AUDACITY "JUVA JIVE" (10"/CASSETTE) OUT NOW ON BURGER/CUT-RATE RECORDS!!! These are the legendary recordings that Audacity was handing out at shows when they were in high school in 2007!!! A 10” was made of these mythic recordings way back when but never got past the test pressing stage… UNTIL NOW!!! Get the limited edition vinyl and cassette on Burger and Cut-Rate Records!!! www.burgerrecords.com
THE STORY BEHIND AUDACITY'S JUVA-JIVE...
US AND CHUCK
Charles "Chuck" Mordaunt was our original drummer. He had been with us since 2001 when we formed the band in sixth grade. Cameron joined us in November 2005, at which point Audacity really started to hit its stride, playing actual shows, writing actual good songs, recording primitive-but cool sounding demos at Chuck's house, racking up plays on myspace,gaining some fans, and practicing incessantly in our parent's living rooms. By 2006 we had a whole repertoire of real songs, and we decided to record a record at our friend Sean starling's house, in his bedroom. If anything this is a record of Chuck's wonderfully odd drum style, influenced by high school drum line and a minutemen-inspired urge to play things off kilter and creatively. He also contributed some lyrics. Chuck left the band in may of 2007 and is now married to his high school sweetheart.
We had known Sean Starling for years from playing with his various bands (Far From a Masterpiece, The Bipolars, Stellarphone) and seeing him at shows and parties ( where he was invariably naked). On top of that, he lived a short walk from my parents house and I would delight in grabbing my guitar case and walking the dirt trail from my house to his to go record. Spending time with Sean was eye opening to us. First of all he smoked more cigarettes than anyone we had ever known. He was constantly rolling bugle's on his front porch and spilling tobacco everywhere. He even had a running tab at the smoke shop down the street. He also seemed to survive off of Dr Pepper and would walk into Weinerschnitzl barefoot. He lived with his parents and two younger siblings and their relationship was sour. We had to stop playing at six everyday so they could get some peace and quiet. Sean was in an independent studies program where he didn't go to high school but had all these packets of homework he was supposed to do. Sometimes we'd do his work for him, as payment. In the end his only real payment was a pack of menthol cigarettes, a fact he always wanted to go on the record. Sean went on to form Cum Stain and now lives in Oakland.
When we recorded Desert Man our buddies Anthony and Cole came over. We were all crammed in Sean's bedroom and I played the intro and I remember Cole's face lighting up once the whole band kicked in. It felt good because they were more Sean's friends than ours at that point and I wasn't sure if they had come over just to mock us. Cole and Anthony sang backups on the chorus of Desert Man; we utilized a Halloween alien mask with a voice manipulator attached to it. Everything was recorded live onto one stereo track, so we had to get the mix beforehand. Some overdubs were done, like keyboards, multiple guitar solos and feedback, and backing vocals. There was one song we recorded that didn't make the cut called "Depeche" (the companion piece to "Mode", get it?). The verses had a demented polka kind of feel and the chorus had an extreme tempo change and was very staccato punk. This recording got lost, but there's a live version of it in Long Beach on a CD somewhere. Sean constantly went on walks to go smoke to battle the claustrophobic essence of his bedroom and we had all frequented the trails around his house for years, getting into mischief. We decided to walk around recording random things on a hand held recorder to make sound collages to use as segue ways in between songs. You can hear Matt's car revving in front of the smoke shop, water gurgling at the nearby Laguna Lake, fake nature documentary commentary by Matt, and neighbors dogs barking. We were all very happy that the dogs barking at the beginning of Mode seemed to line up with Chuck counting in the song. BARK BARK BARK BARK (1-2-3-4)
RYAN AND ART
Our friend Ryan Diederich drew the album cover, though at this point in his life he was more into Kraftwerk than punk rock. He was a very talented artist, and loved to draw hideous portraits of the pope or re-imagine the Last Supper as a gay orgy. We told him we wanted a dead person getting a coin flipped over them, and he traced an actual quarter and cut it out, sliding it around on the artwork asking where it should go. The nail polish was his idea, he obsessed in his art over fashion, brands, make up, and the nature of beauty. The art was never properly finished, as the release of the record fell apart and we moved on. The original physical copy of the art has been lost. Ryan passed away on June 22, 2010.
HARSH REALITIES OF THE MUSIC BIZ
A label called smokin barrel records offered to put out Juvajive as a ten inch. They got plates and 11 test pressings made around October 2007. We had split the cost with them, and a few months later they start ignoring our calls. After a while we realized our record wasn't coming out, so we just decided to get the money we had given them back. This took a few months of meeting up and collecting money from them, like we were in the mafia or something. It doesn't end there though. About a year after that we figure out the original plates and artwork of the ten inch had been traded for 200 dollars worth of rare punk records to a guy in Bakersfield. They stayed in Bakersfield for years, and the artwork was lost. In December 2010 we finally got the plates back at a record swap.
— Kyle Gibson
THE BURGER ANGLE
In 2008, our band Thee Makeout Party! and Audacity met at Big Slice in Fullerton to discuss doing a split 7" for Trabajo Records. After many pieces of pizza, Burger proposed to Audacity doing Juva Jive on vinyl as the first release other than TMOP on Burger. Thomas said no because he wasn't on the Juva Jive recordings and thus the "Power Drowning" album was made!
— Sean Bohrman