Editorials

BCGs Angel Lust EP Release Show Review No. 1

May 18th, 2015

Article written by Christopher Zeischegg.

Long Beach, CA — There’s something called popular culture in which all insurgency movements now operate. We used to say, “Punk rock is dead.” But it’s simply been repurposed — along with all other counter-culture movements – to fund terrorism.

I may sniff cocaine to stay awake at a party, but also to guarantee the drug’s import/export through global territories occupied by militant Islamic groups like Boko Haram and ISIS. This is called drug culture, or “expansion of the mind.”

I may upload my music to Tunecore, Soundcloud, Bandcamp or Facebook in order to guarantee a .05% expansion of my (non-financial) consumer base, but also to guarantee a corporate CEO’s access to advertising revenue. This is called independence, radical youth culture, or “the grass roots music scene.”

Live music events have, thankfully, moved their assaults into more transparent territory. Festival sponsors, such as Bud Light (with their slogan, “The perfect beer for removing ‘no’ from your vocabulary for the night”), have been integral in the perpetuation and commidification of consumer violence and rape culture. Without such overt advertising sentiment, concert-goers could fall into ambivalence over their role in the industrial-terrorist complex.

Unfortunately, local music and art scenes – with their lack of corporate affiliations – run the risk of total irrelevance. Thanks to drug culture, attendees are able to perpetuate a certain level of global violence and terrorism. However, the effects may not be visible within “the scene.”

To illustrate this issue:

I was invited to the album release party for a Los Angeles-based band called the BCGs. Because of my acquaintance with one of the event’s promoters (Records Ad Nauseam and BETEP producer, Luka Fisher), my entrance fee was waived at the door.

I felt a sense of unease that Mark Zuckerberg would never, in any direct or indirect way, profit from my attendance. But I carried on.

SONY DSC

Image credit Isabella Clarke.

Upon entering the venue (an unnamed warehouse in Long Beach, California), I bore witness to at least twenty red-black-and-white flags that closely resembled the iconography of nationalist socialist Nazi Germany. The swastika had been removed from each flag and replaced with the BCGs logo.

The association with historical genocide appeared to make up for the lack of relevant corporate and/or religious terrorism. Though, some deception had been cast. Three of the four BCGs members appeared to be young, latino males. And each denied their involvement in any hate group.

Confused, I wandered outside to stand with other concert-goers and discuss important topics, like abortion, Will Smith, and video games.

The conversations lasted too long, and I missed most of the opening acts. But I was ushered back inside to witness the spoken word artist, Hart Fisher (perhaps no relation to Luka Fisher), perform his set.

OLYMPUS DIGITAL CAMERA

Image taken by Genevieve Munroe.

Fisher appeared at least a decade older than most others in attendance, and he seemed out of touch with the crowd’s preferred modes of “entertainment.” A lot of the kids talked over his set. Fisher responded by shouting and heckling. His words were violent, but – in combative terms – he did no more than spit on several young alcoholics. At the end, no one had been murdered. I suppose poetry had soothed the artist.

The BCGs took the stage next. They sounded something like punk rock, but different. I’m not sure in what way, because I don’t know much about the genre. Though, the drummer stood up the entire set, which I felt was unusual. And they incorporated some electronic instruments by means of a laptop and software.

SONY DSC

Image taken by Isabella Clarke.

I was moved – for a moment – by a heartfelt dedication to a friend of the band, who had recently passed. Immediately after, the frontman – Joel Zimmerman, dedicated a song to himself, called everyone in the audience “faggots,” and then claimed to be “the only true heterosexual.” It was a provocative move, and yet none of the surrounding queers would stab him. Even I let his words slide off my back. Because, after all, he was probably right.

The BCGs performed a few more happy-sounding-numbers, accompanied by chants of self-mutilation and praise for South American pederasts. Most everyone danced. Zimmerman penetrated the venue’s wall with a knife. It was, overall, a good time.

Image taken by Isabella Clarke.

Southern California’s beloved Terminal A was the last to perform. I admired their sound and energy, which had been written about at length in literary rags, such as the LA Weekly. But I don’t remember much of what happened during their set. Hart Fisher may be to blame, as he’d captured my attention with a business proposition that involved me “getting raped.”

OLYMPUS DIGITAL CAMERA

Image taken by Genevieve Munroe.

I left alone and unable to discuss the meaning of what I’d witnessed.

I only felt that something had been missing. It was hard to say what, exactly. But if the scene were to expand, perhaps, one day, it too could match the black hole of devastation wrought by an event like Coachella.

Featured image (top) was taken by Isabella Clarke for Unraveled.

Listen to the full Angel Lust EP release here.

Christopher Zeischegg (Danny Wylde) is a pornstar cum novelist. His second novel “The Wolves That Live in Skin And Space” will be released later this year by Rare Bird Books. In his spare time he plays in his band Chiildren, which will be releasing its second EP later this year with a cover designed by Rev. Stephen Leyba. You can follow Christopher’s (s)exploits here.

Related Posts

Comments are closed.


Unraveled™ is a project of FARIDA LLC | © 2013, FARIDA LLC