It’s the annual Feedback issue and I was able to profile a very deserving feller, Sam Farzin, KUCI DJ and founder of the Acrobatics Everyday bunch that’s been behind a slew of wonderful shows this year around here, most recently that Japanther show from last week. To quote a bit from my piece:
Whether detailing how his interest in music was sparked in high school by the commercial breakthrough of the White Stripes or the learning curve involved in putting on shows or dealing with agents, Farzin is animated, as though he wants to talk about as many things as possible in as short a period of time as he can.
“I’d see where bands were playing in Southern California and think to myself, ‘Hey, they’re playing at UCLA, they’re playing UCSD. . . why aren’t they playing UCI?’” he recalls.
Meantime, I also did a bit of a last minute feature on the then-and-now of goth coming together with two separate shows over the next few days, the Sisters of Mercy and the Birthday Massacre. Last minute because it was meant to be a full profile of the Birthday Massacre, but the band’s touring schedule wouldn’t allow for an interview, so I punted a bit and I think it shows, but still, hopefully there’s something there of worth. A quote:
Once they went the major-label route, some of that opaqueness was lost, but the music often continued to be strong, with albums such as First and Last and Always and such singles as “This Corrosion” and “Dominion” gaining Top 40 status in their native U.K. and a huge cult audience in the U.S. and elsewhere. After a couple of compilations of singles and early EPs in the early 1990s, however, a massive falling out between Eldritch and his record company led to him refusing to record anything new. His frustration with the Goth tag grew as he found himself unable to break through both media and audience preconceptions of what the Sisters were supposed to be all about.
Since then, he has led new incarnations of the group on occasional tours and showcased a variety of unreleased songs, including the excellent “We Are the Same Suzanne” and “War on Drugs,” but the Sisters are ultimately locked in stasis. Eldritch, like so many other artists, is aware that it’s his past rather than his present that sustains interest.
There’s going to be more OC Weekly-related work by me in the near future, I hope, so stay tuned…