POZ Interview: No Somos Marineros
PropertyOfZack Senior Writer Jesse Richman sat down with No Somos Marineros at SXSW a month ago. We chatted with the band about SXSW, new recordings, their relationship with Topshelf, growing as a band, and more. Check out the interview below!
POZ: Just to start, can I get your names and what you do in the band?
CGS: I’m Carlos [González Soto], I play guitar and [I sing].
AP: I’m Andrés [Pérez], and I play drums.
OR: I’m Oscar [Rubio], and I play guitar.
GF: Gustavo [Farfán], bass.
POZ: So let me start this off by saying, I actually saw you guys last year at SXSW, at the Pearl St. Co-op, when you played over there. And I was really blown away — I thought you were fantastic. I went online to find more info and the one thing I discovered is that — probably because you’re Mexican — everything out there is in Spanish, and there is very little in English about you guys. So to start out I just want to ask the basics. How did you get together? Where are you from? How did you start playing your music?
I haven’t been posting my interviews from SXSW here — you can find links to all of them on the clips page, almost all of the interviews I did are online now — but I’m particularly excited that this one is running. No Somos Marineros are an awesome emo/post-hardcore group from Mexico City, and we had a really wonderful conversation about the state of the scene down there: small, but growing, and exceedingly vibrant.
NSM, along with their photo/video/creative collective Light & Noise, are a big part of making that happen, and of getting the word out about the goings-on in the Mexican/Spanish language underground. Language barriers can be tough to surmount, especially when it’s cost-prohibitive for a lot of these acts to tour the US, but there’s a lot going on down there that I think kids here would be into. I’m hardly an expert, but NSM have been great tour guides. I’ve included links to pretty much everyone they name-check, so click through and you can hear for yourself why I find this all so exciting.
POZ Interview: TEAM
TEAM is Caleb Turman of Forever The Sickest Kids' new band with a rotating cast of other musicians you know and love. We've been hearing about the supergroup for a while now, so PropertyOfZack Senior Writer Jesse Richman decided to sit down with Turman from the band and Will Pugh from Cartel, who has been involved in writing and producing the new EP, for a new interview at South By South West this past month.
We spoke with Caleb about the birth of the band, finally a date for a new release, a hiatus time for Forever The Sickest Kids, and more. Will also spoke up about taking the year off for Cartel, a ten year Chroma tour, and future plans. Read up on everything below!
Can I get your name and what you do in the band?
CT: I’m Caleb Turman, I play guitar and sing.
WP: I’m Will Pugh, I guess I produce and play guitar.
The first of my SXSW interviews is up. There will be something like 14 more of these coming in short order - keep your eye on the Clips page and I’ll keep it updated.
POZ SXSW Blog: A Wrap Up, From Us
Our team is still recovering from South By South West, but we thought it would be great to do a wrap up blog from Jesse Richman, Erik van Rheenen, Ali Killian, and Ashley Aron. We had a great time this year in Austin, and we can’t wait for next year. Check out the wrap up blogs below!
POZ SXSW Coverage
From Jesse Richman:There’s a debate raging in the blogosphere this week as to whether SXSW has gotten “too big.” It’s actually been a topic of discussion since many years before I made my first trek to Austin. Some people feel that the event should stay small, focus strictly on independent music, and be about discovery. Others believe it should be big, showcasing all that the world of music has to offer, from baby bands to superstars, a celebration of all the things we love and the way that, whether it sounds like rap or country or emo or pop, whether it comes from a major or an indie or a kid in his garage, it all shares a common heart.
Welp, I’m back from SXSW. (Actually, I’ve been back for a few days, but I guess maybe today is the day I’m mentally back?) I didn’t really have time to keep my socials updated this year, so below are links to all of my content. There will be one more playlist, of new SXSW finds, running presumably this weekend, and then eventually all of the fifteen interviews I conducted down in Austin will run as well. As always, if you keep your eye on the Clips Page, I’ll keep it current with whatever’s new, and I’m sure I’ll be tweeting and Facebooking about it as well.
SXSW Must-See Showcases (3/10/14)
SXSW Survival Guide (3/11/14)
SXSW: Calm Before The Storm Playlist (3/12/14)
SXSW Day 2 Recap (3/12/14)
SXSW Day 3 Recap (3/13/14)
SXSW Day 4 Recap (3/14/14)
SXSW Day 5 Recap (3/15/14)
SXSW Day 6 Recap (3/16/14)
SXSW Wrap-Up (3/20/14)
EDIT: Here’s that post-SXSW Playlist (3/25/14)
POZ SXSW Preview: Our Must-See Acts And Showcases
SXSW seems to grow larger each year. What began as a small get-together of industry insiders and aspiring bands angling for a break has turned into an unwieldy, bloated clusterfuck of corporate sponsorship, headlined by arena-packing artists hoping to glom a little secondhand cool. But beneath all that surface bullshit, the heart of the little-festival-that-was is still beating.
Like last year, PropertyOfZack will be focussing on the smaller acts that hit closer to our hearts this March in Austin, while maybe throwing in a taste or two of rockstars as well. Erik van Rheenen, Jesse Richman, Ali Killian, and Caitlin DeWeese from POZ will all be on the ground at SXSW, and each team member put together a list of Our Must-See Acts And Showcases for this year’s festival. Reblog and let us know who we need to see while we’re in Austin this week as well!
In Defense Of South By South West
Tuesday, March 11th
Riot Act Media Showcase
Riot Act’s showcase features a diverse lineup, but the real must-see here is headliner Split Single. Split Single frontman Jason Narducy has made his rep as a sideman, playing with everyone from Telekinesis to indie icons Bob Mould and Bob Pollard, but before he was holding it down for scene luminaries, he was creating devastatingly great music of his own with his late-90s pop-rock outfit Verbow. Narducy’s a dynamic performer with a keen ear for melody, and I’m stoked to finally see him front and center once again. - Jesse Richman
Tomorrow I head down to Austin for my annual pilgrimage, bringing praise to and seeking blessing from the Gods Of Rock. We’ll be providing coverage at PropertyOfZack all week long — the Preview above, playlists, survival guides, daily blog posts and more. And this year, it won’t be just me, we’ve got a team of 5 headed down!
I’ll keep my socials as updated as possible, but WiFi sucks at SXSW and I’ve got an insane schedule (including 13 confirmed interviews and counting…) The best way to catch everything I write this week is to keep your eye on POZ. And I’ll make sure to get a summary post online after I return…presuming I return.
What The Hell Is A “Revival?”
March Sadness 2014 has started with a bang. To accompany this year’s tournament of sadness, PropertyOfZack will be running several Perspective pieces to highlight Emo in all its glory. Enjoy What The Hell Is A “Revival?” below!
March Sadness 2014
by Jesse Richman, edited by Erik van Rheenen
It’s funny how much can change in a year. When we launched March Sadness last winter, we called our bracket of newly-prominent bands “Modern Day Emo.” Dads, Balance & Composure, Into It. Over It., and The World Is A Beautiful Place did battle, and Dads accomplished the near-unthinkable, marching through a gauntlet to edge out not just their cohorts, but even the mighty Brand New for the championship to be crowned Kings Of Emo.
This year though, it was readily apparent from the get-go that “Modern Day Emo,” as a name, was out. For March Sadness 2014, no title but “Revival” would do.
Yep, I said it. Revival. Emo Revival. #emorevival. Each time I type that, it pisses you off just a little bit more, doesn’t it?
I wrote a thing about the #emorevival. Perchance you might read it?
RIP Pete Seeger. Here’s my poorly written review of a bad event featuring a good Seeger in 2001 from the Brandeis University Justice.
Pete Seeger live performance at Spingold Theater
To build community, it isn’t necessary that a great idea be found at the center. Communities can be built around the most sappy, cliched, trite of ideas — what counts is that everybody buys into it. Witness Monday night, as the immortal Pete Seeger and a cast of very, very mortal millions held court over a packed Spingold Theater.
Sometimes community is built through mutual suffering — see the trials of fraternity pledges for an obvious example. For those who suffered through three and a half interminable hours on Monday, struggling through every imaginable off-key squawk for the sparse bite of pure Seeger-fied goodness, I salute you; you’ve developed a bond with your fellow concert-goers that you (and they) will likely never forget, no matter how hard you try.
Perhaps it is an insult to Seeger that he was forced to share his time on stage with the insufferable Jane Sapp, countless campus groups, and pretty much any member of the Class of 2002 that felt like showing up; likely, it was more insulting to the (almost entirely non-Brandesian) audience, the majority of whom shelled out ten bucks a pop for what they assumed would be a Pete Seeger performance. But Seeger’s time on stage, though far too short, made the night enjoyable and worthwhile despite the sea of hooey that nearly drowned his set.
Sapp, decked out in all black, stayed tucked behind her piano for the majority of the show. Though she testified with a pure gospel voice, Sapp’s compositions suffer from a samey-ness that began to wear extremely thin by the third hour, and her nonsensical rants against everything from tracking in school systems to multinational corporations were each accompanied by indistinguishable sing-alongs.
Still, those who remained in the crowd refused to be fazed, lapping up her invites for audience participation (they accompanied each and every number). Not that the audience was paying very close attention — how else do you explain the ecstatic response to a blues-rock rendition of that timeless classic “Old MacDonald”?
For his own part, Seeger held strong like a rock. Though his voice (and his memory) have faded since his glory days, Seeger’s spirit outshone the hundred who shared the stage with him, combined. Ever the populist, Seeger hit the stage in a simple peach button-down shirt, blue jeans and sneakers, toting with him the tools of his trade for the last 60 years — a banjo and a 12-string guitar. Not one for messy cords, he kept acoustic for the entirely, micing his instruments and gravelly voice alike.
Seeger made it obvious that he was the performing legend; everything about his character screams greatness, from the way he carries himself on stage to the ease and confidence with which he glides from children’s song to story to protest anthem. Opening up his set with a cover of Woody Guthrie’s “This Land is Your Land” and never looking back, Seeger covered all the bases of Americana and 200 years of history in his shining moments.
Though he stayed away from his hits (save for the unsurprising “Turn Turn Turn” set-closer), his presence kept the audience in the palm of his hand, letting him go pretty much in any direction he chose with the performance. The resulting set hit on everything from “She’ll Be Coming Round the Mountain” to “the hit song of the Selma Montgomery March in 1965,” “Oh Wallace! You Can Never Jail Us All!”
Seeger spends most of his time now singing to elementary school children, and it showed in his set choices; still, it was his presence, even more so than his status, that allowed him to pull it off with poise and compelling clarity. Rarely has singing for children seemed both so noble a cause and so compellingly artistic.
Ultimately, the night was never designed to be a performance, but rather an interactive community creation, organized by the Brandeis Initiative in Intercommunal Coexistence and the International Center for Ethics, Justice and Public Life. To that end, there were performances by Brandeis’ Gospel Choir (hiding under the pseudonym “Women of Faith”), the Brandeis Reform Chavurah, Spur of the Moment, and members of the Junior Class.
Unfortunately, while it was a truly communal gesture to include as many groups as possible in the performance, the results were somewhat less than pretty. The contributions ranged from mediocre to downright painful; apparently the price of community building is serious self-sacrifice on the part of the audience. (The one exception to this was Spur’s gentle performance of the Beatles’ “Blackbird”; tinkering with the tempo, melody and phrasing played in their favor).
Accompanying the endless Brandeis-centric performances were speeches galore from the organizers; typical themes included creating a safe space for ideas. Noble causes all; if only the execution had been more convincing. Instead, the performance was a powerful argument for self-censorship and the need to limit performance to the truly talented. “Pete Seeger and Jane Sapp in Concert: Building Community Through Songs of Social Justice” was a sloppy mess of everything-but-the-kitchen-sink performance disguised as inclusiveness.
Still, it was worth wading through it all just for a bit of Seeger’s strident performance. He may be getting on in years, but there’s no question that the man’s still got it. There’s just no substitute for talent; Monday night in Spingold made that all too clear.
originally written 1/30/01