The calendar requires Javascript.
![]()
Today: Jon Loyens’s Firsts! This time, we examine what inspired Jon “The Sledge” Lyons from The Midgetmen. The local 4-piece celebrates 10 years of punk ‘n’ roll on Friday, May 18th at The Mohawk - besides a set o’ originals outside at 11:15, the band will also perform “Weird Al” Yankovic’s 1985 classic Dare To Be Stupid in its entirety inside at 12:45! Scope out the poster further below for the full line-up/

![]()
Today: Konrad Kupiec’s Firsts! This time, we examine what inspired Konrad Kupiec from Illinois metal outfit Diamond Plate. The band released its debut full-length, the bludgeoning Generation Why? last year and is currently on tour supporting Overkill. Catch ‘em in action at Emo’s East this Saturday.

![]()
Today: Naomi Cherie’s Firsts! This time, we examine what inspired Naomi Cherie from Technicolor Hearts (and previously Mariachi De Los Gallos, Agent Ribbons, and Southern Drama). Head down to The Black Light Masquerade at Beauty Bar this Friday to catch her new project’s debut show.



As the bassist for D.C. punk icons Fugazi, Joe Lally has spent nearly a lifetime in music both as a bassist and singer/songwriter. For a generation of punks, indie rockers, and straight edgers, Fugazi has served as a jumping off point for many of the cornerstones of underground music including hardcore, post-punk, and noise rock and after the band went on indefinite hiatus in 2003, Lally took it upon himself to continue writing, recording, and performing, now with his own original solo material built mostly from raw bass lines and vocals. Lally's newest album Why Should I Get Used to It (2011) displays some of the most straightforward songwriting the bassist/singer/songwriter has ever been apart of as a solo artist and subsequently, the new album represents perhaps Lally's strongest solo offering to date. Lally will be playing this year's Fun Fun Fun Fest Saturday November 5 at the Orange Stage. I caught up with Joe Lally via email correspondence to ask about the new album, his beliefs surrounding the state of punk music, and the future of his influential band.
Beat Connection: From your first solo albums you seem to have progressed from intense self-imposed minimalism to more of a charmingly ragged feel on your new record. What accounts for the change in sound and approach?
Joe Lally: There's a few reasons for that. I couldn't sing much at first, it was more like talking. The music got built around that feeling of speaking intimately with someone. I also arranged the music in a different way. I wrote for a rhythm section leaving a space that was to be filled by a lead instrument like guitar, sax, or keyboard. That still occurred on Philosphy For Insects, but even with that song the new album is mainly different because I really knew what each song would sound like when I went in to record. I didn't know that with the first two albums. I found out as we went along.
Beat Connection: Was the writing process more collaborative on this album or more driven by your own songwriting? How has your songwriting changed as a singer/songwriter from your first album?
Joe Lally: In a way it's less collaborative. Although at times I was writing to a particular person's playing, I was actually writing more myself. For the first time I wrote guitar parts and over all I think I can hear the music coming more easily when I'm writing.
Neon Indian’s Alan Palomo has never been one to shy away from an adventure. After the take off success of his band’s debut album Psychic Chasms (2009), Palomo shipped off from his Denton, TX home to Brooklyn to form a new home base and take advantage of all types of wild opportunities including working with The Flaming Lips on an EP of post-apocalyptic musical expressionism, putting out a single for Mountain Dew’s Green Label Sound label with Grizzly Bear’s Chris Taylor producing, developing and making an informerical for his own brand of synthesizer, and now most recently, heading out on tour with Kreayshawn, an artist that could very well be perceived as being Palomo’s polar opposite. For his band’s new album Era Extraña (2011), Palomo followed his sense of adventure in the dead of winter to Helsinki, Finland to record the album completely alone. The album that has come as a product of those sessions and that experience is one of greater musical, physical, and emotional depth than anything Neon Indian has released in the past, giving listeners an album that can be discussed and pondered over as easily as it can be danced to. I caught up with Palomo over the phone before Neon Indian was scheduled to play a show in Portland to talk about the new record, his writing and recording process, and some of that adventurous spirit that makes Neon Indian's music such a thrill.
Beat Connection: On the new album Era Extraña it feels like there’s a darker tone to the music than on Psychic Chasms and moodier arrangements. What made you want to use a broader sound palette on this album?
Alan Palomo: In a strange way many of the aspects of this album felt like a rite of passage by going into the studio and limiting myself. I guess I’ve always enjoyed the idea of tying one hand behind your back and using those limitations to help you really shape the sound of a record.
Like for example on this record it was kind of important to not use samples just because a lot of the first record was based on creating these loops from these pre-exisiting pieces of music and then write arrangements over it and then at some point I put this tape warbled sheen over everything. But this time around I wanted to work with individual sounds that were already a little bit fucked up in nature and then see if I could combine them and make a song out of that. I guess I just wanted to change my approach and keep it interesting for me.
![]()
Today: Erik Chandler’s Firsts! This time, we examine what inspired Erik Chandler from Bowling For Soup. Catch the veteran Texan pop-punk outfit at The Parish tonight – get your tickets here.
Bowling For Soup by Jason Janik
![]()
Today: Carrie Clark’s Firsts! This time, we examine what inspired Carrie Clark from Sixteen Deluxe and Elevated Lines. The latter celebrates the release of its debut EP Evil Eye on June 11th at Skinny’s Ballroom.
Carrie Clark by Jerry Milton
![]()
Today: Cheshire Agusta’s Firsts! This time, we examine what inspired Stinking Lizaveta’s drummer Cheshire Agusta. The Philly three-piece brings its sludgy instrumental soundscapes to Emo’s on June 13th – get your tickets here.

![]()
Today: Sasa Crnobrnja’s Firsts! This time, we examine what inspired Sasa Crnobrnja from In Flagranti. Catch In Flagranti in action at Beauty Bar on June 11th -- RSVP via the Learning Secrets site for $8 admission; the LS lads get the dance party started at 10 p.m.
Image courtesy of Learning Secrets
![]()
Today: Jonathan Toubin’s Firsts! This time, we examine what inspired Jonathan Toubin, former Austinite and curator of legendary New York Night Train shindigs like Soul Clap. Toubin is bringing the party down to The ND this Friday, complete with a Dance-Off at midnight (yours truly will serve as a judge) – cover is a measly $5 and if you’re victorious, you could take home $100 (details).

![]()
Today: Alison Clancy’ Firsts! This time, we examine what inspired Alison Clancy from Electric Child. Catch the band during SX week at truly amazing The Beatles Complete on Ukulele event at Jo’s tomorrow at 5 p.m., the All Together Now Showcase later tomorrow night at Bayou Lounge 500, and the SPIN day show at Stubb’s on Friday.

