It’s the disassociation of youth culture to rebel against what it believes to be a constraint. So how wizened Brad Rose and Josh Mason (known as Old Svrfers) came to such a stark uprising against modern experimental convention is beyond me. It has something to do with not being punkish or louts, but wanting to to push themselves and each other into something unfamiliar among the all-to-familiar. Which is the real artform of rebellion: making everyone else uncomfortable about something that should fit snug like a well worn bodysuit. Ain’t Afraid of Shaka isn’t so much new in its oldness, but in terms of borrowing from both’s adolescent past to create something emboldened by their present to create both a memory and a promise. I was thinking it’s all very Point Break; the interplay and double speak of Bodhi and Johnny Utah represented in the lawlessness of Rose’s synth and moral fiber of Mason’s guitar, both switching roles as needed. Besides, who reading this has any idea what Point Break is anyway but an old person film that has NOTHING on post-hipster dissent. We’re being told to catch the last big wave by the kids nipping at our heels but fuck ‘em. I’d rather ride out on the boards of Old Svrfers. This isn’t revolutionary for the sake of upsetting the norm, but because it’s all Mason and Rose know.
Kids would get ‘em when they come back in…but they’re not coming back.
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