Photography by Jordanne Chant
Photography by Jordanne Chant
Artwork by Taylor Mulitz
AdHoc Issue 25 is here! Download a PDF of the zine at this link.
Howdy, pardners! God, we’re so sorry we said “howdy” and “pardners”; it’s SxSW time again, and we’re excited. Last year, after our yearly showcase at Cheer Up Charlies, we snuck away from the bustle of Dirty Sixth Street and hit the Broken Spoke, a legendary country dancehall with an entire room dedicated to the cowboy hats of the rich and famous. Between glugs of Lone Star, we caught a set from The Derailers, one of the greatest and loudest honky-tonk bands of our time. They covered Buck Owens, they covered The Beatles, they played songs about heartbreak and hangovers, and we tried to dance along with the regulars and failed miserably. That spirit of discovery and possibility defines the SxSW experience, no matter how many stages get sponsored by Doritos.
This year, if you’re looking for something off the beaten path, we’ll be back at Cheer Up Charlies on Red River, putting on two nights of shows on two stages, featuring sets from Snail Mail and Flasher—two artists featured in this zine—as well as HOVVDY, Sudan Archives, A Place to Bury Strangers, Sammus, and Ought. We’ll see you at HOVVDY, pardners, and we’ll try to keep the puns at a minimum.
AdHoc 25's contributors:
Taylor Mulitz is a freelance designer and the guitarist and vocalist of Flasher. He designed this issue’s cover.
Anna True is a food-motivated graphic designer and illustrator. She made the illustrations for this zine.
Jeff Rosenstock is an up-and-coming songwriter from NYC. He penned this issue’s advice column.
Look out for physical copies both at our shows and at record stores, bookstores, coffee shops, and community centers throughout the city. There will also be copies at our SxSW showcases at Cheer Up Charlies. If you happen to live outside of New York, you may order a copy as well.
Catch AdHoc at SxSW for our Unofficial and Official showcases on 3/14 & 3/16!
Photography by Ebru Yildiz
Photography by Jacque Donaldson
Photo by Chelsee Ivan
The first time I saw FRIGS live was in Boston, at the tail end of a noise rock slump. Two years of fuzzed-out basement shows and a bad habit of forgetting my earplugs at home had left me at least a dozen decibels poorer in both ears and more than a little apprehensive about standing anywhere within striking distance of a cranked amp. But the Toronto rock scene is always a good bet, and with fellow Canadians HSY on the bill as well, I tucked those plugs into my pocket and followed my heart to Club Bohemia.
It’s a wonderful thing, brushing up against the unknown, but FRIGS went and ripped a hole straight through it that night. Despite their drummer pulling a second shift with HSY that tour, the band went off, sparing no one from the all-consuming, full-body roar they create on stage. Now that they’ve released their debut LP, Basic Behavior, you can get a taste of it off-stage as well.
The sound is tightly-wound, but deeply emotive. FRIGS hurl themselves at the wall of existential frustration, at times maintaining a stately post-punk pulse, occasionally erupting into frantic, borderline psychedelic hysterics as guitars, vocals, and drums lash out in panic-attack waves of delicious noise. From the ping-ponging slapback and measured thump of opener “Doghead,” to the slow inferno vibe-out of closer “Trashyard,” FRIGS aren’t here for your complacency. Basic Behavior is a record of action, a taste of what’s possible when you get up and do the damn thing.
Ahead of their show at Alphaville on March 3 with Bambara, Weeping Icon, Reverent, and Dean Cercone, AdHoc spoke to vocalist Bria Salmena about the record and misguided attempts to classify their ferocious sound.
AdHoc is seeking both events and editorial interns to work in our Brooklyn office. All candidates must live in the New York area and be available 12-20 hours per week starting mid-May and ending in mid-August.
Editorial internship tasks include assisting with copy-editing, fact-checking, research, CMS, social media, conducting artist interviews, writing contribution, and zine distribution.
Event internship tasks include ticket counts, social media management, handling music submissions, fact-checking, using Photoshop/video editing software, building marketing plans, zine distribution, and, after some training, show booking. You should have excellent research skills, a laptop, and familiarity with the local music scene. The ability to gain school credit for the internship is strongly preferred but not required.
For consideration, please specify which internship you'd like to apply for in your cover letter, and submit your resume, 2 writing samples, and a list of your top 5 albums and tracks of 2018 (so far) in an email to firstname.lastname@example.org with the subject line “SUMMER INTERNSHIP 2018″ by March 20th.
We look forward to hearing from you.
Photo by CJ Monk
When the world is falling apart, have a dance party.
That maxim seems to encapsulate Shopping’s approach to modern life on their new LP, The Official Body, which was produced by Orange Juice legend Edwyn Collins. Though its ten songs abound with references to groupthink and alienation, the album’s skittery drums, jagged guitar riffs, and chunky bass lines just might convince you to quit worrying and start moving your feet.
Billy Easter (bass guitar and vocals), Rachel Aggs (guitar and vocals), and Andrew Milk (drums and vocals) met through the London DIY scene and formed Shopping in 2012, out of their previous band, Cover Girl. They released their hard-charging 2013 debut, Consumer Complaints, on Easter and Milk’s label Milk Records before signing to FatCat and releasing the angular Why Choose in 2015.
Shopping toured that second record amidst the turmoil of Brexit and Trumpmania, twin phenomena that seem to have inspired some music journalists to read post-punk trio’s antics as “political.” While the label is by no means disingenuous (their songs have tackled issues like capitalism and identity politics), the group bristles slightly at being boxed in by the classification.
“I think it would be really easy to be like, ‘We have a platform, what are we going to say?’ and put loads of pressure on ourselves as if our music can change anything,” Aggs said over Google Hangout. “I know that sounds a bit depressing, but it kind of can’t. The most it can do is be cathartic for us and our friends and our fans.”
If there is a label that sticks to Shopping, let it be one of self-reliance and tenacity.
“We haven’t had a completely easy, breezy, beautiful time where we’ve been basking in the release of our last album for the last two years,” Easter said. “But we haven’t let it get us down. We’re still here and we’ve got another album.”
Shopping play with French Vanilla, Future Punx, and Pickled Onion at Market Hotel on March 3. They have also just released a new video for their track "Suddenly Gone" from the new album The Official Body, you can check it out below.Read More
Wharf Cat Records has teamed up with over 20 artists, including Palberta, Alice Cohen, and Profligate, to raise funds for the American Civil Liberties Union. The multigenre record, ACLU Benefit Compilation, is the brainchild of Wharf Cat Record’s Michelle Nigro, and is a result of the donated time and efforts of an expansive network of musicians, engineers, and manufacturers. For every $32 double LP, a minimum of $30 will go to the non-profit organization.Read More
Photo by Tom O'Connell
San Francisco punks Spiritual Cramp are deeply connected to home. You can hear the influence of the original Bay Area punk sound within their songs, which are all honesty and no bullsit. They recently channeled their California roots and made a playlist for AdHoc. "The people in Spiritual Cramp listen to a ton of different music which comes through in many ways that go beyond our songs," the band told AdHoc. "Inspiration is a funny thing that appears in all kinds of shapes and forms not limited to sound. With that said, here is a playlist of songs from California artists who inspire us to keep creating."Read More