By David Lindquist


From producing events online to asking attendees for proof of vaccination, music venues have learned to adapt and expect the unexpected during the pandemic crisis.


Impressively, every Indianapolis venue that presented live music on a regular basis before March 2020 has reopened or plans to reopen.


But this isn’t the time for “mission accomplished” celebrations. Josh Baker, executive director of the Indiana Independent Venue Alliance and president of MOKB Presents, says the recent surge of the COVID-19 Delta variant is putting the comeback of concerts in peril.

“While we enjoyed a strong initial reopening phase, it was short-lived,” Baker said Aug. 13 when unveiling an app to be used by music fans to provide proof of vaccination or negative test results. “New show confirmations have come to 

a grinding halt, attendance has dropped nearly 30% in three weeks and fall tours are starting to postpone dates. If we can’t provide the assurance of a safe experience for our artists and customers, fall and winter shows are in jeopardy. We’re right back to ‘red alert.’ ”


The mobile app, offered by software platform Bindle, is designed to support new safety measures that improve the chances for sustaining live entertainment with in-person audiences. Bindle’s digital entry pass keeps health information private and minimizes personal contact when entering a venue.


The Aug. 28 edition of Spellbound DJ dance night, hosted by                

Indy CD & Vinyl owners Andy and Annie Skinner, required attendees to show their vaccination or test-result status on the My Bindle app when arriving at White Rabbit Cabaret. The Hi-Fi and all-ages Hoosier Dome are two early adopters of the Bindle technology that’s expected to be used by additional venues and arts organizations in coming weeks.


The Indy CD & Vinyl Spinner checked in with a variety of venues to learn how businesses persevered through lockdown and emerged on the other side:


Taking it outside

Moving performances outdoors, where social distancing and air circulation can be easily achieved, has been a popular choice among venues, including the Mousetrap, Black Circle Brewing Co. and Healer.


Fountain Square’s Hi-Fi built outdoor venue Hi-Fi Annex behind the Murphy Art Center for two consecutive summers, welcoming headliners such as Band of Horses and Wynonna Judd.


The Vogue, anchor of Broad Ripple’s entertainment district, launched its Rock the Ruins concert series this summer at Holliday Park, where the lineup included St. Paul & the Broken Bones and Punch Brothers.


When State Street Pub reopened in July 2021, it staged nearly all of its shows in a fenced-in parking lot behind the bar. State Street Pub owner Jimmy Peoni says grants, including two administered by Musical Family Tree, helped his business survive.


“Everything was just enough to just get us through, so we really appreciate it,” Peoni says. “It was heart wrenching to go through that, but overwhelming at the same time when they helped us pay the bills.”


State Street Pub used the funds to make upgrades to its kitchen and plumbing, as well as to level the parking lot where Peoni says a “little swamp” was present after rain.


Peoni says he waited to reopen until this summer because he didn’t want to operate with earlier capacity restrictions. The first shows at State Street Pub featured two bands rather than three, and were devoted to Indiana artists.


“With these two-band bills, the bands are getting paid pretty well and they deserve it,” Peoni says. “They’ve been on hold for so long. People are really happy to play State Street, and we like that.”


Noting strong turnouts at the parking lot stage, Peoni says it’s possible that attendees will be required to show proof of vaccination at upcoming events.


“I didn’t think we’d see live music back to the way it is now,” Peoni says. “I’m impressed to see the kids so enthusiastic.”


Carrying on

Regrettably, three owners of Indianapolis venues died during the pandemic: Ron Miner of the Casba, Hal Yeagy of the Slippery Noodle Inn and Dustin Boyer of Duke’s Indy. None of the deaths were related to the coronavirus.


Miner, also known as DJ Indiana Jones, was an outspoken advocate for making sure venues are safe environments.


J. Moore, spokesman for the Casba, says precautions apply to people on both sides of the bar.


“We’ve been lucky we haven’t had any situation where our security and the DJs or any of the bartenders wind up getting sick,” Moore says. “It’s hit people in the service industry especially hard. It’s of course about our patrons because that’s who helps us to keep the doors open, but we have to think about our staff and the people we depend on to make sure that we can serve our patrons.”


When the Casba reopened in fall 2020, face coverings were mandatory and capacity was limited to 25%. “You had to have a certain amount of tables, no actual dancing,” Moore says. “Which was kind of a crazy thing to open up the club and tell people ‘no dancing.’ But that was the rule.”


Following Miner’s death on Dec. 4, Theron Smith – Miner’s partner in venue ownership – continued his role of day-to-day management. Despite being cited for health order violations, the Casba has been open since late May.


The subterranean bar, known for its long-running Reggae Revolution party held every Sunday night, received a significant makeover during the 2020 lockdown.


“It was pretty much all black walls and concrete; that was part of the charm of the Casba,” Moore says. “But Ron’s vision really was to have it be something that reminded him of all the time he spent in Jamaica. It’s a lot more bright colors. We added an actual DJ booth, as opposed to just having a table in the corner.”


Casba is open on Wednesday, Friday, Saturday and Sunday nights.


“We still haven’t seen some of our friends and some of our most loyal patrons since this whole thing started,” Moore says. “We’re taking it day by day and week by week, just like every other business.”


With a little help

You can’t receive a grant unless you apply, and Fountain Square’s Hoosier Dome venue learned that applications can pay off.


Hoosier Dome manager Andrea McPherson considered some of her attempts for pandemic assistance to be “wishful thinking,” but support arrived in funding administered by the Indiana Independent Venue Alliance, Musical Family Tree, the National Independent Venue Association and Live Music Society. 


“It was incredible,” McPherson says. “It really brought us through.”


The all-ages venue exercised patience in reopening, eventually presenting a “Welcome Home” festival July 9-11, 2021.  


“There were a lot of times where I was unsure if we’d be able to open up again at any point,” McPherson says. “We had to fight through that and hope for the best.”


McPherson says she wanted Hoosier Dome’s reopening to be a well-received decision among teenagers who attend shows. 


“I feel like younger people tend to be a little bit more aware of current events and what’s going on,” McPherson says. “We wanted to make sure that we made the best decision for those people.”


The Hoosier Dome audience proved to be supportive in July.


“I actually feel really good about the timing we chose,” McPherson says. “We had a really good response with it, and I honestly don’t think that we would have had such a positive response if we would have opened up earlier.”


One of the challenges faced by Hoosier Dome and other venues: Schedule a slate of events after a lengthy closure.


“I’m booking stuff for the next whole year out,” McPherson says. “But it’s hard to have a full calendar right away. Our fall is looking really good. It’s looking pretty stacked. I’m crossing my fingers that we can keep that going and not have any more restrictions.”


Online innovation

Carmel’s Center for the Performing Arts didn’t stop sharing music when its doors were closed by the pandemic. Led by president and CEO Jeff McDermott, the organization known for the Palladium venue launched a free concert webcast series titled “Live at the Center.”


The Charlie Ballantine Quartet played the first online show on Oct. 23, 2020.


“We were fortunate to find out that, little did we know, we had great video production talent on our team,” McDermott says. “We just hadn’t been using that talent because it wasn’t part of our business model.”


Indiana artists such as Bashiri Asad, Joshua Thompson and Moxxie performed on the Palladium stage, captured by five high-definition cameras and beamed to viewers who could watch for free.


“Not only did we keep our mission alive and keep advancing great music in a virtual setting, but we kept musicians employed,” McDermott says. “We paid these bands to do this.”


McDermott says viewership averaged more than 1,000 people per episode, a notably larger audience than what local artists can reach when performing at the Center’s 200-capacity Studio Theater. Moving forward, “Live at the Center” will continue monthly as a webcast series while also selling a limited amount of in-person tickets for $5 each.


“When we started doing this, we thought, ‘Well, we will do this to get through this,’ ” McDermott says. “Then we realized we reached a lot more people everywhere. We reached people in other states and in other countries.”


As the Palladium returns to hosting touring acts ranging from Ben Folds to Debby Boone, it recently added high-profile headliner John Legend for an Oct. 20 appearance.


“Our plan is full shows and full experiences,” McDermott says. “But if we need to pivot and adjust, we’ll do it. We’ve become pretty good at figuring out how to continue moving it forward one way or the other.” 


More than one option

416 Wabash is a multi-faceted business. It’s home to a recording studio overseen by former Music Garage owner Chris Wodock, and 416 Wabash also is the site of public and private events.


In the realm of live music, a company known as Icons Promotions presents Spanish-language concerts every six to eight weeks at 416 Wabash. Pink Slip presents a monthly drag show at the venue. “We’re always looking for unique events that aren’t the same old concert or club night,” Wodock says.


The interior of 416 Wabash boasts the bold decor of a high-energy dance club, a look established during the building’s days as Club Industry. If someone wants to throw a festive wedding reception, this room has the look.


“This year, we’ve done more weddings than any other year,” says Wodock, who opened 416 Wabash in 2016.


The pandemic closed the events component of 416 Wabash from March 2020 to March 2021. Fortunately, Wodock’s recording studio reopened in the building in June 2020.


“When the event space is empty, it doesn’t really cost very much,” Wodock says. “There’s no need to order booze or pay for toiletries. We hire staff per event.”


Wodock says 416 Wabash received grants from the city and state to help weather the pandemic, as well as payroll protection and economic injury disaster loans. The business did not pursue music venue grants.


“I didn’t want to take away from some other live venue that needed it,” Wodock says.


In November, 416 Wabash will add to its reputation as a versatile room when it hosts a climbing competition for 500 people in conjunction with a tree care industry convention set for the Indiana Convention Center.


Not quite yet

At the time of this writing, Fountain Square’s Radio Radio and Mass Ave’s Chatterbox Lounge remain closed. Chatterbox owner David Andrichik has talked in TV and newspaper interviews about a yet-to-be-determined reopening date for his jazz club. Radio Radio owner David “Tufty” Clough tells The Spinner his busy schedule as co-owner of Revolucion – a restaurant across the street from Radio Radio – is a factor in why the music venue hasn’t reopened.

“I’m down here from 8 in the morning to 12 at night cooking in the kitchen,” says Clough, noting a staff shortage similar to what many restaurants have reported during the pandemic.


Meanwhile, the Liverpool, England, native who co-founded iconic Indianapolis punk band the Zero Boys says he wasn’t eager to “police people wearing masks or not wearing masks” at Radio Radio when face coverings were mandated.


Clough opened Radio Radio in 2001, and the bar served as the original Tonic Ball venue when Indianapolis musicians paid tribute to the work of Gram Parsons in 2002. Clough planned to reopen Radio Radio in September, but the surge of the COVID-19 Delta variant has given him pause. 


“I’m lucky that I bought that building a long time ago,” Clough says. “It does cost me money every month to keep everything on, but it’s not like I’m going to have to go out of business. I’m just going to wait until it seems like it’s safe for everybody.”


Echoing the comments of other venue owners who say it’s not easy to hit the ground running after being closed for many months, Clough mentions needing to address $10,000 in equipment repairs. Radio Radio fans should look for activity by November possibly at the latest.

“I have to have a series of shows to justify restocking everything,” Clough says. “I definitely want to be up and going by Tonic Ball time.” Here is to hoping he is.



Martin Atkins has so much good post-punk and industrial-rock karma, he needed a museum to store it all. Not really: He’s well-aware the genres are much bigger than him. That’s why the drumming polymath is ready to unveil The Museum Of Post-Punk And Industrial Music


By Jason Pettigrew 


This year, rock ‘n’ roll had its 70th birthday. We feel confident  saying that despite the success of Nickelback, rock wasn’t the cultural anomaly that was going to destroy mankind. But rock’s ability to mutate from other genres, embrace technology and/or assimilate cultural stimulus from other sources (literature, film, art et al) has given it continued life, resonance and purpose. In the realm of contemporary rock music, the subgenres of post-punk and industrial mutate significantly to create something new out of a rapidly changing musical landscape. Clearly, there’s a lot going on. And there really should be a dispensary to catalogue this history and knowledge while aiding in the genres’ futures.


Because that’s what Martin Atkins was thinking. In his myriad roles as drummer, author, producer, teacher, mentor and mad conceptualist, he’s been there, done that and sold the shirt on eBay. Well, not all of them, actually. That’s why he decided to pool his significant personal archives out of boxes and into a space dubbed The Museum Of Post-Punk and Industrial Music. Located in Chicago’s Bridgeport neighborhood, the facility contains various artifacts, art pieces, documents and other tchotchkes from his extensive archives in the post-punk realm. Armed with a CV that includes assorted bands’ halcyon eras (Public Image Limited, Killing Joke, Ministry, Nine Inch Nails and various iterations of his ad hoc noise-rock committee Pigface), Atkins’ bona fides are certainly in order.


More than just a stroll through Atkins’ personal effects, PPIM shines a light on the rich history of two significant genre fulcrums. But like the DIY mentality those scenes fostered out of necessity, visitors can get caught up in the jet stream. You want to try to pound out the intro to “Four Enclosed Walls”? Atkins’ drum set is set up there for you to have a go at it. Fancy remixing/mashing up some of your favorite industrial tracks? There’s a studio facility with an engineer at the ready. If you’re genuinely fascinated by the very thought of a mound of laminated and cloth backstage passes of tours gone by, he’s got you sorted. “Really,” Atkins reveals, “I’m just starting to see what happens when you connect all of these things and go someplace else.”


There’s most assuredly going to be more than a few middle-aged/elderly types rocking faded Wax Trax! artist shirts lurking in the rooms of PPIM. But there’s also a forward-paying aspect that’s very much in play. The operative nature of post-punk is to constantly ask “what’s next?” While PPMI should sate longtime listeners who were actively participating in the early manifestations of the culture, the venue also acts as a clearinghouse of possibilities allowing succeeding generations to borrow-to-remold or straight-up steal from. (Because at some point, we all fall prey to the syndrome of tabula rasa).


The day after his birthday, Atkins spoke with Indy CD & Vinyl about the m.o. behind PPIM with equal parts enthusiasm, pragmatism and what could best be described as practical dadaism. (Seriously, have you ever booked a salon appointment in a museum?) At 62, Atkins continues to flex both his brain and his heart over the potential combinations and permutations to convey and enrich post-punk’s history. “I don’t know what it is,” he says when asking to describe PPIM. “But it’s awesome!” 


After all, it’s not like anyone is expecting him to slow down. “I don’t know that there’s any retirement in DIY,” he quips. “Is there?”

I understand you are taking gradual steps for security and safety purposes.

MARTIN ATKINS: We’re doing soft opening events. We did one a few weeks ago for the anniversary of [the Public Image Limited LP] This Is What You Want, This Is What You Get. We had 150 people on Zoom, 20 people at the museum in person and vaccinated. Then one weekend we’re doing “Days Of Sweat And Madness,” which was a Killing Joke event. Same deal: 20 people, 150 on Zoom. We gave the address out to those people as a soft opening. 


It sounds trite, but what the hell: You have all this documented history and some familiar objets d’art that belong in a museum on their historical significance. How do you bring them into the 21st century? Where’d you learn how to create a museum?

Just put everything on a slide show and have smoke bombs go off, you know? [Laughs.] But no. I’m already seeing three things. One is all of this in a room visible. I’m ADHD, so if things are in boxes, they don’t exist yet. So I’m feeling a two-fold, strange calm surrounded by stuff, but also a very dangerous, “Ahh, fuck off. Anybody can make anything happen” kind-of vibe. And if I don’t believe myself sometimes—oftentimes I don’t believe myself, you know, as many of us don’t—all I have to do is look around and go, “Oh, OK.” The evidence proves that I can make things happen.

It sounds like you’re cultivating imposter syndrome.

Oh, I’m sure. So there’s that. But then there’s the effect this is having on everybody else. Which is massively unexpected. That ranges from people flying from Denver, driving from Akron and flying from L.A. We’ve had one-and-a-half open house events and nobody’s walked in and [demanding tone.] “Can I have some water? I’ve fucking flown in from L.A.” People are like, “I flew in from L.A. Thank you so much for doing this. How else can I help?” You know, that’s a huge surprise and kind of humbling and amazing. But then people are donating some really miraculous things. We just unpacked one of Ogre’s Skinny Puppy suits. I’m not sure of the date on it, but it’s covered in paint and shit. You know, the person who had that in their closet loved having it. But they have way more love by not having it in their possession, having me send them pictures of [photographers] Bobby Talamine and Jodi Sargent taking pictures of the suit on a mannequin in front of the FOOK backdrop from ’92. They’re already thrilled that their baby, their child, their pet Ogre suit is rubbing shoulders—not literally, because that would be an archive issue—with a piss-smelling Killing Joke backdrop. I just found Al [Jourgensen’s] welders’ glasses that he gave me that I think he’s wearing in a Ministry promo picture that I also found.

Your personal contribution to the underground music canon is undeniable. And on the work ethic side, you’ve always made a lot of your colleagues look like slackers. It’s obvious that you would start with your personal archive. Which in turn, could trigger the cynical accusation of PPIM being “The Martin Atkins Museum.” How do you address that?

I do say to people a lot, “Look, this is not the museum of me.” I’ve done a lot and I’m old. all right? So it just seems like an unfair advantage [to be] blighted with this hoarding gene. I can cover PiL, Killing Joke, Ministry, Nine Inch Nails and Pigface—which leads to Genesis P-Orridge and Psychic TV, Ogre and Ritalin. I produced Skinny Puppy. I made scenery for Test Department: I signed them to my label and released a few albums. Sheep On Drugs, same thing. I signed so many artists to my label. I had suits made by Sandy Powell [from the early days of Brian Brain]. I could have just called it “The Martin Atkins Gallery Of Fuck,” you know? But rather to use it as a starting point…


You’re seeding the process.

“Seed” is not the right word. It’s more like a sugar cube you put down on the patio when you know you’ve got ants. And you have to have that sugar cube magnetized to attract whatever. [Former PiL manager] Larry White just sent me a Bellevue Hospital gown that John [Lydon] wore onstage: We just got the photographs of that. Betsy Sherman just sent me a PiL raincoat she painted in 1980. There’s a fantastic picture by Phil N. Flash—a Boston photographer who’s now in Chicago—of John helping her into a taxi in a very Benny Hill-kind of way. So I sit in front of this stuff. Sometimes it puts me in two moods, kind of a reverie. Not melancholy, it’s like thumbing through my greatest hits in a way I like. And then it feels like it’s fueling the next thing. And maybe the next thing is the museum. It kind of feels like that. A couple people have asked, “Well, is this the last thing you’re doing?” I’m like [adopts worried tone] “Fuck…”


Well, if it is the last thing you do, it’s a massive undertaking. What essentially is the mission statement? To document the history of the post-punk aesthetic continuum? Or just a section or historical period of it?

It also documents a different kind of creative process. And the mission statement for that is: We should do something with this. What could it be? And then putting things up on the wall.’s constructing a space to experiment, to see what happens in it. And, yeah, there’s a ton of amazing stuff on the walls. But then, what can you do in the rest of the square footage? And of course, I can’t wait to do a screen-printing workshop, marketing, merchandising, entrepreneurial bootstrapping workshop, which ties in with that DIY punk, don’t-ask-for-permission mentality. I’m sure somebody has started a museum and they had two years in the development phase where they are working on a mission statement and budgets and an advisory board and all this stuff. And two years in, it’s like, “Steve, we’re ready to launch! Tell everybody we baked a cake and we’re going to launch!” I’ve done it exactly the opposite. I put stuff on the wall and said, “You know what? This is the museum. Who’s in? Who wants to help?” Molly [Compton, Atkins’ assistant] who works with me, said, “Yes, there’s great stuff on the walls, but it feels like a museum of process.” Not just how my Newcastle Brown And Bottlecap shrine, made when I stopped drinking the first time became part of an album cover, which then became this huge backdrop that Pigface played in front of with Tool’s Danny Carey—that kind of process. But it’s also a process of starting something in a different way outside of normal channels. I guess at some point, you know, a year from now, I might have Museum Smart, as my latest book. [Laughs.] We could be doing things differently. And I’m thinking about that.


Are you done unpacking things?

I thought I was a few weeks ago, and then I found some more stuff, so we put them up and we bought some more frames. We put something called temporary shipping frames while a couple of framers came in to let us know what we’re dealing with. I opened up a box yesterday and there’s all of this Swans stuff I’d forgotten about. So every day I feel like I reach into a box and some amazing stuff comes out. Today, for instance, I thought, “Well, there should be an area for tour passes.” Because they are the currency by which professionals and professional hangers-on measure their success, right?. So as I’m going through this, honestly, mountain—two file boxes full—of laminates, I found a backstage pass for Blondie in slightly curled but mint condition. And it’s like January 21st, 1980. And I think, this is the pass that {Blondie guitarist] Frank Infante gave me because [PiL] had two sold out shows in Paris and Blondie had one. Well, why is this pass randomly there? So I put that over in a pile. Then I saw this other extremely flat, mint backstage pass, a Killing Joke Astoria 1991 pass that was my very last show with them. There was so much depth. I’m just starting to see what happens when you connect all of these things.


Are you actively buying pieces and acquiring appropriate items?

I bought one piece, but I’m sure I will buy more or people will lend us small pieces, that seems to be what’s happening. But I want to acquire more because of my fascination with packaging, which started with PiL’s Metal Box. That includes people like Moldovar with his light-sensitive theremin CD box, the Damage Manual limited edition CD, scratch and sniff blueberries sleeves of seven-inch singles. I bought a copy of Durutti Column’s Return Of The Durutti Column…


With the sandpaper cover?

Yes! I wanted that because I talk about it in my packaging and marketing lectures. I’m looking forward to pointing out things on walls instead of showing people slides. And I wanted people to touch it. I want people to touch the Durutti Column album sleeve. I love the passive-aggressive “Rust Never Sleeps” quality of gradually destroying the album to the left and to the right of it when you take it off of the shelf. But it turns out Guy DeBord did exactly that in 1959 with his book memoir. We could sit here and I’m sure there would be people going “Fucking hell, the Durutti Column? That cover is fucking amazing!” Yeah. Yawn. It’s actually been done before. So you can stumble into reversing what a museum and education is, and finding different levels of creativity standing on the shoulders of what’s come before. As much as I enjoy that, I’m going to enjoy the fuck out of putting on workshops and having all the people who don’t ever want to come to a museum come. Maybe the word “museum” is a turn-off for some people. I wanted to use it because, of course, we’re going to slightly destroy it.



I think we’re going to have some dinners in the space. I’ve obviously talked to Dirk [Flanagin, esteemed chef and member of early iterations of Pigface] about cooking something ridiculous. Dark Matter will supply the coffee and the chocolate. We will have our own whiskey through the 18th Street Distillery. So I love this subversive idea of, “You don’t want to come to a museum? That’s fine, does this menu interest you?” [Laughs.]


That’s some engaging marketing right there!

[Laughs.], “OK, come to our restaurant.” A person will come in and say, “Oh wow, I like your wallpaper.” [adopts mock anger] Well, that’s not wallpaper. That’s 40 years of fucking cutting-edge, improvised, DIY post-punk industrial music, you fuck.” But if it’s wallpaper to somebody, that’s fine, too. [Laughs.]


Your assistant is describing it as a process. So is the idea to be a museum as a Swiss Army knife? You have all this history on the wall, but then you fly some laptop genius from Sweden for a special one-day only ambient set? Is it essentially an umbrella?

The museum is a museum, but it’s not about how can you do a museum of post-punk and industrial and the first marketing campaign is “Please visit our museum before [Chicago industrial rock-fest] Cold Waves.” Our marketing is going to be “Please come for a haircut.” [Chicago stylists] Gil Castro and Erandi Tovar are going to be cutting hair in the middle of it.

So I can get a skinhead like that girl in Ministry’s “Stigmata” video while I’m there?

[Laughs.] Yeah! I don’t want you to think I don’t have a strategy and I’m just winging it. It’s still a museum. We’re being helped by the Woody Guthrie Center in Tulsa, the Robert Rauschenberg Museum in Florida and so many museum professionals. Mark Davidson was in charge of the Bob Dylan archives. A huge music fan. He took my students on a tour of the Dylan archives. So there are some very experienced professional people guiding us with this other aspect, the archival aspect. You know, I just bought a 6500 dpi scanner. We’re looking at the archival process and being advised on that, because up until now, I just thought, “what the hell am I doing with this? I can’t believe this. ticket from the Paris Metro has survived since 1980,” but now it’s down to professionals to make sure it’s in a professional, acid-free archival environment so these things stick around for a bit longer.


A museum is a serious undertaking. I understand you have a board of directors.

The stage of the process is waving the flag and doing it. And then we’re about to begin the 501(c)3 not-for-profit process. That requires an external board of directors. So that is about to happen. I need to call an informal advisory board because it’s not the formal 501(c)3 advisory directors, but there are about, I will say 60 people on the advisory board right now. And that ranges from [LCD Soundsystem’s] James Murphy, who was my first intern when he was 15, helped me screen print some Steve Albini posters in ‘86. Lee Renaldo from Sonic Youth, Anton Newcombe of the Brian Jonestown Massacre. I’m particularly proud of the composition of the advisory board because there are people from fashion. Drew from 18th Street Distillery is just a kickass entrepreneur and business person. I’m happy to have him on the board as well as Jesse from Dark Matter and Fallon Bowman. Of course, there’s a little bit of a Pigface overlap because that’s where my Rolodex begins. But there are some really great people on the advisory board [including Indy CD & Vinyl owners Annie & Andy Skinner].


Is there anything that you don’t want the museum to be?

Well, that’s an interesting question…

I have a friend who owns a record store. One night, he was doing a club night in one of the art galleries in the building where he has his store. He had Veronica Vasicka from Broken English Club DJ at the event. She mixes new underground electronic post-punk and classic Wax Trax/Play It Again Sam sides. The young fans are like, “Wow, this is really cool” and all the guys who are long in the tooth are like, “Holy shit. Was that Neon Judgment she just played?” It was a great night. Obviously after getting her there, promoting the show, getting her expenses, my friend lost some money. But he said that he would rather lose money than get $2000 from Red Bull to put a sign behind her essentially saying “Everybody drink Red Bull because it’s fucking cool.” So [he] just raised a bunch of things. Number one: Fuck, yes. Is she available to do that here? Because I want to do it. I want people to come and experience this stuff. 

Number two: I’m still a marketer and a promoter. Hypothetically, if the pie shop next door becomes more popular than Public Image, I’m going to ask them to make their special “veal and ham Public Image pie” with a free entrance to the museum. Yes, you will get some people saying, “We came in for the pies. What’s all this shit?” [imitates tour guide spiel.] “Well, you know, 40 years ago this happened…” Blah, blah, blah. However people stumble into this and however they find it and absorb it, that’s a win to me. I’m not one of those people that are strictly “you should listen to the album by the songs in the order that I envisioned.” Whatever, play it at a different speed, if that’s what speaks to you.

Number three: I like the idea of a different audience coming by, as evidenced by the idea of having dinner there with some fine wines and all the rest of it. I want people to have haircuts there. That’s a line from Silence Of The Lambs. “We cover what we see every day, Clarise.” So sitting in front of some of these huge Newcastle Brown ale bottle caps or dot screen madonnas or Skinny Puppy artwork or listening to music that’s playing over the speakers. How do ideas become absorbed only to surface again? So I like all of this.

Where I think my response might be different is whether we would say “fuck Red Bull” as Red Bull or just as a general sweeping corporate entity. I’ve seen some of the things that people do with the Red Bull Music Academy, and I think that’s fucking amazing. Free of charge. People get to spend like six days in a different country with the people who made Michael Jackson’s album followed by this person or by that person. Just amazing stuff that that changes the course of people’s lives. But I think there is sufficient weight behind either what I’ve done or what the museum is doing that I would suspect I’ll be able to tell Red Bull “Fantastic. We love the fact that you’re paying for this and this and this and this and your logo will be on the other side of this thing. And that’s how you get to participate. We’ll put your logo on the floor as people walk in—if it’s right. If it doesn’t feel right to have a Red Bull logo in between two people reciting a poem, then I think I’m sensible enough to not do that. But if Doc Martens wanted to put a shoe store in the museum? Bring it on: I’ve been wearing Doc Martens since 1977!

I think this also goes to the long strategy. I do realize that I have not put myself in the position of hoping someone is going to let me do this. I mean, this museum is real, it exists. You could fly out, we’ll go there tomorrow and there is a substantial insane amount of stuff visible and four times more coming down the pike  without anybody giving me permission to do it. And I think that changes how I deal with other entities that don’t want to be involved. So I don’t have to make a compromise with a corporate entity to be allowed to do this. It’s happening with or without your help if you want to be involved. We would so appreciate your support and help. And this is how we see this being a win-win for both of us. It’s a very different dynamic than if Red Bull give me permission that I can go ahead and do this.

It may or may not be important for me to say. But I’m not saying this because saying it sounds like a threat, but this is happening... We don’t have to talk about doing it—we’re doing it. If you want to come and sit on a couch in amongst it and have a coffee…That’s been the tremendous luxury to have meetings with people in it, not at Starbucks going, “Here’s an artist’s rendering.” Downstairs is where I mixed the China albums and a couple of Pigface albums. Snapline came from Beijing to work here. Upstairs is where Gravity Kills stayed when I made the last album with them, you know, I mean, it’s authentic.


You’re seeing PPMI as a launch pad for a lot of different things. In addition to history, will there be an art space aspect? Are we going to see one-time only performances, similar to, say, the near Velvet Underground reunion at the Warhol Museum?

Maybe six times a year we’ll do a dinner for 40 people. We’re going to do this pop-up. We might do some coffee pop-ups obviously with Dark Matter. I think I’d like to see some fashion stuff going on. A lecture series. A workshop series. I did an event in 2009, I think it was called “Welcome To The Music Business, You’re Fucked”. People flew in from Mexico, Norway, Washington, D.C., North Carolina. I wouldn’t mind doing one of those. I’m doing a reading with Steve Silver in about 10 days’ time. Steve is working on his second book. He used to do security at Exit in Chicago and tour managed Killing Joke. And he’s just got some insane stories. 

I have a focus because I have four kids. It will be kids, the next generation moving the ideas forward, paying it forward. But there needs to be a reverence for the past. Because there are people’s memories attached to this stuff. Somebody will bring up a show and I might think, “That gig was shit.” But [someone will think] “Yeah, but that was the last gig I went to with my brother” or “That’s where I met my wife” or “that’s when we conceived our child that night.” There were other things going on in other people’s lives that some of this stuff was fortunate enough to literally be the backdrop for, musically, visually or both. I feel as though I can bring the understanding and reverence to anybody who stops by and is triggered by a flood of these memories. You know, I mean, it was strange for me today to find the Ministry goggles, the Blondie stagepass and the pass to my very last show with Killing Joke. These things vibrate for me. The vibration is crazy. Real. These things vibrate and then have an energy to them. I hope I’m creating a really respectful aquarium to float all these things in while I carefully monitor the pH and the water temperature.


Has there been any type of pointed criticism about this? Has anybody ever sincerely told you, “Martin, that’s ridiculous. That’s impossible. Shut up”?

I think people know not to say shit like that to me. Not like “how dare they criticize my drumming.” That’s just fuel for me! That’s just the way that I  work. If somebody tells me there’s “really no way” to do something, I’m like, “Well, let me show you five different fucking ways and I’ll send you a postcard.”




A Label and Resource for the Ambient Listener.


Past Inside the Present (PITP) is an American ambient label based out of Indianapolis, Indiana with a focus on offering up some of the very best ambient, drone, electronic and minimal music by passionate artists from across the globe.



PITP began as an ambient music review blog in the summer of 2018, and then shifted their focus to being a full-fledged record label towards the end of 2018. Label owner Zach Frizzell (who also is an ambient artist known as zakè) started reaching out to some of the artists about which he was writing reviews to see if they would be interested in releasing exclusive digital tracks for the blog’s label. This was the genesis of Past Inside the Present.


Frizzell states, “the readers’ interest in these exclusive tracks far outweighed any written blog piece we offered up, and because of that I couldn’t help but have this crazy idea to start a full digital ambient label.” The digital series of PITP included sixteen short EPs, which became the foundation of their output in the early stages of the label.


2019 was the year PITP decided to start releasing physical albums. It was during this transition Frizzell reached out to Isaac Helsen to assist in commencing the physical output of PITP. Frizzell and Helsen carefully crafted a plan to successfully roll out physical releases. With an exceptionally small budget, the two embarked on this new chapter that became ‘bigger’ than they could have ever imagined. 2019 became PITP’s ‘official’ first year of being a physical label, and hundreds of fans transformed into thousands of fans. In their first year alone, they released a ridiculous number of albums: 32 releases encompassing a mixture of vinyl, cassette, and CD offerings. During this period of releasing on a practically bi-weekly basis, Frizzell and Helsen sought out other friends to assist with their workload. From that point on, PITP became intentional about slowing down the frequency of releases, now averaging one to two physical releases per month.


PITP’s physical releases are known to quickly sell out domestically via direct-to-customer (D2C) sales, resulting in US distribution not being a major focus in the PITP business model. Past Inside The Present label manager Kévin Séry states, “We are exploring pressing more quantities in the future, which will allow us to reach a wider audience, but for now we are patient and content with where we are currently- allowing for organic growth.”


With that said, there is one exception to their US fulfillment, stocking their catalog at Indy CD & Vinyl. “Paying homage to friends dear to me, the only brick and mortar store that stock our releases is one of the best record shops in the nation, Indy CD & Vinyl,” Frizzell states. “As a former employee of the store, the discovery of music there transformed me. Back then, you would buy releases based on art, word of mouth, or by previous label output. It was true discovery. No streaming or sound bites; sometimes you’d just buy blindly, and you’d discover something that would stay with you forever. If this experience happens to just one person that steps into the shop, picks up one of our releases, and it changes them - that’s what all this work is all about.” (Frizzell worked at Indy CD & Vinyl 17 years ago!)

Distribution overseas has been essential, for PITP’s non-US fans, where a good amount of their fan base reside. They currently have distribution through Juno Records (UK), Tobira Records (JP), Linus Records (JP), HHV (DE), BLEEP (UK), Phonica Records (UK), Boomkat (UK), and others.



Since day one, Frizzell has made sure to take care of the Indiana ambient community. “There is so many amazing artists right here in our city and I wanted to really hone in on the talent found right here in Indiana. Some of my favorite artists reside in our state.” PITP has released Indiana-based works by Wayne Robert Thomas, Marc Ertel, Ossa, Low Howl, Dawn Chorus and the Infallible Sea, and zakè himself.



Another effort that PITP is passionate about is giving back and helping those in need. PITP has released two compilation albums where all proceeds were donated to non-profits. Their first compilation, titled “Healing Sounds I: A Compilation For Hurricane Recovery,” raised over $4,000 for the Bahamas branch of the International Red Cross during Hurricane Dorian. Their second compilation, titled “Healing Sounds II: A Compilation For Those In Need,” raised over $8,100 for Feeding America. PITP has made it their priority to support a non-profit organization each year. Their 2022 compilation will be monumental, stay tuned!



Past Inside the Present has been recognized as one of the most impactful and influential ambient labels currently active. Their fanbase is far and wide and continue to grow. To date, Past Inside the Present boasts over 100 releases, represents over 100 artists from across the world, tens of thousands purchases, millions of streams, but most importantly, friendships and dedicated fans money can’t buy.



Past Inside the Present is a label ran by artists for artists. Their number one priority has always been building relationships with the artists that release records on PITP. “Passionate and like-minded artists are the essence of our operations. Being mutually invested is paramount and is key to a successful release’,” Frizzell states.