Interview with: Todd Fink of the Faint

If electro indie pop group The Faint gets you swooning, then this is one interview you don’t want to miss. Lead singer Todd Fink took the time to talk to Bethany about the band and how to live the good life when not on the road. Check it out:

PopWreckoning, Bethany: So Fasciination was the first time you guys did everything in your album making process. What sort of new challenges did you face with that? Was it similar to remixing?
Todd Fink, The Faint: Yeah, we’ve done remixes as a band and it’s not that different from making your own tracks, at least the way we do it where you just take a lot of tracks from the artists and do the vocals on its own track, usually.
We had done one of those just right before we recorded this record. It was one for Nine Inch Nails. We did that in another studio, but in seeing how that went, we felt pretty good about doing our own record. We knew that we could do our own record without any trouble because we had been doing more and more of it as we recorded each record. It was good to get that little boost of confidence before actually recording our record. So yeah, it was easy, I guess.
It is nice to have the freedom to do whatever you want to do without having anybody take advantage of anybody or having to explain why you want to do one thing or another. If a mic is pointing at a guitar and you feel like a mic could be moved to a better spot or if you want to use a different mic, you might as well try it. You can stay up there all night. It’s your place. It was nice.

PW: So are you guys going to do a remix album for Fasciination like you’ve done for some albums in the past.
TF: I don’t know. At one point we were going to do them for every record, but we didn’t do it on the last one and I don’t think that we’re going to do it on this one. We’re going to just release songs on the record as singles, 12 inches, that kind of stuff. We have one out so far that has a couple remixes on it and another remix that’s been circulating on-line and maybe compilations and stuff like that. So we’ll see.

PW: Does blank.wav have any plans to release albums for any other artists or are you guys just using it for your own records?
TF: We talk about. We’d like to, but it just isn’t really a money making project. To put out other people’s records and maybe make money on it, you’d have to have an artist blow up. Maybe that would happen, maybe it wouldn’t, and we wouldn’t really be putting it out for that reason. We would put out things that we like and think the world should hear. If lots of people want to hear it, that would be great. We’re not ready to be risky about it yet and we’re not really in the financial situation to do that. I think with the Faint and other things, we’re pretty busy.

PW: Yeah, I imagine you guys stay pretty busy being on the road. So the new album, Fasciination, deals a lot with thoughts of the future and on songs like “Machine in the Ghost,” it deals with know-it-all leaders and people who think they are the boss of everything, and I know that for a lot of Omaha artists that politics are pretty important. How has this election year been figuring into your lives and your music?
TF: We follow the election and took election day off on tour. How’s it figuring in beyond that? I don’t know. I mean we’re rooting for Obama as a band and hoping that we get some kind of change in the way things are going. I know that we’ve been pretty discouraged in the last couple of elections and we’re hoping that it can’t go that way forever.

PW: Do you guys get a chance to watch the debates on the road?
TF: If at all possible, we’ll watch that kind of stuff. We did just miss the first presidential debate because we were flying from Australia to Japan, I believe, so it wasn’t possible. We watched the VPs the other night and it was interesting. We know who we’re rooting for.

PW: Do you guys refer to Omaha as Obamaha?
TF: I have friends that own a gourmet, soul-food fusion type restaurant that did say Obamaha on the window after it was announced that he would be the Democratic representative.

PW: What restaurant?
TF: (temporary memory lapse) Dixie Quicks! It’s called Dixie Quicks and I recommend it to people who come to Omaha. It is easy to miss.
PW: For sure, is it in the Old Market area.
TF: It is down towards the Old Market. It is on like 17th or 18th Street and Jackson. The Old Market starts on 13th, so it’s up a little ways from it.

PW: Outside of political issues with our own country, I know you’ve been involved in a lot of other issues, like, you went to Haiti several times. Recently you had an art project that you did with Orenda [Fink]. What was that exactly and how did you get the idea to set something like that up?
TF: It just kind of happened naturally between our friend in Haiti. There’s a guy that we’ve known for quite some time named Chris Lawson, who is an artist in the Birmingham area, Alabama. He went to Haiti with us, working there and kind of teaching art and working with aspiring Haitian artists. We did a project with them. That’s what we originally did.
We went with them and collected field recordings-sounds of the city, sounds of Haiti in general-and sowed them into a sort of sound collage for the art show that sort of fit within vibe of the whole thing. His was turning garbage and found objects into assemblages, sculptures and different types of collages. So, it made sense.
We did that in Haiti and brought that show more recently back to Omaha. It was great. We didn’t really know what to expect in Omaha, but it was a complete success. We’re actually doing something today, with my friend Ben [Brodin], we are doing a live soundtrack or score to the movie The Cabinet of Dr. Caligari. It is one the first horror movie, silent films. It is classic. So that’s what we’re doing today. We’ll see how it goes.
(For those unfamiliar with silent film tradition, orchestras or a small music group used to sit in the theater and play the soundtrack and sound effects for the film live. As part of a horror series at Film Streams, Todd Fink, Orenda Fink and Ben Brodin composed the soundtrack and performed it live for the opening night of the series. So when he says live, he means live.)

by Chris Knight

PW: It seems like a lot of Omaha artists start off in one band and then has like eight other projects. Do you guys do a similar thing? Would you work on a solo album or is pretty much the Faint and the occasional art project?
TF: I work on things for different projects all the time and a lot of times they end up as the Faint. It is a way that I like to think about music that it can be inspiring. Some times they end up as the Faint songs and others, I just have little bits of things to do here and there. Or if something comes up like the Haitian sound collage or the soundtrack that we’re doing today, I may use parts for this or that. I’m making a lot of things.
I have a side project that I’ve been doing recently called Vicious Kicks with a guy in Miami. I don’t know. I don’t know what the future of that is. The other guys do, of course, like Joel [Petersen] has Broken Spindles. Vverevvolf Grehv is Dapose‘s project of heavy death metal and he just put on album out on that not too long ago. And a couple of us play with a guy named Fathr^ here in town who does drone, ambiance kind of wall sounds, experimental type sounds. It’s called Fathr^, no “e”s in it. They’re actually performing tonight as well. I’m hoping to make it over after the film that I’m doing. I know Dapose is playing with him tonight and I’m not sure if anybody else is. Maybe Clark [Baechle].
PW: Where at?
TF:I think at the Bemis.
I checked the show out and it was solid. Just Dapose played with Fathr^. It was quite the event, there was an art exhibit opening upstairs and the show was set up downstairs. Complimentary wine and beer were offered. Fink was at the show, as were Saddle Creek employees and most of the members of Tilly and the Wall.

PW: What other Omaha artists do you recommend?
TF: Box Elders is my current favorite. Maybe Box Elder. I can’t remember if it is plural (It is plural) , but go listen to some tracks on MySpace. We just played with them in Omaha recently. Baby Walrus, Capgun Coup, Son Ambulance, Orenda Fink. My wife’s always got a bunch of projects.

PW: What is one thing you wish people knew or understood about the Faint that they don’t already know. A stereotype or rumor you’d like to dispel?
TF: I’m not very schooled about what people think about the Faint to be honest. I don’t read that stuff much and nobody would come up to me and tell me one thing or the other about what they think. People will just say I like this song or the album or I hate this or that. Why don’t you do this more, but I don’t really get a feel for what the Faint means to people or what they think of when they think of the band. I’m too close to it to kind of understand it, so I don’t know. It is hard to dispel or affirm any of them now.

PW: Well, how about your Omaha association? There’s nothing associated with that?
TF: It is fairly interesting that there’s a electronic pop band from Nebraska that doesn’t sound like music of the heartland exactly. What do people think about Nebraska from an outside perspective, I get that. I like Omaha. I’ve spent my whole life here, so I’m not sure I want to stay here until I die.

PW: But you wouldn’t relocate the Faint to California or anything like that? (Cough, cough Cursive, cough cough 311)
TF: I don’t think we could all agree on a place to move with everybody we care about, which is probably why we’ve lived in Omaha as long as we have. It’s affordable and it’s easier not to move than to move. So if I move, I’d have to make trips back to do recordings and rehearsals.

by Shane Aspegren

PW: So, what do you think of the change that Omaha’s made in the past year with the venue regulations in places like the Slowdown and the Waiting Room? Has that affected you guys at all?
Basically, Omaha was having a hard time deciding if places that went back in forth between venue and bar should be allowed all ages shows. Eventually, the City Council decided all ages shows were acceptable, but minors would have to have a notarized parental permission form on file with the venues. Omaha also passed an indoor smoking ban. [Ed. note: Notarized parental permission? Intense.]
TF: It kind of affected Jacob [Thiele]and I with Derek [Presnall] of Tilly and the Wall. We had the party called GOO. It might have affected the longevity of that party, but we were about to end it anyway because we had to start touring. So not really.
I like being able to go to bars and not have smoke in them. I’m all for the freedom of anybody to get addicted to whatever they want, but I don’t want to have to share it with them necessarily. I like clean air. Although, the lights in the club don’t look quite the same unless you have a hazer in there and some places don’t allow people to smoke and put that on the smoke list.

PW: Yeah. Now, GOO kind of resurfaced as Gunk. I know you’re busy, but do you have any desire to get involved with Gunk and maybe guest DJ with that?
TF: I don’t know what that is?
PW:I think some people have brought back GOO, but renamed it as Gunk, but they’ve been having it at the Waiting Room. You still have DJsand a dance party theme, like what you were doing with GOO.
TF: Is is successful?
PW: Yeah, they’re getting the same turnout. It’s the 18 and over crowd. There’s a 3-D Gunk in like two weeks maybe. You’ve inspired somebody, I guess.
TF: Cool. More power to them. It’s not GOO, but the point of GOO was to have people have something to do in Omaha and have something that’s really like a night out where you can dance and sweat and dress ridiculously. Do those things that you need to be able to do and have an outlet for it.
Before that, I didn’t feel like there was much of an outlet for it. There are places, but I don’t know. It’s good to keep it going, although, I probably, I think we’ll probably do GOO again when we have a chunk of time at home.
PW: So, Gunk completely sprang up separately? You had no idea about it?
TF: No, I saw a flier recently. I thought it was like, “You remember GOO? Now, it’s hard and it’s called Gunk.” I was kind of like, well, I understand why they do it like that, but it’s kind of like, can’t they get it going on their own without having it seem like it’s part of GOO? Because we worked hard to get it going, you know? I did notice it, but it just didn’t…
PW: That’s interesting because I think a lot of people thought it was a development out of GOO.
TF: Right, that’s why I think I’m not really sure I like that it is intentionally referenced so it is confusing to people. In order to think that that’s what it is. On the other hand, I don’t know, it’s kind of like a tribute to our party, I guess. If you want to look at it like that like it is carrying it on. Referencing it makes it sound like it is cooler than it probably was than not referencing it or a different party.
PW: Yeah, well I know people really enjoyed GOO and blocked it off on their calendars.
TF: It was definitely a good party.

PW: Well, that’s all I have, so thank-you.
TF: Alright, it was good talking with you.

The Faint: website | myspace

Interview with: Pierre de Reeder

Pierre de Reeder is best known for his role as a multi-instrumentalist in the band Rilo Kiley, but like the other members of the band, de Reeder occupies his down time with his own songwriting and recording.

Technical Editor Nick caught up with Pierre on the phone to discuss his new album, The Way That it Was. They talked about the album, songwriting, influences, and Pierre’s support for Barack Obama.

Nick, PopWreckoning: How are you doing?
Pierre de Reeder: Doing good, I’m good. How are you?
PW: Great, it’s starting to be fall here in Kansas City so it’s a good time here.
PdR: Oh yeah, what’s the weather like?
PW: It’s cloudy today and maybe about 70, but the leaves are starting to fall and change colors and there’s a lot of energy this time of year.
PdR: Great, great.
PW: So, do you live in Southern California?
PdR: Yeah, I live in LA.
PW: In LA, so you get to travel a lot so do you enjoy the seasons or do you enjoy keeping it the same all year?
PdR: Well yeah, I like the seasons. We do get some semblance of the seasons here. It’s not like anywhere else but, it gets cold and it gets fuggin’ hot. But, yeah we don’t get any good snow but it’s awesome when we get rain which is so infrequent.
PW: But, you get the best of both worlds because you’re only a couple hours from good snow.
PdR: True, true. I’ve been guilty of skiing during the day and going to the beach in the evening.
PW: Yeah that’s not fair. We can do neither.

PW: I’m really interested in knowing what your song writing process is. Do you start with lyrics or melody or chords or does it just vary with the song?
PdR: It’s very song dependent. It does vary, but I don’t know if its any one strategy I have. The songs come to me in different ways. Sometimes they come as just a melody popping into my head and I’ll start there and I’ll write some music around it. But I think more often it will start either with me practicing on the guitar or piano and something musical first happens, and then a melody comes along. But sometimes it all comes at once, you know? I’ll just pick up a guitar and something pops out twenty minutes later. It just depends on the song, but that’s more rare. But yeah, it’s everything. It’s all of the above. There is no one formula for me.

PW: How many times do you come up with something great and then someone else tells you it’s something else you’ve already heard?
PdR: I think I’m more guilty of saying that to other people. It’s always described to me as my job in Rilo Kiley to point out how similar some riff or something was from some other song. I try to avoid that. I’m pretty keenly aware of that. Though I’m guilty of it, I’m sure. There’s nothing new under the sun, as they say. So, yeah. I don’t know. It doesn’t really happen to me that often though maybe I’m littered with it. I don’t know.

PW: This album, your first solo release, is very polished and mature and has some great song writing in there without being overly layered and overly complex. Who has been your greatest song writing mentor?
PdR: Certainly some of the greats for me are the some of the greats for so many people. Like the Beatles, Neil Young and definitely my peers are mentors to me, just the people I’m surrounded with. Great musicians and song writers I’m associated with. So yeah, it’s a lot of outward kind of associated things and the things that I love through out my life and people I’m surrounded with, I guess.
That wasn’t a really specific answer, very broad I know but I think it’s true because everything I think we all are influenced by all of those things. I mean there is no way to pick. I guess you could say you’re totally into one band and you love the sound and you really try to emulate them, but we’re so influenced by so many things over such a long time span, you know, that it all kind of filters into the music you make.

PW: If those are your kind of long term influences, who do you like right now? Who are you listening to now that you think is great?
PdR: Right now, I’m actually back on a lot of the classics. I’ve been spinning a lot of vinyl around the house. I found this old Wings record. There’s certainly some contemporary things that are awesome like Benji Hughes who just went out with us- he’s awesome.
I get flustered being on point with these questions, about what record I’m buying or what I’m listening to. But again, peers. I’m a sucker for my friends’ bands. I’m a sucker for the stuff my friend Michael Runion does, or Whisper Town, or Jonathan Rice. Nik Freitas, another rad dude who we were touring with and he has a lot of records out.

PW: It’s nice to hear PopWreckoning favorite Morgan Nagler (of Whispertown2000) on your album as well.
PdR: Yeah, I got her and some friends together and sang up a chorus or two.
PW: How does that work, you just put out a phone call and tell a bunch of people to show up and they lay down some tracks?
PdR: I guess so, that just had happened to be one day where I had this vision for a whole bunch of people singing and different parts of a few different songs and so I asked my good friends and people that happened to be around.
Jake Bellows [of Neva Dinova] was in town so it was like, “That’s awesome!” So just some friends and I was like “Hey! What about Saturday?” and he was like “Yeah, alright!” So everyone came by. Not that I know it was a Saturday.

PW: It looks like you were able to bring your daughter into that process. Was that the first time she’s taken part in your music officially?
PdR: Yeah, yeah.
PW: Did she enjoy that process?
PdR: (laughing) Yeah, she really does.
PW: Are you trying to get her down the road? I have two girls so I have one about the same age as your daughter and I find it fun to get her involved. We did a little Garage Band project a few months ago. Do you try to encourage that with your daughter?
PdR: I definitely encourage it. She’s self-encouraged, though. She just loves “it,” whatever “it” is. She’s just like a little performer, you know?
PW: Yeah, I have one of those too.
PdR: She just loves doing that kind of stuff. I definitely don’t want to be a stage mom or dad pushing her to do anything but she does finds it on her own and things come up like this for her, like people ask her to be in a video or some song. She did a record for a kid’s band and all of this stuff just keeps coming to her and she just loves it.
PW: Well that’s great, my daughter, we did a Garage Band project and ended up shooting a video and she realized quickly that it’s not as fun as it all looks. There’s a lot of work involved.
PdR: A lot of it is just waiting, just waiting around.

PW: So I’ve read an essay you wrote about Obama and I see you’re a big Obama supporter. What are you doing over the next month to help out?
PdR: Well, coincidentally enough I get to participate in this really awesome commercial tomorrow that Shepard Fairy, the guy who did the Obama posters and also did obey Jock the Giant, is doing. It’s an official Obama campaign commercial that’s shooting tomorrow and I get to go in and do a sixty second speech on what I think and why, and blah blah blah. Tons of people are going to show up and do this tomorrow and just getting to be a part of that and who knows if a snippet of me will be in there or not, but just being able to get on the pulpit a little bit tomorrow for that experience is exciting.
PW: It seems like these days that artists are completely past the worry that they are going to offend any of the fans and they are wearing everything pretty blatantly on their sleeves.
PdR: Yeah, thankfully.
PW: I think maybe the Dixie Chicks led the way and took a little heat on it with their crowd but it seems like now it’s pretty acceptable. We were at ACL last week and it seemed pretty much every show made a mention of change and Obama.
PdR: The more the better, you know? It’s a crazy time everyone’s got to wear it on their sleeve. It’s the most patriotic thing they can do. It’s cliché to say but it is.

PW: Any back up plans if it doesn’t go our way?
PdR: I truly was one of those people when Bush got elected the very first time – before he got elected I didn’t know what I’d do. I thought there was something crazy about this dude and I didn’t know what was going to happen to us if he got elected. I heard some people like Alec Baldwin were going to leave the country, and I was the same way and this was all before Bush’s first term, so I had those similar pangs. But I’m not going to leave the country, I’m not going to do anything. What am I going to do? Just hang in there like everyone else and hope for the best.

PW: Yeah, I know. I read that you designed the Rilo Kiley t-shirt for the Yellow Bird Project. Is that true?
PdR: Yeah.
PW: So you paint or do other visual arts as well?
PdR: Yeah, I paint to some extent. A kind of amateur, for-love-of-painting kind of way. I have always dabbled in the arts. But, yeah I do a lot of design.
I have done most of the Rilo Kiley album covers, and I painted my record cover and all of the artwork, and Jenny Lewis’ record cover and yeah I do that. I do everyone’s record covers and photo retouching and all of that kind of junk. And artwork and advertising so yeah, I definitely do that.
It’s kind of been a sideline of mine forever. I used to teach graphic design. I just dabble in painting. I don’t really do it, but I did get to do it on my record cover which was fun.
PW: My wife has that Yellow Bird shirt, by the way, and just loves it. It’s a beautiful shirt.
PdR: It was great doing the Yellow Bird Project.
PW: And the Elliot Smith Memorial Fund is another cool thing to see on the back of that shirt.
PdR: Yeah, for sure.

PW: Let’s go to the new album. What is your favorite track now that you have had some time to let it sit and roll around, what do you go back to as your favorite?
PdR: I don’t know, that’s such a hard thing to answer. I’m so close and personal to each one of them. Its really hard to pick a favorite. There are different ones that are with me for different reasons.
There’s a slower one on the record called “A Long Conversation”. I don’t know why, it just has a mood about it that I really enjoy playing live and how it came across on the record. “The Way That It Was”, the title track, is another favorite. They are all obviously incredibly personal and I have a different relationship with each one, it’s like different children. I don’t which one I love best.

PW: How many songs do you write that don’t make an album? Are you prolific and just take the best ones, or do you take one and work on it for a long time?
PdR: I mean it’s kind of a mixed bag there, too. There are certainly a number of songs that didn’t make it on this record so there are a lot of finished or unfinished or whatever songs floating around out there. So I don’t know how prolific I am. More than some, much less than others.
I definitely can whittle away at a song for a long time or I could finish it quickly. I guess I’m more of a whittler with songs, especially with recording so much of this record myself. It lent itself to whittling where I’d have to do the drums and the bass and the guitar, and then experiment, and do whatever. It’s a long whittling process, and through that sometimes a song comes out much different than I started or sort of intended.

PW: I really like “Not How I Believe” at the end of the album and I really like the message of it: have a little bit of modesty and honesty. Does that hurt in trying to do a lot of self promotion around your album? Is it difficult for you to go out and sell this thing?
PdR: It is. I’m terrible about wanting to do that stuff but I am pragmatic about having to do it. I started a record company to release this record and so at least I can hide behind that and kind of use any promotion through the record company doing it (even though it’s me). I have to do tons of other stuff: be kind of business savvy, and getting all the ducks in a row and that kind of stuff, but yeah I try to remain modest with it all, too. It’s a hard thing to do, but, yeah those are tenets of me in general, like being honest and modest, and humble and sincere and confident, all at the same time.
PW: I think it definitely comes through in your work and I see a lot of, even with these troubled times, some optimism in here, quite a bit of it actually.
PdR: Yeah, I am optimistic. I always have been optimistic. Realistic, but optimistic.
PW: Yeah I think that’s great, it does come through. I really enjoyed the album.
PdR: Thanks.

PW: It’s definitely grown on me. I have listened to it quite a bit in the last few weeks. Is there anyone you really want to collaborate with or maybe even, since you have a label now, get a project going with someone else in the future?
PdR: I guess there would be so many people I would love to, I don’t know. Again I mean I love working with all of my friends and I love doing that and I would love to continue to do that with just about every one but I’ve encountered musically and I would love to have them all play with me in some sense on some recording or whatever.
From [Michael] Runion to Benji [Hughes], to Conor [Oberst], and everyone who is associated with everyone, I would love to play with them all. With everyone I have played music with and I’d love to have them involved with my stuff. And then it expands out to the greater big world of I don’t know. Yeah, I would love to play with anybody and everybody.
PW: Those tracks that have the chorus on them, it just seems like your having a lot of fun in there, and that does come through. I think that’s all I have for you.
PdR: Cool, that’s awesome.
PW: Thank you very much! It was great talking to you I wish you the best of luck.

Tour Dates:
Oct 24 – Rio Theatre / Santa Cruz, CA (w/ Jenny Lewis)
Oct 28 – Herbst Theatre / San Francisco, CA (w/ Jenny Lewis)
Oct 29 – Herbst Theatre / San Francisco, CA (w/ Jenny Lewis)
Oct 30 – Orpheum Theatre / Los Angeles, CA (w/ Jenny Lewis)
Nov 01 – UCSD Price Center Ballroom / San Diego, CA (w/ Jenny Lewis)

Pierre de Reeder: website | myspace

Rage Against the Machine Rock the RNC

Rage Against the Machine (and their fans) have been extra busy this week at the Republic National Convention and doing just like their name said they would: they’re “raging” against the “machine.”

The protests began Tuesday, Sept. 2, when the band attempted to play on the lawn outside of St. Paul’s capitol building. Police quickly pulled the plug citing that they didn’t have the proper permit for such a show.

This didn’t stop Tom Morello and Zach De La Rocha as they led the crowd in a capella versions of a few of their songs. Thanks to the amazingness that is Youtube, you can check out the historic protest now:

If you thought RATM was done causing trouble, then you most definitely thought wrong. The protesting continued as RATM held a concert in neighboring Minneapolis Wednesday night that coincided with some of the RNC’s more anticipated speeches.

After the show, fans took to the streets and started marching toward St. Paul. When the crowd size did not dissapate, police made several arrests.

RATM also had concerts during the DNC to show their support of Obama.

Rage Against the Machine: website | myspace

Grateful Dead to Reunite for Obama

Barack Obama’s run for the presidency has launched many different grassroots campaigns. The most interesting may be the revival of the Grateful Dead.

I am told that on Oct. 13, possibly either in Philadelphia or Pittsburgh, the Dead will get back together for at least one show to raise money for and awareness about Obama.

All four living original members will play together — Bob Weir, Mickey Hart, Phil Lesh and Bill Kreutzmann. The band’s leader, Jerry Garcia, died in 1995 from a heart attack.

Substituting for Garcia will be Allman Brothers and Gov’t Mule master musician Warren Haynes.

If all goes well, the band will then set out on a major tour in summer 2009.

Wow. Really, just wow.

Source

NOFX, Anti-Flag Show Their Political Leanings

NOFX

This Friday marks the beginning of the Democratic National Convention at Red Rocks in Denver, Co. and Fat Wreck Chords mainstay NOFX are headlining the festivities. They’ll be performing Punk In Drublic in its entirety in order to celebrate Barack Obama’s nomination.

According to the legendary Fat Mike, he’s on Obama’s VP shortlist. Imagine an America with Vice President Fat Mike…

Anti-Flag

Not to be outdone by their label mates, other sometimes Fat Wreck band Anti-Flag will be playing with Rage Against The Machine on September 3rd in Minneapolis as part of a protest show in concurrence with the Republican National Convention.

NOFX: website | myspace | buy DNC headlining tickets | live review
Anti-Flag: website | myspace | buy RNC protest show tickets
Fat Wreck Chords: website | myspace