SAMIAM
A
FTER MORE THAN A DECADE TOGETHER THAT
has included extensive touring, six LP's and an ever chang-
ing rhythm section, the Berkeley based, punk-infused rock
band Samiam has earned every stud on their punk rock credibility
belt. The band's latest album, Astray, is a testament to those roots
and sensibilities.
Appropriately titled, Astray encompasses Samiam's longtime lyri-
cal content and struggle with themes of alienation, discontent and
confusion with the world, yet maintains some kind of up-tempo,
hopeful outlook. But don't start thinking that since the guys have
been missing in action they've turned all emo. Singer Jason
Beebout explains the clear, natural progression to the band's pres-
ent album. He says, "This is just what I have been waiting for. It
sounds like the first record and the second and the third, but not
like the fourth, and kind of like the fifth..." What Beebout means is
that Astray combines the band's signature fast punk beats of their
self-titled album, the patented post-punk, post-hardcore sound on
Sour, the rock of Billy, and the pop of You're Freaking Me Out.
Overall, it is still Samiam, only better.
TOUR STORIES FILLED
The extended break between their last album and Astray allowed
the band and producer Tim O'Heir (Sebadoh, Folk Implosion) to
take their time with not only the mixing of
it, but the actual writing. On the new album,
all members played an active role in the writ-
ing of the music and lyrics for the songs.
Beebout describes the process: "In the past,
I was in charge of writing the lyrics. On this
album everyone was in charge. Sean and
Sergie were writing the music to the
WITH DEBAUCHERY...
CAVE IN
T SUCKS WHEN A METAL BAND
loses its edge. Take Metallica, for
instance: ... And justice For All is a speed
metal masterpiece. On the other hand, I don't
even know what their latest record is called,
but I remember thinking, "this shit really
sucks." Once they cut their hair it was all
over, man.
Cave In, however, just keep getting better,
despite the absence of the crunching guitars
and screaming vocals that they mastered on
their first couple of records. The band is mov-
ing in a much more creative direction these
days, substituting machismo and grit with
complex songwriting. They've abandoned
metal and embraced a more intricate and
spacey prog sound. Now you might hear Yes
blasting out of their tour van along side At
The Drive In or Radiohead. Call it progressive
hardcore or a thinking-man's metal; Singer
Stephen Brodsky says it's all about growing
songs and putting words to them, which allowed me to use the
cream of the stuff I do."
After numerous label changes the band has finally found a
home on indie Hopeless Records, with bands like D4 and Fifteen.
They agree that the size of the label doesn't make a significant dif-
ference, but rather the quality and commitment of the people
working for the betterment of the band, which they have found
with Hopeless. Beebout says, "It wouldn't matter if we were on a
larger or smaller label for a band our size. A big label couldn't do
up and movin' on down the line.
Your new record, Jupiter, is different
than your older stuff, which was more
metal. The new stuff is much more com-
plicated. What inspired that change?
Was it just a matter of growing up?
Yeah. It's sort of akin to the fact that none
of us wear the same clothes or
have the same haircuts or wear
the same style of underwear as
we did in high school.
You seem to be moving
towards a prog sound, which
isn't something that is very
popular right now.
I guess by prog I mean prog-core. You
guys remind me of Into Another for
instance, a band that was sort of born
out of hardcore but who had no real
hardcore sound left in them.
Well, I really like Into Another a lot. It's
funny; it seems like an obvious comparison
THEY'VE EMBRACED A
SPACEY PROG SOUND...
I tend to associate prog music with having a
lot less emotion than music that I listen to
which really touches me. But I don't feel like
we are as noodley as most prog bands, and I
feel like we play with a little more feeling,
rather than just showmanship.
in some ways, but you're actually one of the
first people to ever make that comparison. I
think Into Another really sounded like their
own and it was kind of hard to tell where
they were coming from in a lot of ways
which I view as something good. The less
much for us and with a smaller label, there isn't much to worry about."
Even from their early days, when Beebout explains Loobkoff was
"...the first drummer to lay down a 'fat-like' beat at the very first
show at Gilman with Special Forces and Christ on Parade," Samiam
has never measured their success by how many albums or tickets
sold, but rather by how the show, tour or record turned out. Beebout
explains, "I gain a sense of satisfaction in having fun. And if I can do
that in some of the adverse conditions we play in, then I'm a real
trooper. I get a pat on the back." With each successful outing the
band has acquired more fans and a plethora of tour stories filled
with debauchery that can only be told in Beebout's Chris Farley-
WAYNE
AYNE HANCOCK IS A BAD ASS.
Not so much in stature, but in the
fact that he's intensely true to his
musical roots and harbors a deep and out-
spoken disdain for Nashville and the corpo-
rate country music industry. Wayne sings
with a twang reminiscent of Hank Sr., and
strums a beat-up Stella acoustic. With an
upright bass to round out the rhythm section
and a steel guitar, his music is an exact
replica of post-WWII western string bands.
Wayne doesn't have a drummer, so don't
you can label a band, the more honest and inter-
esting they seem.
Have you felt any backlash from fans who
don't like the changes you've made?
esque manner, of which the kids are sometimes treated to during a
live performance. At their best a Samiam show is exciting, inspiring,
and rocking. Brogan and Kennerly are known to complete David Lee
Roth mid-air rock star kicks, while Cruz and Loobkoff take a more
subtle approach, appearing as sages of rock. Beebout commands the
stage with such vigor, it would make even Bad Religion front man
Greg Graffin weak in the knees.
Samiam fans look forward to a full schedule of touring on an album
that has the highest expectations since Clumsy. It's a new year for an
old band with a new album, a new tour and a new label, all deserving
of a few more spikes on that punk rock belt of theirs. -Jesse Locks
HE TRAIN" HANCOCK
Most of the people who have been confronta-
tionally upset about it seem to be the kinds of
people who go to shows just to mosh, which is
something that we don't really care about. If
you're the kind of person who wants to go to a
show just to be violent or just to hear loud music
and throw your arms around and make other
people uncomfortable, then we don't want you at
our shows anyway. But, one of the best things is
when people who really loved Cave In before are
really into our new music. That's probably my
favorite Cave In fan, someone who likes both
aspects of things. There is more value to having
a fan like that.
Where do you see it going from here?
We've still got our country record, ska record,
and our rap record to do yet. -Oakland L. Childers
expect a high-octane, alcohol-fueled, fuzzy
dice, neo-rockabilly band flogging through a
barrage of open chord changes. Wayne is
punk without even trying. When we first met,
he suspiciously asked me why a skateboard
magazine would want to talk with him.
Without a pause his band (who skated in the
'80s) chimed in "Because you are the
Thrasher of country music."
Ten years ago, Wayne "got to Austin with a
sea bag and a fuckin' guitar in my hand,
hitchhiking." He was attracted to the college
town and its vibrant live scene
mostly because it wasn't
Nashville, but also for its toler-
ance of people who "are a lit-
tle crazier than others." Just
how crazy Is he? "I'm the cra-
ziest motherfucker you'll ever
meet. I've seen people offer
me $75,000 to rearrange "87
South Bound" so they could
play it on the radio. I said fuck
it. It's a power play. My girl at
the time was having an
absolute shit fit."
PINK
FLOY
The reason Wayne hates the corporate
music industry so much is because he "got
tired of doing all the work, and having to
hassle with VIP jerks who are only in the
business to make money." When it comes to
commercialism in country music, Nashville is
the epicenter. Wayne was customarily out-
"REBA MCINTYRE
CAN KISS MY ASS..."
spoken on the subject, stating that "Reba
McIntyre and all of them jerks can kiss my
ass. Hey man, give the fucking town back to
the people! It's a nice town."
To sum up his plans for the future Wayne
said, "Tell them cats you write for to keep
'their eyes on us 'cause I'm not gonna sell
out. If there is a heaven, I want to go there
knowing I've done my job here. I ain't never
gonna be rich, so no compromise.
Remember: Stand up for your music!"
-Eben Sterling
138 THRASHER
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