RICHMOND, Va. — Members of local prog rock band Hypernaut were noticeably jealous as the crowd at their show seemed more enthralled with bouncing around a beach ball than watching their performance, several party-hardy sources report.
“We were in the middle of playing our 19-minute epic ‘Star Saviour’ when I noticed the crowd jubilantly bouncing around that fucking inflatable toy,” Hypernaut guitarist and singer Jon Riechmann explained. “We came to that dive to ‘wow’ them with our intricate riffs, technical mastery, and mind-altering lyrical themes about wizardry. Our music isn’t about having fun or enjoying the moment, so that beach ball goes against everything we stand for as musicians. We don’t even allow cell phones or booze at our shows for this exact reason.”
Melissa Graham was front and center for the Hypernaut show and found the ball to be a nice touch to the set.
“This was the most fun I’ve ever had at a prog rock show and it’s all thanks to that beach ball,” Graham said. “Reminded me of the time someone brought a bouncy castle to a doom metal show. Really upped the vibe of the entire place. Everyone was actually enjoying themselves. Smiles, laughter, genuine joy—that sort of stuff. But that Hypernaut dork made short work of that by viciously insulting the ball between songs. He even stage-dived a few times, but it seemed like he was only to try to snatch the ball out of circulation. Anyway, I would definitely go see that beach ball live again.”
Geoff McCurdy, a Virginia Beach lifeguard, emphasized the importance of aquatic-based game equipment safety.
“Everyone knows how much a beach ball can be the most fun one can have on a shoreline. But when used inside, a beach ball is one of the most deadly, ‘fuck around and find out’ objects ever introduced into popular culture,” McCurdy explained. “One minute, the crowd is all happy and cool slapping the ball around, and the next minute, BAM! The ball pops in an unsuspecting concertgoer’s ear, never to be able to listen to another Sublime tribute band ever again. Tragic…or maybe not so much in this particular case.”
At press time, Hypernaut was seen designating one of their roadies to stand in the crowd on safety pin duty.













I’ll be honest, I completely forgot that this record exists. I mean, it has some good songs on it – like, it’s not a bad album overall. It’s just kind of forgettable, especially when you put it up against more developed AJJ records. But in any case, you can thank this review for reminding you as well that “Can’t Maintain” is a thing which you can still listen to.
“Knife Man” probably shouldn’t be this low on the list, but this band has a lot of really great albums and also a couple dumb albums that I mostly need to use as examples for other shit. So there you have – good record, shit ranking.
Look, I know, I know. There’s a lot from this record that does not hold up. And yeah, I’m sure I’m gonna get a whole assload of comments about how they “could never make this record nowadays.” Which is kinda my point. Sometimes you gotta start out writing funny songs about a serial lady killer before you can work your way into that grand concept record about the alien who has a coke problem, or whatever your thing is.
We all had to figure out how to cope with Trump’s presidency in our own ways. This record was AJJ’s. It is also one of the weirder albums in AJJ’s discography, which is really saying something when you take into account that the band actually made and sold salad gloves as merch.
Anybody else listen to this record for the first time and immediately think “you know what, I did have a pretty fucked up childhood. How about that?” Yeah, “The Bible 2” is great for that. Just try listening to it at home first, because if you play it while driving your car on the way to get it inspected then everyone at Jiffy Lube is gonna wonder why you’re crying so much.
Much like the actual Christmas Island, which hosts an annual migration of tens of millions of red crabs to sea to spawn, this album requires no explanation as to its greatness. “Christmas Island” (the album, not the island) is a sonic landmass that is being swarmed by crustaceans. Can you hear it? It sounds clackity.
If you put Woody Guthrie, Barbara Streisand and Simon & Garfunkel in a blender you would likely end up with exactly this album. That’s not a metaphor by the way – if you took an actual blender and mutilated those three artists and also Garfunkel then the resulting viscera would equate to this album. Brutal, catchy, and with a heavy flavor of Marlboro Lights, this is the best AJJ album of all time.