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“If You Can H^jpiiotise Your Auiuence, You’re Doing A Cooit Job” Thgfirii uHs songwritk^, success anil e?e injuries witft jASQTf PAXTOlS of THE $ATYI($ TL qyA ^ p a moment as you're cutting I I \Z i C J an arc through the sun- bleached wastelands of the American Southeast in your used El Camino, when you start to see skele tons dancing in the pools of water on the horizon. You never know when this moment will occur—so many factors (the heat, the humidity, your susceptibility to hallucinations) can hasten or postpone it—that you'll want to make sure you have a copy of the new self- titled record from Memphis' Satyrs (Louisiana Red Hot/ Black Dog) on hand at all times. The Satyrs play a parched, haunted sort of American Gothic balladry that would sound equally apt beaming from a pirate radio station in rural Louisiana with maybe two listeners, wafting from the tape deck in a satur nine stripper's dressing room or guiding the movements of the afore mentioned skeletons in your dizzy, dehydrated head. All that's missing is the theremin, and the quivering slide guitar in "One Philosophy" makes a pretty damn good surrogate theremin. A discussion with lead singer, songwriter, gui tarist and pianist Jason Paxton revealed a man with no resemblance to the surly, world-weary carny I might huve expected. On the contrary, Paxton struck me as laid-back, self-deprecating and thoroughly likable, adding credibility to the popular psychological theory that the best way to relax is to find a creative outlet for one's darker impulses. First things first the name Satyrs is pro nounced with a short "a." The long "a" version "sounds almost too Southern," according to Paxton. Flagpole: How do you, personally—or speaking for the group, if you feel inclined to do that—how do you perceive The Satyrs as a band? Jason Paxton: Definitely moody. But, you know, I think the songs definitely have a lot of hope in them. Music totally absorbs and hypno tizes me. I think Beethoven said, "If you can hyp notize your audience, you're doing a good job." It's dark, though. There's no doubt about that FP: Would you say it takes a lot of discipline to play this sort of slow, dark American gothic music you guys play? \ JP: Not really. Generally, when I write a song, I lock into some thing, and I don't want to go anywhere. So it doesn't take a lot of discipline to follow it, once I'm locked into that mood. FP: So, when you write a song, how much does it change from its theoretical origin by the time it becomes tangible at a show or on a record? JP: I don't think it changes that much. When I play the songs, it brings back memories—reminds me why I wrote the songs in the first place. Most of the time I’ve been pretty happy with them a year or two later. FP: Recount for us your most horrific experience playing a live gig with The Satyrs. JP: We played with Macha once in Atlanta, at the Echo Lounge. At the end of the set, I was like, "Thanks a lot, everybody. Goodnight," and Anqie [Horton, the drummer] throws her drumstick out into the crowd. Nails me in the fucking face. It was totally obvious, because I grabbed my eye and it fucking hurt like a motherfucker. That was really fucking embarrassing, you know; I thought it was one of our better shows that night, and that killed the mood. I told her to never do it again, but she still does it She likes to do childish stuff like that FP: Has she got her aim a little better now? JP: I think it's probably digressed, actually. She did again in New Orleans. She threw it at this one guy and hit him in the fucking head. I guess he liked our music a lot, 'cause he grabbed the drumstick, pjt it in his packet, and kept on dancing. FP: Name three records you’ve bought within the fast five years that you've not once been sick of. JP: I think maybe Nick Drake's Five Leaves Left... maybe Radiohead's OK Computer. I've never gotten sick of that one; don't think I ever will. Then it would be a toss-up between Entroducing DJ Shadow and Macha. FP: What's your definition of success? JP: I guess doing something that you're proud of, that you're satisfied with. Making yourself happy. Doing the things you want to do, not nec essarily having controL r Emerson Dameron I vJhO: The Satyrs, The Lures WHERE: Caledonia Lounge WHEN: Friday, July 28 HOW MUCH: $4 NO, . REALLY! we’re marking down lots of frocks, shorts, men’s wear and assorted whatnots- DON’T MISS OUT! Ceftch Our Sensational trSur^rne&Sa1£? & s Two 4 One New Freeze Flavors SPLIT HAIRS. But don 't bother splitting our new Freeze flavors. Strawberry, Mango Guava & Wild Berry are 2 for the price of 1! Also available in the popular Mocha, Chal, Coffee & Vanilla Latte flavors. 1ST ANNUAL -.15. J>j tctfurliici Widespread Panic String Cheese Incident "Original-P" "donna the Buffalo Pius many more... * 2 000 WINST®^ v , r- — r- — Friday Auq. 4 Saturday Auq. 5 Sunday Apg. $ String Cheese Incident j “OriginatP" Widespread Panic Fat Apple Donna The Buffalo Bloodkin The Brakemen Foxtrot Zulu Todd & Sonny's Drums Mood Cultivation Project j Ancient Harmony The Emma Gibbs Band Cosmic Charlie Selah King Konga Common Dawg L J Jive Turkee i Cosmic Charlie Dixit Classic Fairgrounds • UVM Coliseum Complex - 2825 University Pky. Winston Salem, NC Gates open Q 1pm on Friday, 4pm on Saturday and 1pm on Sunday Tlx $19 ADV Fri. & Sat • $24 ADV Sim • 3 Day Package Tickets $60 (Includes Camping) Tickets on sale NOWIQ Tickets are available at Charge by phone 0 336-748-1064 Monday thru Friday 11am to 5pm All Record Exchange outlets In North Carolina aim Southwest Virginia • Grapevine Records In Boone, NC • Smfth-Whltley Music in High Point, NC • Almost Blue Records in Asheville, NC For more Information call Ziggy*s at 336-746-1C64 For more info: wwiAAziggyrock.com On the web: ©■Lb, □ FLAGPOLE JULY 26, 2000