HELP THE LOCUST!!!

I’ve sung the praises of The Locust as purveyors of sonic terror and know how amazing they are as artists and people first hand. They have always been a huge part of the San Diego underground music community. Unfortunately, like dozens of bands in the past year, their gear was ripped off in St. Louis after a gig. More info is below. You may not like their music or aesthetic but you can appreciate and respect them as artists who make a living from the instruments that were stolen. It sucks. If you play an instrument I’m sure you can understand…

The Locust’s van was broken into and robbed in St Louis over the weekend at a grocery store after the show. Many valuable items were stolen (COMPUTERS, IPODS, CASH, PASSPORTS, RENT MONEY, ETC) and the loss has been devastating to the band. The bands insurance does not cover theft so the loss is on The Locust. Three One G has set up a way to donate to the band if you are interested. Click this link to make a donation!!! Thanks so much. Most of you know how thoughtful and kind those guys are as individuals. Lend a hand!

HELP THE LOCUST

The Locust: Catching Up with JP

There’s something at work on New Erections, the new record from San Diego’s resident four piece aural assassins, The Locust. It’s that unidentifiable ‘thing,’ which was always hinted at on past Locust records but not fully realized until now. Its immediate truth bristles with intensity. Its insectile language works on the subconscious as a musical representation of the Burroughs and Gysin cut-up method, a footnote of comparison that bassist/vocalist Justin Pearson acknowledges as an unintended effect of having four principle songwriters in a band.
I’ve never been skeptical of the Locusts intention as a ‘band,’ though I’ve never really thought of them in the traditional sense of the word ‘band.’ They’re much more like a collective. Sure I can’t listen to them every day, sitting in my pre-fab cube, drinking my single serve coffee, working on excel spreadsheets. The work itself is inspiration enough for mass homicide without the sound track of the Locust lending its ferocity to my high blood pressure. No. The Locust are more of an entity, individually they are some of the nicest people I’ve had the pleasure of meeting and having an occasional drink with at the Casbah but once they move as a unit their DNA changes. As the Locust, they devour all in their path, using razor sharp musical incisors to decimate the crowds with bombastic sonic annihilation.

The Locust, whose members include drummer Gabe Serbian, bassist/vocalist Justin Pearson, guitarist/vocalist Bobby Bray and keyboardist/sound manipulator/vocalist Joseph Karam, represent a decade’s worth of underground music, record label(s) and side projects surface to blinding brilliance. Their names and accomplishments are not something the average fifty-year-old Guitar Center employee is going to recognize or identify with but their contributions both individually and collectively are worthy of respect. Check out wikipedia for the full rundown of each member’s affiliations. After several rescheduling issues, Pearson confirms our interview will take place at one of San Diego’s local punk rock friendly Mexican food establishments, Pokez.
New Erections is the foursomes latest release on Anti, an imprint of punk mega label, Epitaph. The labels mission statement is; “Real Artists Creating Great Recordings on Their Own Terms.” Being on Anti is a point of pride for Pearson whose respect for label mates Nick Cave, Tom Waits, and Merle Haggard has the all black clad, clean shaven bassist beaming and admitting with a mischievous glint in his eye, “we sent the art in for New Erections with only the Anti logo on it and no one said anything.”

Once again the band enlisted the expertise of producer/engineer Alex Newport, whose credits include over fifty of the most amazing underground and just-barely-slipping-a-toe-into-the-cold-mainstream acts for the past decade. Only available via a secret, password protected streaming web page buried on the Epitaph site, New Erections elicits its namesake upon first listen – metaphorically speaking of course. “We didn’t want it to leak on the Internet and we got two weeks away from the release date without any problems. In one way I think it hurt us cause people didn’t have their advance copies but I think it actually helped us cause it built anticipation,” Pearson states just before ordering a vegan grilled tofu burrito.
Like every Locust record, there is always the intent to change and improve on past efforts. New Erections is no exception. Its dynamic and signatory, instantly identifiable as a Locust record with the exception of a few key things: the songs are longer, the vocals are intelligible amidst the cacophony, and it rocks in all the right places. Certainly there will inevitably be detractors out there in that vast and fickle scene that will lambaste the bands newest piece with lazy whispers of sellout-ism or ‘they-don’t-sound-like-they-used-to’ droll.Luckily, Pearson isn’t affected by the possibility. In fact he speaks of his bands newest endeavor with the highest regard. “Most people are embracing it (the new record). The different vocals and the fact that the songs are longer; there is more space and development which make it less dense. Soundscapes was so dense and you never had a chance to breath. It’s interesting, to perform the new stuff live cause a lot of it is actually harder to play than Plague Soundscapes – physically and time signature wise. Plague was much more ‘riff, riff, riff.”

The transition the band went through is apparent. Pearson ruminates on the number of reasons New Erections sounds the way it does; “We took a weird path and I’ve only noticed in retrospect. We did Plague Soundscapes and that was the first record we did as a four piece and we really developed as a band, finally coming into our skin and found exactly who we were. From then until now, we did Safety Second and that was the first time we developed material with space in it and parts that built up. It was weird because we did Safety Second in conjunction with a very short west coast tour right and that was when Dave Stone joined our band for that tour. Dave did sound manipulation.
“He had this Darth Vader vocoder thing he modified to do obscure sounds with. He also had this huge wire hooked up to a contact mic that he put on Gabe’s drums and Gabe would play these patterns and it’d pick it up and he’d manipulate that. He had one of those Thunder Sheets (makes thunder-like sounds). It was more theatrical than musical. We made a 45-minute set with no stops. I think subconsciously it put us in a place where when we were writing for New Erections we aimed for aesthetic, more musical dialogue I suppose, where we could develop things. We’d try and find ways to sustain by detuning and lengthen the song and of course lengthening anything for us is a long fucking time.” He says with a laugh.

New Erections is different than its predecessor for the simple fact that a listener can actually get to know the song. With Plague Soundscapes it was almost too ADD to get a hold of an interesting hook: each song exploded with dozens of great riffs and grooves that would last only a few seconds each. Vocally ,the band has definitely matured, despite Pearsons distaste for the word’s connotations. It’s one of the strongest attributes on New Erections. Pearson eagerly explains, “The other thing I was really excited about while recording New Erections was we started developing more vocally. Out of the three of us I think I had maybe started to develop my vocals starting with Plague Soundscapes but Bobby and Joey really delivered some amazing vocal techniques on the new record. Alex really pushed for us to have our own songs. Each of us did songs where we had written the bulk of the lyrics and the other two members would do backing vocals.”

“We didn’t do preproduction on Plague Soundscapes. Alex did produce the record but we didn’t go over things. He didn’t say ‘you guys really need to work on your vocal delivery.’ Cause a lot of times Bobby would specifically write lyrics where you’d normally have four beats and four syllables but he’d write six syllables to four beats and cram everything in. That’s artistic in it’s own way. Not that we’re supposed to be traditional but here’s Alex saying, ‘You can be weird and abrasive but you can also be musical and do it.’ I hate using the word mature but evolution or something works better,” Pearson says, picking each word out carefully.

Its his meticulous way of explaining just how much thought and passion went into his bands latest piece that brings William S. Burroughs and Brian Gysin’s ‘Cut Up’ method into our conversation. The Locust is as connected to art as they are connected to music and the inevitable occurrence of the two converging is perceptible. “Maybe subconsciously those things [Cut Up method] tie in but it started with Safety Second where we said there is a common theme we need to write about. And it was all based metaphorically on human organs and the human anatomy and that was the first step of us writing together while still writing separately. Something we did again with New Erections. We’d say, ‘okay you write these pieces but keep in mind it has to be thematically based on these things.’ It’s loosely based on an outline. We’re not Pink Floyd or Mars Volta and its definitely not a concept record but we still pay attention to each others lyrics and contribute to the whole,” which resulted in three variant perspectives on one theme combined into music and lyrics.

Our conversation didn’t end there. In fact, after a long discussion with JP we decided it’d be pretty cool to get a play by play of life on the road when they went on tour. well if you have been paying attention, that worked out sort of meh…with JP dropping the charge of updates from the road, a continuous piece called, “From the Graveyard of the Arousal Industry.” I’ve blogged about the impact reading it had on me. It was some of the most honest writing I’ve read about a band since reading Get In The Van, the story of Black Flag by Henry Rollins.

Please visit The Locust for tour dates and info on the new record.

The Morgue Called, They Want To Use Your Cadaver “For Study”

The first time I met Justin Pearson I was just getting started with a project, a website called themusicedge.com. The intention of it was to be this hub of youth culture that the music products industry could dip its marketing muscle [read:balls] into and reap the benefits of kids going out and buying truckloads of instruments and products – a hilarious and immeasurable goal – perpetrated by a bunch of business suit attired has-beens and wannabees who thought that an asshole such as myself with some experience in music journalism could bring some gravitas to the fledgling site. They were right. To an extent. We hovered at 30K visitors a month and were an official Webby Award Honoree for 2006 (woo hoo…). Of course those accolades fell on deaf ears, or rather ears that wouldn’t know that the web would surpass radio for ad spend in 2007. Does hindsight count if you were blind behind?

At first I was enthusiastic about it. To endeavor to bring the beauty of making music to a generation whose art and music programs were being cut by an administration obsessed with war was enticing. I took the pill. I jumped right in. I wanted to make things change. That was the optimism of a post 9/11 job out of college (not right out of college, more like 2 years later) for me. I must stress that there were more good things that came from that experience than negative, one of them being my growing friendship with Justin Pearson of The Locust. He was the first “Big Interview” I did for the site. He believed in the propaganda that I believed in, but part of me thought he believed in the fact that artists that don’t chart and don’t move units should have an opportunity to be heard. Sort of an “I like their aesthetic. So I want to share it with everyone,” thing, right?

The last interview I did with Justin marked another benchmark. It was the first for HYPEzine.com. A project basically run by two dudes and supplemented by about 20 of the most amazing and loyal writers and friends a hack editor could ever ask for. Below is a link to the last lengthy post post from a guy that was probably born ten years too late into a world that is as unforgiving as it is beautiful and absurd.

You will get an inkling of what the ‘music business’ is all about – from the Graveyard of the Arousal Industry couldn’t be a more apt title for Justin Pearson’s tour diary. Part of me wishes he’d have continued in the face of all the terrible things he is going through (gone through), and part of me is glad he’s done writing for now. He’s incredibly prolific. If anything just to continue to document what it is REALLY like. The pieces themselves were quite amazing and honest. These paragraph-less musings on life on the road where a bit of a bitch to get through when editing. Nevertheless an amazing account.

Not traveling in a giant fucking tour bus, staying in 3 and 4 star hotels, having everything and everyone tell you that you matter. Fuck that. Its the real deal.

Here is an awesome picture taken by Robin Locust.

Bad Religion: An Interview with Greg Hetson

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When it comes to bands that have made their unique mark upon an ever-expanding world of music, Bad Religion’s 20-plus years of playing rank up there with The Beatles as far as influential bands are concerned. Of course, many of those bands may never play the Hollywood Bowl or the Bowery Room in New York, but each year they’ll be on Warped Tour, The Take Action Tour and headlining their own sold-out shows. They say that imitation is the sincerest form of flattery, and if that’s the case, then Bad Religion is flattered beyond all expectations. Their latest release, The Process of Belief, is another example of what it means to push limits and push sound—to move past what may be expected and surpass everything that came before.

The history of this prolific punk rock machine began almost two decades ago as a reaction to an environment that was not only hostile to punk rock music but also an industry that wasn’t taking any chances on anything that couldn’t turn a profit. Three teenage friends growing up in Southern California met and began rehearsing in a garage, playing shows and recording a completely DIY EP. Brett Gurewitz, Greg Graffin and Jay Bentley soon realized, much like their counterparts in Black Flag and Minor Threat, that to get anything done they had to do it themselves. With that, Brett decided to start a label called Epitaph Records to release the now classic, How Could Hell Be Any Worse?

Several years later and a couple band members more, Bad Religion was soon becoming more than just a hobby. With the addition of Greg Hetson on guitar, Bad Religion’s sound was fully rounded out into the melodic buzz saw attack, a signature sound they have become famous for. 1987 was a good year for the band. They recorded the classic, Suffer, an album that held fast to their punk rock values while embracing a high amount of production quality. Soon after the success of Suffer, three more albums were released—No Control, Against the Grain and Generator—creating a veritable quadripartite of punk rock genius.

From that time on, the band managed to release one album a year, and in 1993, during a time when punk rock music was taking a loose hold on the mainstream, they were signed to Atlantic Records and managed to land a hit with the track, “Infected.” In 1993, the record Recipe For Hate, which hosted guest appearances from such greats as Concrete Blonde’s Johnette Napolitano (“It Struck a Nerve”) and Pearl Jam singer Eddie Vedder, who lent his signature voice to several tracks (“American Jesus” and “Watch it Die”), further broadened Bad Religion’s scope as musicians and respected artists. The years to follow had the band jumping from Atlantic to Epic and finally back to Atlantic. With the release of their latest record, The Process of Belief, the band was once again at home with Epitaph and under the wing of their friend and musical brother Brett.

During the times when Brett was involved heavily with the label, Bad Religion hired the talents of former Minor Threat guitarist, Brian Baker. A triptych of guitar talent was formed with Hetson and Brett, and the three brought a new aesthetic to the idea of what makes a band. Eschewing everyone’s expectations and pushing well past any predetermined ethos, Bad Religion took on the year 2002 with magnified intensity, bringing The Process of Belief to the forefront of progressive rock music.

Hetson always wanted to play guitar, but he was never in school band. “I wasn’t in school band because I wanted to play guitar but they didn’t have guitar in band,” he says. “There were a couple of schools in my district that did. I remember seeing them wheel around these Pignose amps for guitar and bass.”

Some of Hetson’s earliest influences in music were such guitar-heavy bands as The Beatles, Credence Clearwater Revival, Queen, Judas Priest, The Ramones and The Buzzcocks. Early L.A. bands like Black Flag and X inspired him as a player as well. His first guitar “was a cheap Harmony electric all-in-one that I got when I was 12. I play an (Gibson) SG now through two Marshall straight cabs and a Mesa Boogie Dual Rectifier. I also have a Marshall 6555, Silver Jubilee (released in 1987 to celebrate 50 years of Marshall business), which has a little more output than a JCM 800.”

Hetson began, as many do, by taking guitar lessons, learning the basics and hoping that one day, he would be playing in a band of his own. “At about 16, I started playing along with some friends who also wanted to learn how to play. I think I was about 19 when I started with the Circle Jerks. Basically what happened was I quit Redd Kross in front of the Whiskey, and Keith (Morris, singer of the Circle Jerks) overheard me saying I didn’t want to be with the band anymore, and he said, ‘Screw those guys let’s start our own band.’ He said, ‘I know a bass player,’ and I said, ‘I know a drummer.’ And that’s kind of how it all came together.”

So how did Hetson start playing with Bad Religion? you might ask.

“They actually gave me a demo tape. One day we were all hanging out at Okie Dogs. It was a place we all used to hang out at after shows. I really liked it and became friends with the guys. We (The Circle Jerks) were going to be on the Rodney On the Rocks Show the next week, and I said something like, ‘If we like the tape we’ll play it over the air.’ I started getting them opening slots on our shows and air play and somehow I ended up in the band years later.”

When it comes to orchestrating six members of a band, it takes lots of patience and practice. Fortunately for Bad Religion, having three guitars transfers well in both a live and recorded setting. Hetson says, “Surprisingly enough, recording is pretty easy because we do so many overdubs and layering anyway. Live, it kind of just works. We don’t do a lot of the shows with him (Brett), but when he does we’ve usually got enough going on that it works. Part of the time we’re all doing the same thing and other times others are doing different accents and things that were on the record. So it kind of works out—we thought it would sound like a wall of mush but it actually sounds good.”

The writing process for Bad Religion is collaborative. “For the most part it’s collaboration, but sometimes someone will come in with a complete song,” he says. “If you look at a lot of the songwriting credits, [they’re] always attributed to pretty much everyone.”

The new Bad Religion record is about half way through the mixing process. Hetson says, “It’s coming out really great. I think everybody is really happy with it. Some really strong songs. Some heavy lyrical content, as usual. It’s a little darker, lyrically than the last record maybe. There’s a lot of stuff going on these days for inspiration.”

Bad Religion has always been at the forefront of music both politically and socially with their various contributions to charities over the years and their songs inspiring fans to think outside of the box. The auspicious title for their soon-to-be-finished record is The Empire Strikes First, and like Hetson said, it has some ”heavy lyrical content.”

Of course, the lyrical content of Bad Religion’s songs has always been a message of self-empowerment, articulated positively by a UCLA master’s degree/Cornell University Ph.D. (Evolutionary Biology/Zoology/History of Science) wielding Graffin. They also have a band-sponsored research fund that “was created to allow students to pursue field-oriented investigations in cultural or natural science,” according to Hetson. “It is an award with an educational focus and is meant to promote self-motivated discovery, practice of the scientific method, and experience in scientific writing.”

With two decades of music behind him and many more ahead, Hetson, like his Bad Religion band mate Brett, decided to start a label with long time friend and producer, Steve Kravac. The two met at Westbeach Studio some years prior and decided to take their experience as musicians and give back what they had learned in the business to younger bands. According to the Porterhouse Web site, “Each band added to the Porterhouse roster has been selected for their individual merits as opposed to the strategy of many indie labels that adhere to a sonic likeness to create label identity.”

Hetson says that in music today, “People can’t tell Trapt from Incubus. You can’t tell one from the other. They all jump up and down, choreographed in time to the music. The most important thing is to create your own identity. Classic punk rock bands like The Clash didn’t sound like The Ramones. The Adolescents didn’t sound like Black Flag. None of the bands sounded like each other and maybe that’s why no one is selling records anymore.”

Hetson added some words of wisdom, saying, “The best thing you can do when you’re first starting is play the music you want to play. Try to create your own identity and style, and stick to what you believe in musically and philosophically. Do something with a twist.”

With that kind of grassroots individualism in mind, Steve and Hetson have managed to produce great records from bands like Speedbuggy and the newest edition to the Porterhouse family, Lightweight Holiday. Porterhouse is essentially run out of Hetson’s garage where they built a Pro Tools studio. “We’ve got enough room in there to cut drum tracks. It’s a two-car garage and if we do drums in there, we have to track them in the control. We’ve got a good-sized iso booth where we can fit a couple guitar amps and get some decent vocals out of. We’ve got two rooms, one small and one pretty big.”

When it comes to sonic differences between analog and digital sound, Hetson says, “I guess analog sounds better but you know, well they both sound pretty damn good. Analog sounds better but for convenience sake, Pro Tools works better. We do some of the drums on tape, depending on what the bands budget is and the rest on Pro Tools. We’re doing the new Bad Religion record with the drums on analog and everything else on Pro Tools. When it comes to time saving and money saving, you can’t beat it.”

Porterhouse is a small band’s dream. The Web site invites bands to send in unsolicited material and that’s essentially how Lightweight Holiday was discovered. “They just started sending in demos and after about a year-and-a-half of listening to their stuff, I had them open up for The Circle Jerks and checked them out live. Then we went in to rehearsal with them and told them, ‘We really like you guys but try this out and this out.’ They liked how we were approaching things and we said, ‘Let’s do a deal.’ They were really receptive to our feedback. Some bands are really reluctant when it comes to offering feedback, but they were really receptive.”

When all’s said and done, and the feedback from the amps reverberates to its final decay, Bad Religion isn’t just some average punk band you might listen to on your MP3 player, or in your car on the way home from school. They are, without hyperbole, an institution of integrity. By posing questions and always challenging their fans to think first, Bad Religion is an example of an ongoing legacy that hopefully inspires more young bands and fans to follow their dreams.
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This ranks up there with one of the more remarkable interviews I’ve done. I definitely got the best of two of my favorite punk bands with Greg being part of BR and Circle Jerks.

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Situation of Noise: An interview with Justin Pearson of The Locust

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In our Starbucks coffee driven fast food and reality based short attention span world, certain challenges arise to the creative minds of our generations. Sometimes these challenges are met with variant modes of creative outlet and of recent years it seems to be occurring in music. The base for era spanning communication has always had a home in that many of societal problems coexist in the ethereal world of sonic composition and creation of ART. Art is merely a means to an end. It can take many forms, painting, poetry, architecture, and most importantly for the purpose of this feature, music.

The Locust are in the trenches of their self-described “noise terrorism” war on contemporary and conventional thought. Formed in 1995 from the ashes of San Diego based noise core bands, Swing Kids, Struggle, Crimson Curse and about a dozen other notable bands, they have seen their fair share of current trends rise and fall with the fickle youth of America. Themusicedge.com had an opportunity to speak with Justin Pearson; the bass player of The Locust and his musical background is about as peppered as the bands laundry list of line up names.

According to J.P., “I’ve always liked music since I was a little kid, when I was 5 or so I was going to go see KISS but my mom said I was too young. We used to always pretend with tennis rackets and stuff. Then when I was ten or eleven my mom’s cousin let me borrow his guitar then eventually I picked up a bass.”

J.P. adds his history on lessons by saying, “I taught myself. When I first moved out to San Diego I took lessons from this guy and all he would do was show me how to play rock songs, so he’d show me this riff. But I never really learned how to play. I only took like three or four lessons from the guy and I thought it was a waste of time so I ended up messing around with other people. My friends and I that also didn’t know how to play, we didn’t know together so we figured things out that way.”

The Locust not only manage to destroy conventional thinking about how music should be arranged but they also have a tendency to create from that chaos some pretty technically proficient song structures. Their sound is somewhere between chaos and harmony, with an emphasis on controlled chaos. When seeing them live recently at their record release show (the new record is called Plague Soundscapes, its on Epitaph/Anti Records) at San Diego’s, Off The Record, playing to a packed house, it was noticeable to most in attendance that it was really hard to see them if you happened to get there one second late, like I unfortunately did.

Their sound is brutal and not for the faint of heart but one cannot deny the musician ship it takes to create such music. Not only does The Locust have an amazing zeal for creating music, but also most of their cleverness comes in the way they merchandize. Instead of your typical T-shirt, hooded sweatshirt fare, most Locust items consist of Skateboards, compacts with “The Locust” logo on the mirror and the standard aforementioned products.

J.P.’s musical tastes are as eclectic as his music, although he retracts his former fascination with KISS, “I think they are so lame. I hate KISS a lot now and I’m not into how misogynistic they are, but when I was a little kid I like the way they looked.”

Adding, “I really was into Styx and Boston when I was really, really little. Then I got into break dancing and early rap like Run DMC and Beastie Boys. It’s weird though because I grew up in Phoenix Arizona, it’s a total hesher state and everyone is into heavy metal. So I got into metal, I ended up living a couple blocks away from some of the guys in Slayer and that really intrigued me. The whole metal punk tie and I ended up getting into punk. The first band that got me really interested in music was the Sex Pistols. I stumbled upon some of the really early skate punk tapes that Thrasher (magazine) used to put out like Septic Death, but I didn’t want to limit myself musically so I take from everything.”

J.P. has played in some of the early GSL Records-style noise-core bands, like his first band which he states, “I got into my first band when I was about fifteen years old called Struggle, that was the first band I was in that was a real band. I was in a band called Swing Kids and The Crimson Curse and I’m also kind of still in this band called Holy Molar, it’s a weird project band. The Drummer lives in Portland and the singer lives in New York. I started The Locust about seven or eight years ago.”

The Locust has for all intensive purposes, felt their share of success. What could be construed as more successful than being used in a John Waters film (Cecil Be Demented)? And with their recent sign to punk rock powerhouse Epitaph and its subsidiary, Anti, The Locust have no choice but to prove that you can be aggressive in your approach when playing music without being predictable. And it’s unpredictability that separates The Locust from other bands. “A lot of people, especially drummers play the same beat, they obviously aren’t being creative. Whatever makes that band works is their deal,” says J.P.

As far as the writing process goes, J.P. says that its group oriented, “It kind of mutates over time and we all kind of write equal parts it just depends, someone will come to practice and they’ll have a couple parts to work with and we’ll build off of them. For instance Joey (Keyboards) will have these parts that are virtually impossible to translate onto guitar and base so it will force Bobby (guitar) and I to write around it and work with what he’s doing but not be playing the same exact riff which is good because it adds some great dynamics. Also Gabe (Drums) writes some insanely complicated beats on drums and we’ll work around those parts and Bobby and I will add some riffs that we add. And after we have a basic skeleton we’ll dissect it and take it apart and make time signatures weird and slow certain parts down and speed certain parts up. Make it a little bit confusing a little bit more creative and over time over a period of a week or two we’ll butcher it some more, then the last step is adding vocals to it and we’ll all decide what parts to sing.”

Beware of The Locust, their music will challenge and dare most people to rethink their concepts of what songs should sound like. Most importantly, The Locust are composing songs of the future and Plague Soundscapes is the vessel they are using to slowly bring in the fans from the conventional crowds.

the locust
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Done in June of 2003, without having a home I figured I’d post here and as such I haven’t changed anything from the original, just added this little footnote. Justin Pearson was one of my very first interviews for themusicedge, which is hilarious considering how conservative the parent company of the site was and is and the kind of ‘obscene’ content The Locust always get lambasted about. At a later time some ‘concerned’ perpetual meddler wanted me to take down the article, luckily I stuck it out and provided a compelling argument to the suits that if our ultimate job was to inspire young people to create music then who are we to sensor what kind of music is created? I also thought it fitting for a first feature, especially after my dour interview with Taboo from The Black Eyed Peas who had, at the time, just added Fergie to the group. Justin is one of the few people, aside from Ben Koller (Converge, Cave In) who supported the basic tenants of that site from the beginning and has always made himself available for interview(s) and linked to whatever it was I happened to be working on at the time. He suffers from being incredibly likeable, maybe that’s why I think of him as an artist more than I think of him as a musician. Maybe I’m just full of shit too. He’s doing a post called “From the Graveyard of the Arousal Industry” for HYPEzine.com. Its a tour diary.

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