Posts Tagged ‘Epic Records’

Anna Bulbrook bends over backwards, with a little help from Adrian Rodriguez, to give Airborne fans a great show. Photo by Ryan Tuttle.

Anna Bulbrook bends over backwards, with a little help from Adrian Rodriguez, to give Airborne fans a great show. Photo by Ryan Tuttle.

By Glen

As winter gives way to spring, there is still nary a peep out of Camp Airborne Toxic Event. But six weeks between Toxicity updates seems like just about enough, so let’s see what we can scrounge up.

Not So Epic

There actually is one legit piece of Airborne news – or non-news, as it were. A recent visit to the website of Epic Records led to the discovery that The Airborne Toxic Event is no longer anywhere to be found on the website. Not only are they absent from Epic’s artist listing, but a search for the band’s name yields zero results anywhere on the site.

One can only conclude that, if and when The Airborne Toxic Event releases another record, it will not be under the Epic banner. After the wildly popular, self-released Songs of God and Whiskey, not to mention the smash success of their independently released debut album, one wonders whether the band would be better off just going it alone next time around. Time will tell.

Wrong is Right

In our last Toxicity, way back when we were still munching on Valentine’s candy, we shared a couple live TATE videos aired on PromoWest Live. An alert reader uncovered the fact that there was another TATE video hiding away in their archives. Jump to 14:25 for “Wrong.”

Dope Machines

Mikel Jollett has a love/hate relationship with mobile devices. On the ‘pro’ side, jumping into the crowd and stealing someone’s phone for a smirking selfie has become a staple of “Does This Mean You’re Moving On?” And he’s intrigued enough by the omnipresent technology to have based an entire album around it.

On the other hand, he has made it known in no uncertain terms that he would prefer the audience to keep the damn things in their pockets and experience the performance through their eyeballs rather than through a tiny rectangular screen. And he has a point. In my early days of TATE gigdom, I couldn’t seem to stop myself from trying to capture every moment for posterity, even though 98% of my photos turned out to be complete and utter crap. Lately, I’ve become more disciplined about it. I usually pre-select a couple of songs in which I’ll snap a few photos to use in my TIN reviews, and apart from that I try to leave it alone.

Vocativ recently printed a thought provoking piece considering both sides of this issue. They note that some artists are taking matters into their own hands to force their fans to live in the moment.

Over and over, artists cite the disconnect phones create. “It seems stupid to have something happening in front of you and look at it on a screen that’s smaller than the size of a cigarette packet,” the Guardian quoted Pulp singer Jarvis Cocker as saying. “If anything, it undermines the experience because it seemed like a really good moment, and now I can see it were crap. It’s like wedding videos.”

In April of 2013, art-rock trio the Yeah Yeah Yeahs made headlines when they posted a flyer at a Webster Hall show that asked fans, “Please do not watch the show through a screen on your smart device/camera. Put that shit away as a courtesy to the person behind you and to Nick, Karen and Brian.”

According to Spin, Karen O reiterated the message when, after the second song, she told fans to snap away for the next couple of minutes, then “put those motherfuckers away.” The crowd mostly complied.

Other artists demand no phone use, and include threat of removal if the request isn’t heeded. That was the case on a recent Prince tour, when ticket buyers were reportedly warned by venues in Australia and New Zealand in advance via email that “The use of mobile phones will not be permitted during the show,” according to the Mercury News. “Any person using a mobile phone or camera/video device will be identified by security and asked to leave the venue immediately.”

The Eagles banned cellphones during a 2014 tour, employing security guards to shine flashlights at offenders, issue warnings, and then throw them out. Don Henley recently applauded Mumford & Sons decision to follow suit, saying “the madness, the rudeness, the thoughtlessness… must stop. Constantly looking at the world through a viewfinder is not seeing. Listening to live music while recording on a ‘smartphone’ (or texting every 5 seconds) is not hearing. Experiencing life second-hand is not living. Be here now.”

Some artists simply deal with the nuisance on a case-by-case basis. Neil Young angrily doused two women with water in 2012 because they wouldn’t quit texting during a show even after he gave them the stink eye. In April of 2014, Peter Frampton reportedly scolded two fans in Carmel, Indiana, who arrived late to front-row seats, having missed or ignoring the warning prior to the concert beginning that flash photography wasn’t allowed. They took loads of pictures; Frampton asked them to stop. When they didn’t, he asked them to let him see the pictures, and when the fan handed Frampton his phone, he flung it across stage.

On the other end of the spectrum are these examples:

Brad Paisley encourages fan cellphones at his shows, going into the audience to sing into them, or take selfies that show up on big screens, telling Rolling Stone, “I want to see it. Get a good one. Get good audio if you can. Your videos [are] a memory, something you can have, and what an amazing experience. Yeah, you see people looking at the concert through their phone. But that’s what they want to do. And what YouTube video of a concert ever made you not go?”

Taylor Swift said in a Wall Street Journal op-ed in 2014 that the use of cellphones, and therefore the widely available recordings of her shows, setlists and secret guests every night, was actually the impetus for changing things up every night. “In the YouTube generation we live in, I walked out onstage every night of my stadium tour last year knowing almost every fan had already seen the show online,” she wrote.

“To continue to show them something they had never seen before, I brought out dozens of special guest performers to sing their hits with me. My generation was raised being able to flip channels if we got bored, and we read the last page of the book when we got impatient. We want to be caught off guard, delighted, left in awe. I hope the next generation’s artists will continue to think of inventive ways of keeping their audiences on their toes, as challenging as that might be.”

What’s your take? Would you like to see The Airborne Toxic Event put some regulations in place, or just leave it up to the fans to experience the show as they see fit?

Toxic Gold to the Max!

If you’re currently experiencing Airborne Toxic Withdrawal (and let’s face it: if you’re reading Toxicity during the dark days of the band’s hiatus, it’s safe to assume you are), Murray Jay Siskind has the cure for what ails you. The YouTuber has become a must-follow for Airborne fans, unearthing one rare gem after another.

A couple years ago we reviewed an Airborne acoustic recording from Montreal that is only available for purchase from iTunes Canada. Thanks to MJS, those of you outside our fair country can now lay ears on it. While you listen, enjoy a bevy of TATE trivia and photos. (And watch for the shout out to TIN!)

For years I’ve been beating the drum for the full length concert video Live from Koko, which features, among other things, the world premiere performance of “All I Ever Wanted.” Now, courtesy of MJS, here’s the only professional recording of the ultra rare “Echo Park.”

And another oldie-but-goodie – one that I’m still surprised didn’t make the cut for Songs of God and Whiskey: “Days of Wine and Poses.”

Last but not least, here’s a double shot of “Papillon” and “Gasoline” from Paris, circa 2009.

GlenGlen is the founder and editor of This Is Nowhere. He’s grateful for an understanding wife and kids who indulge his silly compulsion to chase a band all over the Pacific Northwest (and occasionally beyond) every time the opportunity arises.


The Airborne Toxic Event
By Glen

The Airborne Toxic Event’s fall tour marches on… as does the lead-up to Album #4. Which now has a name.

Cue the Dope Machines

On Monday, a major piece of news was casually dropped by San Diego radio station 91x, who, in introducing their stream of the new single “Wrong,” mentioned almost as an aside that the soon-to-be-released album will be titled Dope Machines. This information was later confirmed by Mikel Jollett, who elucidated the concept behind the name on Cleveland radio WJCU, and explained how the new sound at the heart of the record supports the theme.

It’s a record that, thematically, it’s about being kind of lost in what I like to think of as this agreed upon intellectual space we’ve developed. And we’ve all decided that we’re going to live part of our lives in this place that only exists in our brains. Like, if aliens came down and just looked at us, they’d be like, “What are all these people doing staring at all these boxes all the time? Why are they doing that?” And it’s because there’s something about our identity, something about the way we interact with each other, our curiosity about one another, our curiosity about how other people feel about us – you know, whether or not we’re liked, whether or not we belong to Group A or Group B or no group at all – these are some of the most important and frightening and vital and exciting and stressful questions that we have as human beings, ’cause it’s just who we are. We’re part of groups, or we’re not. So, we have all these little devices that extend that, and enhance that, and in some ways I think actually diminish that. So, the record’s about that. It’s about these machines that turn us into dopes, that are like sort of smoking dope ’cause they’re addictive, and they’re really dope, and they’re just good, cool little things, all kind of at the same time. And here we are sort of living in this modern world that exists kind of just in this agreed upon space between our brains. It’s nowhere that’s any place that you can go to; it’s a place that exists in our imaginations.

So the record’s about that, and so I made the decision to make the record on these machines, these dope little machines. And so it’s tons of keyboards and beats, and lots of effects and effects that have been processed, and little pieces of music that have sort of been run through various types of effects, and then cut up, and then sort of re-presented to the listener as if the broken up piece of music was the original, and that’ll be the basis for a song – which is a very different approach… Up till now we’ve been mostly what you’d consider a ‘proper rock band’ in the vein of the Clash or something like that, or maybe the Smiths or the Cure or something. So, I don’t know if it’ll work, and it might be like, massively rejected by the world, I don’t know. I don’t really care. As an artist, you just kind of have to follow what makes your skin crawl, makes your hair stand up on your neck, and that’s where I was at… It’s a very different sound. 

In another interview with Kansas City’s The Buzz, Mikel emphasized that the album was finished prior to signing with Epic Records, and they are releasing it as is:

We signed a record deal with Epic, and they were like, super psyched. They were just super cool to put it out. We were like, “Here’s the record,” and they were like, “Cool…” They’re putting a whole thing together, it’s kind of cool. They’re awesome… Their input on the record was, “Thanks.” That was it. Like, awesome… And then they handed us a check, and they have all these plans, and they’re super supportive and they come to shows…

Meanwhile, Amanda Keeler of AXS caught up with Mikel in Cleveland, and learned that more than 40 songs were written for Dope Machines, before it was culled to its final tracklist.

As for “Wrong,” 91x released the single artwork, seen here. Rumors persist that the track will go on sale this Tuesday, though we have yet to see an official announcement by The Airborne Toxic Event confirming this date.

Mikel Unplugged

The interview above was just one of three radio appearances by TATE (or Mikel, at least), and the only one that has surfaced online as of yet. It was more than just talk; the show also featured the singer performing two new songs on acoustic guitar. The first was the now familiar “California,” which Mikel warns will sound much different on the album. The second was the band’s latest revelation, “The Fall of Rome,” a sad, regret-soaked piece that is classic Mikel (lyrically), which has only been played once previously – last week in Burlington. If you haven’t heard it yet, we advise you to stop reading and listen up. Best of all, the recording is downloadable, so go ahead and throw it on your iPod.

For the world premiere of “The Fall,” and other acoustic tunes on the tour, Mikel has been strumming a guitar emblazoned with the phrase, “Somewhere they foxtrot madly.” Aside from a loose connection to the TATE song “The Secret,” these words are pregnant with meaning, made all the more poignant when considered alongside the lyrics of “The Fall of Rome.”

This Is Nowhere’s genius-in-residence, Julie, enlightened me to the source of the quote: “It’s from the novel Once A Runner. It’s basically about the lifestyle of a track runner (Mikel used to do this also). It has to do with being so dedicated to something (like sports training) and spending all of one’s time in pursuit of that, while others enjoy their lives.”

There are clear echoes to be found in the closing stanzas of “The Fall:”

I saw a picture of you the other day in your wedding dress
And I wondered why I walked away like I had with the rest
You were the only thing that was worth saving
And I swear that I did my best

And sometimes at night I dream of you now in your wedding dress
And I hope it doesn’t seem somehow like I gave you less
I have nothing to show from these years on the road
But these songs that I wrote for you

It might just be the saddest song Mikel has ever written.

Mikel Jollett's guitar

Photo by Julie. Burlington, VT, Oct. 9, 2014.

Wheels Turning at Epic

The promotional machine at Epic Records, The Airborne Toxic Event’s new record label, had the switch flipped this week, as evidenced by the new promo picture seen at the top of this article – the first official band photo to feature bassist Adrian Rodriguez. Epic has also made available a new TATE bio – well overdue, considering the one currently featured on the TATE website was written circa All At Once. The new piece gives further insight into what’s in store on Dope Machines:

Early in the process, Mikel tapped into a boundless aesthetic, embracing electronic elements as well as pop structures and unbridled rock ‘n’ roll bombast. At the same time, it defied categorization at every turn. “That’s one of the hallmarks of the record,” he affirms. “It doesn’t sound like anything else.”

The first single “Wrong” merges striking synths and an electronic swing with an evocative refrain punctuated by a robust groove. It’s borderline danceable, but always chant-able.

“It’s just about a guy feeling insecure,” explains Mikel. “I wrote it at a time of massive upheaval in my life. We all have that moment. You look over everything and think, ‘I am an idiot!’ It’s not every day, but you wish you could start over. That’s the idea.”

“California” turns a spotlight on a different side of the Golden State from the perspective of a true native. All the while, it still boasts an unshakable refrain and intricate instrumentation.

“I grew up in California,” he goes on. “My parents were hippies, and I was born in the back of a VW bus on the beach. I was around everybody from Beatniks to gang members to kids who just emigrated from Guatemala or Ethiopia. None of this had anything to do with the popular image of what California is—that idea of palm trees and movie stars. As soon as you’ve got an idea of utopia, it begs a dystopia. It’s an idea of apocalypse right around the corner in a place that’s considered ideal.”

Simultaneously, the title track tempers a distinct guitar bounce with entrancing harmonies, making for a provocative and potent dichotomy.

“You can interact with all of these dope hand devices, but they make you sort of dopey an hour later,” he sighs. “You make music with them. They can save you from a heart attack. They’re little extensions of the things that make us fundamentally human, which is the desire to interact with one another. The machines are all of these things at the same time…”

In many ways though, Dope Machines signals something of a rebirth.

“It’s like debuting a new phase,” concludes Mikel. “It was a new approach. We’ve got a new label. We threw out everything we were tired of and moved on to a brand new palette. That was the goal. This isn’t what The Airborne Toxic Event is supposed to be. This is who we are.”

Tour Round-Up

Once again, we present a selection of reviews and photo galleries from TATE’s recent tour dates, starting with Toronto – the most well-covered show of the tour thus far – and working backwards.

  • Panic Manual provided a brief review of the Washington, DC performance.

Jingle Bells (and Guitars, Drums and Violas…)

As per tradition, it looks like TATE will be popping up here, there and everywhere during the holiday season. First on the docket is Holiday Havoc, Dec. 12 in Las Vegas, where the band will join Bush, Meg Myers and others for what promises to be a gig to remember. Then it’s off to Buffalo, where they’ll join pals Fitz and the Tantrums at the well-named Kerfuffle Before Christmas on Dec. 18.

I’ll Take Tox for $1000, Alex

Yeah, so this also happened. You know you’ve made it when…

The Airborne Toxic Event on Jeopardy

The Airborne Toxic Event on Jeopardy

Toxic Gold

And now, live from the back of Toronto’s Danforth Music Hall, it’s The Airborne Toxic Event with Numb (video by YouTube user HooperWest).

Glen, Fan of The Airborne Toxic EventGlen is the founder and editor of This Is Nowhere. He’s grateful for an understanding wife and kids who indulge his silly compulsion to chase a band all over the Pacific Northwest (and occasionally beyond) every time the opportunity arises.

Mikel Jollett and Steven Chen of The Airborne Toxic Event bring the noise to Sonic Boom Festival, Edmonton, AB, Aug. 31, 2014. Photo by Creative Copper Images (

Mikel Jollett and Steven Chen of The Airborne Toxic Event bring the noise to Sonic Boom Festival, Edmonton, AB, Aug. 31, 2014. Photo by Creative Copper Images. (

By Glen

Ready or not, here we go. We’re inside of a week until The Airborne Toxic Event’s fall tour lifts off, starting with the already legendary Fillmore residency – and as you can see from this supersized Toxicity, the TATE news cycle is going into overdrive.

At This Is Nowhere, we’re preparing for the busiest couple of weeks in our 14-month history. To wit, here’s what we’ve got coming your way in the next two weeks:

Sept. 14 – Rifflandia review
Sept. 16 – TATE’s Best Album: The Case for Such Hot Blood
Sept. 17 – a special treat to celebrate the Fillmore residency (shhhhh…..)
Sept. 19 – Fillmore Night 1 review
Sept. 20 – Fillmore Night 2 review
Sept. 21 – Fillmore Night 3 review
Sept. 24 – Fillmore reflections
Sept. 26 – Toxicity 46: Fillmore Edition

After that madness, we’re right into the tour proper, with reviews of several more shows including a special acoustic performance in Washington, DC (see below), The Greek show in Los Angeles, and much more.


Fillmore Live Stream

Last month, it was revealed that The Airborne Toxic Event would have a show live-streamed on Yahoo! Live Screen sometime this year. The hopes and dreams of many fans unable to make the pilgrimage to San Francisco have been rewarded with the recent news that the broadcast will take place next Friday, Sept. 19th, live from The Fillmore. Tune in here to catch All At Once night in all its glory.


As the calendar approaches Sept. 18, tour news continues to leak out – whether by design or by accident. A quickly-deleted tweet earlier this week from an L.A. artist falls into the latter category, with a major stage prop evidently having been revealed before its due time. We’ll respect the band’s wishes to keep it under wraps, but having seen said tweet before it disappeared, we can confirm that it’s rather spectacular.

Meanwhile, from the “official news” file comes word that yet another date has been added to the docket – and a very special one at that. With the Oct. 8 gig at Washington, DC’s 9:30 Club having sold out, the band will now pop into town six days prior for an acoustic set at the Lincoln Theatre. The general ticket sale starts tomorrow.

Opening Statement

The question of the support act for the fall tour has also been answered in the form of In the Valley Below, who just so happen to share a manager with The Airborne Toxic Event. The Los Angeles-based duo will open most shows on the tour, with the surprising exception of the L.A. show at The Greek. The Fillmore crowd will also have some variety thrown in. While In the Valley Below will open on Sept. 19, the slot will be filled on Sept. 18 by Kiev, and Sept. 20 by White Arrows.

Here’s a sample of what we can expect from In the Valley Below, whose song “Peaches” has been generating no small amount of buzz this summer.

An Epic Record Deal

You know it’s a busy week when news of a new record deal falls fourth on the list. TATE broke the news on Tuesday:

We’re very pleased to announce that we’ve signed a new record deal with Epic Records. This brings us back with the one and only L.A. Reid, who originally signed us when we joined Island Def Jam back in 2009. It’s great to be working with him again and the whole Epic team, and we can’t wait to put out our new album with them…

I’m the furthest thing from an expert on the record industry, but this looks to be a great move for the band. Just in the last couple weeks Mikel has gone on record saying that he preferred the demo versions of “Numb” and “It Doesn’t Mean a Thing,” but was overruled by the powers that be, and that cutting a minute off “The Secret” was the first and last time he would be overruled by a label. Combined with his recent interview with Darren Rose, in which he was adamant that he isn’t going to let anyone change the songs he’s written for record number four, one suspects that Epic must’ve agreed to give the band full artistic license. Mikel doesn’t seem in a mood to accept anything less than that. So in terms of what they’re going to put out, it appears that on this next album, we’re going to get exactly what Mikel and the band want to give us.

Likewise, on the promotions side, the change can only be an improvement. Island’s promotional approach to Such Hot Blood struck many fans as somewhat lackluster, with some curious decisions made along the way. After that experience (not to mention all the troubles they had releasing SHB in Europe last year), the band was surely cautious before signing on the dotted line this time around. Epic must have given them plenty of reassurance that they’re going to promote them well.

Time will tell, but I’m looking forward to seeing what Epic does with the soon-to-be-released album. It doesn’t appear that we’ll have to wait long to find out.

Mercury Rising

Last Friday marked the birthday of the late Freddie Mercury. The occasion prompted Mikel to drop another hint about the new record:

Let’s all take a moment and wish the late, great, departed genius Mr. Freddy Mercury a very happy birthday. Hearing the a cappella version of “Under Pressure” quite literally changed my life. I thought, “whoa. I need a different approach.” Ergo, this new record. True story. No. Fucking. Joke.

Taken in concert with his vow to Darren Rose to “destroy” the sound of the band, and his off-handed comment yesterday with respect to “The Storm” in comparison to the new album (see below), the stage is certainly being set for something new and different.

No More Lonely Nights

Though we don’t yet have a release date for the album, or even the first single, we can mark down Nov. 18 as a day on which we’ll have something new to add to our Airborne playlists. That’s the release date for The Art of McCartney, a tribute album to the Beatle great. The collection features a diverse and acclaimed set of artists including The Cure, Bob Dylan, Billy Joel, Brian Wilson, Willie Nelson, Kiss, Def Leppard, Chrissie Hynde, Smokey Robinson, B.B. King, Steve Miller, Alice Cooper, Sammy Hagar… and The Airborne Toxic Event, who will cover Macca’s “No More Lonely Nights.”

Toxic Tidbits, Part 3

Mikel’s series of insights into the creation of each song from TATE’s three studio albums is winding down, with just six more entries to be posted on Facebook and Twitter in the week to come. As it’s progressed, his comments have become increasingly long, providing a real window into the mind of the writer. What a treat.

Strange Girl – “The Cure was my favorite band growing up. This song is about the song “The Perfect Girl” — and all those great Cure songs to which I knew every single word — and how much music can mean to you when you’re a kid and how as you get older you hold tighter to ANYTHING that means as much to you as a song did when you were fifteen years old.”

All I Ever Wanted – “Steven and I wrote the basic structure of this song in a hotel room in Kansas City. The words were written in the bunk of a bus in Cologne, Germany. I was reading a collection of Milan Kundera’s stories and was struck by “The Hitchhiking Game” in which a married couple pretends one night to be strangers to one another, the charade leading to all manner of mixed emotions. I miss the line about the virgin bride too.”

The Graveyard Near the House – “This song almost didn’t make the record. The whole album was done and at the final hour I wanted to add this quiet little acoustic song as a sort of epilogue. People were against it. It was really long and wordy and kind of esoteric at times. I never thought it would be something many people would like or understand. Even so “if you die before I die I’ll carve your name out of the sky” might be my favorite line I’ve ever written. The song is about the idea of love as a choice, the absurdity of people becoming inanimate objects when they die, and a certain mermaid named Elizabeth.”

The Secret – “This song was originally much longer. Cutting it down was the first and last time I ever took advice from a label. I wrote this song driving my car around Los Angeles one night when everything felt like some kind of post-apocalyptic wasteland… Something about imagining people somewhere else, carefree and dancing… and the first of many ghosts just beyond the headlights.”

Timeless – “I wrote this song for Juliette, my grandmother. It was a kind of angry elegy for the five family members we’d lost in a very short amount of time. Nothing prepares you for it. I think I realized I had spent 10 years writing about death as a concept to be devoured or explored or exploded — without really experiencing it. Up close it wasn’t interesting at all. Just horrible and draining and very very sad. The song is about that grief — mostly for them, for the fact that they don’t get to be alive anymore, for how boring and predictable the world seems without them. And also how after they’re gone, you can still hear them in your head: talking to you, persuading you, sharing a laugh— and you want so badly to make them proud, to become the person they imagined you to be.”

What’s in a Name? – “This was the first song I wrote for this record & the one that made me want to record it with producer Jacquire King. Just felt like one of those great early 80s rock songs that the Heartbreakers would do or T-Rex or Thin Lizzy or something, and he just seemed like the one to capture it. He heard the demo and wanted in on the record, with one stipulation: that we all go to Nashville to make it at Blackbird studios. Which we did, renting a house, inviting friends (the Drowning Men, Mona, etc…), wreaking havoc at Five Points and Santa’s Pub-even taking a three day motorcycle trip to Memphis to pay homage at Graceland. Good times. I love to sing this song. (Am I the only one who used to break into public pools in the winter to skate and tag the walls?)”

The Storm – “The whole approach of this record (unlike the first two, & very unlike the upcoming record) was to just play songs in a room with all natural sounds, no keyboards, no added production — just the five of us and our instruments, our voices. This song, like all the songs on this record, was recorded completely live. Even the vocals were only slightly overdubbed. We played the song five times and chose the one we liked and that’s it. It’s about being seen for the first time, about how you survive things in your life and you bury the events inside you and at some future date somebody unearths them, almost like a witness to the pain you suffered as if to say: my god how long have you been alone with this?”

Watch for “Safe” to appear later today.

Eye Candy

Our friend Jennifer (Creative Copper Images), whose work is frequently featured on This Is Nowhere, captured some outstanding images of the band at work at Edmonton’s Sonic Boom Festival late last month. Readers will be treated to many of these shots in the coming weeks, but you’ll want to check out the full collection here.

More photos of Sonic Boom can be found here, while Colin Kelly offers a review of TATE’s set at X Fest, combined with an ode to “Numb,” here.

Toxic Gold

And last but not least, since I’m a mere six days from FINALLY witnessing this song live, here is “This is Nowhere,” live from SXSW 2007. See you on the other side!

Glen, Fan of The Airborne Toxic EventGlen is the founder and editor of This Is Nowhere. He’s grateful for an understanding wife and kids who indulge his silly compulsion to chase a band all over the Pacific Northwest (and occasionally beyond) every time the opportunity arises.