Ive always had a lot of respect for The
Arrivals. Few bands have been able to maintain the sincerity and
passion for their music that they originally started with. The
Arrivals have done this and more and I look forward to many more
records and performances from this great Chicago band. Questions
answered by Issac.
WCWZ: Since
you originated from the south suburbs, in your opinion, what is
the biggest difference between the suburban scene and the Chicago
scene?
Issac: I dont
know if were the best people to ask about the south suburban
scene. When we were in high school, none of us had much money
to spend on records and shows and stuff. To a great extent, that
excluded us from any real scene status. We knew that a scene existed,
we knew kids in the scene, but we didnt really think that
it included any of us. Dave M. had more punk records and had been
going to punk shows for a longer while, so he was more familiar
with the south suburban punk scene, but based on discussions we
used to have, I think he felt just as much an outsider as the
rest of us. Dave M. and Dave K. were in a metal band during the
first couple years of high school, before I was around, but I
think the Thirsty Whale was the main place they played out. I
think that was a totally separate scene. Im not sure. I
remember The Rodmans and Eighteen and 100 Proof were some bands
we played with more than once back in the day, and they were all
from the south. We did have a little scene in Blue Island, also.
There was Mest and this band called Random 55 and us. When we
started, that was our scene. Back to the question though, the
suburban scene/Chicago scene differences. When we started playing
out in the south suburbs, the scene was primarily composed of
people who were just beginning to get into punk rock. Except for
a few people who were obvious super-lifers, it was generally hard
to tell the fly-by nighters from the people who were in it for
the long haul. Thats whats quite unique about a rural
or suburban scene. Theres usually not much of a history
to feed into it; it might be something that lasts a few weeks
or it might last several years, depending on how dedicated people
are and whether or not they stick around. I guess the Chicago
scene seems more permanent. I think that a lot of the people who
have decided to make music a significant part of their lives have
come to the city precisely for that permanence, and, in turn they
help keep it permanent. For people like us, its important
to find other people like us, and the city is a good place to
do that.
WCWZ: What
are your thoughts on the well-known club, Off the Alley that shut
down awhile back?
Issac: The club
was great and the people who ran it were great. We definitely
wouldnt be a band right now if there hadnt been a
place like Off the Alley to accelerate our enthusiasm. People
like John Benetti, who were both well informed about good music
and dedicated to DIY punk rock, worked their asses off trying
to make sure good bands came through Off the Alley. It was really
so lucky, because all the work was done for us. We just had to
show up and watch or play great shows. Really, its a sin
the way we all took their hard work for granted. Also, unfortunately,
the owner was a jerk and too many people were snooty about playing
or going to see shows there. A lot of people talked shit about
Off the Alley, but deep down that place was a really good thing.
Where else could we kids have gone to get our rocks off. If it
would have been community youth-theater or soccer the local government
would have been drooling to sponsor programs that successful.
And to boot, Off the Alley was mainly run by kids working for
minimum wage or less.
WCWZ: Name
some of your favorite local bands that are playing out today.
Issac: I feel
a little uncomfortable answering this question. A few bands would
come to mind and Id put them down and then Id remember
fifteen more bands that I should have noted and then Ill
feel like shit for not mentioning them. There are tons of good
bands in Chicago. Almost every time I go to a show, I end up liking
something about one of the bands. Im in a punk band because
I like small music; its modern American folk art. How about
this, Ill tell you the six CDs that happen to be in
my player right now. Ive got Toys that Kills "Citizen
Abortion"; Dillinger Fours "Midwestern Songs of
the Americas"; Pavements "Crooked Rain, Crooked
Rain"; The Whos "Sell Out"; Rocket From the
Crypts "Scream Dracula Scream"; and Bruce Springsteens
"Greetings from Asbury Park N.J." (thats not mine).
Radio Birdman is on the record player. Guided by Voices and Motorhead
are in the tape decks. Theyre all top albums in my opinion.
WCWZ: How
was your European tour? What surprised you most about your experiences
in Europe?
Issac: The tour
was great. Most bands that tour Europe are big enough that they
just hit the big cities, often going from club to hotel the whole
way. For us, touring Europe was much like touring in the States:
we were fed by the venues or promoters or private individuals;
we stayed at peoples houses; we had to sleep in the van a couple
of times when there was no where to stay; we hung out in the clubs
with local people, and we played for crowds ranging from eight
to eight-hundred. The most surprising thing was the extent to
which Europeans (except maybe the British) offered hospitality
to bands. Free food, free drinks, and a place to stay were offered
everywhere we went. Even when we didnt have a show, people
often put us up for the night and fed us. It was really quite
inspiring. Plus just the fact that we were touring Europe was
pretty cool. Taking a shit seems cool when youre in Europe.
WCWZ: If
you had to name one band that got you into punk, who would it
be, and why did they make you interested in getting into punk?
Issac: The Pixies
were the first contemporary punk rock band I really dug. Until
I was in seventh grade I hardly listened to anything that had
been released in the previous fifteen years. We never had MTV
and I didnt like pop radio. I owned one tape most of my
childhood. I tried to get into hair metal and then into rap when
my friends were into that stuff, but my mom didnt go for
it. My dad listened mainly to the oldies station, British invasion
era rock and roll, and folk. When I started getting into music,
I just got into the stuff that my dad was into, because the records
were right there, I knew the music, and that was easy. I read
about the music and listened to it and started playing guitar.
When I was in eighth grade I decided that my dads music
just wasnt enough for me. But I didnt have a big brother
or friends or anybody close who knew much about alternative or
underground music. Instead, I paid careful attention to some people
who I thought were cool to try and catch on the fly what they
were listening to. Theyd mention a band and Id go
to the library or music magazines or whatever to try to find out
more. And we had this great used record store in Springfield,
where I lived. When we shopped there, my dad would ask the guys
working to hear a record if he didnt know if he wanted to
buy it. So I did the same. Id ask to check out anything
that looked unconventional. If I liked it, Id buy it. I
got some Pixies and Naked Raygun, Dead Milkmen, Primus, Janes
Addiction; I dont remember what else. I know some of these
dont seem very underground, but they were underground as
hell to me. I also bought some of the hair metal I missed out
on: Motley Crews "Dr. Feelgood" and Aerosmiths
"Pump", and some Led Zepplin and Grateful Dead and other
classics. I had like twenty years of music to catch up on. Anyway,
The Pixies. When I first checked them out, the music was like
nothing else Id ever listened to, and miles away from radio
crap. I loved the band and the music all the more because their
sound was so intentionally unconventional. Up until that point
I assumed that musicians always tried to sound as polished as
they possibly could. With The Pixies, though, I could tell they
were trying to sound sort of weird on purpose, and I thought that
was genius.
WCWZ: Where
would you rather play a show, in a club or a basement and why?
Issac: Just after
coming off of tour with D4 we had a show at the House of Blues.
After playing so many awesome punk shows in small bars and cafes,
the House of Blues just seemed fucking ridiculous. Disney couldnt
have done a better job at devaluing rock. I think Rock and Roll
McDonalds down the block is more respectful to music as art. My
biggest frustration with music in general is that people have
become music consumers rather than participants. People show up
to a live musical performance as if its a movie. Ive
heard plenty of compliments paid to the fact that a bands
performance sounds just like their CD. Its a shame that
perfect mimicry and predictability have become the ideal. People
dont want bands; they want robots. And the House of Blues
is just the kind of place that encourages musical consumerism.
Youre supposed to just show up, see the canned concert that
you paid for in the canned venue that youre attending, and
then go home unchanged. Ive never been to any other House
of Blues except the one in Chicago, but Id bet that each
one looks exactly the same, the Walmart of music. Everyone knows
exactly what to expect, every time they attend, anywhere they
go. The real shame is that when people learn to be music consumers
they start acting the same way at Off the Alley or Fireside or
even in basements. I love it when bands are technically mediocre
and the show is still great. It just goes to show how it takes
bands believing in what theyre doing and people coming together
to really make good times happen.
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