A dull roar floods a small, derelict house and about a block of surrounding land all of a sudden, followed shortly by a piercing screech which acts as the conditioned stimulus to roughly 30-40 people between the ages of probably around 15 at the youngest, up to pushing-40, causing a mass salivation in response to the promise of real, proletariat, bullshit-free Punk Fucking Rawk™. Brando Murely himself sits on a cinder block outside the door, just enough out of the way of the crowd distractedly making its way inside, everyone in the middle of a conversation, turning around every few seconds to give their latest opinion on the eternal IHOP v. Waffle House crisis, shouting-match phone calls, drunken wobbling, stoned hobbling, and oh-that-sweet-cocaine's-a-calling. From Brando's arm dangles eazily-breezily a small bucket, perhaps formerly housing some domesticated plant, with the word "DONATIONS" written in sharpie on the side. He is only a few brainwaves away from REM sleep, that sultry temptress.
Avey and Fyo take their sweet time. The openers are about to play, now sound-checking, if you can really call it that (not to be rude, but the opening acts of these kinda shows were more often than not either local upstarts or local failures, and lacked some level of expertise in regards to acoustics, dynamics, levels and such), but they have both just lit a new cigarette. No worries, though; they've been around enough that they know the path straight to the front, if it should turn out that The Ushi Onis were worth front row listening.
Towards the back of the house stood in solidarity the introverts so in love with music, but so out of touch with people, the old farts who didn't really care anymore but still attended out of habit, the few (if extant) devout fans of another band on the line-up who just wanted to get it over with already, and the stray college kid; not any art or philosophy major, no, just some regular Joe (and hilariously enough, one independent study in "Crime and Punkishment", a locally famous zine, reported that 73.7% of these people were actually named Joe) who happened upon this utterly obscene proceeding via a stack of coincidence and misfortune--maybe they were there with some punk ladyfriend from class.
In the middle, by far the largest section, you could find pretty much anybody from anywhere. Regulars who still hear the heartbeat of the scene, newcomers enthusiastic but not enthusiastic enough to put themselves out for judgement if they happened to accidentally nod their heads a bit with the music (mortified.....), and that strange demographic that seemed to place itself starkly in the middle of all the aforementioned alignments; middle-of-the-roaders through and through, to the point where they have risen above the road, and the ideal of the road, and smugly glance at one another and then down to you as if to imply a transcendence which those of us who have ever experienced anything in extreme can never know of.
Front and center, ears blasted to bits and facial muscles entering anaerobic respiration due to excessive smiling, the All-Stars of the scene danced alongside strangers, either naïve or drunk. The frontmen of the most famous local bands, the influencers, both silent and megaphonic, the photographers, the beauties, the hype-builders, the next band, the people who arranged this show in the first place, all of them stood in almost equal amounts of admiration as the performing act themselves. The rich and famous of the DIY; the proletariat bourgeoisie; the broke stock brokers; the soothsayers and the fortune tellers; basically, the people you want to know.
"Hey, let's make a film tomorrow" says Fyo.
"Who cares? Let's climb that billboard at the top of the hill. Let's hop on a train and record the city from like, some weird dutch angle, or something. Let's see how many cats can fit in one box."
"We could never find enough cats for that. All of our friends have like two cats at least, including me, and that still wouldn't be close to enough."
"Let's give the camera some 4-aco-dmt and see what happens."
"Easy on the Adderall, bub."
Fyo had a pretty publicly-known problem with stimulants, which he was recently combatting with a burgeoning benzodiazepine habit. Avey's personal dog hair was Kratom. Both of them partook in casual use of just about every recreational substance at this point, always especially eager to try something new. They still more or less had a handle on their sanity, but not without their eccentricities. Both had a deep love for consumption and creation of art, primarily music; between them they owned a veritable arsenal of digital and analog synthesizers, samplers, ancient MIDI keyboards, melodicas, and various novelty instruments collected over the years. Each had their own individual recording endeavors, as well as a joint operation making full use of their combined setup. They had played shows, Fyo more than Avey on account of having played in front of various kinds of audiences since the age of 15, from dull high school jazz band performances to the exact kind of venue they found themselves at tonight--in fact he'd played at this house several times already in the past year. “Holy House”, one of the few legit punk houses remaining in the city after a long string of misfortunes over the past two years lead to some places being shut down, others burning down, some simply forgotten about, living on only in the ink of flyers taped to the walls of just about every DIY art kid in the area--it was kind of like collecting baseball cards. Avey had played a couple of the more fleeting art spots once or twice, but was generally overcome with anxiety at the last minute.
Now three cigarettes in a row have been smoked, throughout yet more overly-anxious stim-fueled artistic brainstorming, both Avey and Fyo silently assuming that tomorrow would in reality consist of the same events as every other Saturday; recovering from the debauchery of the previous night, maybe with a half-hour or so of absent-minded musical improvisation.
The Ushi Onis had completed their set, and from what they heard from outside, it was agreed that their nonsense conversations were about on equal footing with the music, as far as time-wasting went. Not that they were bad, it's just.....it seemed as though they'd heard this same band hundreds of times, despite the fact this was their debut show. It seemed to Fyo, who had been in attendance for, shit, a decade now, that every show more-or-less went the same these days. You could even predict non-music related events. There was the guy who got way too drunk and was basically floating around the crowd, eyes only half-open, flailing around off-rhythm in a disconcertingly unhuman way during particularly intense performances--Fyo himself had been this guy on more occasions than he'd like to admit, as well as more occasions than he could literally remember. There was the creep getting kicked out for being creepy; that was a very strict rule for this scene, "NO CREEPS". You'd see it on basically any given flyer. House shows did tend to attract these creeps, what with the combination of pretty, young, and drug-addicted attributes of many of the female frequenters. Thankfully, Fyo had never been that guy. There was the kind of slapstick situation that occurred immediately after every band played, where the members of the other bands playing that night would come up and say "Hey, great set, what pedals do you use?" and then annoy the shit out of the poor guys just trying to fucking get their drums in the van, only for the same thing to happen to the original complimentary artists. Nobody ever learned their lesson. Nobody ever learned their lesson, forever and ever. This pretty much sums up the stagnation that Fyo has recently come to observe within the scene.
"Hey, I'm done here, if you are. Head back to my place?"
The four-minute drive back to Fyo's apartment left just enough time to blair at obnoxious volume Avey's favorite song by The Mountain Goats (at least, his favorite song that day--the song changed frequently, but The Goats always remained Mountainous). On the way upstairs, Avey got a text from Tomie: "Beck pulled through. Pool party?"
So Avey said to Fyo; "Beck pulled through. Pool party?"
Tomie was a close friend as well as ex-girlfriend to both Avey and Fyo. Beck was their communal coke dealer. Fyo was the only person in The Crew whose apartment had a pool, and it was the deep depths of summer, so late night swimming was a common occurrence. Tonight, Tomie had brought Beck along (who surely had more coke, and anyone can see that hanging out with a coke dealer, who definitely had plenty of coke to spare, would certainly turn out to be a fun time--Fyo knew this from experience, as an old friend, Jericho, also happened to be a coke dealer before moving off to.....fuck-knows-where; Fyo wasn't sure WHY they hung out so much exactly, or why Jericho had given him so much free coke in those days; Jericho was gay, but Fyo didn't really feel like he could possibly be desirable enough to warrant such favor, especially with his [back then, at least] very socially awkward mannerisms, even after several lines of really honestly pretty great coke--although, Fyo [himself being hetero, this only now in the narrative needing to be made clear] usually thought the same thing about ladies he spent time with, and surprisingly often was proven wrong) as well as invited Fitch, who invited Les, who invited Beck, who invited Lil, who invited Vick, who invited.....
"Wait you say WHO the fuck is coming to my apartment???" Fyo demands answers.
"Shit, I'm sorry Fyo. I didn't know Vick was friends with him, don't know why he still is. We'll tell him to fuck off once he gets here, waste some gas at least. But hey.....The Crew here ain't gettin' any younger, so let's fuckin' get to it. Pick a record already."
The Crew was, in no particular order:
Avey, reserved but strong-willed and resilient, and disarmingly cunning; he once got Fyo, his on-and-off-again girlfriend Elise, and himself a free pass to this really exclusive music festival in what can only be described as an "experimental city"--FORM Arcosanti was the name of the festival (the town being just "Arcosanti"), located smack dab in the middle of the deserts of Arizona, where Fyo first glimpsed that now-out-of-reach image, occasionally dreamt or half-remembered, of a lone mountain, in the middle of one of the least forgiving deserts in an entire superpower-nation's worth of land, one of the hottest and driest places around, soaring so high into The Places We Cannot Reach, the great heights, the domain of myth and fiction more than anything, of a mountain seen from the road of a lonely desert which had a peak covered, even here in the frenzied peaks of July, the radioactive horror show burning of July, a peak covered in SNOW. Beautiful, nostalgic (and always nostalgic, for there was no "winter" in Arizona), almost, no yes certainly CLEANSING snow. The rest of the trip only got better. That is all we'll say of it, for now;
Fyo, the one whose thoughts we gain direct access to (to hell with a fourth wall; give me 50, 500, 5,000,000 more walls, and I will break them all), generally responsible, has a dependable job as a pharmacy technician, "almost" a real job, and two major flaws; here we move into
1.) Intense Manic Episodes On a Yearly, Predictable Basis
Every year, in the period of time spanning between around March and June-Mid-July, Fyo would suffer an intense clinical episode of mania; he would become obsessive over ideas so obscure and opaque that he only sounded like a lunatic when describing them, and indulged in drug abuse as if suicidal, and more than once now had indeed proven to be so. Fyo would and did argue, however, that during these periods of admittedly (even by him) questionable ties to reality, his artistic output became noticeably higher in both quantity and quality than what was usually found in his "seasonal depression" (so-called) episodes during the months of October-February. No psychiatrist has yet explained this adequately.
2.) An Unhealthy Obsession With All Forms of Art, As Well As the Definition of Art Itself
From a very young age, Fyo had shown great interest in art, and strangely enough but of course conspicuously naturally, surrealist art in particular. At 12, on a family vacation to Florida for the purposes of the (back then affordable even by the lower-middle-class family, with some planning) relaxation of the beach and the primal thrill of the Great Twin Amusement Parks, he devoted a day to visiting the Salvador Dali museum in St. Petersburg, Florida; a couple years later, the very first band he was in (at 15 years old) was named after Dali's "The Burning Giraffe". Then he gradually caught on to the growing web of obscurities, myths, exaggerations, half-truths, genuine enigmas, and philosophical contradictions that were accepted by some as truth, and saw the art embedded in life; and in the mirror, he saw the reflection of such, and in that he saw things that moved him in ways he was naïve to previously. That's how he got older. That's how he saw that the waking life was just as absurd as the dream. All that mattered was which space he occupied at a given time;
Tomie, as mentioned previously was both a close friend and ex-girlfriend to both Avey and Fyo. Each relationship was separated by such distance (spatially and temporally) that it really didn't matter, everyone had moved on cross-country and it was just nice to have people just fuckin' caring about each other, you know? Tomie was not afraid to bite into you in a very personal way, as long as she knew it would help you. She was a great ally to have in the world, if sometimes blunt; but this bluntness was out of a genuine kindness and invariably proved effective somehow. If you trusted anyone's advice, it was Tomie's;
Fitch, constantly in-and-out of jail for something or other, after so many years the circumstances blurred out a bit. Being eternally and self-admittedly impermanent, he always seemed almost as if acting in repentance to the best of his abilities; but around people like this, hope for repentance was laughable;
Lil, probably the most adult of the group, an ex-girlfriend of Fyo from back in the day, had worked her way to a very well-paying analytics gig. She still found herself hanging around with these wannabe artists and revolutionaries, for whatever reason; she was certainly always welcome, and that gave her a warm, content feeling.....
"Pick a goddamn record" says Lil.
Every time The Crew got together for some midnight coke-fueled swimming, someone got to ceremoniously choose a record from Fyo's collection, off of which the cover of the cocaine would be inhaled. It was Fyo's night. He was having trouble deciding. The record that was chosen would also be played on the record player while the lines were being drawn and erased; the lines themselves were on the sleeve, the small but not ignorable visual component of the LP. He looked through his stack; Joyce Manor (played a show with them before they became big--frontman was kind of an asshole. No.), The Antlers (far too sad for shamelessly inhaled thrills), Talking Heads (no, we'll just end up putting "Once In a Lifetime" on repeat), no, no, no, no.....LCD Soundsystem? Hm. Yeah, this one. Sound of Silver, talk to me.
"Fuckin' finally. Okay let's get this train wreck a-rollin'."
Greed filled the eyes of everyone in the room. Along with record-choosing duties came the first line of the night. Fyo lays down one FAT fucking line, finely crushed almost down to the individual molecule it seemed, grabs the closest straw, leans over and looks down at the snowy mountain range here in the middle of the silver desert, and unflatteringly snorts with all his might, and feels each crystal immediately begin its own personal attack on his neurotransmitters, leans back to make sure everything falls into the mucous membrane, nothing wasted, except for Fyo himself, and steps back to fall comically onto the couch, a smile of contentment and even relief overtaking his facial expression as Nancy Whang chants "You can normalize. Don't it make you feel alive?"
