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jkflesh · 4 years ago

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Interview with jesu January 2021 New Noise magazine #56

Read the interview by Antoine "Neredude" Duprez below:

The “Terminus” Bandcamp page states that the album was done between 2016 and 2020. That's a long period in your standards! Did you get some sort of writer's block with Jesu? Or was it because you were so busy with your numerous projects?

— I never get writers block, I just simply move on to the next thing if I’m not currently inspired to work on a specific project. Most my records, for many years, have been written and recorded over extended periods of time; I work when inspiration strikes, when it doesn’t I move onto the next thing; there’s never a block for me with creation generally, maybe just specific areas. i take large breaks for my music so as to afford some sort of distance, gone are the times when an album would be hammered out in a month!

''When I Was Small'' has kind of a Radiohead thing in the vocals, whereas ''Alone'' reminds me a lot of Sigur Rós. Are those bands part of your background?

— Ok, interesting observation, but no Radiohead is not an influence on this song, the biggest influences on the vocals were Liam Gallagher from Oasis, and subconsciously "White Flag" by Godflesh (which I only discovered after the album was complete). I do love some Radiohead though, as I do Sigur Rós, but neither band is a direct or conscious influence. Musically “When I was Small” was mostly influenced by trying to recreate a vibe of early Neil Young mixed with Oasis, in a jesu fashion, coupled with a demo production; intentionally underproduced. I’m not sure where a lot of the influence on “Alone” came from, electronic pop music for sure, short and sweet was the intention, driven entirely by the voice sample.

Regarding “Terminus,” did you set yourself a framework or musical approach beforehand like you did for “Every Day I Get Closer to the Light From Which I Came?“

— Not really no, generally when I work on a bunch of songs things will fall into place naturally, the songs become a whole and then collectively the songs will become conceptual as i write, they build their own logic, so to speak, I don’t force anything, I let things happen organically as I write and record.

I think around 2013, you said “Every Day I Get Closer to the Light From Which I Came” was going to set a precedent for the next album. Now that it's out, do you still think so? Personally, even though both records are different, I can definitely hear a connection.

— Yeah, shame it took 7 years to come to fruition! And many things changed over those 7 years, as ever. Jesu certainly documents my personal journey in life, it’s ultra personal, Godflesh is much more external comparatively. A lot to the solo jesu work took a backseat when I worked on the collaborations with Sun Kil Moon, but that was very refreshing and inspired me to take jesu further, I had notions of discontinuing the project at some point, but the collabs with Sun Kil Moon inspired me to keep pursuing jesu.

"Every Day I Get Closer to the Light From Which I Came” was inspired in great part by you becoming a father. Can you tell us a bit about what was on your mind when you wrote “Terminus?”

— That’s very true, especially the initial journey of bringing life into the/our world. everything is there in the lyrics and artwork for "Terminus" so of course, like a lot of my work, depends on the listeners perspectives, they can make it their own, make it personal. But it’s essentially about endings, and my obsession with finality, my sensitivity to it and my fear of it. There’s a line in the title song that says “my end, our end, the end, the end”, which pretty much sums it up.

The EP “Never” you released before “Terminus” is quite different and more focused on electronics. I remember you telling me that you liked going experimental on EPs, doing stuff you wouldn't do on a full length. So I figure that's still the case?

— Yeah, I like experimenting with everything, I like satisfying myself with different ideas, obviously that doesn’t suit my listeners too much, but I make this music for myself, and I’m always trying to do better. I still don’t know why I put myself through the trial and hell of releasing music, I often think about just recording for myself and not bothering with an audience, but I’m not really capable of earning money in other ways, so I have to finish music and release it, let it go. For me "Never" was just another way of interpreting the jesu mood, nothing deviates too much from the original intention of the project. It’s weird, critically, it was perceived as this big electronic departure, whereas jesu has sounded pretty much like this most of it’s lifetime! “Pale Sketches", "Lifeline" even "Silver” is all mostly electronic, save a real drum loop in the song "Silver", but this EP seemed to get this thing that its all electronic, whereas it;’s no more electronically oriented than any other jesu record I have made. jesu is a mood that can be explored and experimented with, I’m not making the first album over and over, some can’t get over that, but that was a different moment in my life which I captured, and as an artist who challenges oneself besides the audience you can never win, and one will generally never win hah. This is a new jesu, it comes with age, transitions. "Never" was intentionally idiosyncratic and deliberately fvcked up sounding, and I think by and large critically the subtleties were lost on people.

“Never” features two version of ''Never There for You'', one of them described as the ''original vision''. Can you explained how you ended up releasing two version of this song?

— The “original vision” existed like that since around 2010, I shelved it, it was to be a Pale Sketcher song, I had an album’s worth of similar songs, I still do, couldn’t decide if they should be jesu or Pale Sketcher. I sent them to Aphex Twin / Richard James because he was a huge fan of the Pale Sketcher EP “Seventh Heaven”, we were talking about a release on his label Rephlex, I had all these songs that were floating between jesu and Pale Sketcher. But then he folded Rephlex for good, a real shame, so I was left with all these songs in limbo, I still am, but at that period I shelved them all. I returned to them around 2018 and started adding guitars and vocals, thinking that they will now definitely be jesu songs. “Never There for You” was one of them, so I wanted the listener to hear what it was originally before I added more of organic me. I’m working on finalising all those songs for Rephlex into future jesu, probably an album that I hope to release late 2021, it’s not a "Terminus" though, and probably most ppl will hate it hah.

“Terminus” is the first album to feature Ted Parsons in a long while. Did you invite him because you felt these songs needed his touch?

— I wanted some live drums, 3 songs only. I was going to play them myself, like on "Opiate Sun". "Infinity" etc, but I really wanted Ted involved and see how he interpreted my drum parts, he always swings something and makes it interesting. he’s a very real drummer, and a very real human being.

When touring is possible again, would you like to tour with Jesu, with Ted on drums?

— I may tour solo, with electronics and projections. The band thing is tiresome and always just sounds like a band, bands bore me these days because of the constraints of the instruments, rock records also bore me these days; same productions, etc, very little actual aesthetic, but its popular and what do I know. But I’d rather jesu now sound hugely expansive live, not just like a rock band. But i’m still unsure. Live drums swallow my voice live, I can’t sing above them, and jesu is a tiny project, can’t play big venues with stage separation and screens around the drums, and 8 guys diving around onstage, it’s not affordable. I stopped performing as jesu for some time due to all those reasons.

You said “Silver” is probably your favourite Jesu record. Are there other Jesu albums that stand out in your mind?

— Did I say that?! Haha. I don’t recall, and that opinion changes every day I feel. I like how concise and all encompassing "Silver" is; it covers most of the ground that I feel the project should cover. But "Terminus" is my favourite jesu album, and it should be, otherwise I would not feel I was moving forward, and I feel I am, it is the best jesu album I have made.

Last year, you told Olivier ''Zoltar'' Badin that the next Zonal album would probably go in the direction of it's title track ''Wrecked''. Is it still true to this day and what can you tell us about that upcoming album?

— Well, a lot of time has passed since, but I think Kevin and I are still quite struck on that song as a template for future recordings, although everything changes all the time, of course, and time is passing fast once again, we haven’t discussed Zonal in some time.

I know you don't actually consider yourself as a guitarist. With you focusing on your electronic projects like JK Flesh and Zonal lately, do you ever get tired of guitar? I'm asking this because I recently discussed the subject with Steven Wilson. He basically told me that after 30 years writing and doing gigs with guitar, he's feeling more creative and excited when writing music on other instruments and I wondered if you ever felt something similar.

— All instruments are just a means to an end for me; a tool for the bigger job, I don’t really wish to be overly proficient at any instrument, I liked that about punk, and it’s what I’m not that fond of about overly progressive music, it’s like it’s for show, I don’t do anything for show, I’d rather be shit than great, it’s more interesting, it reflects the human condition, imperfection. I don’t wish for things to sound perfect, whatever that is, people should not come to my music for that, they probably don’t and it’s probably why my audience is so small haha.

I recently discovered that you worked with Josh Eustis with the mastering of the JK Flesh / Orphx live album and was a bit surprised. How did that happen?

— Josh is a very good friend of Dominick Fernow’s (Prurient / Vatican Shadow / Hospital Productions, etc), and Dominick is a very close friend of mine. I was aware that Josh does very good mastering besides being an extremely talented artist, so Dominick suggested josh master that collaboration, and it sounds excellent!

I interviewed Lee Dorrian some time ago and we were talking about the impact Napalm Death had, not just the band itself but all the bands who were formed after playing in that band: Godflesh, Carcass, Cathedral, Scorn... Lee thought this legacy had a lot to do with John Peel broadcasting a wide array of music on young aspiring musicians. How would you explain such creativity and versatility from musicians who all played in Napalm Death at one point?

— Lee is absolutely correct, a lot of very young kids listened to John Peel, most generations did, his taste exposed music to many of us who were already enquiring at a young age that we would not have heard anywhere else and of course back then this centralised things, not fragmented them like the internet does; a kid now can absorb an artist entire catalog in an hour, speed listen to it all, then have an opinion, but it’s informed, no context, no history, no experience. We heard music then on Peel and then hunted it down. It took work, valuable work that paid dividends. Peel’s broad appreciation of eternally subversive music and otherwise told us that music didnt need to exist in such strict compartments, that’s it’s all part of a greater whole, so when groups of musicians collaborated even at such young ages, our tastes were informed and wide, very rarely singular.

Can you tell us a bit about you latest remixing output? What were the tracks that you enjoyed the most remixing? Those are the names I could find: Full of Hell, Oathbreaker and a lot of projects I've never heard of.

— I always and love to remix, I love the fact that I didn’t create this music but can make something new from someone else’s work. Music is endless, for me, it’s just when you wish to end it, but ultimately it can never end. I have some remixes that I love moire than others, but only over time, I never let a remix go unless I am as happy as can be with it. Sometimes I would’ve loved to have done more, my Killing Joke remix is a good example of that, I wanted to go further, but Youth of Killing Joke told me they were happy with where I was at, I think I could’ve made it much better. The Oathbreaker remix you mentioned is a favourite of mine from the last years worth of my remixes. I’ll remix anyone, if they can afford my fee and I have the time!

I'm curious, since you released some of your music with your own label with Godflesh, Jesu and other projects, did it have an impact on the revenue you got from streaming platforms like Spotify, compared to albums released on Earache or Hydra Head? I'm asking this in the light of the neverending controversy regarding streaming revenue for musicians.

— On my own label more money can be earned from these services due to no split with another label, which usually would be 50/50, but streaming is very small as is common knowledge. I never see any royalties from Earache so can’t compare their rates etc since Godflesh is constantly recouping an advance from Columbia / Sony for the "Selfless" album that Earache, contractually, can recoup from, even though they didn’t give the advance, so they’re making money from the band and from an advance they never paid, which these days you would think that besides being unethical that it would be criminal, but such were the contracts in the 80’s / 90’s. So I’ve never seen a single penny from streaming with Earache!

I know it might be pointless to ask you, since someone's mind can change with time but do you still think “Post Self” may be your last album with Godflesh? Your told us last year that you weren't sure if you had enough in you creatively to do another album and also that the constant screaming was a bit harder to do.

— Hah, the shouting/screaming live now takes its toll, it does with age, I’m unsure due to not performing for so long thanks to the pandemic how my voice would be for Godflesh now in a live setting, I’d have very little problem in the studio. I’m still struck on the fact that there may not be another full length studio album from Godflesh, I haven’t been inspired to initiate one for numerous reasons, and I don’t wish for us to repeat ourselves in any way, I do have a lot of interesting old material though, some good rare stuff, demos, “Us and Them in Dub” which is also in the works, but I work on that sporadically, when I feel inspired to do so. So there’s a lot of good stuff coming.

Last time I interviewed you in 2014, Aphex Twin was making his grand return with “Syro”. I remember you telling me that the album was still shrinkwrapped on your desk. Knowing you're a big Aphex fan, I wanted to know if you liked that album, especially knowing that a lot of fans were disappointed by it.

— Ahh it was such a long time ago now that we spoke last! I love "Syro”, but I love Aphex, and since I first heard "Didgeridoo" when it was released and then "Quoth", he will always be a favourite, "Syro" may not be an Aphex favourite for me, but it’s still amazing, he is amazing; creative, subversive and doesn’t give a fvck ultimately, he’d also never release anything if he didnt really have to, he does this for himself, for me the best art is entirely selfish and should consider no one. People are always disappointed, a lot of people just can’t live with the fact that an artist strays from their own personal conception of what an artist should be, it’s some sort of misguided entitlement, I lost that when II was around 14, a lot of people don’t lose it and now these people have the internet. No artist owes me anything, if they gave me one thing in my life then i will always respect their art, regardless of whether it works for me or not, and if I don’t like it much, I won’t be peddling that opinion on the internet in an entitled egotistical manner, I’m glad I did not know that a lot of people were disappointed, haha.

Thank you very much! Best JKB, Jan 2021

#jesu #justin broadrick #interview

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louistomlinsoncouk · 5 years ago

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Interview: Louis Tomlinson Talks “Kill My Mind” & Debut Album

After experimenting with everything from EDM to acoustic ballads, Louis Tomlinson finally found his sound on “Kill My Mind.” The just-released single is a throwback to the fuzzy, indie-leaning pop/rock of the ’90s and early ’00s. Which is not a coincidence given that it was inspired by the bands Louis grew up listening to on UK radio. (Think Oasis and the Arctic Monkeys). The song also sets the tone for the superstar’s debut solo album, which will be similarly raw and organic.

I spoke with Louis about his gutsy new single on Friday (September 6) and he recapped his search for a sound that was authentic to him. The “Miss You” hitmaker then revealed that his debut album is finally finished and gave some insight into its tracklist. He also reminisced about his heartwarming “Two Of Us” video and fond memories of being in One Direction. Other topics of conversation included the “Kill My Mind” video, upcoming live shows and his next single. Find out more about the 27-year-old’s solo journey below.

It feels like you really found your sound with “Kill My Mind.”

I think it’s important for any artist to play around with different sounds and find a place in their industry. For me, it frustrates me now that I’ve got four or five singles that just feel different sonically. It’s important to me, and something I’m going to focus on moving forward, to have a real identity as an artist. With the album that is really, really important to me. I feel I found my home on “Kill My Mind,” definitely sonically and the way it makes you feel and how it sounds to you. Yes, it feels good.

Was it a matter of finding the right collaborator or producer?

Definitely. You need someone who is going to embrace your ideas and embrace you for who you are. I did quite a lot of different sessions with producers in America. Everyone has their own opinion of what they think you should be. With some people, you can go into the session and say, “This is who I am, let’s work with this.” Whereas in other sessions, I can sometimes feel producers trying to pull me certain ways. When I found Jamie Hartman, who I wrote quite a few songs with including “Kill My Mind,” I didn’t even have to explain too much about who I am or what I want. We were just on the same page straight away.

It definitely has more of an indie sound. There’s also something quite ’90s about it. Was that your intention?

Yes, I’m a massive fan of ’90s music. I always talk about when I grew up, pop Radio had the like of Amy Winehouse, Arctic Monkeys and Oasis. Now it’s a little bit more urban-leaning. I just went with what I grew up with. That’s where my influences lie.

I think that really comes through on the song. It’s a bit fuzzier and more organic than what you heard on radio right now.

That’s a big compliment. I appreciate that, thank you.

As you said before, you now have maybe five songs that all sound very different. Will you go back to those songs and tweak them?

Well, there are some songs like “Two of Us,” for example. That is just a really simple, organic ballad that fits in line with what I want to do. There are songs like “Back To You” with Bebe Rexha that I absolutely love but, sonically, even just melodically, it’s so set on what it is. Whereas the Steve Aoki song, I have actually reworked to try to fit more in line with “Kill My Mind.” It has been stripped back and that worked straight away actually. I think it’s kind of song dependent really.

I can’t wait to hear the new version.

It’s such an anthemic melody. Anyway, it leads to that guitar-driven stuff. It works pretty well actually.

How far along are you with an album or an EP?

I’m done! I’m finally finished recording the album thank fuck. That took fucking ages. I’ve probably got another two or three more singles after “Kill My Mind.” So the album’s probably going to be out early next year. I’ll be relieved the day the album is out, I can’t wait for that day.

It must be so exciting to have it in the can.

Oh, definitely. It’s been two or three years in the making and when I was in One Direction, we were literally putting out an album once a year. It does feel like a long time for me but I’ll feel really proud when I get it out. I’ve been quite meticulous with it. I’m really excited to hear the feedback.

Who else have you worked with apart from Jamie Hartman?

Let me think about this, who else have I worked with? There’s a guy called Sean Douglas, who actually also wrote “Kill My Mind” and wrote with him on a couple of tracks. I’ve probably done sessions with close to 75 different producers. I think what I’ve realized and learned during the process is that finding the right writing and creative partners, who are all on the same page, is priceless. I have also worked with Wayne Hector, Steve Robson, Julian Bunetta also. There are probably four or five songs that I wrote with Jamie, so they really will be a big chunk of the album.

Will those earlier singles be on the album?

They will be, definitely. I’d say, maybe 30 percent of the songs on the album were written longer than a year ago. There are some songs that are so special to me and I think they mean a lot to the fans. Some of those songs also represent that time in my life in whatever way. So I couldn’t necessarily start fresh, but once I’d written “Kill My Mind,” I kind of found my sound. Once I’d written “Kill My Mind,” there were three or four songs that followed on from that, and it was a little bit more straight forward because we knew exactly what we were aiming for.

I can imagine “Kill My Mind” sounding great live. Have you thought about a live show or tour?

I’m lucky enough to be playing a show in Madrid. They’re doing a Coca Cola festival and I’m headlining one of the days. I’m really excited about that. I’m doing 10 songs. Now, to this point, I’ve only done three or four songs on the odd radio show. So I’m really, really excited to get out and get a reaction and feed from the audience. I know, “Kill My Mind,” is naturally going to make the transition to a live show and I’m pretty confident it’s going to be fun. So I’m really excited about that moment.

How different is it standing on stage by yourself compared to being in a band with other guys?

I’ve done the odd performance. I feel like I’m growing into that. It won’t be so new to me, but doing 10 songs and creating a show about me on the stage, it’s a little bit, I would say, daunting. There’s naturally more pressure. That’s another thing I’ve realized from working on my own as a solo artist. I have to stay across absolutely, everything and all of a sudden, I’m so meticulous about every single detail. When I think about the tour, it’s going to be an even more rewarding situation for me because when we put it on, I will literally have painted this picture from the ground up, so it’s something that really excites me.

You mentioned “Two of Us” a little bit earlier. I love that song.

Thank you.

The video was so touching. Who came up with that idea? That old guy is a legend.

Oh my God, honestly. Of all the things that I’ve done in the last 12 months, that is definitely one of the best things. It was an absolutely amazing experience. I think it was a conversation between me and the record label. We talked about different, interesting ideas that we could do for the video. Everyone should watch that video and be inspired. Not from my story, but from Richard’s story. That old guy recently lost his wife and it was raw to him, but I’ve never met anyone with such an amazing view on life. Although he wasn’t dealt the best hand, he lived so happy and so fun, and he was up for anything literally. He was a proper, proper, brave old guy and I was really taken aback by him as a person.

Has he inspired the way you approach your own life?

Definitely. I think that I have the luxury of now being able to see that the glass is half full as opposed to half empty. Richard really taught me that. There are some things that we did together, which he had obviously never done before. It takes a brave man of that age to do new things. Yes, we can all learn something from that, definitely.

Have you thought about what you’re going to to do for the “Kill My Mind” video?

I’ve already filmed the “Kill My Mind” video, and the next video actually. I’m really excited about this. It’s with Charlie Lightening who directed a documentary about Liam Gallagher. I’m really excited about that. Visually, he’s really cool. Conceptually, for “Kill My Mind,” I wanted it to be like all the Oasis videos I love. I wanted it to be more about the performance. Not focusing too much on a narrative and just being lit really well. I think we pulled it off. I’m excited about that one.

I can’t wait to see it. Do you know when it’s coming out?

Yes. What day is today? Friday. I think it’s due Monday or Tuesday. I think we’ve got some last few notes to do before signing off. So, yes, early next week.

Do you enjoy the visual element?

Yes. I’ve always been quite inclined to get involved in conversations about that. To be honest, sometimes One Direction was so manic, there literally wasn’t time to be across as many things as I am now. It’s really, really rewarding. It’s the same buzz that I get off writing songs. Like when we sat and we spoke about the idea for the Richard video, “Two of Us.” Then you actually watch the final piece, you’re like, “Wow, we’ve actually created something really interesting.” To a certain degree, important, that’s proper refreshing. Definitely.

You mentioned some of the One Direction videos. Has enough time passed that you can look back on it and feel nostalgic or does it still feel recent to you?

It still feels recent but there have been numerous times where I find myself kind of reminiscing about old videos on YouTube, interviews, or performances, whatever it is. There’s still that side of the nostalgia where you miss it as well. It’s like looking back on your school days or your university days. It gives you that funny feeling in your stomach where you miss it, definitely.

You said you filmed a video for the single after “Kill My Mind,” how long will we have to wait for it?

Because I have other songs that don’t really reflect the overall identity and sound of the album, I just want to get as much music out as I can before the album comes out. I’m pretty sure the plan is to release a song every month or every six weeks, so there’s more music out there. I want to really drive home who I’m trying to be as an artist. I think the next single’s coming middle of October, something like that.

Thanks so much for your time. Good luck with the album.

Thank you. I appreciate that.

#louis tomlinson #kill my mind promo #kmm: idolator #09sep19

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andrewdz · 5 years ago

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Favorite Albums of 2019

2019 was a big year for me in music. According to my Last.FM stats, it’s the most music I’ve listened to in one year. That played a big role in why I have a top 50 albums list for the year. There was a lot of stuff I really enjoyed.

I tried to find new bands this year because I’m over 30 now which they say is around the time you stop seeking new music and I want to prove that wrong. 14 out of my top 50 were brand new artists to me, which I wish was higher, but that’s a goal for next year now.

I also reignited my love for some bands. I got really into the Go-Betweens in 2019. I bought a documentary about them, a book about the two founders of the band, and got a box set of their last three albums that is now one of most prized music possessions. I also found some Deerhunter records in Nashville that I listened to quite a bit. I also got to see them live this year which was a real treat. Other artists I got really into this year was Townes Van Zandt, Guy Clark, Bombay Bicycle Club, Chris Isaak, Hightide Hotel, The Brave Little Abacus and Titus Andronicus (who I was already into, but got almost all of their albums on vinyl now).

It was another terrific year for live shows as well, as I got to see a lot of artists I loved as well as ones on my bucket list. Kacey Musgraves, Sharon Van Etten, Priests, mewithoutyou (2nd time), Tigers Jaw, Titus Andronicus (2nd Time), Angel Olsen (3rd Time), Deerhunter, Trampled by Turtles, and Miami Horror. The best month was late April to late May when I got to go to five amazing but very different shows. It was one of the most fun months of my life. I got to see the Drums (2nd Time), PUP, Ratboys, Doomsquad, Operators, Desire, Chromatics, and Passion Pit! All of them were some of the best shows I’ve ever been to.

Now enough about my music year, let’s get to the list. I only wrote things about the top 30 but wanted to highlight some other ones so expanded the list to 50. Like I mentioned earlier, it was a really great year of music. Not sure if I will release a list of favorite songs this year, but we’ll see. I’ve lately become more of an album fan instead of singles. Let me know what you checked out this year!

50. Chromatics – Closer to Grey

49. Hatchie – Keepsake

48. Nilufer Yana – Miss Universe

47. Denzel Curry - ZUU

46. Pedro the Lion - Phoenix

45. Proper. - I Spent the Winter Writing Songs About Getting Better

44. Turnover – Altogether

43. Jay Som – Anak Ko

42. Big Thief – Two Hands

41. Jimmy Eat World - Surviving

40. Titus Andronicus – An Obelisk

39. The National – I Am Easy to Find

38. Priests – Seduction of Kansas

37. DIIV – Deceiver

36. Mildura - Mildura

35. Jamila Woods – LEGACY! LEGACY!

34. Doomsquad – Let Yourself Be Seen

33. Charly Bliss – Young Enough

32. Operators – Radiant Dawn

31. Black Marble – Bigger Than Life

30. The Get Up Kids – Problems

I was late on the Get Up Kids (I know, I know, I’ll turn in my emo card after this article), and I’ve been trying to catch-up these past couple years. And what perfect timing because it’s the first album in eight years (They also had a terrific EP in 2018). It’s a really good return album from them. They can still write amazing pop punk anthems, and few bands leave songs stuck in my head as often as the Get Up Kids do. It’s interesting that the early wave of emo are now elder statesmen of the scene and they touch on that a little in this album. Reflecting on the past and what it means to be a band in 2019. It’s always good to see a band not only not just rely on nostalgia to tour on, but still release relevant music that stands up with some of their best material.

Favorite Track: Satellite

29. Bon Iver – i,i

It’s interesting where Bon Iver has gone in the past decade. First bursting on the scene with the perfect story of going to a cabin and recording a heartbreaking breakup album. Since then he’s won some Grammys, been featured on Kanye West songs, and embraced the synthesizer. For some reason, however, this album reminds me more of “For Emma, Forever Go” than his previous couple albums despite still using the more electronic approach. It has that same raw honesty that his debut had. He’s not alone in the woods anymore. He’s commanding a large group of musicians now, creating this huge sound without losing any of his heart. He also sounds more assured in himself. It’s seems like the beginning of a new era for Justin Vernon and the last song “RABi” sounds like his “riding off into the sunset” moment. Awaiting the next adventure.

Favorite Track: Faith

28. Yola – Walk Through Fire

A really strong debut album from singer/songwriter Yola. It’s really soothing with a nice wall of sound production that just sweeps you away. It also helps that she has such an amazing voice. Songs like “Faraway Look” & “Lonely the Night” feel like songs I’ve known my entire life, but was just waiting for Yola to record them. Really excited to see what she does next.

Favorite Track: Lonely the Night

27. Prince Daddy & the Hyena – Cosmic Thrill Seekers

“Cosmic Thrill Seekers” is an ambitious album, like “The Monitor” level of ambitious. It’s written almost entirely by Kory Gregory about his cycles of struggling with mental health with allusions to Wizard of Oz. They take you on a journey on this album. The feelings of self-destruction, to wanting to escape from people who aren’t even your friends, and not quite fitting in with rest of the world while also playing the most anthemic guitar riffs and crashing cymbals. I can only imaging what the experience is like seeing this album performed live. It would have to feel like a sonic tornado, and you would wonder what just happened after you’re walking away on the street. This album didn’t make it number one on any charts, but this album is going to mean so much to so many people. Also, the last track goes right back into the first one to begin the cycle again.

Favorite Track: Lauren (Track 2)

26. Strange Ranger – Remembering the Rockets

It’s amazing how much this album reminds me of 90’s indie rock. It is so easy to picture Strange Ranger playing this album in between sets of Mazzy Star and Teenage Fanclub. I had not really clicked with Strange Ranger’s earlier stuff, but this album just seemed to make sense to me. It sounds like a fully formed album with a band that is confident enough to be more adventurous. There are some incredibly poppy hooks, but also some interesting synth beat choices. Also the switch of singing songs about the end of the world to being excited to go on a date gives the album a little extra something. A good mixture of despair and hope.

Favorite Track: Leona

25. Lost Under Heaven – Love Hates What You’ve Become

I love when a band just says “F*** It! Let’s make songs meant to be heard in a stadium,” even though they will never get a chance to. This is one of those albums that is meant to be turned all the way up with you screaming along to every chorus in your car. They are definitely wearing their hearts on their sleeve on this one, encouraging you be the best version of ourselves so by the time the album reaches it’s colossal closer “For the Wild,” you are ready to take on the world. It’s fun when a band decides to be super sincere on an album. You actually feel like rock and roll will save us, just like you did when you were a teenager and first found music for yourself.

Favorite Track: For the Wild

24. Mark Ronson – Late Night Feelings

I think my favorite thing about a Mark Ronson record is how much they seem like an awesome compilation album, and this one lives up to its name and is a perfect soundtrack for late night out on the town. He’s got a great ear for collaborators creating the perfect songs to best suit their voices. Lykke Li, Angel Olsen, Alicia Keys, and even Miley Cyrus have some terrific showings on this record. There’s no super hit like “Uptown Funk” on this album, but it is a fun listening experience, and I cannot get enough of Angel Olsen’s “True Blue” on here (Which really should have ended the album. It’s a perfect end credits song).

Favorite Track: True Blue

23. The Drums – Brutalism

The Drums are a group that has had quite a decade. They’ve released four albums, and every member but Johnny has left the group. “Brutalism,” however, is still a strong album in one of the best indie rock discographies of the past 20 years. There are some throwback songs to the early Drums days (Body Chemistry), a rare acoustic ballad (Nervous), and one of the catchiest songs they’ve ever written (626 Bedford Ave). The Drums get overlooked, but they’ve quietly created an impressive catalogue that is just begging to be reevaluated with “Brutalism“ adding a lot to that conversation. Not many indie rock bands make it to five albums, let alone having songs on that fifth album that fit along their biggest hits.

Favorite Track: 626 Bedford Ave.

22. Brittany Howard – Jaime

When I first heard this album was coming out, I thought it meant that Alabama Shakes were done as a band and Brittany was going to be an exclusively solo artist now. However, after listening to this album, I understand why it was not an Alabama Shakes record. This is a very personal record that just wouldn’t sound right as a band collaboration. This is Brittany’s story. She’s singing about life on the road, her faith, first crushes, family, and making sense of what it’s like growing up in the south. This solo record also gave her a chance to explore some different sounds than she would have on an Alabama Shakes record. You can hear some Prince influence, especially on the final track “Run to Me.” Not sure if she plans to release more solo records, but I hope this isn’t the last.

Favorite Track: History Repeats

21. (Sandy) Alex G – House of Sugar

“House of Sugar” has probably got my favorite Side A of any record this year. It just gives a chance to showcase what I love about (Sandy) Alex G so much. You’ve got the psychedelic drone style and that fast almost folk-punk style. It’s just filled with this fun eclectic sound and his voice, while probably viewed as limited in sense of range, just captures so much emotion in the music. I found this record to be one that rewards you the most the more you listen to it. I feel like I’m always discovering something new with each listen. I always enjoy checking out the latest (Sandy) Alex G record because his albums are always adventurous, and “House of Sugar” is definitely that. I would have a tough time describing this album. It’s like when you’re in a dream and there are those moments that completely change the scenario and location, but for some reason it makes sense to you in a way you can’t explain. That’s what this album is like for me.

Favorite Track: Gretal

20. Angel Olsen – All Mirrors

If I had to describe this album, I would say it’s Angel Olsen’s “Nebraska” if she had Bauhaus as her backing band. This is a big sounding record, and it’s easy to let the emotional crescendos take you away. You feel every emotion she’s putting on this record, and it is a wild ride. It’s a breakup record, and this album does a good job of capturing that feeling fresh off a breakup that just feels like a tornado of feelings. It’s a storm of emotions, but sometimes there’s a beauty in a storm as well. She said there’s an acoustic version of this album that will come out next year, but I’m glad we got to hear this version first. We get to feel the real raw emotion on this, and then when more time has passed a chance to be softer with a more reflective look back.

Favorite track: All Mirrors

19. billy woods + kenny segal – Hiding Places

It really sounds like Woods is letting it all out on this album; frustrations with music, other people, the current state of things, and his intensity is only amplified by the beats from Kenny Segal. The samples on this album are not catchy, and they shouldn’t be. This is an album that wants you to reckon with what Woods is saying. That’s what makes the final album so impressive. It’s a perfect blend between Wood’s lyrics and Segal’s beats. Complimenting each other in frustration and uneasiness. I was not familiar with either artists before this album, but I’m definitely a fan now, and I hope they will collaborate again in the near future.

Favorite Track: Red Dust

18. Truth Club – Not an Exit

There is something very old school about Truth Club. They’ve got this post-punk nasty guitar riff energy that just make this an album a delight to hear. They sound like a band with something to prove, delivering exactly what you want from a post-punk record. Sweet riffs, monotone vocals, and done in less than a half-hour. Love it.

Favorite Track: Student Housing

17. Helado Negro – This is How You Smile

Sometimes records just feel like a dream as if you can just see the music and travel in it. That’s how I feel every time I listen to “This is How you Smile.” The mixture of electronic and folk makes such beautiful music and Roberto Carlos Lange’s voice is perfect on top of these amazing collections of sound. Apparently he invited a lot of different musicians to play on this record and it really sounds like a group of friends got together and had the perfect jam with Lange’s artistic vision taking the lead. Some songs tackle today’s issues with even some field recordings from an Abolish ICE March in Brooklyn and singing about being proud of being Latinx, but not being confrontational about it. It’s beautiful music with a message.

Favorite Track: Please Won’t Please

16. Deerhunter - Why Hasn't Everything Already Disappeared?

You’ve got to give credit to Deerhunter for continuing to make really interesting albums throughout all of the 2010s, and this one seems like a good one to end the decade with. When so many of their contemporaries have disbanded or walked away from music, Deerhunter has kept going. Not resting on their past success, but creating new sounds and challenging their audience to go somewhere new with them. They can still write an amazing hook and the lyrics are as sharp as any previous album. It’s an ode to a world that seems to be on the brink of destruction by its own design.

Favorite Track: Plains

15. Anderson Paak – Ventura

Anderson Paak is on quite a creative streak with this being his fourth album in five years and I think this one may be my favorite. He’s got some amazing guests singers on this album including Andre 3000, Brandy, and the legendary Smokey Robinson. It just sounds terrific too. The 70’s soul-funk inspiration makes for some of the best grooves I’ve heard this year, and it’s a perfect album for a night drive.

Favorite Track: Jet Black

14. PUP – Morbid Stuff

Few bands do “ANGER” as good as PUP, but Morbid Stuff is not the typical angry record either. It’s like “I’m angry. You’re angry. Let’s be angry together” kind of record which is perfect for the general attitude of 2019. PUP inspires a real passionate fan base, and on this record it’s easy to see why. They packed it with cathartic anthems for the disenfranchised. Not getting along with your family? Not quite over your ex? Feel like you missed that turn you were supposed to take in life about four years ago? Get over here and let all that anger out by singing along with us. This album is community even though you can’t be with this group in person. It also helps that this is a band that can PLAY. The musicianship is just fantastic which is probably helped because this is a band. These four guys have been PUP since the beginning and they sound better and better on each album. So let’s get angry!

Favorite Track: Kids

13. Raphael Saadiq – Jimmy Lee

It’s been eight years since the last Raphael Saadiq album, and it’s understandable because this album is dealing with a lot of heavy issues; addiction, incarceration, faith, and losing family. It’s also an album that Raphael Saadiq could have only made after being a bit older with some life wisdom to look back at. Sometimes it can be uncomfortable to listen to, but also necessary. It feels like a very personal album, and you can tell how much work must have been put into producing it. The album sounds terrific, which makes sense for how much experience he’s had producing other projects in-between albums. I also forget how talented of a singer he is. This album is a real showcase of his vocal skills. Some songs sound like he’s pouring his soul into it, and just somehow keeping his voice from breaking. You get swept up in that anger he feels. This album will make you really think about where the world has been, where it’s at today, and where it’s going. A powerful and necessary album for 2019.

Favorite Track: Rearview

12. Orville Peck – Pony

Orville Peck’s music is the kind of music that would sound just as perfect being performed on stage at the Grand Ole Opry as it would hearing it off a jukebox in a dive bar in the middle of nowhere. Peck’s really tapped into that timeless country sound that just seems to sounds good anywhere in any situation. Feeling sad? Perfect. Feeling that freedom you get from just hitting the road alone? Perfect. That baritone voice is so beautiful to listen to as well. It’s a new generations Roy Orbison or Chris Isaak. Beautiful but haunting, and it wouldn’t sound out of place in a David Lynch film. The storytelling in the lyrics are also astounding. I can picture the desert riding while listening to “Dead of Night.” It’s fascinating to know that this is Peck’s first album because it’s so well formed in terms of lyrics, vocals, and hooks. Makes me even more excited for what the next album will sound like.

Favorite Track: Dead of Night

11. Great Grandpa – Four of Arrows

“Four of Arrows” sounds like a level up album from Great Grandpa after their terrific debut “Plastic Cough.” It’s a great example of a band expanding their sound without losing the identity that made their first album special. The band sounds tighter, richer (especially with the addition of strings and synths on some songs), and more ambitious. It also helps to have the amazing Alex Menne vocals. She really conveys an energy that escalates these songs’ emotional payoffs. Especially on a song like “Digger” where she sings (almost screams) “That’s why I hate you,” “That’s why I love you” with almost the same energy. You may not know what each song is about, but you certainly know how it feels.

Favorite Track: Treat Jar

10. Holy Ghost! – Work

Sometimes all you need is great dance album in your life, and Holy Ghost! provided that for me this year. They have a kind of style of dance music that has fallen out of critical favor by the end of this decade, but I still love to hear it. They continued the tradition of Daft Punk’s “Random Access Memories” of applying their flavor to 70’s dance music, and it’s terrific fun. This album is super catchy, has wonderfully danceable grooves, and features a 7-minute plus dance closer. A perfect dance record.

Favorite track: Do This

9. American Football - American Football (LP3)

With emo revival being a big topic of conversation this past decade in certain music critics’ world, it’s only fair that one of the greatest emo bands ends the decade with a terrific album. After reuniting a couple years ago for an okay album, I’m glad they went back to studio to create an album worthy of comparison to their first album that influenced so many amazing artists. The musicianship on this album is just stunning, with a rich tapestry of melancholy permeating throughout. They also happened to create possibly the best duet of the decade by having fellow emo legend Haley Williams join them for “Uncomfortably Numb.” Just beautiful. #defendemo

Favorite Track: Uncomfortably Numb

8. oso oso – Basking in the Glow

To be honest, I feel invested in oso oso. I remember a few years back he released “the yunahon mixtape” as a pay what you want on Bandcamp and planning to walk away from music. I checked it out, and loved it on first listen. Then the album got some nice shout-outs from critics and other artists and eventually found an audience. So to see not only oso oso stick with music, but to release this terrific follow up record as well, feels like a win for everyone. There is a common misconception that emo=sad music, but this album shows that is not the case. There’s a joy on this album that is super infectious. He wants you to feel a part of his joy. It’s an album of positivity that we needed in 2019, and it helps that so many of these songs are very catchy. This is the “dance around your bedroom” kind of album, and just let yourself go for a half-hour. I’m so happy that this album is getting recognized on so many year-end lists. It feels like a win for the entire emo scene that usually gets ignored. The fact that it happened to oso oso makes it all the better.

Favorite track: The View

7. Big Thief - U.F.O.F.

I always thought of Big Thief as a perfect band for fall. Something about their music feels like the end of something before dealing with something that will be tough but necessary. That they’re the ferryman taking us into the next stage in life, and the cost is you’re going to feel a little sad listening to some heartbreaking tales. U.F.O.F., their first album of 2019, can break you down. In the first track “Contact” we hear lead singer Adrianne Lenker let out these howling screams. Giving ua permission to let yourself go. Be your most pure self as this album takes you on a journey. I don’t mean to make this album sound depressing, because even though there’re numerous allusions to death it is quite hopeful. You get to LIVE because one day you will die. It makes life more important because it has an ending. This album doesn’t have a lot of hooks on it, but it just makes it more important to listen to it as an album. It’s one big piece that feels so right together. It’s hard to imagine anyone having as creatively successful year as Big Thief did in 2019. Kind of apt they got it in right before the end of a decade. A necessary end, I think.

Favorite Track: Cattails

6. Mini Dresses – Heaven Sent

Listening to Mini Dresses’ “Heaven Sent” feels like I found some hidden album demo from the early 2000s that was secretly a masterpiece. I truly do not know why hardly anyone seems to be talking about this album. If it came out in 2008 it feels like it would have been huge on indie blogs. This album is so catchy and a style of indie rock that doesn’t seem to be big anymore, which is a shame because it’s too good to miss. This album reminds me of Blondie if they would have been part of the indie wave of the mid-2000s, which if that sounds cool to you, please check this album out.

Favorite Track: Rank and File

5. Better Oblivion Community Center – Better Oblivion Community Center

After hearing “Would You Rather” on Phoebe Bridgers’ phenomenal debut album “Stranger in the Alps,” I suppose we were all secretly hoping for more songs from Conor Oberst and Phoebe. There are few songwriters that can capture the feeling of loneliness and emptiness, but still have that sense of hope that it can somehow get better like these two can. “If you’re not feeling ready, there’s always tomorrow” on their last song “Dominos” really hits that point home. Their voices sound great together and the production on this album is fantastic. They’ve got the hooks, they’ve got the ballads, and they’re ready to make you cry, but they will be the first ones to help pick you back up. This album feels like an old friend that knows you get sad sometimes, but is always there for you when you need them.

Favorite Track: Dylan Thomas

4. glass beach – the first glass beach album

There’s nothing better than when a band just goes for it on an album. I haven’t listened to an album that has made me think of emo, Disney, Hellogoodbye, and Playstation video game soundtracks all before I’ve even made it to track 5. It’s like they threw everything on the wall and everything stuck. I would not be surprised to find out that this band is around my age. It sounds like an album that only someone who grew up in the 90’s and early 2000’s could make. Just picking sounds from everything in that era and making an album out of it. It’s pure chaos, but somehow completely makes sense. This album is not for everybody, but if it clicks with you, it’s like it’s looking into your soul.

Favorite track: cold weather

3. Slaughter Beach Dog – Safe and Also No Fear

I was a big fan of Modern Baseball, like all good emo revival fans should be, and was super sad to hear they were going on indefinite hiatus. When I heard Jake Ewald was starting a new project as Slaughter Beach Dog, I checked out some songs from his album “Birdie” but didn’t really connect with it. Probably because I wanted something more like Modern Baseball. Then when this album came out, it had some buzz from critics whose opinions on music closely line up with mine, and I checked out this album. Whatever opinion I had on the first album, this one was the exact opposite. I really connected with. Listening to it feels like those times where you visit your old hometown, driving around the old spots you used to hang out. Then you realize these spots don’t mean what they did to you anymore, and they never could. No matter how much old friends want you to be that old person again, you can’t go backwards and you’re fine with that. This is also a beautiful sounding record. It sounds like Jake let the other musicians have a bit more say in the sound, and it does sound like a band collaboration. It’s a sweet indie/folk/alternative sound that just pierces my soul. If we don’t get another Modern Baseball reunion, that’s fine. It sounds like Jake has moved on, and I’m ready to follow wherever his new music takes him.

Favorite Track: Black Oak

2. Sharon Van Etten – Remind Me Tomorrow

It’s always exciting to witness an artist make the album they were always meant to. All of her work has lead up to her masterpiece. You feel her soul on this record. Not one moment feels faked. She’s not hiding anything from the listener. Talking about letting go of your past self (I Told You Everything), making a new version of yourself (Comeback Kid), letting yourself love again (Jupiter 4), and what it’s like to be a mother (Stay). Also, on this record she embraces the synth and it makes for some tremendous production. The anthems have an extra kick to them. Not only is this a terrific album for 2019, but one of the standouts of the decade from an artist who already had an impressive discography these past ten years. I’m not sure where she will go next, but I’m hoping this is a sign of what to expect from her in the 2020s.

Favorite Track: Seventeen

1. Purple Mountains – Purple Mountains

This is my favorite album of 2019, and it’s not even close. I was not familiar with David Berman until I heard the first couple singles before the album came out. His name was one that I heard critics tweet about or referenced by other artists, but had never really checked out his music. However, after hearing “All My Happiness is Gone” and “Darkness and Cold” I could not get enough of this music. The melodies were incredibly catchy, I thought the lyrics were super memorable, and they just felt like they really connected with me. He sounded like a natural storyteller, and I was hooked on every word he said. I’m not usually a lyrics person, but I paid attention when I heard these songs. Then when the album came out, it was a treasure trove of an album that I could really dive into. This heartland country sound with a terrific backing band, Woods, complimenting David Berman’s unique voice. I loved it immediately. Then when the tragic news came out of David Berman’s passing, it hit me hard. It’s difficult to talk about this album without acknowledging David committed suicide shortly after it was released. However, I don’t think of this album as a suicide note. This really felt like an album about life. There are struggles, but there are the good moments too. Find the happiness where you can. Margaritas at the mall, that lovely connection of a child with their parent, and if the snow is falling and it’s looking bad, enjoy how warm it will be inside. Berman’s legacy will be everything he contributed to culture; his poetry, his wit, his dark humor, and especially the music. Every once in awhile now when I hear “All My Happiness is Gone” on the radio or if it comes up on a shuffled playlist, my eyes start to well up. Not because I’m sad, but because I’m happy David shared a piece of his soul with us. That’s the real power of music.

Favorite Track: All My Happiness is Gone

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jessejostark · 5 years ago

Text

“YOU KNOW, I LOVE HARD”

Jesse Jo Stark. The woman who’s worked with Steve Jones from the Sex Pistols, Duff McKagan from Guns N’ Roses, has Cher as her godmother, her parents as the founders of Chrome Hearts and is friend with Bella Hadid.

She’s the woman who’s worked with Steve Jones from the Sex Pistols, Duff McKagan from Guns N’ Roses, has Cher as her godmother, her parents as the founders of Chrome Hearts and is friend with Bella Hadid. But forget about all those names, she is Jesse Jo Stark, a super talented young woman with the soul of an old lady.

As a singer and songwriter she sings about themes like death and love and she calls her style ‘Horrific Hillbilly’. On 9th May she had her very first gig in Berlin as a support act for The Coathangers at Berlin’s Club Maze, in the cellar of a brick building in Kreuzberg. The gig went on for about 30 minutes and was filled with a lot of energy, Rock ‘n Roll and sex appeal. You could say the stage belonged to her.

The next day we met at the Hotel de Rome, in the centre of Berlin. Surrounded by her cousin, the guitarist of her band and her manager we had some coffee and croissants and chatted about love, life and the successful end to her tour.

LUCAS AVID HÜBNER Thanks for your performances yesterday and thanks for having us!

JESSE JO STARK Thank you!

LAH You said once in an interview that you are always nervous before a concert. How did you feel at your gig yesterday?

JJS I think it was nerve-wracking simply because we had been on tour. So I’m so jet lagged, but which also lends to it, it’s kind of nice to be a little tired, but yeah, I was nervous of course, I was not sure who was coming so I was very excited and it was cool to be opening up for this band. The minute I get on stage I’m fine, it’s just it gets dark so late here I was like ‘I’m all dolled up and it’s bright outside’ so this was kind of funny.

LAH So yesterday was basically your first gig in Berlin?

JJS I’ve been in Berlin once before and I played in a mall, but I only played like 4 songs and I was 19 so I’m counting this as my first time. Do you know what I mean?

LAH Which mall was it?

JJS Ellen von Unwerth was shooting and it was for either MIU MIU or MARNI, I can’t remember. I don’t remember which mall it was and I also didn’t now where to go. Afterwards we went to a couple of pubs and got really drunk and didn’t see anything and we ended up in this random night club – but this is the first time that I’ve gotten to explore the city. We had ramen last night and than we walked through Berlin and today we went to the spa. I’ve gotten to live it a little bit more here and so far I’m just fascinated I wanna stay longer.

LAH How did it happen that you decided to come to Berlin actually?

JJS Well, we had some meetings that I had to attend and I was like ‘If I’m gonna be out there I’d love to play. Can we try to find a show?’ And The Coathangers were looking for support acts so we just booked that show, and we happened to be in London so it seems to be like an easy hop and it’s the way we ended our tour so it’s been just pretty lovely to end on this now.

LAH I remember that you covered the song ‘Bette Davis Eyes’ by Kim Carnes at your gig yesterday why did you choose that song to play?

JJS Well, I love that song and we covered it and I just love to throw a cover here and there, songs that I love and respect and make them my own and then also it gets the audience going because they can related and ‘Bette Davis’ is just such a good song and I feel like singing that for me is just like I make it my own and it’s fun, it’s just good so we put it in the set. I changed up the covers a lot, I did a Rolling Stones cover last week, but ‘Bette Davis’ is just so fun.

LAH It’s actually more like a pop song isn’t it?

JJS I feel like we rock it out a little bit, I mean I love a good dance tune you know.

LAH So let’s talk a little bit about your background. You grew up in an environment that was shaped by many creative people like your parents Richard and Laurie Lynn Stark, founders of the jewellery label Chrome Hearts, and your godmother Cher. When you think back what kind of impact did they have on your career and your personality in general?

JJS I think that your environment when you grow up is so … you’re like a sponge, you know, you either take a lot from it or you run away from the family, right? But my family was so inspiring to me and I was around a lot of adults growing up and a lot creatives and a lot of music, around fashion, a lot of Rock ‘n’ Roll and I think that it just kind of stuck with me. My parents always drew me into their environment, they never like kept me away from it so I was always in the factory when they were creating things and fitting people, making garments for different people that happen to be musicians and my dad played tons of music for me on the way to school, so it just stuck in me.

LAH So it seems that you were surrounded by a lot of adults during your childhood, did you also hang out with friends of your age?

JJS Yeah I had friends, but I always felt a little misunderstood. You know, I love hard! I really waned to have this like crew of people that I could hang with, but I always felt really misunderstood and I was kind of angry, like I just never fit in anywhere. And so to be kind of expected so little and be around adults and my parents would let me hang with them I just felt that I absorbed more from that than from the kids my age, you know. Now I have peers and I am growing into myself and I have some really cool friends, but when I was younger it was just I felt like I was surrounded way more by adults.

LAH What about your siblings?

JJS They didn’t come til I was 13. So I got to be the only child for 13 years. When they were born I had a little more freedom.

LAH How is your relationship with them?

JJS Amazing. They are little entrepreneurs, my sister has a bikini line, my brother has a line where its about being active. My parents raise them the same way where you know there – it’s just a different respect level they don’t treat them like they are little, we all communicate. And my brother and sister, I would say I couldn’t love anything more unless I guess I had a baby because they’re just magnificent.

“I don’t fucking know why he didn’t like me!”

LAH Let’s talk a little bit more about your music. How did you know you wanted to pursue music?

JJS I just feel that I’ve always been fascinated with it and being able to create and write. And when I was little I just asked my dad like “Can I take piano or guitar lessons?” So they put me in lessons for different instruments, guitar, piano and some vocal lessons, so that was when I started writing my own poetry and wrote my first song I was really young.

LAH At the age of?

JJS I was like 9 or something. And it just became this thing that didn’t go away and I started recording covers because I thought my writing wasn’t good enough to record so I did random covers, like a pop cover, country cover I have like 50 covers recorded – I swear – and then I sought out to find a band.

LAH So you wrote your first song when you were 9? What was it about?

JJS ‘My heart’s on fire’. And it’s about a boy. It’s actually about this one boy from high school that didn’t like me, his name was Chase.

LAH Why didn’t he like you?

JJS I don’t fucking know why he didn’t like me! I still don’t know why. I remember writing that song, I was with my vocal teacher and she said “What are you gonna write about?” and I was like “I just feel…I just feel my heart is on fire.” And she was like “That is a song name.” And it was very short and had my best friend in the background doing vocals, it was very pop. And then I recently wrote a song called “Fire of Love” so I feel like it’s a full circle for me.

LAH So you said you did a lot of covers when you were young. If you could choose an artist to work with who would it be and why?

JJS I would say Merle Haggard, but he passed. Um …Oh, wait Stevie Nicks would be insane and Rhye, I love Rhye. I’ve been really embracing new bands lately because I’m usually only listening to old music. And some of the greats that are sadly passed like Lux from the Cramps or like Elvis. Just to name a few.

LAH So your musical background is also quite huge. You’ve worked with people like Steve Jones from the Sex Pistols for your first record, Duff McKagan from Guns N’ Roses and Cher. How have all these musicians influenced you in your music?

JJS I just think that one think they all have in common is they never bullshit me, they’re not gonna just tell me I’m good, they’re not gonna tell me it’s easy, you know. They challenged, me they challenged my creativity, being honest and like if i’m showing them a song they’ll be like – so Steve one day – the reason I worked with Steve was, well, I’ve known him forever but I played him a song and said “What do you think about this song?” and he said: “Well, love, I think it’s shit.” That was what he said. But it was actually really amazing it was during my time recording my first EP in my early 20’s.

“I want to look like a lady, but a little bit like fucked up as well!”

LAH So it actually helped you that he was so direct with his opinion.

JJS It helped. And I said well “If you think that it’s shit why are you even producing a record for me? Don’t just say that.” But he did and in the end we did like 5 songs together and now it’s the first body of work that was really important to me. He really pushed me in the studio and it was really cool to work with him and have his ear with my stuff. It’s important to meet that there is honesty and being challenged constantly. ‘Cause there are a million bands and there are a million artists and a lot of them are great, but a lot of them suck, so you gotta be yourself and you gotta push, push, push!

LAH We already talked a little bit about it, but besides music you are also interested in fashion. You did a collaboration with vans in 2011.

JJS I think I was like 19 they just came to me and “Wanna to do something?”

LAH How did this happen?

JJS I have no idea! There was this girl that was really cool actually this was when blogs where everything. What was it called… it was called like ‘Bleach Black’. Have you heard of it? It was really cool. And she loved me and she worked at vans, but then she left and she was just like “I want you to work with this girl Melissa” and they did this huge thing and I said I only wanna do it if we incorporate my music. And they did. And it was so fucking fun and then they rented out the Troubadour for me and I had a show and that was my first real show. They really incorporated and embodied me with fashion and with my music.

“I think I can honestly say right now in my life love is the scariest thing!”

LAH You also worked together with your parents for their label Chrome Hearts and also helped work on Bella Hadid’s gown for the Met Gala last year right?

JJS Well, you know we did a collaboration with Gareth Pugh a while ago and Bella is a dear family friend of mine and she is so involved with Chrome Hearts. She’s such a supporter we grew up together and we where just hanging and she was like “I’m wearing that to the MET” and then we decided she needed a veil and then we made this amazing veil and I was placing gold on it. It was just a really nice family project and she just rocked it and that was amazing, so things like that just happen when you are at the factory.

LAH How would you describe your style in terms of fashion?

JJS First of all, I have to be comfortable for the most part, it’s rare that I won’t be. I like to be warm and, I don’t know, I want to look like a lady, but a little bit like fucked up as well, and not always pristine ’cause I have a lot of vintage on, then probably add some crazy big earrings. I think it’s always changing, I like to dress up. It’s just an extension of my mood like anyone’s, if I am in a bad mood I probably wearing creepers this big and stomping around in them.

LAH Your look yesterday on stage was a mix of sexy and comfortable.

JJS My friend owns this line Tigra Tigra and it’s brilliant and she gave me that zebra dress. But then I go buy all of these fabrics and I just make a bunch of them and that’s my stage outfit. And than I costum-made those boots, they are really like my second feet, I feel so naked without them. I love them. It took a while to make them.

LAH What are your fears in life?

JJS Life.

LAH Well okay true, life in general is very scary.

JJS No. Okay, well, i can’t tell you my actual fear because I don’t want anybody to know that. Fear! … In the end I guess being loved is like the coolest thing and loving someone else so i guess…

LAH Not being loved?

JJS Like love, not not being loved, but love .. Love is kind of scary right? But i’m not scared of anything with my career, I think we manifest and we create what we wanna see for ourselves and that’s up to us. No one’s gonna do that.

LAH Yeah it’s the same over here, with love.

JJS Love right? I think I can honestly say right now in my life love is the scariest thing!

LAH What has been the proudest moment of your career?

JJS I think it’s all been really cool. I mean fuck i’m here right now, like this is amazing and I get to talk to you in Berlin, I played a show and I got delicious ramen and I was naked all day walking around the spa. It’s not bad. But I think one of my goals that I’ve wanted to make was going on tour. My next goal’s to play festivals. One of my proudest moments was the vans collaboration because I did that separate to my family and I made my own money and I killed it and I designed and I performed and I felt really satisfied and happy that I got to do that at a young age, you know?

LAH So now you are in Berlin sitting with me on this couch. What’s next for you? Flying back to L.A.?

JJS I will go to Paris to meet my mother and then have some meetings, but then I’m going back to L.A. to write an album. I’m gonna put out my first album.

LAH Awesome news. So are you planning to do that this summer?

JJS Yes, I’m planning to release it before next year.

LAH So in summary, there is a new album in planning, you want to play on festivals, more touring..

JJS Yes, more touring, come back to Berlin, maybe this September (winks).

And then we clinked our cups for her successful tour (mine filled with black coffee and her’s with milk tea).

#jesse jo stark #interview magazine #interview #2019

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hlupdate · 5 years ago

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It feels like you really found your sound with “Kill My Mind.”

Was it a matter of finding the right collaborator or producer?

It definitely has more of an indie sound. There’s also something quite ’90s about it. Was that your intention?

I think that really comes through on the song. It’s a bit fuzzier and more organic than what you heard on radio right now.

That’s a big compliment. I appreciate that, thank you.

As you said before, you now have maybe five songs that all sound very different. Will you go back to those songs and tweak them?

I can’t wait to hear the new version.

It’s such an anthemic melody. Anyway, it leads to that guitar-driven stuff. It works pretty well actually.

How far along are you with an album or an EP?

It must be so exciting to have it in the can.

Who else have you worked with apart from Jamie Hartman?

Will those earlier singles be on the album?

I can imagine “Kill My Mind” sounding great live. Have you thought about a live show or tour?

How different is it standing on stage by yourself compared to being in a band with other guys?

You mentioned “Two of Us” a little bit earlier. I love that song.

Thank you.

The video was so touching. Who came up with that idea? That old guy is a legend.

Has he inspired the way you approach your own life?

Have you thought about what you’re going to to do for the “Kill My Mind” video?

I can’t wait to see it. Do you know when it’s coming out?

Yes. What day is today? Friday. I think it’s due Monday or Tuesday. I think we’ve got some last few notes to do before signing off. So, yes, early next week.

Do you enjoy the visual element?

You mentioned some of the One Direction videos. Has enough time passed that you can look back on it and feel nostalgic or does it still feel recent to you?

You said you filmed a video for the single after “Kill My Mind,” how long will we have to wait for it?

Thanks so much for your time. Good luck with the album.

Thank you. I appreciate that.

#louis tomlinson #090919 #kmm #idolator

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doomedandstoned · 5 years ago

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Oakland Doomy Bluesers Phantom Hound Roar ‘Cross The ‘Mountain Pass’

~Doomed & Stoned Debuts~

By Billy Goate

Album Art by Molly Stetson & Heather Hughes

I live not far from the railroad and there's something very comforting about hearing a train roll in. It's appropriate that the might and roar of that metallic convoy be responsible for opening the new record from PHANTOM HOUND.

We met them some years back, when the Oakland doom and power blues trio dropped, 'Phantom Hound' (2016), their debut EP. Now Jake Navarra (guitar, vox), Stephen Rogers (bass guitar), and Jack Stiles (drums) are back with a full-length: 'Mountain Pass' (2020). The new spin showcases a sound that's genuinely enticing, much like Guns 'n' Roses' Appetite For Destruction was when I first heard it at age 12 (the first cassette I had to buy clandestinely from my parents).

The riffmaking, from leads to solos, is strong with Mountain Pass, driving each track forward like a mighty engine, from the rush of an opener "The Northern Face" to the grinding blueser "Thunder I Am," the chugging pistons of "Irons In The Fire," and the Matt Pike-like filigrees of "The Southern Face."

Jake's powerful pipes fall somewhere in between Chris Cornell's soaring medium range, the raspy grit of Finnish vocalist Olli Suurmunne (Kaiser, Altar of Betelgeuze), and the commanding force of Australia's Chris Fisher (Field, Lamassu).

You ain't gonna bring me down You ain't gonna bleed me out You ain't gonna kill me now You ain't gonna snuff me out

In fact, if you liked Kaiser's '1st Sound' (2018), this would make a very nice companion.

A pleasant acoustic interlude, "Grace of an Angel" gives us a rest stop from the treacherous uphill journey, leading to the album's expansive namesake track and a very overcast second-half. "Devil Blues" is quite effective in conjuring the rough terrain of the California mountains and the sense of aloneness one feels when traveling deep into the wild.

Steady return into the dark Dealing again my hand the card A whisper, a spark, and a flame Has bitten me again Killing me again the same

We've now travelled from "The Northern Face" to meet "The Southern Face," the Mountain Pass closer. It's a doomy one for sure, though the intrepid tempo gives the sense of determination that this journey will be finished.

"Overall this record is about survival and living for every moment," the band told Doomed & Stoned. "A gritty reflection on what is required to actually live your life rather than be a slave to it."

And now, Doomed & Stoned is pleased to bring you the premiere of Mountain Pass by Phantom Hound, ahead of its wide release on Saturday, March 28th (pre-order here).

Give ear...

Mountain Pass by Phantom Hound

Track By Track: A Listener's Guide to Mountain Pass

We asked the guys to give us a walk-through of each number on Phantom Hound's new album. We got more than we expected and are delighted to share this in-depth breakdown with you from frontman Jake Navarra.

The Northern Face

This song started off early writing sessions for the record as a new riff when I bought a new Jazzmaster not long after that Rob Zombie show. The riff was written hours before my first audition in two years as something aggressive and impressive to take to them. The guys I jammed with didn't get the vision and we didn't click in general so I put it in my back pocket. I brought it home and kept working on it though. My love of all things Alice in Chains carved this track out to serve as our "Them Bones" This main riff would later serve me again on a second song "The Southern Face" I used the main riff from "The Northern Face" as a bridge riff after the second chorus outro in "The Southern Face" but since the song is in B-Standard on the Baritone guitar its nearly unnoticeable. The songs became the beginning and the end of the record pretty early on. Lyrically the song serves as a cry of raw life. The idea being that, we are born into this world and its a fight to stay here. Climbing the northern face is a metaphor for the listener to be the train that has set off to see its railroad completed. (Drop D)

Thunder I Am

I grew up watching old westerns with my grandpa and my old man. There's nobody that doesn't relate to Clint Eastwood's characters and this songs a direct tip of the hat to the attitude portrayed in nearly all of his films. Thunder I Am is essentially that sense of justice that will always rain down. The song wrote itself when I first plugged this guitar into my Orange. Heavily inspired by Down and Soudgarden. (B Standard)

Irons in the Fire

This song directly reflects a love for Down & Pantera. Lyrically a direct reflection on how hard our members work on a daily basis and what it takes to make a band happen these days with all the different DIY elements band members have to juggle. We can never loose faith in ourselves or let the idea of a dream die out. We simply have to stoke the fire and keep it burning at all times. We put some southern style groove at the end of this song to pay homage to some dime style breakdown riffing. (B Standard)

You Don't Know Death

This song was written during The Ether era. How it survived is beyond me. It's tough, fast, and sharp as a dagger so maybe that helped. Lyrically a reflection on the overwhelming amount of death worship. I don't feel like a lot of bands really know what they're talking about sometimes but I was also much younger when I wrote it and far more angsty. I was craving diversity from metal at the time. I simply want life to be valued at its core. Perhaps the opposite of how it sounds I guess. (Drop C Standard)

Grace of an Angel

Throughout 2018 my step mother battled liver cirrhosis. She turned 67 on Dec 11th and passed away two days after Christmas on Dec 27th. She was in my life for 20 of my 30 years and was nothing short of an angel. She brought children into this world for over 30 years in the medical industry working as an RN for Kaiser Permanente. She never drank, smoked, or swore. She retired around the age of 64 and almost instantly got sick. She did her part for a transplant but was denied a liver through the waiting list. It was the single most painful experience of my life as I was there through the end holding her hand and looking after my old man as we all watched helplessly on the wayside. During her pain and suffering she never lost her integrity and showed more strength in her final hours than I think anybody could truly understand. People leave this world in many different ways but she did it as gracefully as only an angel could. I wrote this only weeks before the end. Steve is playing a Fender Rhodes and Jack added some light drums on it. I did more takes of this than any other track on the record. (Drop C)

Mountain Pass

This song started off during the years I walked away from music as the only thing I would play on my only instrument which was the acoustic that I kept. Occasionally I thought of a record that could capture the sound I always wanted to make combining heavy influences and trying to really make a grand opus. Something long and stoneresque calling on some Matt Pike meets Jerry Cantrell riffage. As the years went by and the idea for this record started to form it really honestly felt like we were struggling at every turn to see this record through. Life changes, career changes, the economy, the price of living, the music industry. Its been a struggle for many. This song is an anthem to all of the blue collar workers and dream of the builders putting one foot in front of the other to see their journey through. We have to set examples sometimes or nothing will change. (Drop C)

Devil Blues

This song is tip of the hat to The Blues. When I started playing guitar again I decided to play with a fire and make sure above all else that we were having fun in this band and having fun at our shows. Life is incredibly short and that's all there is to it. This song is about giving into The Blues and letting that feeling live inside you and remind you to stay out late, spend the extra money, go look at the stars, and jump into the ocean. (B Standard)

The Southern Face

The journey ends here. We've fought, we've struggled, we've survived the perilous journey of life and you're all the stronger and wiser for it. a reminder that you did it with your own two hands, your wit, and that not everybody made it. It's not a perfect story and it didn't work out well for everybody. We took losses and we made gains. And when you're done its time to reflect and count your blessings. This song is a steep descent into a smooth arrival back at the destination you set out to reach. This song wraps up the story entirely and leaves a sneak peak for what's to come. You can hear Steve's wizardry as his psychedelia morphs into a trance-like sense of closure and clarity until the train drops you off and carries on. (B Standard)

Wrong Turns & Second Chances: Interview with Phantom Hound

Every band has an origin story. Sometimes if you dig a little beyond the surface and get to know the musicians behind the music, their stories become surprisingly relatable. As Doomed & Stoned is all about both the music and the stories of the heavy underground, we were curious to know more about a lesser known band with a huge sound and grand ideas called Phantom Hound. We got the scoop from frontman Jake Navarra.

The Beginning

We formed in 2013 under the name Hound. Keith Hernandez (bass and engineer) and Dominic Torres (drums) did The Ether EP with me but not long after we recorded and started mixing I got into a motorcycle accident at the end of 2014 and decided to walk away from music altogether. I had been playing music for 10 years at this point and in part of the collapse of my previous band Cast Iron Crow and the continued struggle to keep a band going in general felt that my time as a musician was done. I fucked up my right shoulder and tore my ACL in the crash, had to get reconstructive surgery on my knee, and learn how to use my left leg all over again during recovery.

Because of this and the inability to play any instrument at all I sold off all of my gear except for my acoustic guitar in order to help pay my bills and for nearly two years never looked back. It was in summer of 2016 that I found myself with some free tickets for Rob Zombie. I took my older brother out to see him as we grew up listening to White Zombie and Rob Zombie from all the old Twisted Metal video games growing up. There was a brief moment when John 5 came out on stage at the beginning of House of 1000 Corpses.

The stage went dark and a spotlight came down upon him and he had this glow in the dark Telecaster with the TV screen in between the pickups while an old horror movie was playing on it and had the whole arena at his attention with that ominous riff. My brother elbowed me and said "You're telling me you don't wanna do that anymore? That doesn't look fun to you?" a light bulb went off that night and I called Kieth Hernandez a few days later to dust off The Ether mixes and we spent the fall dialing it in and finishing what we started. I ended up getting introduced to Oz Fritz who's worked with Les Claypool in the past and has some ties in the East Bay Area. I released it digitally that Christmas as a present to close friends and family.

The Rebirth

At the start of 2017, I wanted to really get back into playing again and struggled for some time to secure a lineup. I had two line ups of close friends help me get the ball rolling and things were off to a slow start for a while as we only had the EP material which was written on a Fender Jazzmaster. In the early months of 2017 I acquired a guitar that changed everything. The Hagstrom Viking Baritone. As soon as I plugged this guitar into my amp "Thunder I Am" was the first thing that came back out of it. "Devil Blues" was second and "The Southern Face" was the third. These three songs became the basis for what would become Mountain Pass and for a year-and-a-half my renewed interest in guitar and the blues pumped new life into the band. We played two shows this year and survived only by a slow pulse.

Paths Converge

It wasn't until I met Jack Stiles (drums) in March of 2018 through craigslist and that things got serious. He was the first person in 5 years that was as motivated as myself about the project and we set out to overhaul the band immediately. Jack (44) is a business owner of 10+ years, married, and a father of two little ones with more energy than most people my age (30). Jack has been a drummer for less than 5 years and a bass player of 20+. From sheer motivation he's answered the call and taken every challenge I've thrown his way. Jack strictly plays Ludwig classics and has shaped his playing around the hooks and rhythms these songs call for. A general love for all things music he's been one of the single most important musicians to ever share the stage with.

Through Jack we met Steve Rogers (bass) a few months later in June of 2018. Steve is a guy as casual as they come. (43) 100% Irish. Here's a guy who backpacked the John Muir trail in 8 days and shrugs his shoulders over his accomplishment when you bring it up. An established sound engineer with Dolby in San Francisco he's one of the friendliest people I've ever met. At the time he was pretty upset with his previous audition with some other band because they told him he didn't have the right image. Their loss, our gain. Steve's unwavering dedication to his bass tone filled a huge gap in our sound and with his Ampeg SVT and Music Man offers a brutal low end I didn't realize these songs couldn't benefit so much from. During the recording sessions Jack and I marveled at his ability to convey how these songs should expand with our engineer Chris Hughes. His sense of temp and atmosphere is responsible for all of the psychedelia and the keys hidden in 'Mountain Pass" and "Grace of an Angel."

Phantom Hound, Jake Navarra, and Mountain Pass

In late summer of 2018, the three of us went straight to work. At this time the name "Hound" had become convoluted and our music simply couldn't be found. After much deliberation and research we expanded the name to Phantom Hound. Symbolically this further represented the folklore surrounding the concept of why I chose "Hound" in the first place. Everything from Hell Hounds of the south capturing elements of The Blues, Black Shuck 's and Phantom Hounds of the UK and America to the mighty Cerberus going all the way back to Greek mythology. The Phantom Hound is essentially a guide/gatekeeper between worlds of the living and the spiritual underworld. We felt this helped us fully mature into our sound as were a bit of a mutt ourselves in the sense that we don't particularly fit in anywhere but get by everywhere so far.

As the main guitar player, vocalist, and songwriter it is my primary goal to try and compose records with expansive styles highlighting what the guitar can offer a listener. My own personal inspiration comes a lot from the classic rock I grew up on as a kid like so many, Seattle grunge, Mississippi and Chicago Blues, NOLA sludge, Italian and East Coast Jazz, Californian desert and stoner rock, and even the eclectic resurgence of all things metal in the local Oakland scene.

After rebuilding throughout the summer of 2018 on what had now become the 4th lineup of the band and the 1st lineup of Phantom Hound we came back up for air renewed and rebranded. We spent the winter of 2018/2019 performing, writing, shaping, and designing our brand. Our love for westerns, camping, backpacking, and history brought us to the Theme of "Mountain Pass," which is a loose concept record comparing one's personal journey through adulthood and all of the challenges one faces during those years to construction of the Transcontinental Railroad. In its essence: A perilous journey inward and mission for oneself to see through to its completion.

Producing Mountain Pass

2019 was the biggest year for us by far. We went into the studio with my friend Chris Hughes in May. About 10 years earlier I met him through an old friend back in college down in southern California. During that moment in time I was discovering Sleep's Jerusalem and was so stoked on Sleep I gave it to this transplant from Denver who wanted to get his hands on anything heavy and stoner metal related. Life went on and I didn't see him again for 10 years. During that time he continued to date and eventually marry an old friend of mine from High School and pursue audio engineering up here in the Bay Area at Expressions.

Somewhere along his journey, Chris got connected with the boys in the South Bay in KOOK and they hired him to produce their first album "Kook" and again their follow up "Kook II". This time however and the reason I mention this part of the story is that KOOK is well acquainted with Billy Anderson who came down from Oregon as the executive producer on the follow up record. Chris was able to shadow Billy in these sessions and learn and assist with much of the engineering on this record.

So after not seeing Chris or my old friend Heather we bumped into each other at Bevmo here downtown in Oakland to buy some beer. We instantly caught up having one hell of a laugh that after all these years the chance encounter we had over Sleep led him to working alongside Billy Anderson himself. With Chris fresh off the sessions of Kook II and Phantom Hound locked and loaded with Mountain Pass, everything lined up right and we went into the studio together at Airship Laboratories in Richmond, California and recorded nearly everything but the vocals in the same room Metallica recorded S&M and had a blast combining all our knowledge together and reconnecting as friends.

Chris Hughes took our record to extraordinary levels and our songs gave him a solid platform to apply his newly acquired skill sets on. We continued to perform all throughout the year with as many bands around town as possible as we built our relationships and earned a place here in town. In September of 2019 through Chris Hughes we were introduced to Jeff Wilson from Kook, Heavy San Jose, and Glory or Death Records and got on the bill for his annual Beers in Hell event. This was single handedly the most important gig of the year for us last year as we got to play with tons of killer bands and open for Hippie Death Cult, Kook, Disastroid, Holy Grove, and High Tone Son of a Bitch (which included Billy Anderson on Bass that night). We then played again with Hippie Death Cult in Pacifica a few weeks later and hit it off as friends.

Mastering Mountain Pass

After mixing was completed and our shows for September were wrapped up, we took off into Nevada City to reconnect with Oz Fritz at Ancient Wave Studios. This place is located down a long dirt road deep in the woods of Gold Country. A perfect relaxing place to kick back and watch the record come to life. Oz Fritz worked with me on The Ether EP. He's worked on Primus's Antipop, several Tom Waits records, and Miles Davis to name a few. Oz is straight to the point and gets down to business quick. He was stoked on the variety of the songs he was working with and added a great layer of warmth that comes through the best on vinyl as we've heard with our test pressings. There is a photo attached of us at Ancient Wave with him working his magic. He was once asked by Tom Waits "This mix sounds great but...it needs more brown" and so he figured it out.

The Northern Face Music Video Shoot

In October, we took off to Soda Springs and rented a cabin during filming for the music video. As I mentioned above we filmed in a historical landmark. You can see us at the entrance of Tunnel #6. If you look Closely you can see the scars on the granite as if the black powder and dynamite just blew it up yesterday. The town behind me on the cliff is Truckee and the lake below is Donner Lake. It is my goal to bring our listeners into the outdoors and feel the dirt in their hands and the smell of the woods.

Tragedy nearly took place though as after we finished filming all day on Saturday and celebrating all night Saturday night. What we thought were minor electrical issues with the house itself turned out to be a near fatal one when an electrical short in the gas fireplace sparked around 3AM. The fireplace caught fire thus lighting the outside of the house and chimney on fire proceeding to fill the house with smoke while 9 of us were fast asleep.

At 3:30 AM the smoke alarms went off like a symphony and we scrambled to find the source only to quickly determine that the fireplace was the problem. Black smoke poured out everywhere from behind the fireplace and we used two fire extinguishers in an attempt to put out the flames. What we didn't know and couldn't see was that the fire crept up all the way through the chimney in between the interior and exterior of the chimney. And just like that, within 10 minutes we started evacuating the house and helping each other clear the place out of our belongings, instruments, film equipment, and vehicles. The Truckee Fire Department came out and went to work and kicked ass on the fire while we assisted with information on how the fire and extending the hoses until reinforcement arrived.

In the end we all got out ok and luckily nobody had to go to the hospital. We all got smoked out pretty bad and were pretty shaken up. It was the real deal 100%. That house was on its way to burning down the house. That's the story behind the home footage at the end. If you look closely the entire house is billowing with smoke. We were all fast asleep about 40 minutes before that was filmed.

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#D&S Debuts #Phantom Hound #Oakland #California #Doom #Metal #Stoner Rock #D&S Interviews #D&S Reviews #Doomed & Stoned

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madcapmoon · 6 years ago

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Fugazi interview

by Jeff Clark, originally written for Stomp and Stammer in April of 1998

They stand alone, really. No other group that emerged from America's '80s hardcore scene that's still breathing - not Bad Brains, nor Bad Religion, nor any of a handful of other somewhat related bands, bad or no - has demonstrated the growth, commitment, and righteousness of Washington, DC's Fugazi. From the taut, grinding release of early albums and EPs like Repeater and Margin Walker, their music has steadily evolved with ever-expanding depth and complexity. A Washington Post article from 1993 stated it succinctly and perfectly: "Fugazi is the face of punk growing up." ·

Ian MacKaye turns 36 this month. He and his longtime friend Jeff Nelson started the fiercely independent Dischord Records in late 1980 to issue a single by their high school punk band Teen Idles. The band broke up; Dischord remained, and thrives to this day by issuing records from an impressive array of impassioned bands, most coming from the DC area. Jawbox, Nation of Ulysses, Dag Nasty, the Make-Up, Faith, and Shudder to Think are but of few of the groups the label has helped over the years, while at the same time offering distribution to many smaller, burgeoning DC indie labels. While Dischord began as a way to document a community, it could be argued that the label is the fuel that keeps that community burning.

Musically, MacKaye and Nelson continued on in the highly-influential hardcore band Minor Threat until 1983, and after brief alliances with Embrace and Egg Hunt, MacKaye hooked up with bassist Joe Lally, drummer Brendan Canty, and guitarist/vocalist Guy Picciotto to form Fugazi. While much is made of their strict integrity and work ethics - they don't charge more than five bucks a show, they won't sign to a major label, they won't allow stage diving, etc. - what ultimately makes Fugazi such a vital rock 'n' roll band is its intensely powerful music. With End Hits, their first release in nearly three years, they'll surely further confound close-minded punk purists - no surprise, really, since MacKaye has freely admitted to being a freak for Hendrix, the Beatles, and Cheap Trick, among other classic rockers. End Hits may not come across as immediately visceral as the band's earlier work, but the creative combustion is more than evident. Urgent, organic, explosive - it's music that's alive, and it makes the listener feel as such.

At the moment, MacKaye is at home in DC, doing administrative work for Dischord (the main office is housed across the street,) fielding constant phone interruptions, arranging a short May tour for the band (its first live dates since a ten-year-anniversary show in Washington last September,) and contemplating the future of Fugazi under some new circumstances. It's been a strange, pivotal couple of years for the band - MacKaye became extremely ill during an Australian tour at the end of '96; his chest inexplicably filled with fluid and a lung collapsed, all with no evidence of bacteria. He had to have surgery, followed by an extended recovery, knocking the band out of commission for the better part of a year - "Yeah, it was pretty bleak, to be honest with you," MacKaye understates, after describing the ordeal. Meanwhile Canty married and had a child with his wife, and Lally bought a house. Basically, punk grew up some more. But with the release of End Hits, and a comprehensive documentary film on the band currently being assembled by Jem Cohen, it looks to be one of the most exciting periods yet for one of the world's most exciting outfits. With the help of various titles from Fugazi's past and present, here are MacKaye's thoughts on matters of heart and mind:

Repeater: "I'm a working man. I wake up quite early, usually around 7:30 or eight. And I try to have some food, I do some stretching, I look at the newspaper, and then it's time [to work], and then it's dark, ha ha ha! In other words, I don't really have any sense of what my days are comprised of, because every day is very different. I sometimes struggle for routine, but there's so many details that change every day, that don't have real routines I don't pack boxes, per se, I don't order things. I have a lot of people calling me about things. I book the band, which is extremely involved. Generally speaking, I answer questions."

Long Division: "From my point of view, we started Dischord to document a particular community here in Washington. And I had no intentions at that time, nor do I have any intentions at this time, to be a rock and roll label owner. I never wanted to be in the record business, but, um, I kind of accepted a mission that made me put out records, and somewhat put me in a position where I am kind of in the record business. I kind of assumed it would be somewhat self-perpetuating, but I didn't think it would be permanently self-perpetuating. I have some dream that at some point it'll be clear that the community that I was interested in documenting will no longer really exist, and at that point I don't think the label will exist anymore."

Steady Diet: "The thing about Dischord, as a label, it's gotten bigger and bigger. We've been around for so long, primarily because of the Fugazi stuff, and also Minor Threat, and a lot more people have become kind of involved with the label as a sort of family. They work there, and there's a lot of activity, and a lot of stuff that Dischord is involved with that most people have no idea about. Particularly within distribution. We lend an awful lot of money out to a lot of local labels to help them get stuff done. I think that the label's sort of gotten bigger than itself at this point. So, when I think about stopping the label, it really means it's gonna stop an awful lot of things and people. And I have to be very, very thoughtful about it before I do something like that."

"From my point of view, we started Dischord to document a particular community here in Washington. And I had no intentions at that time, nor do I have any intentions at this time, to be a rock and roll label owner."

By You: "I think some people don't really understand the nature of 'Do It Yourself.' When you do it yourself, you have to do it. And it's a lot of work. And it's not just an issue of, you know, not participating with major labels, or whatever. It's about working. And, it's been a very strong ethic with us, with me, all along. And basically, my work has been sort of all-consuming for the last 17 or 18 years The people who are interested in our band, quite a few of those people are involved in projects, musical or literary or whatever, the kind of things that involve direct action, and interaction. So, I think that at the end of the day, though, when you do this work and you make these decisions, and you kind of cover this ground on your own, you don't have to answer for it later on. You can speak with some responsibility."

Blueprint: "From our point of view, we spend almost all of our time trying to write music which is interesting and challenging. We work very, very hard on our songs and our records. So it's a little discouraging when it's just like, 'Oh yeah, those are the guys that won't sign to a major label.' But at the same time, there are plenty of other people who, maybe they're aware of that, but they're into the band. So I think the people who can only think about us in really simplified terms, like what they perceive as our philosophy or our behavior patterns, that's just more representative of their kind of really tacit concept of the band."

Do You Like Me: "People have this really kind of, I think, bullshit rap about preaching to the converted. I don't know that I agree with that. There is incredible potential created when a band and an audience get into a room together. I mean, obviously I can have a lot of fun with people who don't like the band and wanna yell things, but it gets kind of tedious after awhile. So my sense is, as much as people use that 'preaching to the converted' thing in sort of a derogatory sense, people should re-examine the idea of that, and think about when you have complimentary forces, sometimes you can get a lot more accomplished."

Birthday Pony: "I don't know what to tell you, except that September 3rd, 1987, Fugazi played our first concert at a place called the Wilson Center, it's a church basement here in Washington, DC. And on September 3rd, 1997, Fugazi played the Wilson Center in the basement of the church. There was nothing more. There were 200 people at both shows, it was very small. But I don't think many bands have that opportunity, to play the same venue, ten years to the day, and we felt like it would be good for us. And it was. It was actually the last concert we played. We haven't played since."

Provisional: "There was a lot of discussion - 'Well, are we gonna play more, or not?' We had that really terrific ten year bookend kind of thing, but in any event, we booked some dates for May, so I think were playing. We're gonna do a week. It's a whole new thing, now. We've gotta figure out how to work with a family. We've got a baby on board. So, we're gonna start real lightly. There's a lot of other stuff going on in people's lives right now, in their personal lives, that needs to be sorted out, still. So, this is gonna be a really spotty year. I mean, I am very happy with this record, The band has been very busy, I have been working non-stop on the band. I just don't think we're gonna be able to get out and do that much touring."

End Hits: "It's such a good name. And I think when people listen to the record, if you pay close attention to it, that the title will come more in focus. I don't think it's quite as apocryphal as it sounds. We're not suggesting that the band is coming to an end."

Closed Captioned: "Jem Cohen and I went to Woodrow Wilson High School together here in Washington. He's been quite close to the band since the very beginning. He actually co-wrote the song 'Glue Man,' and he's been filming us, really, since the beginning of the band, in one form or another. And finally, in the last few years, we've been trying to kind of bring all this material together and get it into some kind of two-hour-long piece about the band We feel that as the band starts to kind of wane as far as playing live, we won't be able to tour as much, and obviously eventually we're not gonna be playing any shows at all, then people who are interested in seeing the band are gonna be reliant on video or film. We thought we'd create something that we were really comfortable with, and was aesthetically in keeping with the way we feel about the band."

Turnover: "We've all gotten older, and there's far fewer bands that I feel as passionate about. Which isn't to mean that there aren't good bands, there are plenty of great bands, it just means that they're not speaking to me in the same way. It's a much less cohesive community - however, we've managed to stick it out. We're all very close friends, and the music may not play nearly as much of a role as it did in the past, but I think at this point, even just our company is enough to get together. I think we're stuck to each other now. So, it would be inaccurate for me to say that it's the same, or it's as strong on certain levels, but I would say that we've grown up together, and the community is still intact. These are people I'll know for the rest of my life."

Burning: "I am very interested in what's going on with young bands and stuff, but I have found that as much as I like to go and check out bands, and all that, I don't feel welcome. It's a very small scene, and I'm not suggesting that I'm some big shit. I'm not. But just within this same scene, it is difficult. I feel uncomfortable going to shows, because I just think it freaks people out that I'm there. But within a certain context, it's good to know that kids who are 16-, 17-, 18-years-old, they need to do their own thing. And I don't necessarily have a place in that world. For me, it's all about trying to keep the fire burning. And to make things possible. And who knows what happens next year. When you keep moving, you stay warmed up, and I still feel warmed up."

Reclamation: "The longer we're together, the bigger our past is. One thing I've found out about music is that after you create a legacy, you have to spend time administering that legacy. Keeping your records in print and all that stuff. There's one more goddamned thing you've got to do. I wasn't lying when I said I spend most of my day answering questions. I'm answering questions about things that I have done, and that troubles me sometimes because I feel like I should be doing something."

Long Distance Runner: "I'm not sure I have a life outside of Fugazi or the label. I hope something happens that doesn't involve either one of those entities, but at the moment it's hard to say. I'll try to go take a walk now and then."

#fugazi

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onestowatch · 6 years ago

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Q&A: Nina Nesbitt Might Be The Britney Spears of our Generation

Already off to an impressive start to 2018, which includes numerous sold-out tour dates and amassing upwards of 100 million streams to date, Scottish singer-songwriter Nina Nesbitt is just getting started. Nesbitt’s vibrant voice is derived from her musical influences Britney Spears and Whitney Houston, and her rapid growth as an artist only further contributes to her confident classic pop style. Her flair for catchy pop and R&B blended with her own confessional songwriting has gathered fans such as Chloe Grace Moretz and Taylor Swift, who included ‘The Best You Had’ on her “Favorite Songs Playlist.”

Earlier this year, Nina Nesbitt partnered with Spotify for their Louder Together program to record the first ever collaborative Spotify Single Original called “Psychopath” with fellow Ones To Watch Sasha Sloan and Charlotte Lawrence.

Fresh off her summer tour supporting Jesse McCartney, Nina released a brand new single, “Loyal To Me,” which was inspired by the “independent-women spirit of the 90s and is a self-help to dating.” She plans on releasing a full-length album in early 2019.

Ones to Watch recently chatted with Nina Nesbitt to chat about her musical journey, Spotify’s Louder Together program, post-tour plans, and more. Read more below and be sure to catch the rising songstress on her upcoming fall tour with MAX:

10/4, Neumos, Seattle, WA 10/5, Fortune Sound Club, Vancouver, BC 10/6, Hawthorne Theater, Portland, OR 10/9, Holy Diver, Sacramento, CA 10/10, Slim’s, San Francisco, CA 10/11, Voodoo Room @ House of Blues, San Diego, CA 10/12, The Observatory, Santa Ana, CA 10/13, El Rey Theatre, Los Angeles, CA 10/16, The Crescent Ballroom, Phoenix, AZ 10/17, Sunshine Theater, Albuquerque, NM 10/19, The Complex, Salt Lake City, UT 10/20, Bluebird Theater, Denver, CO 10/23, Scoot Inn, Austin, TX 10/24, Bronze Peacock @ House of Blues, Houston, TX 10/25, Cambridge Room @ House of Blues, Dallas, TX 10/26, Voodoo Lounge @ Harrah’s Kansas City, Kansas City, MO 10/27, Delmar Hall, St. Louis, MO

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OTW: Let’s start from the very beginning. Why music? What made you realize music was path you wanted to pursue?

NN: It’s something I have loved doing ever since I was a kid. I was the only child--I had a lot of spare time by myself, and so my parents often times encouraged me to do something that I enjoy and that is creative. I did a lot of art, story writing, and music. Music was my favorite thing out of all the creative arts. Eventually, I put my stories into music and so I started songwriting. It’s something I never thought I could do as a career but I really enjoyed it. Suddenly, one day, I ended up doing it as a career I guess and earning a living from it, and it kind of just stuck.

OTW: How have you grown musically and personally since you’ve released your first EP “Live Take” in 2011?

NN: I’m from a little small village in Scotland, which is very far from the music industry and anything else, so the only opportunity I had was to buy an acoustic guitar and put my music out that way. There were no studios or really any other artists that I could work with. I really liked acoustic music and once I got signed, I moved to London. I feel like the move was key to my sound and style changing and just overall growing as a person. Coming from a small place to one of the biggest cities in the world is a culture shock. You have to grow up. You get to know a lot of different characters as people, and you figure out how things work a bit more. I think that’s what personally matured me. And musically, I had the chance to collaborate with so many amazing people like writers and other artists that have influenced my music. I have a studio set up as well where I produced “The Moment I’m Missing.” I wrote all of the new album there.

OTW: Which of your songs took the longest to write and why?

NN: “The Best You Had.” I had the lyrics, “It’s crazy that you’re moving on so fast but baby it’s okay if I am still the best you had,” in my notebook for a good six months. I was really pleased with that line but kept trying to get it into a song. It means a lot to me. Those lyrics have been in about five different songs that never came out. I kept persevering with it and one day, I was in the studio with my friend Jordan, who I write quite a lot with, and we played these chords, and the song literally wrote itself within twenty minutes. I’m glad I kept trying to better it because I wasn’t happy with it before. It was a nightmare to write but in the end, it was actually one of the easiest songs.

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OTW: What has it been like supporting the Jesse McCartney tour?

NN: Great! So many different audiences from what I’m used to playing to. I wasn’t familiar with his music until before the tour. All my friends absolutely love him, but I never had Nickelodeon as a kid so I never knew about him. He’s great. He knows how to work the stage. He’s so lovely.

OTW: Do you have any traditions you like to do pre-show/on tour?

NN: I try to stay healthy but in America, it’s impossible because you have so much space here. Like sometimes the drive is 10 hours some days and the only thing available is fast food, so I’m just enjoying being unhealthy. My tour ritual for this tour is to enjoy food and eat as much as I can.

OTW: Most memorable moment from your music career so far?

NN: There’s quite a lot of different memorable moments especially because I’ve been doing this for about six to seven years. I would have to say playing to ten thousand people at festivals -- that’s something I’ll never forget. “The Best You Had” got over 30 million streams, which is a really crazy number to me. It was so unexpected. I signed an independent deal with a label, a very casual record deal, just to put out songs that I like, and then suddenly I had over 30 million streams, I’m on a billboard in Times Square with Spotify, and all these things just happened so fast which I’m so grateful for. I feel like a lot of times you only get one shot as an artist and so I feel blessed.

OTW: What’s a city you’d like to someday perform in?

NN: Tokyo. I’m obsessed with Japan and I’ve never been. I’ve been to Hong Kong. I’m really obsessed with Asian culture because it’s so different from British culture. I’ve heard from other artists that go there just have the most amazing time.

OTW: We love your recent release “The Sun Will Come Up, The Seasons Will Change.” What does that song mean to you?

NN: That song was released because it was on a TV show, Life Sentence. That one is part of a collection of songs and represent a journey from start to finish. For example, “The Moments I’m Missing” is the intro track, and it’s about losing yourself and feeling lost. The middle point is “Somebody Special” because you feel like you’ve found your worth again and remember who you are. The last one is “Sun Will Come up, The Seasons Will Change,” and it sums up the whole album for me as a concept and represents the light at the end of the tunnel. I’m hoping people listen to it and take what they want from it. It’s also the message I keep with me in life. Nothing is permanent. Whatever you’re going through whether it’s really shit or really great, don’t take anything for granted. Don’t think your life will be like this forever. If you’re having a bad day, just remember things keep changing all the time.

OTW: What is the first thing you’re going to do once you return home post-tour?

NN: Give my dog a big hug. I’m also shooting a new music video the day I get back.

OTW: Wow! Can you tell us about that?

NN: Yes! I’m really excited for the video I’m shooting because I think it’s going to be something people won’t expect.

OTW: We can’t wait to see it. “Psychopath” was the first ever collaborative single from Spotify’s ‘Louder Together’ program. What was it like being a part of that with Sasha Sloan and Charlotte Lawrence?

NN: It was great! I’ve never actually collaborated with other female artists before and I think like for so long, we’ve been conditioned to think that other females are competition -- don’t work with them, don’t support them. And it’s like come on, we can all have space here to put out music. I think Spotify has done given girls a platform, especially girls in pop. They put you on so many playlists to get your streams up, which means more people come to the gigs, and it really helps. This collaboration was really cool because I’m a big fan of both of them and Sasha is an amazing song writer and Charlotte is an amazing new artist. It’s cool to get in a room with like-minded females that also do pop and understand what we do on a daily basis.

OTW: Who are some of your Ones to Watch artists?

NN: So later this summer, I will be touring with Lewis Capaldi, who I think is amazing. He’s Scottish. He’s great. I think he’s going to do really well and everyone should check him out.

#interview #nina nesbitt #pop #lewis capaldi #sasha sloan #charlotte lawrence

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coffeeandcalligraphy · 7 years ago

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Doing the Write Thing #48 after 10 years and 3 seasons of criminal minds + Foster’s birthday

It’s been so long... Dudes...

Many things have happened. Sort of.

My last DtWT update had me outlining how I was super stoked to see Precious Kid in Pennsylvania, and that happened... It was honestly so amazing, and Justine, Chuck, and Kassie are the sweetest human beings in the entire world + they gave us their setlists and had a loooooooong conversation with @sarahkelsiwrites and I. Amazing live also.

I also went to Mexico with my family last week! It was an interesting experience, and I do miss it looking back. I’m really bad at long vacations in general, and there wasn't much to do on the resort in terms of activities daily, so I had a lot of time to myself. It was a nice week to kinda chill and detox from my normal mega busy life, but OH BOY did I miss writing...

Like I mentioned before, I had a LOT of free time on the resort, so @sarahkelsiwrites made it our business to binge watch 2 full seasons of Criminal Minds in that week... (Started season two on Monday, finished it today lol).

Here’s my relationship with Criminal Minds in a nutshell:

I’ve been watching this show for ages. I can’t even pinpoint when I first started watching it because it’s been so long. I’m going to say I was even as young as 8 or 9 when I started watching this show (can’t quite remember though). So to put it simply: I've been watching Criminal Minds for most of my life.

When I was in early elementary school, my sister and I would come home from school and watch the show with our two older brothers if they happened to be watching it (which was often cuz yo oldest brother watched this thing a lot), or we’d watch the marathons, and the list goes on and on.

When driving up to MusikFest in Pennsylvania to catch Precious Kid, my oldest brother pulled the show up on his phone, and oh my did Rachel remember the good times she used to have as a kid watching this show. I seriously think I forgot about my love for this show, since this was my first time watching it probably since the start of the year. This was the start to a huge problem... (the best problem you could ever have)

I’ve watched a TON of Criminal Minds episodes over the years, but since I watched them YEARS ago, I’ve forgotten about them. So @sarahkelsiwrites and I decided to watch the show again and...

How does this relate to writing at all?

Oh, my friends... I’ve been so inspired by this show, I’ve written 4500 words of just IDEAS over the past two weeks. These aren't even fleshed out scenes.

(Also if you have no idea what Criminal Minds is, it’s the best crime show you will ever watch. Fetus me loved this show. Present me understands why.)

In my last DtWT post, I talked about sort of being bored by my scene. It was something I really wanted to write, but the words were churning out slow and painfully. Because of this show, I’ve sort of combatted this. Not perfectly, I’m still having issues (which I’ll get into later), but this has become my favourite form of procrastination and I have zero regrets because I hardcore fancasted the FOSTERED cast to the Criminal Minds cast and every time I watch an episode it’s like OH HELLO.

If you’re a Criminal Minds fan and want to get to know my characters, these are basically them:

Hotchner = Lonan

Hotch and Lonan are the same people. I kid you not. If you don't know what Lonan’s like, just Hotch.

Morgan = Harrison

Dunno what else I can say about this one but ermagherd.

JJ = Reeve

also another ermagherd (ESPECIALLY SEASON 10)

Reid = Foster

cuz have u seen morgan + reid’s relationship

also when I was like 10, my mall had an advertisement with matthew gray gubler in it (who plays reid) and I highkey loved going into this store because of this. reid made child me really proud to be geeky af thank you reid.

Prentiss = Glenne

SO MUCH.

So yes. Thank you Criminal Minds. *bows down to Criminal Minds*

I think that’s all I had to say about Criminal Minds so in other news, guess who’s incredibly sick?

ME!

I caught a really bad cold on Monday (like right as I got home from Mexico, I get sick at home smh), and haven't shaken it yet. Which means I’ve been getting really bad fevers etc and yeah... Not fun. SO I’ve been resting (and probably still should be instead of writing this but I missed you guys, so hello) and watching Criminal Minds. And not writing. Except for about an hour ago.

This is the cause for my temporary block at the moment since it’s really hard for me to concentrate when sick especially with a scene I've struggled with previously. Today’s writing session was just the bare minimum of fleshing out an idea I got in Mexico. Onto the update, shall we?

Daily word count goal: 250

Words written: 686

Total word count: 122 078

Total page count: 221

Songs played: Planning vacation days for next summer in no music land at this point

Things to know: Wrote this with a sore throat (TM) with very little sleep because I had the worst sleep ever (TM)

How I felt: Better than bored as f so yayyy! THANK YOU HOTCH FOR REPLENISHING MY SALTY LONAN VIBES.

Bad haiku to describe writing session: Criminal Minds is / The best way to cure no vibes / Because now I vibe

is this not art.

Rating of writing session out of 10 and why: Like a 7, it wasn't very long, and I wasn't thinking all that deeply, lol.

On a scale from 1-10 my level of stoked-ness is: Also a 7

Lyrics to describe writing session: But it’s hard when I don't know what to do / I'm angry and I'm tired and confused / I've got so many thoughts stuck in my head / And none of them make much sense

--Forever Dumb, Surf Curse (Sad Boys EP)

Cannot even explain how me this is but also cannot explain my excitement for next week cuz ya girl sees these two dudes live next week.

GIF to describe writing session:

Saw this while scrolling down my Tumblr dashboard and saved it just for this update since this is actual footage of me writing tonight.

ALSO: HAPPY BIRTHDAY JULIAN CASABLANCAS. JULIAN CATSNBLANKETS. JULIAN CASABLACKPEPPERANDSALT.

oh my.

Excerpt:

“What if I’m lying about all of this, because it’s some sort of game in my head? Like my own real life chess match?”

someone needs to wait and tell this boy LIFE AIN’T CHESSSSSSSSS.

that was the only reason I shared that excerpt. good day.

should that sentence end with a period or a question mark now I'm doubting myself oh myyyy.

I also have news!

TODAY IS NOT ONLY JULIAN CASABLANCAS’ BIRTHDAY.

It’s also Foster’s birthday! WEE!

I mentioned in a writing update I *believe* that every single year since I’ve written the FOSTERED books, me and @sarahkelsiwrites go out of our way to celebrate dear Foster’s birthday. The only reason being the 23rd of August is usually a mundane day where I’m bored and have nothing to do, since Foster’s a bit of a geeky dudeface I don’t talk about much on here even though I always poke fun at him even tho he’s actually a great person but cinnamon rolls gotta attack cinnamon rolls cuz cinnamon roll I want a cinnamon roll.

So this year since I was sick, @sarahkelsiwrites made me the most AMAZING cake for the dude, and holy moly is it so good. I’m particular about my cakes, but this thing is so amazing. It’s also gorgeous.

So cuuuuuute. I’m amazed by how great this chocolate cake is honestly, it’s a new favourite recipe.

Since it’s his special day, I thought I’d do a quick questionnaire so you guys can get to know him a little better.

So this is Foster:

This is Foster’s lame aesthetic:

So now that we know all of this...

Nicknames and from who: Auggie (from Harrison), Prince Charming (from everyone in the entire world), Wary Sidekick (from Reeve hhhhhaaaaahhaa), The Other One (from Lonan mostly but also from everyone) and there are probably more I’m forgetting, this boy gets a lot of nicknames, especially from Harrison. OH real life nicknames (as in what people I actually know call him) Fosty from @sarahkelsiwrites, and Foss from @imdisappointed and I die lol

Favourite restaurant: Probably something fancy like Milestones HA canada

Favourite candy: Probably jelly beans or original skittles

Favourite type of cake: He’s lame and likes pie, but probably red velvet

Also how old is the dude now: 20 (ermagherd when he was only 16 children grow fast)

Favourite hobby: Probably doing something lame like reading science textbooks with at @imdisappointed

Favourite colour: Blue (as seen in aesthetic)

Favourite cereal: Frosted flakes

Favourite breakfast food in general: Dino eggs (boi)

If he had a job in real life, what would it be: Either the dude that works the counter at a vegan café (with lots of quinoa), or a #freelance photographer who focuses on #lifestyle photos + #nature photos

Favourite thing to do: Say the cheesiest of cheesiness to Reeve who is like oh ma lord the cheese

Does he like The Strokes or does he not like The Strokes: Boy is such a Whitney type of dude, but I don't think he’d have much of an opinion on The Strokes. Lonan would blast The Strokes in the car if they were driving together, and he would just be like ok.

The cheesiest thing he has ever said anyone around him probs exploded because of a cringe attack: You’re everything in the world maximized by a million. or You’re the sunshine that I see first thing in the morning, and the last thing I think of at night. or you know what just everything he says oh myyyyy gahhhhhhhhd

His actual aesthetic: Going on a long morning hike just to watch the sunrise + there is fog and evergreen trees

If he was a gum flavour name: Pretentious Mint

Trying to be a sly ass mofo in book one but no:

“You were awake that entire time!” I scream at him, smacking his head. He winces, but I don’t feel an ounce of guilt for my action. “You – I was so worried and I –” “And you need me and you love me...” He cuts me off, his stupid smirk still on his face. “I thought you were still unconscious you idiot!”

(I was 13 y’all shhhh)

Would he write books: Yes. One in the spinoff called My Best Friend Is Almost 30 And Doesn’t Leave Me Alone: A Memoir

What I (Rachel) wished for in his POV when I blew out his birthday candles today: Protect Reeve and live a healthy, prosperous life

The most pathetic thing he’s done: “Well, I thought, er, I, I brought this for you.” He says, holding a perfect red rose out to me.

well er I er well

If he were a donut flavour: Boston cream

If he were a beverage: Fiji water

the aesthetic

this is a bottle of water

Alright so that’s enough about Foster. Hopefully you learned something about him since I don't talk about him ever on here... He’s sincerely one of my favourite characters, even though I always make fun of him. It’s okay. Everyone does it. Especially Harrison.

Cool. Hope you enjoyed this update. See you later dudes.

--Rachel

#Writing #doingthewritething

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bluebuzzmusic · 5 years ago

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New Artist Profile: Kirrah Amosa Examines the Balance Between Bravery and Self Care in ‘Undefeated’

Fans of musical theatre may already know Kirrah Amosa, the Aussie songstress who has performed in a gallery of well-known musicals including Wicked, for which she won two awards. Her pop pedigree has also strengthened as the performed with the likes of Rita Ora, Adam Lambert and Rob Thomas. She released her debut EP Trials in 2018 to critical acclaim and fans fell in love with her honest lyrics paired with funky musical style. She also famously appeared on The Voice Australia this past year, but that didn’t exactly go to plan.

After a round of particularly harsh feedback from The Voice judges, Amosa left the stage visibly upset but in her mind that’s not where the problem was. After the episode aired, she faced a barrage of hate and bullying on social media. Suddenly quite early on in her pop career, Amosa had to deal with an artist’s worst fear: hate and criticism that attacked her character, not just her music.

Amosa’s first single after the The Voice debacle was entitled “Nothing On Me” and it was a direct reply to the feedback storm, containing clips from the contentious episode as well as part of a radio interview where she explained how The Voice actually works and expressing her gratitude for the fans and artists who supported her. The lyrics are scathing and the single was clearly a catharsis for Amosa.

Amosa’s newest single “Undefeated” sees her returning to her more introspective yet powerful vocals and also a lot of musical growth. While there was always a bit of an electronic element to her work, “Undefeated” has a definitive trap beat and some more EDM-style synths. Her vocals also have developed and really connote the message of the song.

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In the artist’s own words,

“While I wrote Undefeated I was battling with sudden, expected waves of anxiety and feeling quite isolated from those that could help combat those waves. I had never experienced feeling like this before so I didn’t know any coping strategies and I didn’t know how to ask for help. Because I had always been viewed as a strong, powerful human, I didn’t know how to express that I suddenly felt incredibly powerless and lonely for what seemed like no reason. I managed to find little ways to incorporate more self-care activities, such as meditation and exercise, into my routine, which has heavily inspired the visual for Undefeated. It is spoken from the perspective of someone in a relationship but can relate to anyone overcoming any struggle.”

Her perspective on the issue of putting on a brave face versus when it’s time to ask for help is an important one in music right now, especially given what Amosa and many like her have gone through in the face of social media. The single is a watchword for taking care of oneself and also for coming out stronger and better after a series of trials. As her style and substance continue to develop in leaps and bounds, Kirrah Amosa is definitely one to watch in both pop and EDM.

“Undefeated” is out now and can be streamed on Spotify along with her EP Trials. Be sure to check out her other videos, including the one for “Nothing On Me” on her YouTube channel.

This article was first published on Your EDM. Source: New Artist Profile: Kirrah Amosa Examines the Balance Between Bravery and Self Care in ‘Undefeated’

source https://www.youredm.com/2019/10/30/new-artist-profile-kirrah-amosa-examines-the-balance-between-bravery-and-self-care-in-undefeated/

#edm #music #music production #music news #edm news

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patternsintraffic · 5 years ago

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Inside “Down”

Direction by Patterns in Traffic

Hi everyone. You look fabulous today. Here’s some insider info about “Down” from the Direction EP. Let’s keep it between us, shall we?

The chorus of “Down” actually came about when I was trying to complete another song idea. I had a few parts that I really liked with no chorus, and I came up with a few options for choruses, including this one. I decided that one of the other ideas fit better for that song (and, like many of the songs I’ve written over the years, I have plans to record that one on a future release), but I liked this chorus so much that I took it and built a whole new song out of it.

The verses and bridge were ideas that had been sitting around for quite a few years by the time I got into the writing process for Direction. I really liked those parts, but could never find the right home for them until this song came along. So I would say that it’s another “Frankensong” in the sense that I smashed together a few ideas that weren’t originally intended to commingle and voila! A song was born.

Even though it’s technically part of the previous track “Up” according to the track dividers, I consider the transition piece from “Up” into “Down” to be a part of “Down.” Since Direction is intended to be a cohesive and themed piece, I thought it would be a cool idea to have each set of opposing tracks flow into each other. I wrote short instrumental movements to bridge the gaps between “Forward” and “Backward” and between “Up” and “Down.” I ended up deciding not to place “Right” and “Left” next to each other in the track sequencing, so there is no instrumental bridge between those two. Actually, I had this idea to connect the songs early on in the planning for Direction but did not decide to implement it until after I had almost completed the demoing process. It pushed back the final product to go back and write those instrumental pieces to link the songs, but it was something I felt like I had to do or I would eventually regret it.

To return from this tangent, I love how the transition piece that leads from “Up” into “Down” builds slowly with the gentle keys and the choir sample leading into the busier piano line and the drums and bass entering. The groove that locks in when the bass enters was originally planned to be the groove of the verses throughout “Down.” However, I was having a bit of trouble in the demoing process and I ended up picking up the guitar to work out some chords and timing. I soon began playing the current descending guitar chords that are heard in the verses because they felt like a more natural accompaniment to the melody once I was in an organic setting with the guitar in my hands. I really liked the original groove, so I used it for the intro (which is the first thing you hear at the beginning of the proper track if you were to hit play on “Down”).

The last line of the chorus, “Getting better means just getting by,” was a particularly hard one to write. I knew I needed one more line to serve as a hook coming out of the chorus, and I had the melody pretty quickly, but I probably went through 30 variations of lyrics. I ended up going with this one, and I still think it was a pretty good choice!

I really like this song. I think it has a lot going for it and it’s one of my personal favorites on the EP. I actually haven’t heard much praise for this one in particular out in the wild, so if you think it’s a standout, reach out and let me know! That would be very cool to hear. Any praise, really, is cool. Validation!

I’ll leave you with the fact that I’m hard at work on the new Harsh Lights EP and it should be coming sooner than you think! It’s coming together amazing and I’m super proud of it and what that project has become! Can’t wait for you to hear it!

#behind the scenes #patterns in traffic #direction #pitinside #newmusic

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riffrelevant · 7 years ago

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(By Pat ‘Riot’ Whitaker, Lead Journalist/Writer, RiffRelevant.com)

Musician Dan Lorenzo (guitarist) was a highly integral component to many of my own earlier, formative music years. His song writing abilities and guitar playing talent were the creative catalyst for the legendary Eighties power metal / thrash band Hades. In that band he helped pioneer the music and sound of the East Coast’s own take on underground music.

Active for over twenty years, Hades released six revered official albums and myriad singles and splits, while also being included on numerous compilations. The band holds a highly revered place in the heads and hearts of metal lovers both old and new to this very day. From Hades, Dan’s creative Jones led to the formation of the amazing Non-Fiction, a band that was quite ahead of its time in my opinion.

Non-Fiction‘s early Nineties existence resulted in three incredible, forward thinking studio releases (1991’s Preface, 1992’s In The Know and 1996’s It’s A Wonderful Lie…). The band’s take on darker progressive metal registered quite well with listeners and fans. It was another so-called feather in the cap for the artistry that Dan Lorenzo encapsulates.

Lorenzo In NON-FICTION

During the early to mid 2000’s, Dan worked as a solo artist and released three phenomenal full-length albums and one EP. On these, he explored a vast swath of differing styles of music and blurred the lines for those obsessed with genre-labeling. Before that decade was over, Lorenzo was part of The Cursed alongside fellow New Jersey staple, Bobby “Blitz” Ellsworth (Overkill). Their one and only album to date thus far, 2007’s Room Full Of Sinners, was another landmark where Dan’s creative prowess was displayed.

Now it is 2017 of course and recently, news broke about a new project that Dan Lorenzo is part of. From far out of left field comes the revelation of Vessel Of Light, Dan’s new musical partnership with Nathan “Opposition” Jochum of Ancient VVisdom. As unlikely a pairing that anyone could imagine, Vessel Of Light‘s debut single “Meant To Be” (streaming below) is a somber descent into heavy Doom music with psychedelic, sludge and atmospheric nuances. The duo’s self-titled debut EP will be released through Argonauta Records on November 3rd and promises to be one of the year’s most intriguing offerings.

So, as a long, long time fan and appreciator of all that is Dan Lorenzo musically, I was recently given the opportunity to speak with him. It goes without saying that I jumped into such an exchange without hesitation for Dan really is a major component within several musical outlets that have (and do) mean so much to me. Without further ado, let’s get to the goods that got us here, shall we? It is my pleasure to present you….

The Riff Relevant Interview With Dan Lorenzo!

Pat Riot – Vessel Of Light. Your new project with Nathan Opposition..how did this project come about? You two seem an unlikely pairing as you all are coming from much different musical backgrounds (outside looking in anyway) so who did what, or brought what to the table, in VOL?

Dan – Back in December I was in Austin, Texas. Before I went, my wife was listening to a lot of stoner rock. Neither my wife nor I drink or smoke, but we both like Sabbath-y types of riffs. I Googled “Austin stoner rock” and came upon the video “The Opposition” by the band Ancient VVisdom. I had never heard of them and I rarely like “new” music. At first I was taken aback by the lyrics. I go to church and I have a Jesus tattoo and they were singing Satanic lyrics. I literally watched this video 10-15 times over the next two days. I consider “The Opposition” to be one of the top 20 greatest songs of all-time. I tried to figure out what label Ancient VVisdom were on or a contact address, but I couldn’t find anything. I’m not on Facebook. Eventually I found an email and I wrote saying how much I loved their song and Nathan Opposition wrote me back. I mentioned them in a NJ magazine I write for called Steppin’ Out. I mailed Nathan a copy of the magazine and a HADES and THE CURSED CDs. We spoke on the phone and hit it off. Then one day I got an email from Nathan about the new project he and I were starting! I had no idea what he was talking about as this was never discussed (laughs). I couldn’t say “no” to his idea though. I have hundreds of riffs and I started mailing Nathan some of them.

Pat Riot – What can music fans and listeners expect from the debut album? Do you think it will appeal to your own fans as well as those of Nathan’s?

Dan – Do I have any fans? (laughs) Yeah, if people liked my riffs in Non-Fiction and The Cursed, they will be happy. Nathan’s fans will love it too.

Pat Riot – How did the label deal with Argonauta Records materialize? Can we expect to see VOL play some live gigs at any point?

Dan – I was about to leave for a vacation in Hawaii. Right before I left I was trying to find a doom label and I came across Argonauta. I sent an MP3 to Brian Slagel [Metal Blade] and Argonauta and nobody else. I was at the airport suffering through a United Airlines 12 hour delay and Argonauta wrote me that they were interested in signing us. Gero and I sent a few e-mails back and forth and that was it. As far as live gigs before we got signed I said “No way”…now I want to do some shows. Pat Riot – In the mid-2000s you independently released a string of solo albums (3 full lengths/1 EP)..how were those received in your opinion? As both a solo artist and member of some major legacy-type acts / bands, do you have a preference for one over the other (i.e. solo vs. member of band) and if so, why?

Dan – They are both fun. My whole thing is I despise repetition. My solo stuff was a way to get 30 songs out in 13 months without having more than a couple of rehearsals. Nathan and I only had two rehearsals and then we spent a whopping seven hours in the recording studio recording 6 Vessel Of Light songs. Five days later we had a record deal. That kind of spontaneity is incredibly appealing to me. How were my solo CDs received? With contempt! (laughs) No, the “right” people loved my solo work. Bobby Blitz, Peter [Fletcher, guitarist] from Pigmy Love Circus. Cool people with good taste! (I’ll definitely take THAT as a compliment, ha! – Pat)

Pat Riot – Speaking of “legacy acts”..Hades. This year makes 35 years since the “Deliver Us From Evil” single surfaced, where it all started for Hades. Looking back, what’s your take away from it now, knowing what place Hades holds in the hearts of so many metal fans?

Dan – Oh wow! That was 35 years ago. Damn. It’s nice honestly. Dark Symphonies out of Massachusetts is re-releasing our first two CDs with Demos never released on CD and 20 page booklets inside. Hades was my first love so it will always be special to me.

Pat Riot – Hades’ last studio LP was 2001’s “DamNation” and while I know you are just one member of Hades, has there ever been any serious discussion of a reunion or new record? Dan – Nope. It’s over. I’m still friendly with the guys though and Jimmy Schulman might play bass for VOL live. Pat Riot – Dan, what was the catalyst event be it band, album, concert, etc. that ignited your interest in music as a youth? Who would you cite as some of your primary influences and what did you yourself learn or pick up from them?

Dan – Ace Frehley of Kiss and Joe Perry of Aerosmith. I play nothing like Joe. My few solos are very Ace-like.

Pat Riot – Now, let’s hit upon 2 absolute favorites of mine: First..Non-Fiction. To me, NF was quite progressive in style and really ahead of its time I believe. What fueled the formation of Non-Fiction?

Dan – Trying to be the exact opposite of Hades. Non-Fiction were spontaneous. We took risks. I would write a riff in the dressing room before the show and then we might use that riff as the opener for that night. So much fun. We rarely rehearsed and when we did it was to write new songs. I fucking loved being in Non-Fiction. It was way more fun and way more “me” than Hades was. Pat Riot – And what ultimately led to the demise of Non-Fiction? I learned something in researching for our exchange here that I did not know, that a S/T EP was issued featuring Dan Nastasi (of Mucky Pup, whom I love) on vocals.

Dan – We came home from our 1993 European tour with Overkill and Savatage and things seemed to be moving backwards. Plus I fell in love with a girl named Gina. I was so poor that one day I couldn’t find a quarter for a bagel. I was so bummed. I knew I needed to get a job and I knew that would be the end of Non-Fiction. After that Nastasi and I reunited the original Non-Fiction line-up and called it #9. We got a deal with SPV. We were starting to record and Nastasi got a solo deal and his manager put the kabosh on #9. There is one rough mix from those recordings on my website. The song is called The Story Goes. #9 were the shit. So fucking bad ass.

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THE CURSED

The Cursed ‘Room Full Of Sinners’

Pat Riot – The Cursed. ‘Room Full Of Sinners’ is such a genre-diverse record..how did that project come to be? What kind of feedback have you gotten over the years since that LP was released?

Dan – Well Blitz was a fan of my first solo cd and we always hit it off. It was weird because I’m not a huge fan of Overkill, but when he started writing to my riffs I realized how incredibly talented Blitz actually is. I think a lot of people loved our CD together, but I think Bobby felt a lit bit uncomfortable promoting it because at that time Overkill was starting a resurgence. All thanks to me getting Ron Lipnicki in the band! ( laughs).Pat Riot – I interviewed Blitz earlier this year and specifically asked about a possible 2nd LP from The Cursed ever happening. He lovingly passed the buck by saying “never say never” but also made clear it was not really his call. What say YOU? Dan – I would have done one, but like I said, Blitz…he didn’t even want me to pay to have a video done for The Cursed, so I’m not going to spend my time writing/rehearsing and recording something I can’t even promote when it’s done. We have a 4 song demo we recorded for The Cursed before we did Room Full Of Sinners. My wife’s favorite song by The Cursed is Lucifiction on that demo. It’s never been released. I would love for Blitz to tell me he wants to re -release the whole thing and include a new song or two. I think we write very well together. (For the record, literally, my fave is “Native Tongue”. – Pat)Pat Riot – OK, Dan..had you not been in Hades, Non-Fiction, The Cursed, Vessel Of Light, etc…what band throughout all of Rock / Metal History would you have liked to been in and why?

Dan – I’d love to take Malcolm’s spot with Bon Scott era AC/DC or maybe The Plasmatics guitarist during A Coup De’ Etat.

Pat Riot – Outside of music, what type of things do you enjoy doing in your “normal, every day life” i.e. hobbies, travel, etc.?

Dan – I play pick-up basketball 4 days a week during the summer. Gina and I have been happily married twenty years and we love to travel. Pat Riot – I have a tradition of ending interviews with the subject having the final say. Anything you’d like to say, share, state for the record, rant, what have you, this is all you:

Dan – I really wish people would stop smoking cigarettes. It’s expensive, ages you and is disgusting!

There you go, people…Be like Dan and do your smoking on the frets of a guitar! I want to wind down here be saying what a pleasure it was speaking with Dan Lorenzo, a musician whose music via multiple projects has been a staple of my own musical fanaticism for years. Thank you, Dan!

Now, we stand at the precipice of a whole new era of music from Dan via the upcoming Vessel Of Light S/T release (via Argonauta Records Nov. 3rd). My own review of that is coming soon but I’ll go on the record now saying it is going to surprise and astound listeners, and fans of Dan’s both. To keep up with all things Dan Lorenzo, visit his website and Instagram, along with Vessel Of Light’s Facebook page (linked below).

DanLorenzo.net / Dan Lozenzo on Instagram Vessel Of Light’s Facebook page.

Argonauta Records website.

The DAN LORENZO (Vessel Of Light, Hades, Non-Fiction, Etc.) Interview (By Pat 'Riot' Whitaker, Lead Journalist/Writer, RiffRelevant.com) Musician Dan Lorenzo (guitarist) was a highly integral component to many of my own earlier, formative music years.

#Argonauta Records #Dan Lorenzo #Guitarist #Hades #Interview #Metal #Non-Fiction #Progressive #Solo Artist #The Cursed #Vessel Of Light

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tinymixtapes · 7 years ago

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Feature: In Memoriam: Matt Shoemaker

Matthew Thomas Shoemaker, the Seattle-based experimental musician, died in August of this year. Unfortunately, Shoemaker’s time on this earth was cut short, but he leaves behind an impressive body of work by which he will be survived by friends and fans. Shoemaker split his artistic time between music and painting, where over the course of nearly 20 years he created hundreds of visual pieces and released eleven albums and two EPs. Shoemaker’s Instagram page is something to behold, showcasing an array of grotesque and beautiful artworks; the most exquisite of corpses at the mercy of a singular surrealist vision. And he was only getting better! A personal favourite of mine is not even a painting but an experiment in macro photography. Using only olive oil, water, food coloring, and salt on glass, Shoemaker captured a remarkable image that looks like a scene from some deep recess of the universe (It’s untitled, but I’ve come to think of it as “the fish head nebula”). Untitled macro photography experiment From an email interview I did with him back in March of 2010, and from online statements his friends have made about him since his passing, it’s become clear just how diverse and deep seeded Shoemaker’s passions were. Film was one of his main interests, and for a while he worked at Video Isle, a humble video store in Fremont, Seattle. In multiple statements, friends reminisced over hanging out with him there, and of “Matt’s Picks” being the ones to really watch for. One of my interview questions was about his love for avant-garde cinema, to which he was proud to say he had both a low and high brow, following up with a list of “a few favorites” that must have been something like 50 titles. I imagine him picking these off the top of his head, but years later here I am still referencing that list when movie night rolls around. Beyond film, Shoemaker was a seasoned traveler, spending significant time in Indonesia. It was here that his love of Gamelan and traditional Southeast Asian music blossomed. He had a knack for curation, investing his time in documenting selections of music from places like Java, Bali, and Thailand on his blog, Brain Goreng. As a contributing member of Gamelan Pacifica — an American ensemble that have been active since 1980 — Shoemaker continued to keep his love for music alive wherever he went. Shoemaker had a lot of passions, but they all informed one another. This is perhaps most evident in the music he produced, which was greatly shaped by his time abroad, his love of cinema, and his visual mind. Describing Shoemaker’s music has always been difficult, as anyone who is familiar with it will attest to its deep complexity and mystifying provenance — review any of his albums and you’ll quickly be at a loss for qualifiers. One thing that can be said for certain is that his work perhaps best exemplifies the no-pussyfooting tactic. His uncompromising vision left no wiggle room for casual tourism. Approach a Shoemaker work half-heartedly and you will be subsumed by it; its shear mass will swallow you whole. --- Initially, Shoemaker was interested in releasing music on Anomalous Records after befriending label head Eric Lanzillotta, but he ended up finding a home for his first two albums, Groundless (2000) and Warung Elusion (2002), on Trente Oiseaux. This early work still sounds like Shoemaker in his element, both providing a microcosmic window into what would later become his bread and butter: a minimalist’s fusing of analogue synthesis with field recording. On these initial albums, however, silence played just as important a role. Progressively his music became more to the point, but in terms of what best typified Shoemaker’s understanding of balance and patience, one needn’t look past this early era. 2005 saw the release of the Cd-r, Forking Path Navigator (Oblast), and the very limited cassette, Mambang Kuning (Stentorian). This was an integral time for Shoemaker’s career, a transitional period that bridged his early era to his most productive years. On Forking Path … one can hear Shoemaker feeling his way through, as though we’re meant to conclude that navigator and artist are one in the same. In retrospect the album was not a huge diversion from the Trente Oiseaux material, but the inclusion of bowed string drones, and an overall grimier fidelity, certainly added a grace note to his song. Pulling back the frame over Matt Shoemaker’s canon one quickly gathers a deeper appreciation for his grasp of the bigger picture, his preternatural inclination for continuity. However, zoom in again and you might find that no Shoemaker work is ever quite complete without the listener. Mambang Kuning was the closest Shoemaker dipped into his Gamelan influence. It’s still basically a noise album, but his usual festering dronescape is mixed around other bizarre ephemera, like children’s voices and the occasional pang of a heavy bell. It was rare to hear something this short from the man — the whole thing is under 15 minutes — but even in small doses his music can snake its way into the strata of human consciousness and linger there for hours. Though he was most prolific as a solo artist, Shoemaker was no stranger to collaboration. His most notable band was Omake & Johnson, teaming up with fellow musical malefactor David Knott (the two were actually roommates for a time). The duo played their first show in 2002, but their first official release, the Cd- r Headiferous Unctibulum, didn’t surface until 2008. The group would produce only one more album, Every Room Has a Grotto (2010). Both were released through Shoemaker’s own Human Faculties imprint. If anything, Omake & Johnson allowed for Shoemaker to loosen the stringency in his music, working alongside Knott in sonic territory that ranged from guttural electroacoustic to deconstructed folk. In the aforementioned interview, Shoemaker revealed that Omake & Johnson had hours and hours of recorded material stashed away. Here’s to hoping those will see the light of day sometime in the future. --- Shoemaker worked with the California label The Helen Scarsdale Agency (managed by the musical alchemist Jim Haynes, a prolific artist in his own right), who published the albums Spots in the Sun (2007) and Erosion of the Analogous Eye (2009). Timm Mason, who knew Shoemaker, shared a statement on his friend’s passing that included an interesting peek into his process: “It was not unusual for him to combine 30-40+ layers of audio — keeping all that sound from turning into formless nonsense is a feat and one of his unique talents.” Spots in the Sun is one of the supreme examples of this talent. Throughout the album, no matter how dense the audio, Shoemaker always maintained buoyancy, often toeing a fine line between form and chaos before elegantly steering a track into a quieter valley. Erosion of the Analogous Eye took things even further, as David Knott has pointed to Shoemaker’s use of “inscrutable signal paths that fragmented and recombined through electronics and quasi-stable homemade spring reverbs.” To the average person, that might sound like a whole lot of nonsense — even I only get half of it — but I do know that the album utilized stretched out slinkies as natural conduits for reverb. So, you have to admit, the man was not lacking in creativity. spots in the sun by matt shoemaker erosion of the analogous eye by matt shoemaker From here came the albums The Sunken Plethora Consumes All (Mystery Sea, 2009), Tropical Amnesia One (Ferns, 2010), and the EP Mutable Depths (Ferns, 2008). All were more focused on the field recording aspects of Shoemaker’s practice. His dronescapes were never without a psychedelic air, and it’s the recordings he incorporated from the tropical rain forest and Pacific Northwest mountains that helped elevate his music to that realm. In 2007 Shoemaker participated in a residency lead by Francisco López that took him to the heart of Amazonia. He spent morning, day and night recording the vast array of wildlife there, predominantly birds, dolphins, insects and frogs. Tropical Amnesia One is composed entirely of these recordings. Tropical Amnesia One by Matt Shoemaker From this point until the time of his death, Shoemaker came to release four more albums, The Late Day Spectrum (Master Chemical Society, 2013), and three for Dallas, Texas, based Elevator Bath. Colin Andrew Sheffield — the man behind Elevator Bath — was a friend of Shoemaker’s and holds a very high opinion of his art, describing it as “some of the most singular, dense, carefully arranged, and hauntingly beautiful work one is likely to find in this realm […] Matt was a born artist if I’ve ever met one.” A closer examination of Shoemaker’s Elevator Bath releases provides clout to Sheffield’s claim. The Isolated Agent / Stranding Behaviour (2010) LP saw a back-to-basics approach, stripping away all but cold tonality and an ever-present churn from home-assembled signal patches. Soundtrack for Dislocation (2010) was perhaps the most stoic of his works that utilized his full range of sound, while Flight | Chromatic Splitting Injunction (2015) broke new ground with experiments in tape splicing and a form of techno residing somewhere in the vein of retrocosmic. isolated agent | stranding behavior by matt shoemaker soundtrack for dislocation by matt shoemaker Pulling back the frame over Shoemaker’s canon one quickly gathers a deeper appreciation for his grasp of the bigger picture, his preternatural inclination for continuity. However, zoom in again and you might find that no Shoemaker work is ever quite complete without the listener. He once wrote, “I fully intend there to be an aspect to each release that’s really open to the listeners so that they can kind of complete the picture or give it their own meaning. It’s important to me that my music doesn’t say anything definite.” The music’s meaning was never the focus, but the music itself can be traced back to a man whose level of creative veracity was matched only by the lasting power of that which he created. At the very least, the talents, contributions, and spirit of Shoemaker won’t soon be forgotten. In honor of his life and art, Elevator Bath and The Helen Scarsdale Agency are offering all of Shoemaker’s releases free to download on Bandcamp. http://j.mp/2xkTVH8

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houstonlocalus-blog · 8 years ago

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Houstonian Tales: Christian Kidd

Christian Kidd. Photo: Alexis Kidd

It’s never lost on me that having an older brother, a father, and a mother who all enriched my love of music through their own, was a vital key in shaping who I am. While my father handed me my first blues album with Trouble In Mind by Mance Lipscomb, my older brother put Bad Brains’ self titled debut in my hands, and my mother passed on her love for artists like Sam Cooke and Otis Redding. However, my mother also handed down to me a rich hometown pride. No matter what show I was going to, she always reminded me that I was a native Houstonian and that I shouldn’t forget the locals who opened those shows. It was that hometown pride that made me seek out local music to listen to and champion on the regular. I don’t really look back much anymore, though with age I think we all look to what came before us to see where we’re heading. In the late seventies when The Hates were formed, Houston was a swampy wasteland of terrible cover bands and honky tonk wannabes that so blanketed our city that we had become known for it. If you ever wondered why touring act rarely came her for so long, that’s a large reason for it. But, as all pioneers do, The Hates were among the first Houston bands to make their own scene and bring bands to town that otherwise would have skipped over our Southern city without regret. Growing up here, there were always bands that were full of jerks that wouldn’t give a local teen the time of day. However, Christian Kidd of The Hates wasn’t one of them. One of the kindest people to walk the streets of Houston, Kidd has been playing in The Hates for most of our lives, while making spots like the Pik N Pak, The Axiom, and even Rudyard’s famous over the years. Kidd is one of the largest reasons Houston has a music scene today, and one of the greatest examples of how the past can dictate where the future goes. Free Press Houston was more than happy to take some time to talk to Kidd while he looked back on all he’s done, what his future looks like, and how to take on his biggest challenge to date with the grace and intensity that he’s utilized in making this city’s music scene relevant today.

Free Press Houston: Are you originally from Houston, and what side of town did you grow up on?

Christian Kidd: I was actually born in Panama. My father was in the Army, so we went back and forth between Panama, New York, and Seattle until my parents divorced and my mother moved to Houston in 1968. We lived in Northeast Houston, kind of in the Lake Houston area, and I graduated from M. B. Smiley High School in ‘73.

FPH: Houston has changed a lot since the late seventies. Were there any local bands you were really into that we might not have heard of?

Kidd: When I first started going out into the world on my own, disco was in full swing and most of the bands out there pretty much country/western bands or cover bands.

FPH: Before Zyklon B, were you in any other bands? Besides the previous incarnations of the band, Guyana Boys Choir & Christian Oppression? What drew you to punk rock?

Kidd: I actually played in a funk group with a guy named Castle T. The band didn’t even have a name, and it didn’t last long. In fact, when I met up with him to break up, so to speak, it turned out someone else was listening in to our conversation. Nathan Faulk, who would go on to be a founding member of D.R.U.M., wanted to introduce me to a friend of his who might be a good musical match for me. That friend turned out to be Robert Kainer, who would lend the contrasts of his classical training and his fondness for the avant-garde to the kind of music I wanted to make.

I’ve always been a fan of all kinds of music, and I’d swarm the import sections of every record store I could get to for prog rock or other weird stuff. I would just devour the music, as well as British magazines like Melody Maker, because they’d write about all of the bands that I liked. Before long, it was punk that was filling those import bins, and I couldn’t get enough of the energy and raw power contained in those little circles of vinyl. I’d buy everything I could get my hands on and it wasn’t long before I knew that I wanted it for myself. It was all so different from my everyday life — the anger, the noisy guitars, the brevity of the songs, and I loved it. When I first started playing punk, it was all just hubris. Honestly, I had nothing to rage against. It was just fun. But eventually I found a voice in it, and I’ve never really wanted to stop.

The Hates, early lineup (Christian, far left). Photo: Christian Kidd

FPH: You guys became The Hates in 1979 at the Rock Against Racism show at University of Houston. Did you think you’d still be playing together almost 40 years later?

Kidd: No. No way. I’ve said it before, and I’ll say it again — punk rock was not supposed to grow up. Get old. It was supposed to be a young person’s game. How I’m still around slinging a guitar and singing “Armageddon” and “Dirty Politics” almost 40 years down the road, I have no idea. At all. But I’m grateful for it. I’m thankful that people still want to hear what I’ve got to say, because really, this is my life’s work.

FPH: The Hates are the longest running unsigned punk band in Houston, were there ever offers to sign onto labels or have you always wanted to keep things DIY? Was there ever a plan to record any of the rockabilly material from that era of the band?

Kidd: In ‘79, a London label called Cherry Red sent someone to Houston to talk with me about putting out my early material on an album they’d call No Talk in the 80’s. Eventually they opted to put out The Dead Kennedys instead. I don’t dwell too much on that missed opportunity, because at least by having my own label I ended up in complete control of my own music. Sure, having my own label sometimes meant literally putting 45s in their freshly printed sleeves and sending promo copies all over the country; but that was part of the fun.

As to the rockabilly material, we actually did record some of it during the 30 Years of Hate sessions at Sugar Hill. It just has not been released.

Christian Kidd with his book at Barnes & Noble. Photo: Alexis Kidd

FPH: Your book, Just a Houston Punk, which you wrote with your wife Alexis, really brings back a lot of memories of the old punk scene. How underground it all was, the shows at spots like Pik-n-Pak, The Vatican, The Abyss, The Axiom. Do you ever miss that underground punk scene that used to thrive here back in the day? What’s your favorite memory from the old days of the Houston punk scene?

Kidd: I do miss some things about the early days — the coolest thing to me was that the idea of what punk rock is supposed to be hadn’t been formed yet, so fledgling punk bands could be more arty or avant-garde. There was a lot of experimenting musically, and it created some incredible music. We all fed off of each other’s creativity and influence and really supported one another — it was an almost magical time. One of my favorite shows from the first era of Houston punk was New Year’s 1979 at The Island — The Hates with Really Red and Legionaires Disease. It was a crazy night, and we went on at midnight. What a great way to bring in the new year!

FPH: Going off of what I know, The Hates have released six 7” records, four full length albums if you count the 30 Years of Hate album, and multiple appearances on compilations. You’ve really embraced the digital side of the record industry, yet those 7” records aren’t available to stream. Has there been any effort to get them posted? Have you ever considered having any of the releases repressed or talked to a label about reissuing them?

Kidd: Just a couple of years ago, Rave Up Records out of Italy released No Talk in the 80’s, which is made up of the first 3 EPs and Panacea. Unfortunately, it’s currently out of print. Also, the first 3 EP’s are available on CD Baby, I just have to get around to getting them on Spotify. The biggest hindrance to getting the entire back catalogue of Hates music to the digital world is that the master tapes are not in the best shape. I’ve even tried to get one of them baked in order to salvage anything that might be left on them. But it’s something that I do want to accomplish, eventually.

Christian Kidd. Photo: Alexis Kidd

FPH: You worked at city hall for quite some time. How long did you work there and was there ever a time when you got crap for the liberty spikes?

Kidd: I worked for the City for 23 years, and I enjoyed it very much. But sure, there was a time that I got a talking to by the Employee Relations manager. In fact, one of the secretaries called a friend who worked at the Houston Post and they did an article on it. Also, in 1990 when Houston was the host of the G7 Summit, they asked all of the City employees to go out and line the streets with tiny US and British flags like we were watching a parade. They wanted to be sure that Margaret Thatcher, the Prime Minister of England, got a warm welcome as she drove by. I was actually pulled out by a Secret Service guy for looking suspicious, despite my City uniform. I got to keep the flags, though, so that was good.

FPH: How long have you worked at Fuller’s and how did working there come about?

Kidd: I’ve been lucky enough to work there almost 4 years. Gary Burgess called me up and encouraged me to apply. It was just that simple. Funny thing is, working around guitars every day isn’t the same as working at an ice cream shop and eventually getting sick of ice cream. I’ve got a real love affair going on with guitars, and being around them all of the time is pretty intoxicating. And for someone who’s been playing guitar for as many years as I have, I’ve been pleasantly surprised to have learned a lot more about the instrument since I’ve been there.

Alexis & Christian Kidd. Photo: Alexis Kidd

FPH: You and your wife Alexis seem to really be a loving and doting couple. What’s the secret to your happiness?

Kidd: She doesn’t believe me when I say this, but I had a thing for her right from the start. It was her smile, you know? Anyway, back to your question. There’s not really just any one thing that makes us work. One of the things that’s best about us is that we’re individuals as well as a couple. We have shared interests, like music, scootering, rescue animals, and reading. But we have things that we enjoy on our own, and I think that having separate passions makes us more interesting. Aside from that, she supports just about everything I ever want to do, and kicks my butt when I need it. I write her poems and remind her to take care of herself because she works too hard. And in the rare instances when we get under one another’s skin, as people do from time to time, we never yell at each other — in fact, we usually air our grievances and then tell each other that we love one another anyway. Oh, and did I mention that she’s my best friend?

FPH: You had to have surgery on your arm and they discovered something else — stage three throat and mouth cancer. You’re currently beginning the early stages of chemotherapy, do they know how someone who doesn’t smoke can get a form of cancer like this?

Kidd: Squamous Cell Carcinoma. It’s on the base of my tongue and has spread to a lymph node in my neck. Even though it’s uncommon for a non-smoker to get this kind of cancer in the mouth or throat, my doctors say it’s on the rise due to HPV. The two good things about HPV-related cancers is that they’re more treatable if caught early, and if the next generation of kids get the vaccine before they’re sexually active, they could possibly eliminate these cancers as a threat to their health.

FPH: As a guy who has seen a lot in Houston, and especially in the Houston music scene, is there anything you’ve learned that you’d like musicians in town to know from your years of experience?

Kidd: Always be cool to the sound guy. Be supportive of your fellow musicians. Take the time to talk with your fans, or else they won’t stay your fans. And if you never make it to the big time, or never even make it out of Texas, it’s okay. As long as you’re doing what you love, the big time doesn’t matter.

I, as a fan of music, and of this city’s music culture, can never begin to thank Kidd for his time and his contribution in putting Houston on the map as far as any form of scene is concerned. The methods in which we all book shows and release records can all be traced back to pioneers like him, and those he surrounded himself with when The Hates started their storied career. You can stream The Hates’ catalog here, or buy merch from them here.

Kidd will be on hand during the week of June 12 through June 18 for the first annual Houston Benefit Week, benefitting he and his wife while he battles cancer. Taking place at local venues throughout the city, the week begins on Monday, June 12 at Insomnia for a poster art show featuring the art of the week’s shows. Shows at Continental Club, Rudyard’s, Walter’s, The Secret Group, and Rockefeller’s will have sets from acts like Los Skarnales, Another Run, Trillblazers, Black Kite, and many more. The week will be including lineups from local acts that’ll never occur again, before ending June 18 at Big Star Bar with a headlining set from B L A C K I E. There’s more information available here for the week of shows where all of the proceeds will go to Kidd.

Houstonian Tales: Christian Kidd this is a repost

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heilewelt · 8 years ago

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Dörty Nerdy Questionnaire with Jarrod Dickenson

A couple of weeks ago I saw Jarrod Dickenson live. He was the opening act for The White Buffalo’s concert at Huxley’s, Berlin. Although I didn’t understand all of what he sang about, I got all emotional. It’s the way he tells his stories, the melodies and the way he plays guitar. The uproar next to the quietness.

I asked him if was up to answer my Dörty (that’s me!) Nerdy Questionnaire. He said yes. It’s an e-mail interview, partly about their music, partly about stuff like their instruments, songwriting, the recording process and so on. That’s the nerdy part where I talked to other musicians about what they would like to know from other musicians and compiled a set of questions out of this conversations. Enjoy!

Step 1: Dörty is asking

I read you stared relatively late playing guitar and then also writing your own songs - when did you know this is what you want to do?

This is true. I didn’t pick up a guitar until I was 18 years old, and at that point I had no career aspirations. I just loved music, and thought it would be fun to see if I could make anything even remotely musical come out of a guitar; really just for my own personal enjoyment. Music quickly took over everything in my life, and around my senior year in college, which would have made me around 21 years old, I knew I wanted to at least try to make a career out of writing and singing songs.

In what way do writers like John Steinbeck or F. Scott Fitzgerald influence your writing and your storytelling?

I also got a relatively late start with reading. As a kid growing up in Texas, I was always outside, playing sports and running around. The idea of sitting indoors and reading a book made no sense to me. It wasn’t really until I had graduated from college that I warmed to the idea of reading for pleasure, but much like music took over when I started playing guitar, once I started reading I was hooked. I began reading everything I could get my hands on, and to this day I always have a book with me.

Writers like Steinbeck and Erich Maria Remarque have been huge influences for me. I love the way they wrote about the average person, and about human emotions. Their characters were often deeply flawed, and yet because of that you felt like you knew them, and understood them, because, after all, who among us isn’t deeply flawed? I’ve learned much about storytelling, and about life in general from reading authors like these two.

For the upcoming release did you work together with session musician again? How did the recording process differ from the previous ones this time? It seems you approach – not always on purpose a different way with every album/EP.

This album was a little different than my last, and a lot of fun to make. We had just been on the road for a month-long tour supporting The Waterboys across the UK, and the day after the tour finished in London we headed down to Eastbourne in East Sussex to make the record. We played everything live, and recorded straight to 2” tape...old school! I just went into the studio with a group of my closest friends, and we simply played the songs while a tape machine ran. We added horns, percussion, background vocals, etc., but the actual core band (my guitar and vocal, bass, drums, another guitar and organ) was all done completely live. It was a great way to make an album, and I can’t imagine doing it a different way from here on out.

How many hats do you own? What's your favorite one?

If I took the time to count them all it would probably be around 20-30...I have an addiction! My “favorite” hat changes depending on the day and my mood, but there’s a wide-brimmed, cream-colored western hat that was custom made for me at JJ Hat Center in New York that I seem to keep going back to. It is the hat that you’ll see me wearing on the album cover for my new record.

Step 2: More nerdy stuff.

How important is equipment to you and why?

Equipment is certainly important, and I love vintage guitars and amplifiers. They always seem to sound better, feel better, and have more character than most new instruments. They also seem to inspire you to play...you want to pick them up. That said, your equipment doesn’t write the songs!

A question about the instrument you currently play the most: Why did you buy this?

I currently play a 1962 Gibson ES-330 most often. I bought it for two reasons. One, I was wanting to start playing more electric guitar at my live shows and in the studio. Two, this particular guitar looked and felt and sounded exactly like I wanted it to. It is a fully hollow-bodied guitar, with single coil P90 pickups. It has a really warm, round tone, and the pickups are very touch-sensitive. If you play lightly they are very clean, but the minute you dig in a bit you get this amazing, crunchy, natural distortion. I love it.

What was the fist song you really could play?

I’m not sure I remember the very first song I could play, but one of the first songs would have been “Key To The Highway”. It’s an old blues standard that’s been recorded by everyone from Big Bill Broonzy, to BB King, to Eric Clapton.

Recording process: stare at a computer screen or lean back and listen?

Computers play very little part in my writing and recording process. I like things to be a bit more natural and analog.

What makes a song good? When do you know you’re finished with a song?

Songs are good to different people for different reasons. A great song makes you feel something. That can be happiness or sadness or anything between, but it has to make you feel something. I love songs that tell a story, that have interesting and relatable characters.

As for when a song is finished...it’s finished when it quits gnawing at you. For me, until a song is finished it’s always bouncing around in my head. I’m always singing it in my mind, always tweaking things, trying to make it right. Once that stops, the song is ready to be sung to a crowd of people...

Where does quality songwriting come from? Sudden inspiration or is it a process? Is it science or art?

It’s always a mixture of both for me. It usually starts with sudden inspiration, and then the real work begins. Once you have an idea you have to commit to seeing it through. That can take minutes, hours or years!

Thank you for answering my questions, Jarrod!

Here are his upcoming UK tour dates, some sold out already - I urge everyone to go and get a bit emotional like I did:

16.03.2017 Empire Music Hall, Belfast 18.03.2017 Hug & Pint, Glasgow, early show (sold out) 18.03.2017 Hug & Pint, Glasgow (sold out) 19.03.2017 Cluny 2, Newcastle 21.03.2017 Norwich Arts Centre, Norwich 22.03.2017 Deaf Institute, Manchester 23.03.2017 The Borderline, London 25.03.2017 Dark Star Brewery, Partridge Green, West Sussex 26.03.2017 Glee Club, Birmingham 27.03.2017 Henry Tudor House, Shrewsbury

His newest album “Ready The Horses” will be released very soon. However, this song “Come What May” is from his last album “The lonesome Traveller”. I very much love it:

youtube

Have a good weekend,

Dörte

Photo: (c) Dörte Heilewelt

#jarrod dickenson #interview #tour #on tour #ready the horses #singer songwriter #folk #country #beard

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