LIKE GOLD DOWN A SEWER PART FOUR!

HEY..GET A FUCKING HAIRCUT, HIPPIE!... SARA BELL AND JEB BISHOP OF ANGELS OF EPISTEMOLOGY AT THE BREWERY, SOMETIME IN 1988 PROBABLY. PHOTO BY YOURS TRULY.

THIS NEXT SECTION IS DEFINITELY WHEN I HAD BEEN LIVING HERE FOR AWHILE. I ARRIVED IN RALEIGH JUST IN TIME TO SEE THE OLD COC START TO BURN OUT AND WITNESS THE ARRIVAL OF THE POST HARDCORE PRE INDIE ROCK (THEY CALLED IT "COLLEGE ROCK" BACK THEN.) AGE. EVERYONE BUMMED ON HARDCORE AND STARTED TO GROW THEIR HAIR OUT AND TAKE DRUGS. READ ON, KIDS!




THE “BOX SET” ERA

There appeared to be a changing of the guard somewhat happening when 1986 came to a close. Times were changing a little bit. The hardcore-ish music that had had a big impact on the area from 1981 until the end of 1986 seemed to be suddenly out of favor, which was understandable for everybody. How far you can you take that sound, & how fast could you play before a person ended up getting tired of it-and besides that, just about everyone involved with the initial “No Core” era explosion had progressed in musical taste & their own abilities to the point where they had to move on. Hardcore was a blast when done good but admittingly didn’t leave many areas open to explore or get weird. Besides the obligatory “going metal” route that was admittingly pioneered (and done well) by C.O.C., many other hardcore acts lost the plot, re-invented themselves or simply quit. The result in this area was the dawning of the (for a lack of better words) post-hardcore world of music. National bands like Scratch Acid, Big Black, Sonic Youth and Redd Kross were big favorites. All of the resulting local bands that were either already playing out or starting up all had embraced the post-punk sensibilities of that time period. All of these new bands, the Angels of Epistemology, Egg, the BlackGirls, Wwax & the Slush Puppies, all had a lot of this feel. And all of them would end up being represented on the infamous box set of singles that loomed over the horizon.
First though, a few words on the new bands.

THE ANGELS OF EPISTEMOLOGY:
Probably for my money, one of the best of all of these bands. The word eclectic doesn’t even come close to describing this low-key ensembles overall statement of intent. The band, which consisted of Jeb Bishop (ex Stillborn Christians), Sara Bell, Mike Carter and Claire Ashby, combined seemingly hundreds of influences and played their songs on a combination of different instruments including a distorted banjo (courtesy Sara Bell), sung mostly by Jeb with Sara also handling some vocals, and propelled by the minimalist thumping of Claire on her tiny Mo Tuckerish drum set. Although I had usually enjoyed them and thought that they were interesting, I kind of had some problems with them at times. I think some of this came across due to a certain elitist and pompous attitude that seemed to swirl around the band & some of their friends. The inside joke atmosphere of some of the songs & the lyrics made me feel weird, like I wasn’t part of some joke that they were pulling. There was an attitude of segregating themselves away from certain people and at the time it kind of bugged me. Looking back at all of this now, I certainly have no problems with any of what I thought, & I can just listen to their music and enjoy it for what it is. The stuff still holds up, and I have a lot of good memories attached to the Angels. They have a cd that was released on Merge records years later that hosts nearly all of their music, but I am not sure if it is still available.

SLUSH PUPPIES:
The first time I was aware of Mac Macaughn, he was this little longhaired guy that knew Wayne & Benji and hung out with them.He was also briefly involved in the Chapel Hill band A Number Of Things as their second guitarist. Then I remember suddenly seeing his new band, the Slush Puppies. Jonathon Newman played drums & their first bass player was named Chris. I thought they were pretty damn good. The most “punk” sounding of all of these new bands, the Slush Puppies were a loud three piece band that rushed through their sets and had a lot of cool songs in that post-hardcore vein that could also bring to mind other acts like Husker Du in the fact that they had progressed beyond harcore’s original intentions & had started to focus on writing songs & easing up on the pace. The Slush Puppies were kind of like that, & they did it well. Not too far removed from what Mac would end up doing a few years later.

EGG:
Egg could be looked upon as sort of a continuation of the Stillborn Christians due to the fact that Jeb Bishop and Gary Hess were both in Egg. Jonathon Newman (of the Slush Puppies) was their drummer. In truth, Egg in fact DID sound a lot like the Stillborn Christians but definitely sounded more mature, slower with more of an emphasis on songs and although a good band, I kind of liked the Stillborn Christians a bit better. Still, they had a big handful of cool songs, with the one song “No Reason” being kind of a mini-hit.

THE BLACKGIRLS:
The biggest departure came in the form of these three ladies who made up this band.
A low-key quiet ensemble, Lee Johnson (guitar, vocals), Dana Kletter (piano, vocals) and Hollis Brown (violin) played intimately quiet songs that had an air of quiet intensity at best, and were mildly depressing at worst. I wasn’t always in the mood for this drama but when I was, they were pretty great. They really had nothing to do with anything that had come before in the hardcore scene, but Lee & Dana certainly were a part of that or at least weren’t strangers to it. The bleakness of a lot of their songs could be kind of uh..intense-but Lee and Dana sounded great when they sung together & Dana Kletter had and still has a beautiful singing voice. They ended up putting out an e.p. and two l.p.’s on Mammoth Records, and outlived everybody from the box set period as well.

WWAX:
Wwax started when Wayne Taylor took it upon himself to learn how to play bass in this really odd kind of way. Sensing he should play with a drummer, Wayne told me he’d help get me a drum set if I agreed to play with him. So I agreed. A few months later, it was obvious we needed a guitarist, so Wayne brought Mac (of the Slush Puppies) into the fold and all of a sudden Wwax was born. Some of our shows were pretty good, a few were terrible. Wwax had the same kind of post-punk rock sound similar to the Slush Puppies but were probably a bit quirkier in our approach, no small part to Wayne’s playing as well as I myself trying to rip off every SST records drummer there was and stick it in there in hopes that no one would notice. Everybody in Wwax sung. We could be pretty good at times. It was a long time ago.

ETHAN SMITH: I liked most of those bands all right. That whole contingent was getting pretty weird. It was pretty incestuous; I was having problems getting along with certain people. I was having trouble with getting along with certain people in that whole deal; there was something really weird about it. They were separating from other people and talking shit about people. I don’t know.

SARA BELL: The Angels especially, I mean, we were just so different from anything that was going on but yet people still related to it.  I think if we were around now there might actually be a genre we would fit in, but at the time I don't think we had any commercial sensibilities at all.  It felt very much like something we were doing to amuse ourselves and it's pretty amazing that any of it ever got released.  I feel nostalgic about it, we were all really good friends and had a little ritual for writing songs together whereby after someone came up with a tune we would write these nonsense lyrics late at night at Your House Restaurant over pecan waffles and grilled cheese, typically under the influence of lots of coffee and cigarettes as opposed to acid, contrary to most reviews I know of. But that was a cool time, all the old Raleigh hippies and deadheads and hardcore kids and art students and drunks and girls from St. Mary's coming together at Sadlacks and going to the same parties and seeing the same shows.  All those characters found their way into our songs.  

BRIAN GENTRY: I really liked the Angels and the Black Girls. I though they were really doing something different, getting away even from the tried and true rock and roll that pretty much all of that music adhered to. That was good stuff. A lot of the bands, who I barely remember now, bored me to tears, though. I was getting into the Melvins at that time (after you had introduced them to me in 1986.) and my tastes went heavy. I actually had never listened to Black Sabbath in high school so they were brand new to me then. Along with Motorhead these bands helped me to reaffirm my glorious metal roots. Also, oddly enough, I was into the Residents, Foetus, etc and so I was bored by the box set stuff for the most part.

ERROL ENGELBRECHT: I was getting into my own thing, and I was listening to a lot of other types of music. I didn’t really care much for the scene, it just seemed like it was getting worse, kind of a snobby elitism of psuedo-intellectual rich kids who had all looked down their noses at everyone else, in their little groups. People are a product of their environment and its hard to change you know when you are brought up a certain way. I thought all of those newer bands acted like art students trying to be arty for the sake of being different; I didn’t much care for it. I am not saying it was bad, it just didn’t speak to me. People around here that were into the scene had a little different taste in music anyways. I was pretty much into the loud three-chord thing.

These bands were by no means the only game in town. Around the same time bands and projects like Light In August, the Veldt, the Beatless, Days Of.. and Confessor were also out and about. All of those bands had their own thing and their own scene going. Quite frequently everybody would end up playing together quite a bit. But during that time period, it seemed that the box set thing kind of took off, especially when the box set did in fact come out. “Evil I Do Not To Nod I Live” was recorded and organized during 1987. In early 1988, it was released on Palindrome Productions. Wayne mainly organized it, with production assistance from both Matt Matthews and Jerry Kee. Richard Kilby (of Barefoot Press) offered his printing expertise as well as donations. All of the bands also pitched in money and helped out on the insert, as each band had two pages to do whatever they wanted. It came out really good and looked sharp. On February 3rd, the official record release show was held at the Brewery. There was a lot of local press as well, and not surprisingly, it did very well, and soon all of the records were gone. It is today a collector’s item-good luck in finding it.

BILL DALY: I always saw myself as somewhat of an outside observer to the people and bands in the Raleigh music scene of that time.  I was in school and was just beginning to get my own band going. However, I was still seeing a lot of bands play at clubs and parties. I thought some bands were really good. But they broke up before they ever reached their full potential. Usually, they lasted about six months or so. 

SARA BELL:   There was also the amusing situation of the band I was in later with Michelle, Claire and Barbara called Dem Choklodytes and how our boyfriends at the time just couldn't help but play sort of Kim Fowley-like roles in our persona.  It's very funny and makes lots of good stories (like the time Jim Freeburn, totally unbeknownst to the rest of the band, sent a fake bio and press kit to the Independent saying we were from Denmark and like "four Iggys in a dress" and the clueless rock reviewer there believed it and wrote a big rave about us which drew a ridiculously large crowd to our most obviously second show!) but was all way too embarrassing for me, and my aforementioned insecurity made it hard for me to speak up about it or try to control it.

JEFF JUNG: I guess my all time favorite would have to be Flat Duo Jets. I caught them playing in someone's basement at a party, with no idea who they were at the time. It was just after I moved to Raleigh. Absolutely blew me away. Made it a point to catch them every time I could after that.

LEJUENE: Well, I was dating the dude in Light in August at the time they performed, so it was digging it. p. s .I am madly in love with my hubby now! I liked all types of music even New Wave so it excited me that bands were progressing the sounds of 70's punk, hardcore, and experimental or industrial rock. I loved Days Of.., but I love Kevin's voice, and Slush Puppies I never missed a show.

CHRIS SCHNIEDER: That was a pretty cool period. I THOUGHT that I had a lot of fun.

It was an extremely happening period of time. A lot of stuff was going on and thank goodness it was documented. On the other side of the coin, at times I felt the entire box set thing was pretty stuffy. I didn’t always jive with the mind set involved in what was going on. Maybe I was being insecure about everything, but there seemed to be at times this whole segregated sort of thing going on-it seemed certain people just weren’t “cool” enough for other people. It could be like being back at high school sometimes but that is the way it goes and that is how things sometimes are. Maybe there was a point.


JEFF JUNG: I would have people tell me they thought certain people in the scene were snobby or elitest, but honestly, I never really noticed. For all I know, the same scenesters they were talking about could have thought some of the people I hung out with were snobby and elitest, too. I never was the sort of person to take anybody's word on that sort of thing anyway, and any time I talked to someone from some other clique (or whatever you want to call it), it was always rather pleasant. I can't remember ever having any problems with any of the scene regulars.


BRIAN GENTRY: Well, cliquey behavior is something that I have seen lots of now. “Scenes” are everywhere, and I have been part of some. I found myself somewhat estranged in Raleigh sometimes by people who really didn’t seem to want to talk to me. I was part of the somewhat nerdy newcomers. We were outsiders and had somewhat different tastes (I refer here to people like Skip, Darren, Mitch, etc.). On the other hand, I made some good friends and connections in the cliques, usually with the people who were “in” but also aware of what was going on. You were one of those. I think it bothered me a lot at the time, because it felt a lot like high school, which was still a pretty recent experience. Looking back it all seems kind of silly but then again I was pretty silly, too. I think we bridged some of the gap with the Fowler House and Enterprise parties. I never lived in either place, but I kinda remembered getting a bit out of hand several times. It made for great parties and those remain some of my best party experiences of all time.

By this time, there was a lot more people coming to shows. A lot more people were attracted to what was going on, & some of these people could be really “punk rock”, but only in its lamest forms. Some of these people came up from Fort Bragg, where they were stationed. Some had moved here from somewhere else. There were certainly loosely organized “gangs” in town, an intimidating handful of big burly guys that always ended up causing problems. It was the usual story, I guess. I am sure some of those guys were probably pretty cool when they were not around their “buddies”, but all in all, it could be really fucking lame-just like anywhere else. So, who could blame anybody for not wanting to be part of that type of bullshit? However, I still didn’t mind punk rock, and didn’t really want to be around a bunch of pompous and pretentious “art fags” who were of course oh so “beyond that”. On one hand I don’t mind having my head ripped off by music when I am in the mood. Then again, I don’t want to play touch football with my buddies at a show either. There had to be some middle ground.

SARA BELL: It was a creative time.  I was pretty oblivious to the schism caused by that event, but I remember being swept up with the excitement that Wayne and Mac generated about the possibility of making a record. It just wasn't as much of a concept before then, not like it is now.  But Wayne had a lot to do with getting the first records of Raleigh bands from that era made and was very entrepreneurial that way, it was inspiring.  I think my favorite thing about that record is how totally different the bands are from each other, and how that mirrored the overall atmosphere from shows then.  The Black Girls were on the same bill as Honor Role once if I remember, and it was perfectly normal for there to be a show like that.  It's probably a result of being a bigger city or maybe that there are so many bands now, but that sort of thing doesn't really happen anymore. 

JON WURSTER: The stuff that comes to mind is both underground and "overground." Some punk, some not-so-punk. I thought the very early Flat Duo Jets were really good --a  pretty wild experience live.  I really liked Let's Active (psych pop), Accelerators (tuneful bar rock), the trio-era COC, No Labels, Connells, Bloodmobile (Statesville), etc.  I guess I liked bands that had memorable (to me)songs whether they were hip or not. I was not very much into Days Of ( a band that came off to me like they had massive chips on their shoulders) and several of those late '80s Raleigh/Chapel Hill post-hardcore bands for whatever reason. Oddly,there are some songs on the Subculture album I still like to listen to!

RICHARD BUTNER: I see it as an evolution going a lot farther back.  Starting with the aforementioned bands like Stillborn Christians.  But even bands like No Labels were evolving, as folks got tired of repeating the same structures or the same themes.  The "Jane Doe" cassette is pretty different stylistically from the first No Labels recordings for the No Core comp.
It's hard to say how much of this evolution came from big outside influences and how much of it is a natural part of any local scene.  Just as there were a bunch of guys in the late 70s/early 80s who wanted to be Elvis Costello, there were bands in the mid 80s who wanted to be REM. I wasn't particularly interested neither in the metal/punk bands, nor in the jangle-pop bands either.  At the time, heavily influenced by Sonic Youth and the Swans (who I'd seen play together in 1982 at the Pier), I was probably interested in innovation for innovation's sake (a viewpoint I no longer hold completely).  So when Jeb came back from Belgium in 1985, energized equally by listening to the Stooges and by playing with guys who banged on big pieces of sheet metal, we formed the band and/or.  We played out but never recorded.  For me personally, that band epitomized what I liked at the time--rocking out but rocking out with oddball instrumentation and with improvisational and mathematical structures.  I tried to do the same thing as a member of Angels of Epistemology but eventually got fed up with the whole idea of making music and haven't been in a playing band since. This sounds corny as hell!

I tended to gravitate more towards the band Days Of.., who were more my friends then most of the other people involved in the box set thing, and not just that, but Days Of.. were more along the lines of what I enjoyed when I went to see a band play music. They sort of bridged the gap for me, as they combined both the aggression and excitement of good punk rock along with more experimental melodiousness of the new age. They were easily the best and most exciting band of their time. For a little while, they were it.

DAYS OF..

SEAN LIVINGSTONE: The Box Set- Clever stuff. I probably would have gotten a copy if Days Of were on it.

MARK WEDDINGTON (Second Coming, Days Of..): My band Days Of.. played with Redd Kross at the old Cat's Cradle in '87, and I was really irritated that our singer was wearing a tie-dye shirt. He assured me it was ok, but I wasn't convinced, being the hippie-hater I was and am. However, during our last song, he ripped the shirt off to reveal this message written in magic marker on his chest: "It's 1987 not 1967, motherfuckers." 70s-lover Jeff MacDonald later told him, "Cool show, man."

Formed out of the breakup of Second Coming, Days Of.. consisted of everybody that was in Second Coming: Sam Mauney (drums), Mark Weddington (bass), Scott Williams (guitar), & Thomas Phillips (guitar). Joining the new band as the singer was none other then Kevin Collins, ex-Subculture vocalist. The band practiced diligently before unveiling the new sound. Days Of.. took on a huge influence by the likes of Rites Of Spring & other acts to spring out of the Washington D.C. Dischord scene during what was coined “the Revolution Summer” of 1985. An obvious need to progress beyond hardcore was also evident. I had missed their first show as I was away in California but when I got back I saw their next show at the Fallout Shelter, & they were great. Almost immediately the band became very popular, attracting a lot of the older folks as well as newer people attracted to the band. Not always the world’s tightest band, Days Of.. shows were, when they were on, massively overwhelming blasts of passion.

They opened for the likes of Bad Brains & Seven Seconds, & great things were being said about them. For quite awhile, Days Of.. was a truly incredible band.

CHRIS SCHNIEDER: Days Of.. was a really good band. Before I had moved down here, my brother had traded me the Rites Of Spring record because he didn’t like it, he was too hardcore. It was right before I had moved down from New York, and a lot of people that I knew were also into that. So I got turned on to the whole “emo” thing, which to me was Rites Of Spring, Gray Matter and then of course Days Of.. I hung out with those guys a lot; I was sort of an unofficial roadie and photographer for them. They put on great shows most of the time.


A FRIENDLY VISIT WITH FABULOUS AND SCARY DAYS OF…
Introduction: Days Of,, is a relatively new band that has definitely given this town a kick in the ass as far as good music, commitment, sincerity & (especially) integrity goes. This was done at Ashe Ave. last December (’86). Go!!

Brian: How about a little band history?
Scott: We formed in August of 1986 after the breakup of Second Coming, & we practiced for awhile. Then Kevin quit Subculture to join our band! (Laughter) Troy was going to college, so we broke up and plus we weren’t happy at all with how the band was going spiritually.
Brian: Do you think that Days Of.. is a continuation of Second Coming?
Scott: No. Not at all.
Sam: Because we are better.
Scott: Because we have learned to play our instruments and everybody is into the band now, as far as lyrics & stuff.
Brian: Kevin, what made you leave Subculture and join these guys?
Kevin: I was getting too much shit for everything that I did that was different from anything that they did. And it mostly had to do with one member in the band. The future looked bright ahead. So I took a step forward.
Brian: It seems like you guys are trying to do something a little different..
Scott: Well, a couple members in the band have been going to shows in Raleigh for the past three years being friends & hanging out, & like what was going on was a lot of these people were involved in the “No Core” deal, like No Labels and C.O.C., & there was a feeling of relationships. But lately in the hardcore scene there is like none of that, & we are trying to create something that is a little more then just running around in a circle & we’re putting more feeling behind what we’re doing as far as lyrical content and music. We’re not up there with instruments playing fast and slow, our music is just the way we feel and our lyrics are the same way.
Brian: Do you feel that you have grown out of punk rock?
Everybody: No.
Scott: No, not at all. I think personally. I have been going to shows since ’80 or ’81, & it is like a natural growth & not a stagnation of like revival bands trying to play hardcore. We just got tired of playing three chords & we think we can do something much more then that. We can’t sing about politics, or at least I can’t, on a worldwide basis. I’m not much in the know but I can deal a lot better on a personal basis. I mean, everyone is fighting their own war.
Brian: How many shows have you played so far?
Kevin: Three.
Brian: Were you surprised by the response?
Scott: Yeah, we were quite surprised!
Brian: Were you expecting the worst from people?
Thomas: Not really…just certain people.
Scott: The people who are friends & hang around with us understand what we are trying to do, I think and are into it.
Brian: Future plans?
Kevin: To put out a record.
Scott: We’re not going to rush anything. I’d like to record for personal use.
Kevin: We don’t want to wait until we have completely changed before we record.
Mark: We’ll put out something before our music starts changing.
Brian: Influences as of late?
Sam: Rites Of Spring has influenced me a lot, I don’t know…Soul Asylum. And Echo & the Bunnymen.
Scott: I listen to the Cure a lot, a lot of D.C. bands but overall my favorite is probably early to mid period Who.
Mark: I listen to the D.C. stuff, too. Also early Black Sabbath, Gang Of Four, Die Kruezen..a whole bunch of stuff.
Kevin: All of the above.. and I like Saccharine Trust a lot. I like stuff that sort of challenges people.
Thomas: I listen to classical music more then anything right now.
Mark & Scott: What?! Oh..
Thomas: I listen to a lot of the D.C. bands.
Brian: Okay. What do you think about what has been going on in town these days?
Scott: Well, as far as the skinheads & the mohawks and all of that, we really don’t identify with that anymore. Um, it’s just these outer looks are real meaningless and inside of a lot of these people, it seems like they don’t really care. They just seem more interested in if a band is playing real fast, they don’t care. But things in Raleigh seem to be looking up. I mean, we’re trying to do something different, & there is a lot of brand new bands that we like that are looking up musically-which hasn’t happened in Raleigh in a couple years. Like the Angels of Epistemology, who are starting up again, Slush Puppies..all of the bands are completely different, & then you have bands like Confessor, who are cool guys and have helped us out getting shows and stuff. You have these four bands and none of them are nowhere close to sounding the same.
Kevin: All of these bands are in it to play music instead of just starting a band so that they can be in a band. So that is cool.

BILL DALY: As for the band Days Of, I like them. But I never got a chance to see them play live. I think I remember hearing them on WKNC or on a friends tape. Also I seem to remember them opening for Fugazi in 1987 at the old -old Cats Cradle. I was not able to make that show. But I heard about it the next day. I did not hear them again until someone put their record came out in the late 90's.

BRIAN GENTRY: I can’t really remember Days Of.., except for wondering what the big deal was all about.

ETHAN SMITH: I thought Days Of.. were a really good band. My favorite memory of them is sitting with Kevin Collins, who was my roommate and really really stoned. And we were listening to “Appetite For Destruction” by Guns N Roses, and he was really trying to sell them to me via Scott Williams, who had discovered it and liked it a whole lot. Kevin was playing it for me and I thought that yeah, it was pretty cool but this is fucking Aerosmith. The attitude was cool, it wasn’t Ratt, you know? It had that Robert Williams cover to it and Kevin was playing it to me and describing the idea behind that Days Of.. song, “I am a God” song, the “God” song..”I am a giant” or whatever the fuck it was called. & he was describing these ideas of a large mechanical structure, some kind of God giant thing and he was trying to tell me about it and I wasn’t catching on too well. He was really really into it. I should also mention Scott’s “positive
period. Scott had this little “positive” thing; it was really funny because of Scott’s character. He is not positive. (Laughter) I don’t know what to say about Scott, he is a cool guy but he definitely isn’t a positive “emo” type of person, so there was this show where he put down the guitar and sang this song with lyrics about how he loved us all and we were all his friends. That was one of the funniest things I have ever seen in my whole life. I am not trying to sound insulting, but it was funny. Around that time, everybody was discovering ecstasy and so there were some pretty funny loving moments! I think the positive thing might have come from too much ecstasy. (Laughter)

The band generated a buzz in these parts. They had a few people definitely interested in putting out a record for them. A confusing ensemble of people, Days Of.. band decisions could be long drawn out affairs due to conflicting points of opinion. During the highly creative year of 1987, as a lot of the other local bands were assembling their music towards the “box set” idea, Days Of.. were asked if they wanted to get involved but the band turned down the opportunity. The band already had an excellent demo they recorded in Sam’s house due to the production skills of Matt Matthews. But in the end, nothing happened, no records were released & the band called it a day at the end of 1987, I believe. Over ten years later, the sessions were released on record along with some live material from the Fallout Shelter. It is a nice document of the time but would have made more sense if released earlier, obviously. Still, better late then never. It seems kind of hard to convey what an important band Days Of.. were to a small handful of people around here, but they were very good. And they also did a great job of pissing off people in the process. What else can you ask for if you are in a great band? Days Of..had massive chips on their shoulders, and their elitist attitude pleased some and alienated others until the band caved in under their own weight. Who knows what could have happened if they sorted those things out?
In the nineties, virtually all of the ex-members were involved in music in some form or another. Kevin co-founded the band Erectus Monotone & picked up guitar as well. Sam played bass in the band Picasso Trigger. Thomas did a lot of home recording. Mark went on to play guitar & sing in Willard. Scott went on to play in Garbageman & Daddy.