Hail hail! Welcome to the Home of the Protonic Reversal. Today’s episode features another great in-studio guest (man, we’ve been lucky with these!) Keith Brammer, from Die Kreuzen, Wreck, Crime and Judy, et cetera! This wide ranging conversation touches upon such topics as:

-The weird novelty of listening to one’s own music

-Production quality and choices (You can do anything, and THAT’S what you want?)

-Punk as an encompassing thing vs. an ossified set of rules

-Bands whose sound indicated their record collection

-Solidifying songs in practice vs. at shows

-“I guess I can do that one and not feel physically ill.”

-Starting with no preconcieved notion of the “rules”

-Working at the top of your skill level, whatever it might be

-“A wide swath of nonsense and garbage” back then, just like now

-Touring and booking shows is definitely better with cell phones

-Lee Ving is the nicest

-The incredibly bad logic of throwing a shoe at a band

-Recognizing the opportunity for a situation that will make a great story

-Aerosmith

-Telling the Rick Nielsen story again (deal with it)

-“Gone Away” as the most realized DK song

-Daydream Nation doesn’t entirely lend itself to being played live

-The celebrated utility of a dry erase board in the practice space

-Doing useless demos for Mechanic Records

-Wasting the money of major labels

-Wreck, and the Carnival Strippers

-Picking a movie for your song to be in: PCU vs. Speed

-Cover choices

-All roads lead to D.O.A.

-Discovering bands way later than everyone else

-Picking bands to open the reunion shows, and doing the reunion shows in general

-Tom Hazlemeyer’s Bash

-Creating something that didn’t exist

-How just being able to fuck with people’s heads is extremely rewarding