The Smell of Relijun

Old Time Relijun is a radically animalistic jungle gym jazz screeching throbbing spazz tribe from Olympia, Washington. The quartet's first recording was homemade on cassette tapes labeled "Pine Cone Alley." In 1997, the tapes were adapted into a CD called "Songbook Volume 1" under K Records, an independent record label who captures and releases the most innovative and genre-bashing bands of underground pop and rock. Old Time Relijun later described the songs on this album as, "self-portraits" and "manifestos of the alchemical revolution." 

Saturday, March 10, 2007, Old Time Relijun bombarded the stage of The Smell. The Smell, an experimental all-ages venue, is located in a Los Angeles back alley that borders Skid Row—home to the homeless, drug-addicted, and desperate. Those who frequent The Smell, however, are hardly desperate; In fact, the performance art space, with the exception of the unpleasant odors referenced in its name, is vibrant, upbeat, and positive. The universe of The Smell even includes a library of underground books, vegan munchies, and often hosts the selling of affordable music and merchandise. Best of all, almost all shows are $5, and people of all ages are welcome to attend.  

Old Time Relijun, well into an entire decade of bamboozled baffling barbaric beats of dubious debauchery, embodied their philosophy in their online manifesto: "I don't know how to play a musical instrument, except by wild instinct." The band proceeds to recount a concert they played on the top of a mountain in front of 20 people. After the show, Old Time Relijun remembers a woman approaching them and declaring, "I do not think I like this music at all, but I want to understand, why do you want to play like this? I do not know if I can call this music! Please explain this!" This same sense of confusion and intrigue was felt by many concertgoers last night, and to the band, this was just fine.

Questions for Consideration: 

> What makes small independent venues successful and able to sustain popularity? Furthermore, if a venue does not serve alcohol and keeps cover charges low, how does the venue owner, the bands, and the employees make a profit? Which is more important: profit or popularity? For example, The Smell has been in business for quite some time now and is well-known in the Los Angeles music scene, but it is likely that manager Jim Smith never sees a profit from his efforts. 

> Does a venue's location determine its fate? What crowds and scenes are associated with different areas? What keeps venues from running in your area, or what keeps venues popular in your area? For example, I live in a suburban area, so there are virtually no all-ages venues for high school bands to play; the only live music comes from bars or pubs. This poses a problem to our youth. When it comes to having a venue in a certain area, are city authoritities more concerned with safety, cost, or the reputation that the venue will possibly bring to the city? 

> Some think that "noise" bands who are unconventional, loud, and unusual, play only for shock value. For example, some argue that Old Time Relijun sounds like rubbish, while others admire their brilliance and courage. Can an unusal band who plays music nobody understands truly gain mainstream success and fame? Is a band's responsibility to cater to their fans, or to satisfy only themselves and each other? What do you feel is the biggest burden and the biggest reward a band can have?

You can learn more about Old Time Relijun and The Smell by visitng http://www.krecs.com/oldtimerelijun/ and http://www.thesmell.org/

Photos of Old Time Relijun  March 10, 2007 @ The Smell in Los Angeles.