as important as the music was the totally DIY attitude that I think distinguishes the DC underground music scene, dating back even before the hardcore movement. I think that’s had a lasting effect to this day. I don’t think any of us thought that people would be talking about the DC hardcore scene 35 years later. I would have taken better notes.

MARGINAL MAN’S WIKIPEDIA PAGE STATES THAT YOU WERE A PRECURSOR TO “EMO” BECAUSE OF YOUR LYRICS; AND YET AT THE SAME IT STATES THAT YOU WERE MORE “ROCK” STYLE THAN MOST DC BANDS. I THINK BOTH OF THESE STATEMENTS ARE TRUE, WHAT DO YOU THINK?I’m really glad you asked that, because when people discuss Marginal Man from a historical perspective, the proto-emo thing is usually what’s mentioned as our distinguishing trait, and much less so the music. There’s some merit to the idea that we opened the door to lyrics that went beyond the political and generalized rage/angst that characterized a lot of punk. But personally, I think our bigger impact was musically. When we formed, most hardcore bands did only breakneck 3-chord thrash with screaming vocals and little or no melody. There were exceptions of course - Scream and Black Market Baby come to mind - but I think Marginal Man went a step beyond, really exploring much slower rhythms, harmonies between the 2 guitars, plus we took the guitar solo off of the “forbidden in hardcore” list.The very first song that MM fully developed was Torn Apart, which set the tone for whole

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westernmachines.org

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songwriting career of the band, both lyrically and musically. Our first big show, at the 9:30 club in early 1983, was called the “5 5 5” show because Minor Threat and Faith had just added a 2nd guitar to their lineups, so that period represented a musical expansion of boundaries for the entire scene. But a lot of people commented after the show that we sounded very different from other bands - much more melodic.

ONE THING THAT MADE MARGINAL MAN STAND OUT FROM OTHER BANDS WAS YOUR LYRICS. SONGS LIKE “MISSING RUNGS” ALMOST READ LIKE A SOCIOLOGICAL TEXT. WHERE DID THOSE LYRICS COME FROM?Actually the name “Marginal Man” literally comes from a sociological textbook. The name and the lyrics of the song “Marginal Man” both came from Kenny. All of us wrote lyrics for different songs, and we never planned any kind of theme to them. Steve’s lyrics were very personal from the beginning. “Missing Rungs” was written by Pete - I love those lyrics, they’re so short but to the point. “The social ladder is incomplete; it’s missing rungs to protect the elite. So why is it that they stand in line to try the ladder one more time?” That’s the whole song. It’s like punk rock haiku.

WHAT ARE SOME OF YOUR BEST MARGINAL MAN MEMORIES? WHAT WAS YOUR FAVORITE SHOW?A general favorite - just playing live music on stage in front of an appreciative audience is an experience like no other. Especially punk, where you can let go and play as hard as you want without worrying about making mistakes. Very cathartic. Hanging out with the band members was always fun, going on tour with them was great. We got along really well. Seeing the country on the cheap was a lot of fun, meeting all kinds of people from all over the country, not having to worry about hygiene or style. Your main concern is getting to the next city on time, and not falling asleep at the wheel while driving there.For some reason we were really popular in Detroit, and the punk scene there was really strong. We drove there for shows many times, and they were always great shows and great audiences. One time we were playing in a former funeral parlor in Detroit. Somebody lived there, so we spent the night on upholstered couches in different rooms. It was creepy - we went into the basement by flashlight to see the embalming room.Here’s a memorable moment: playing in front of literally one audience member at a show in Denver.The farewell show in 1988 and the 1991 reunion show were my two favorite shows, just because the audience energy was insanely high and the band responded in kind. Virtually nonstop stage diving at both of those shows. My favorite moment was at the 1991 reunion show, playing a cover of Deep Purple’s “Highway Star.” It’s a difficult song, but I have to say we nailed it. A friend of mine who attended said, “the very walls were dripping sweat that night.”

WHAT WAS IT LIKE TO BE ON DISCHORD BACK THEN? WHEN IDENTITY CAME OUT, WHAT WAS THAT LIKE? It was a small community; everyone knew each other. At shows, almost everyone in the audience was in a band. A lot of us were just learning how to play our instruments,

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so it was very egalitarian and supportive. Dischord was just a thing set up by a few members of the community, so putting out an album on the label didn’t set you apart as being anything special.

DID MARGINAL MAN EVER INTEND TO DO OTHER THINGS? WHAT WERE THE BAND’S GOALS AND WHY DID IT END? YOU COME FROM A TIME BEFORE PEOPLE WHO MADE THIS TYPE OF MUSIC COULD MAKE A LIVING OFF OF IT, BUT WAS THAT EVER A GOAL?We had no goals. We were in a constant state of amazement that we came as far as we did. “Wow, we played the 9:30 club!” “Wow, people liked us!” “Wow, we put an album out!” “Wow, we went on tour!” I never had any inkling that punk could break into the mainstream or that any of us could make any money off of it. Nirvana changed all that, but it came too late for us. We broke up because of a general feeling that the band had run its course. We were practicing less, not writing much new material, we were graduating from college and getting real jobs. The feeling was that it would be better to go out with a bang than to slowly peter out.

WHAT DOES EVERYONE FROM THE BAND DO NOW? DO YOU STAY IN TOUCH? ANY PLANS FOR ANOTHER REUNION SHOW?We literally live in 5 different states. Kenny lives in Hawaii and is doing something with setting up a college program there. Pete lives in Austin and works at a bike shop. Steve lives in Green Bay and works with auto supplies. Andre lives in Atlanta and work in TV production. We stay in touch a bit, by email mostly.I don’t think another reunion is likely. We had a lot of fun doing all the reunions so far, but the logistics alone make it really difficult - everyone getting time off work, flying to one place and then practicing for long enough to get back into shape. And beyond that, I’m a little uncomfortable with the idea of a bunch of 50-somethings playing songs from their salad days. If a band wants to re-form and write new material, and can practice enough to rock the stage when they play, that’s one thing. Scream and Dag Nasty are two bands I’ve seen recently that really can pull it off. But

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in general, I think punk rock and nostalgia are two mindsets that are not very compatible.

NAME 5 RECORDS YOU THINK EVERYONE SHOULD HAVE IN THEIR RECORD COLLECTION.I dunno, the albums would probably all be the obvious ones - Are You Experienced?, that kind of thing. In terms of punk, the Clash first album, Buzzcocks, Dickies. I probably wouldn’t include any hardcore - it doesn’t translate to recording well enough, I think you need to see it live.How about I answer a different question - what are some of my favorite musicians that I

listen to a lot? Howlin Wolf for sure, and Son House. I love old school dub: King Tubby, Barrington Levy, Augustus Pablo. Old Jamaican rock steady - Desmond Dekker, Sister Nancy. And Celtic-influenced rock like The Pogues and Fairport Convention.And lots of offbeat stuff - Manau (Breton rap), ShazaLaKazoo (Serbian club music), Tinariwen (psychedelic Tuareg), Dengue Fever (Cambodian pop).

ANY FINAL THOUGHTS TO THE CITIZENRY ON MUSIC OR LIFE?I’ll stick with music. There were no Good Old Days. My advice is that instead of going to a reunion show of some 70s or 80s punk band, support the music scene by seeing a new band. Go see War on Women live - they rock at least as hard as any punk band back in the day.

MARGINAL MAN DISCOGRAPHY:• Identity 12” EP (Dischord Records, 1984)/CD EP

(Dischord, 1997)• Double Image LP (Gasatanka/Enigma Records,

1985)/CD (In Your Eye, 2000)• Marginal Man LP/CS (Giant Records, 1988)• “Marginal Man” on the “Alive And Kicking” 7”

compilation (WGNS Recordings, 1985)• “Stones Of A Wall” on the “State Of The Union” LP

compilation (Dischord, 1989)• “Friend” on the “Going Nowhere Slow” LP compilation (Double A Records, 1990)• “Mainstream” and “Tell Me” on the “...And The Fun Just Never Ends” CD

compilation (Lost And Found Records, 1993)• “Missing Rungs” and

“Manipulator” on the “20 Years Of Dischord” 3xCD compilation (Dischord, 2003)

Overheard in Frederick“It’s really muggy out...perfect

day for bubbles.” -Elderly woman on South Market

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Artwork by Xelaviceinstagram @xelavice

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If you’re a metal head it can be easy to forget where you came from. If you’re really into it you’ve crawled down every hole on the subject. You’ve figured out exactly what you want and there’s a sub-sub-sub genre out there waiting to cater to exactly that. Every once in awhile though an album comes along that reminds you what pulled you into it in the first place. Out of the Voiceless Grave by The Lurking Fear does exactly that. This isn’t slick polished hyper fast typewrite death metal. This is old-school in the best sense of the word. This is Death Metal you can bang your head to. Death Metal that gets under your skin and makes the blood pump in your veins. It has the energy and vibe of the best old Scandinavian Death Metal bands without being gimmicky or up its own ass. Quite a feat for dudes that have been doing this since the 80’s. The Lurking Fear is a super group composed of members of At the Gates, Skitsystem, Disfear, and God Macabre. When I first read about the lineup I wasn’t sure what to expect. At the Gates’ most recent album At War with Reality was a solid offering but was far too slick for my taste. The edges had been rounded a bit and the energy was more subdued. No such problem with Out of the Voiceless Grave. This exists because it needs to. Clearly these Heavy Metal warriors have more fight left in them. The themes of Out of the Voiceless Grave are Cosmic Horror, Existential Dread, and Death. You know, the stuff good Death Metal is made of. Lovecraft worship is nothing new in this genre but it really works here. The Lurking Fear may not be breaking new ground but that’s actually what makes this album so great. They arrange the elements in just the right way. You haven’t heard this before but it’s familiar. It’s like putting on that old leather jacket with the hand painted Emperor logo you made back in high-school. Out of the Voiceless Grave gets five kicked over headstones out of five from this old Death Metaller.

Out of the Voiceless Grave drops August 11th from Century Media. -Dane Olds

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Under the Big Black Sun: A Personal History of L.A. Punk Hardcover – Da Capo

Press, April 26, 2016 by John Doe, Tom

DeSavia & friends,

John Doe has more charisma in one little hair on his head than you ever will in your entire life across your entire being. It’s ok though, because he uses it well. This book is a must read for fans of X, L.A. punk and youth culture in general. Whether you lived through this era or were just hatched yesterday, Under the Big Black Sun provides

some great context to this unique moment in time (1977-1982) that helped reshape American music as we know it today. Each of the chapters is written by a different L.A. punk notable, including: Henry Rollins, Mike Watt, Exene Cervenka, Robert Lopes (El Vez), Jane Wieldin of the Go-Go’s and others; and it includes over 50 photographs from L.A. punk shows of the era. The one sentiment that this book relays, which everyone involved in the Frederick music scene could stand to learn a little from, is that all of these different freaks and outcasts and bands with very different sounds supported each other immensely and helped give each other a leg up. It was an actual “scene.” Sure there were cliques within the scene, but they supported bands outside of the ones they were friends with. Based on some of the chapters, it is amazing that some of these folks made it out alive. At the time they were just punk kids trying to express themselves, escape suburbia, and have fun. In the process of doing that they changed music as we know it forever. Very well written and highly recommended.

SUBVERSIVE MUSIC READER

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Music ReviewsJ Marinelli - Stray Volts

J Marinelli is a one man band like no other. The sound and fury that emotes from his haunting Appalachian echoed, yowl falls somewhere between Guided By Voices, a lost mountain troubadour and a classic 70’s punk outfit from your dreams. This is his best, most developed album to date. He’s currently touring Europe and if you are lucky, he will be blowing up in your face sometime soon.

The Dirty Middle

Blues and americana mesh with a certain edginess. Gritty vocals with smooth complexion cut through and choral-like harmonies expand the sound. It’s roots rock without limits or stiffness from too much structure.

The Old Paints

Punky garage rock jams transition into spacious indie pop songs. A two piece that is in sync with each other on every possible level, especially their lush vocal pairing.

ilyAimy - cicada

Acoustic driven folk along with many other genres thrown in. Each song has a completely unique feel. Different instruments are used on almost every track giving it an unexpected variety.

Tie Goes to the Runner - Entanglement

Angsty rock that infuses the best elements of grunge. Distressing anthems for the ill at heart. Perfectly combining harsh screamy vocals and emo-esque vocal hooks.

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J. Rose - Turn the Page

Enchanting modern day R&B similar in feel to the lo-fi hip hop movement. You can vibe out to this music when you’re feeling emotional and at the same time dance it out like there’s no tomorrow.

Wineteeth

No Doubt’s punk cousin who hates ska. Catchy vox, raw guitar, pumping drums and melodic bass all boiled to a crisp lo-fi. Just put out a split on funny/notfunny records with Gloop.

FYI Cassettes are the coolest, just as retro & cute as vinyl but way cheaper and way more portable.

Castle Black - Blind Curtain

Every great brand of alternative mixes with punk to create the ultimate addictive song of the summer. A reminder of what dominating guitar riffs, melodic basslines, booming drums and a powerful singer with rock prowess can do.

Bishops - Greatest Hits, I Guess

Anyone in the tri-state region who goes to all ages house shows or dive bars knows Bishops (Tucker Riggleman & Payden Kimble). In addition to being super nice guys that are always helping fellow bands in the area; Bishops make solid records and write heartfelt, catchy songs of blistering independent guitar rock without any pretentious bullshit.

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ReadeR SubmiSSion, PaRt 1, by Chad WilkeS

Reading the first publication of Subversive, I was elated to find there was a Zine that popped up in my absence speaking to the cultural deficiencies of Frederick while also celebrating its merits. I had been away from my hometown for 4 months, having left on Cheetoh-Head’s inaugural day, spending my days riding a vintage mountain-bike from Mexico as far as Kansas. The perspective I left with was drastically expanded by what I experienced on my trip, creating a different person who returned home once again.

My experience of traveling has always been one of transformation, and the process of returning always one of reintegration. When I was younger, those transitions were typically difficult, sometimes creating massive highs of elation coupled with deep sorrowful lows. Gaining more knowledge, and mostly experience and perception, I see that both parts of the journey are as equally vital, one just taking much longer to play out than the other.

Coming back this time there were enormous changes in the social landscape of Frederick’s scene, but more profound was the change that occurred in me. Of course, riding a bicycle for four months, living out of bags attached to it, surviving off food stamp money from Arizona, having guns pulled on me, laughing my face off with the salt of the earth, and every other wild corner of existence I found myself immersed in untold effects on my Self; Though, there was no more profound an experience than the realization of self-discipline along the path.

My desire for this three part series is to explore the cultivation of Self by using the Confucian matrix: First the Self, then Family, then Nation. I will strive to achieve this all under the philosophy that you can have a great fucking time doing it, with the belief that it will revolutionize the way you experience, not view, this world.

First, I have to state very transparently that I have been an atrociously undisciplined individual for the better part of my life. I have essentially equated authority with discipline, and since authority is only a contrivance to belittle another, seeking to control rather than uplift, my life has been dedicated up to this point in subverting such authority. In making such a strong turn away from authority I have even internalized a sense of anti-authority, convincing myself that no authority is valid, not even my own. What this has resulted in is a complete lack of discipline of Self only for the sake of proving a point on principle alone.

That philosophy has left my life scattered and inverted in many aspects, pushing and pulling me in often unwanted directions. It came down to the fact that I was unable to hold my center because I didn’t train and practice my center. I felt it could just happen from sheer will and desire alone. However,

having to wake every morning, nourish myself, pedal and breathe for hours on end, rest and nourish, then sleep...I came to the understanding

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that I was severely lacking discipline. It wasn’t until I reached California; through serendipity, seeing how locked and tight my body had become, that I finally saw myself mirrored clearly and what I saw was unsavory.

Why is this relevant to a publication like Subversive? If I may be absolutely real...as one ventures deeply inside their own Self, seeing the shadows and issues that lie buried deep within, it becomes nearly impossible to then critique something or someone “out there.” The critique, in my opinion, becomes a mechanism, especially in Western Culture, to buffer us from actually doing the very serious and difficult work of self-cultivation. It is much easier to say “That bridge is ugly and weak, let’s burn it down” as opposed to the difficulty of building one that is superior.

What I have seen my entire life growing up in Frederick, venturing into the Baltimore and D.C. music and art scenes, and fortunately traveling a lot of this country and a bit of this world, is that plenty of folks have a lot of shit to talk and not much gold to offer. I have heard the same story repeated over and over about how this artist sucks and we need better ones, the scene is lacking and shallow, etc. etc. It goes on and on, fulfilling the same regurgitated tropes that come with every small town trying to fit into larger britches.

My vision for Frederick is different, and I believe that if you are reading this Zine, your vision is wanting something different too. So here lies the crux of what I write: nothing ever changed with people sitting about complaining, but everything changed when a whole community turned the mirrors upon their own souls and began working. So the first installment of three is about being completely present with that mirror and doing the work you need to do. It takes 21 days, so it is said, to break a habit. By the time you have read this, let it marinate, had your death party where you ate too much Ben and Jerry’s while slugging some Flying Dog right behind it, binging on some Netflix bullshit, waking the next day feeling like you’ve just been humped by Gary Busey, the seed may germinate. By that point, you’ve got just enough time to get your shit together and make it happen right when the second installment of how to step forward with the goodness. But first, The Self.

It doesn’t matter what you do, that’s up to you to find the flow and roll with what resonates. But it has to be daily and disciplined. For me, I wake every morning at 5:45, drink a glass of warm water, then do at least a half hour of Ashtanga Yoga. Many mornings it turns into an hour and a half of physical training followed by deep meditation with the warming sun. That’s mine. For you, it might be a bike ride, silent meditation, 1000 push-ups while listening to Duran Duran. The method matters less than you just showing up consistently.

My vision is for a city of individually activated and WOKE participants, all solid in their own power so that critique becomes collaboration, stagnation moves to inspiration, and we stop tearing down out of fear and insecurities to truly begin lifting each other up in the exultation that is love. Buena suerte.

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Rozwell Kid + Gloop @ Slayground 6/23: Review by Zack Willis

On a wistful Friday evening, I strolled into the backyard of Slayground dressed up as Dracula in blue and red face paint. One day prior, Jordan Hudkins of Rozwell Kid had set up a livestream in which he expressed himself through the fine art of painting whilst listening to his band’s new record, Precious Art. The result? A beautiful blue Dracula in sunglasses. It wasn’t long after that that I decided a trip to Party City’s off-season Halloween section was necessary for this house show.

One fact about house shows in the summer: they are unanimously hotter than hell. You don’t go to one of these shows expecting to be comfortable. Estimates put the attendance somewhere around 80 people all packed into a room that by normal standards would be considered big. It’s worth mentioning that Max and Abby had set up an industrial-sized fan in the back of the room, and while it didn’t feel like much help, I appreciated the effort. It was so hot that even when the power went out halfway through Rozwell Kid’s set, it actually turned out to be a welcomed intermission so we could all head outside and breathe for a moment.

So before I talk about Rozwell Kid, first we have to talk about GLOOP. By that, I mean we should ALL be talking about GLOOP all the time. I hadn’t seen them perform in a while, and in that time they had clearly been hard at work writing new material. Each new song held more urgency than the last, created by the grungy bass lines that Blake held down as well as Dom’s vocals, which were admittedly hard to hear on my end, but were delivered with visible intensity. As for Max, I think his role was exemplified by this quote

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from Emily Jessee: “He was drumming so hard, I was afraid one of his drumsticks would snap in half and hit me in the face.”

Now onto Rozwell Kid!

Rozwell Kid blasted through tons of new material at Slayground, playing everything from Wendy’s Trash Can to Total Mess, MadTV, UHF on DVD, Booger, and my personal favorite, Wish Man, which the band played twice - the first time so those who had not listened to the album ten times already (like I had) could understand, and the second time so we could all howl like dogs at the climax of the song. Each new song absolutely ripped, and was met with the same enthusiasm from the crowd as the older jams, which mainly came from Too Shabby. By the end of Rozwell Kid’s set, almost all of the paint I had been wearing had come off.

Let me rephrase that so that you can truly understand - Rozwell Kid literally MELTED MY FACE (paint) OFF with their HOT riffs and sweet, sweet guitar harmonies.

So thank you Rozwell Kid for giving our lil town this memory before Precious Art catapults you to SUPER STARDOM. And thank you to Slayground for hosting this unforgettable show.

Wanna hear me gush more about this show? Message me on Facebook or stop me on the street. I will be more than happy to talk at length about it.

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Valerie M Sebestyen

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*From the subVERSive custodians: In the last issue we ran an anonymous submission titled ”An Open Letter to the Frederick Art Scene.” We asked our readers to send in their reactions, and heard both positive and negative responses from the community through conversations and e-mail. We are printing two of these and suggest that you all keep the dialogue going*

RESPONSE #1 I’ve heard repeatedly about the Subversive zine so I was excited when I picked up my first copy the other day. How cool is it that I can hold in my hand a locally produced, locally sourced art collection. The fact that this even exists is, to me, proof that Frederick is moving in the right direction. But then I opened the zine. The first thing I read is a slashing review of how the “Frederick arts scene” as an exclusive, closed, and ultimately doomed environment. I was immediately upset by this anonymous letter because it teared down the very people working to build an actual arts scene in my hometown. My initial instinct was to write a response and zero in on the writer in an equally narrow minded fashion. But after thinking about the person who felt strongly enough to submit this I decided to take a different path. Here is my response to Anonymous: Dear Anonymous, After reading your opus in the last issue of Subversive, I was left feeling the need to say something in response. I hear you. I do not agree with you and quite frankly I find what you said just over the limit of slightly offensive. But, I hear you. You are heard. Based on your words I am left to assume (a dangerous act, I know) that you are a local artist, most likely around my own age. As a silent member of the arts community I understand the fear surrounding the act of putting yourself out there. I also understand that it is much easier to put up a front and claim that the world of networking is unwelcoming, than to put yourself out there in a vulnerable way. Rejection sucks. I cannot be too clear about the fact that I hear you. I am not attacking you. In many ways I want to thank you. You have helped me find my next steps as an artist. I am going to stop sitting around and waiting for the “arts scene” to be what I want it to be. Instead I’m going to reach out to the very people you think are exclusive. I am going to pitch my ideas and ask them what they think. If they laugh in my face and tell me to hit the road, then I will personally retract everything I’ve said so far. But I don’t think that will happen. More likely, I think they will be kind, constructive, and happy to work with me. The world of arts (visual, creative, performing, etc.) is a hard world to be in. It’s full of people with various social anxieties (as is every world) yet it’s very existence is centered around the

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idea of networking. It’s time that we, as artists, stop pointing fingers of blame at one another and start lifting each other up. We should be as happy for others success as we would want them to be for our own. That’s all. Good luck. Unknown Local Artist It is not my goal to upset anyone who might be reading this. In fact those of you who know me know that the simple thought that my actions might be seen as upsetting makes me nauseous. The only reason I felt the need to say something is because there are a handful of people in Frederick fighting back against various restrictions in order to provide space for others to express themselves. This is such an important act of peaceful political resistance. I for one would like to thank everyone in Frederick who has ever pushed for a new art space, an all-ages venue, a fundraiser slam, or any form of performance, exhibit, or show - even the ones that never got to happen. You are the Frederick Arts Scene.

RESPONSE #2 I completely agree with the open letter to Frederick’s art scene. It’s become stale and unwelcoming to so many up and coming artists, and it’s frustrating to see so many people try and fail to get their foot in the door.

It’s a shame that a town that boasts such a welcoming arts community is seemingly incapable of giving burgeoning talent the space or the opportunity to display their efforts, and instead relentlessly favors the same artists, some of which have even been caught blatantly plagiarizing work from other artists. Not only is this endless cycle just seriously boring as all hell, it literally devalues the work of artists struggling to make a name for themselves here. When you choose quantity over quality, you oversaturate the market (such as it is), and make it harder for other artists to sell their work for what it’s truly worth. We do our peers a great disservice when we force them to sell their work for a fraction of what the asking price SHOULD be, just because we won’t buy it otherwise, thanks in part to the same tired hacks here who have been selling their slapdash scribbles for 50 bucks a pop, let alone the poorly reproduced copyrighted material being sold for hundreds of dollars. It leaves people who strive to create quality, original art in the dust, people you all know, who struggle to eke out a name for themselves in a community full of people willing to hijack the opening night of another artist’s show, or rip off another artist’s paintings, or capitalize on national grief or tragedy just to gain exposure or a couple of bucks. It’s wack as fuck.

How shameful is it that our community is full to bursting with talented artists, yet we all know the name of just a handful? Support your fucking friends, yo. Buy their shit. Pay them what it’s worth. Tell the world about them. Because as long as we don’t, the author will be right - Frederick talent is going to take their skills and their creativity elsewhere, and our community will suffer for it.

-Caroline Wexler

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artwork by Dan Banes

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A Comprehensive Guide To Getting Involved In Your Creative Community

by Ashley Renee Hoffman

1. Go to art shows/concerts. Support your local creatives!

2. Talk to artists and musicians whose work you admire. Become friends or at

least introduce yourself. Ask them if they know of any opportunities coming

up or venues in the region that might be looking for your creative expertise.

3. If nothing is going on around you, do it yourself. Someone has to do it and

you would probably do a great job.

4. Realize that some of the best venues are the most unexpected. Thousands

of people see your work in the coffee shop. That house show probably has

better energy and more attentive listeners than a smelly bar.

5. Don’t look over the obvious shit that is already going on. Submit for a show

at The Delaplaine, sure it might be a two year wait but you’ll be super ready

when the time comes. Join an independent art gallery. I know for a fact that

creative baby boomers appreciate young artists and would love for you to

participate. Contact the organizers of Alive at Five, Frederick Playlist, Area31,

In The Streets and other such events and organizations for performance

opportunities.

6. Collaborate with each other. If you’re releasing a CD, ask your favorite local

artist to design the cover. If you’re looking

to have an art show, make it a group show

to lessen workload and increase outreach!

Create art in a group environment!

7. Take every (healthy and ethical) opportunity

that comes across your way when you are

starting out! Experiences are super important

in growing as an artist.

8. Network with people from all walks of life!

They may be your next sponsor, venue,

supporter or important link.

9. Stop being so goddamn negative, we have enough terrible shit to deal with

in this world. Rather than wish our scene was better (that’s some glass

ceiling shit there), let’s work together to make the place we live a little

better for ourselves and everyone around us.

Overhea

rd in Frederick

“Why couldn’t Godzilla have babies?

Because he had ereptile disfunction.” - One young woman to

another walking down Market Street

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B R I N G I N T H E D R U M SBy: Dead Hate

“Bring in the Drums”: a playlist in the spirit of The Who’s “Sell Out”, that eclectic gem of a concept album that was a head nod to London’s Mod pirate radio stations. “Sell Out” is worth a listen in it’s own right. “Bring In the Drums”, our second Subversive playlist is curated for your listening pleasure on our own Spotify “station”. Keith Moon may or may not approve, but either way, these are some cool tunes I’ve been flipping through that feature drum parts driving the song into interesting territory.

Check it out on Spotify or via our Facebook page:

Giraffes? Giraffes! “Werewolf Grandma with Knives part 2 Don’t Die”. So much noise for only two members. I start Bring in the Drums because I saw this Boston band play in Frederick last year at the old News-Post building. I danced so hard at this show that I fell over at one point, accidentally pole dancing with a speaker stand on my inadvertent trip to the floor.

Wildbirds & Peacedrums “There Is No Light”. I love how this song has aNative American tribal feeling rhythm at the intro. A Swedish husband and wife duo who make

beautiful music together. Their music is incredibly minimal, just vocals and super inventive percussion.

Blind Idiot God “Night Driver”. A good groove instrumental song that meshes dub, the feels of Twin Peaks diner music, and stoner rock on a dark night. This Missouri based band has been historically trading members and styles for over 3 decades and is arguably one of the most influential bands to come out the SST Record label. That’s Black Flag’s Greg Ginn’s label in case you didn’t know. Another band who’s traded most members.

Goat “Run to Your Mama”. Another Swedish band, but totally different sound with: psych, world beat, chant, and experimental characteristics. These faux “world” musicians combine a taiko-style drum beat with a pop feel on guitar and vocals. Love this band so much and their almost offensive mash-up tribal garb that they wear on stage.

Marnie Stern “Grapefruit”. It seems I have a theme here with bands of two people. Drums of insanity that are complimented by the guitar of frenzy. That’s the best way to describe Stern’s music especially when paired with Zach Hill’s drumming style. Two of

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my absolute favorite musicians who make fun but anxious music together.

Death From Above 1979 “Turn it Out”. A dance punk song with no breaks. Sebastien Grainger beats his drum set to death and his cymbals into oblivion here. Again, just two members making minimalism sound like maximalism. One who wants to play in a metal band and one who wants to be in a dance band. Hear how they duke it out through their music.

Swans “I Am the Sun”. Sounding a little like the drums are a metal wall inside a giant warehouse echoing through a long hall. Imagine marching prepubescent girls in school uniforms singing along and clapping their hands at the end. This song borders creepy, accentuated by the negative space they create in the breaks.

Pantera “Becoming”. For a song that sounds like someone literally tapping a stack of quarters precisely with drum sticks, it totally works. Pantera popularized the clicky bass drum sound with this album. Super simple and low brow but kinda catchy.

Bad Plus “Big Eater”. One of their original compositions. Also worth it to check out their version of

“Smells Like Teen Spirit”. Not usually a fan of jazz but I love the jazz-style drumming here and lulling piano. Brings to mind the night club where I saw them perform. A completely sober, silent, and polite audience wearing button up shirts teetering on the edge of dancing but basically not moving.

Erase Errata “Tongue Tied”. Had to throw in a jangly guitar song in here from a San Fran band. The beginning is a tinny beat that rolls over into an abstract repetitive chant. I love the drum part when they sing the chorus. Almost a disaster that is played with wild abandon.

OPEN.SPOTIFY.COM/USER/SUBVERSIVE.ZINE

art by Xelaviceinstagram @Xelavice

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MARYLAND DOOM FEST REVIEW Just when my Post-Maryland Doom Fest Depression has finally worn off, I’m stirring it up again with a short overview of my experience as an ‘out of towner’ in Frederick, MD attending MD Doom Fest for the first time. Suffice to say, Doom Fest 2017 was a magnificent success. I traipsed all over Cafe 611 for the entire #4DaysOfDoom. I took nearly 1800 photos of most of the live sets as well as friends and attendees. (1800? Lunacy.) I met up with old friends, made a bucket of new friends, and had a ridiculously great time in the process. I even helped out several bands with merch sales when they were in a pinch (a lot of fun, believe it or not).Most importantly, I saw some truly exquisite heavy music acts performing, along with a packed crowd of friendly, laid back spectators. Holeeeee smokes did these bands riff our faces off! Apostle of Solitude, Conclave, Horehound, Freedom

Hawk, Lightning Born, King Bison, Heavy Temple, The Well, Brimstone Coven (pictured), Lo-Pan along with many others came from other states to just play this fest. Several legends of the heavy rock scene like Wo Fat, Captain Beyond, Valkyrie, and The Atomic Bitchwax, as well. However, the acts from local Maryland areas were a special joy. Earthride,

Thonian Horde, Weed Is Weed, Faith in Jane, Pale Divine, Beelzefuzz, Cavern, just to name a few. It was a parade of local MD representation. Utterly amazing!Tons of fun, not a bad sound to be heard, not a bad person to be found. I can’t say enough great things about the MDDF organizers and crew, they do a remarkable job. Only mere days after the third annual MDDF ended, they are already in the planning process and booking bands for the fourth year! As I await the announcement on the MDDF 2018 lineup (expected on Halloween), I’ll bide my time sifting through my insane amount of photos.

Review and photos by Leanne Ridgeway, Owner/Chief Editor of RiffRelevant.com

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upcoming shows7/23 - Castle of Genre + Graver + American Spit @ Slayground

7/28- The Day Of The Beast (VA), Sickdeer, Jera @ Guido’s

7/29- Zud(Portland, ME), Gamaliel (P.ME), Thonian Horde, The Clergy @ Guido’s

7/29 - THE LAST SQUAT SHOW!

7/30- Soul Remnants (MA), Solium Fatalis (NH), Mo’ynoq(NC), Xeukatre @ Guido’s

8/5 - Atomic Doll Productions Presents: Shocked and Amazed! @ Beir Baron Tavern (DC)

8/11 - Grave Vunderkuhn + Bishops + DoubleMotorcycle @ Slayground

8/11- Doctor Smoke(PGH), Negative Reaction (NYC), Thee Iron Hand, Bailjack @ Guido’s

8/11&8/12 - Savage Mountain Punk Festival @ Dante’s Frostburg MD

8/17 - Cult Fiction + Gravel + Jim Shorts @ Slayground

8/19- Middle Kid, What’s Missing (WV), tba @ Guido’s

9/1 - Narcos + Bittered @ Guido’s

9/2 - Black Beach + Gloop + DoubleMotorcycle + Middle Kid @ Slayground

9/14-9/17 - Shadow Woods Metal Fest @ White Hall, MD

9/23- Serpents of Secrecy, Old Shadows, Mantis Toboggan, Blood Raven @ Guido’s

9/29- Foghound, Archarus (IN), Red Beard Wall (TX), Thonian Horde @ Guido’s