Spastic Austin phych rippers Zorch have a new LP out now called ‘ZZOORRCCHH’. It’s great and if you haven’t heard it I think you should listen to it. I decided to have a little chat with the duo comprised of Zac Traeger and Shmu and see what they had to say. The catch is, we’ve all known each other for years now so inevitably this interview took a strange turn and all in all has very little to do with music. But, here it is… (more…)
Search Results for: interview
Is it just me or is Austin, TX breeding some of the most summer-y music this summer has to offer? And I don’t mean bullshit summer music about crashing your car into a bridge and loving it, I’m talking real deal poppy rock music that is actually good and thought provoking in some form. And yet it seems that many of these releases creep by under the radar of the masses. Why do these seemingly over accessible releases continue to resonate only in the underground basements of devoted music seekers? Well, that’s a think-piece and succession of rant-y tweets for another time. The focus here is Boyfrndz, an Austin band that you may or may not have heard of that released on of my favorite free (name yo price!) releases of the summer, ‘Natures’. If I jogged in the mornings, I would be listening to ‘Natures’, if I… Well, let’s not do the list of things that I could be doing while listening to ‘Natures’ and sum it up like this; If I took my entire summer, made a montage out of it, and had to pick the backing tracks, I would choose ‘Natures’, so I asked frontman Scott Martin some questions about being in a rad band:
TE: What’s it like being in a rad band? Just kidding that’s not my question. How did the three of you get together to start Boyfndz? I know you have been involved with other bands throughout the years
SCOTT: Well, Aaron and I have been friends since high school. He’s been in bands since I’ve known him… I’d been trying to get into a project with him since then and just couldn’t stick it until a couple years ago. Joe and I are musical life partners, it seems… He was in my first band ever, and we left together to form Boyfrndz… When Aaron and I started ripping together, Joe and I just kinda put two and two together.
TE: This project is a bit more ‘pop-y’ if you want to call it that, than past endeavors. Can you speak on that a bit? Was that a conscience decision?
SCOTT: Sure, I think it just ended up that way… We originally wanted to do a more intense weirdo punk type band but it just didn’t end up that way. We never thought out anything before writing it, it always came through Aaron and I’s improv sessions. The songs still come this way.
TE: When we were brainstorming ideas for the “Moving Parts” music video I asked you about the lyrics and you mentioned that they don’t necessarily mean anything in particular. If that’s the case how do you go about writing and choosing your lyrics?
SCOTT: I always write the melodies first. Way before I even consider putting lyrics down… I’ve played through tours ad-libbing lyrics on the fly. I usually just do that until I fit words and phrases I like into the syllable phrases I’ve been riffing on. It’s more fun, and organic for me, than sitting in my bedroom hashing it out.
TE: Have you ever prescribed meaning to lyrics after you have written them? Like, ‘oh I was in that mood when I came up with that, that totally makes sense now’
SCOTT: Yeah, for sure. It ends up coming together in its own way. They usually mirror the tone of the song, because its how I feel about certain parts while I’m rapping them out in the rehearsal space or in the studio.
TE: You guys are putting this LP out on your own. Can we talk about the challenges / rewards of choosing to take this route as opposed to the more traditional route?
SCOTT: We are. Its certainly challenging, financially, at least. We’re coming up with all of this money ourselves, out of our pockets. We really don’t make much at all at our shows, so we work hard getting the money together at our day jobs so we can keep the the wheels turning. We could have taken the other route and just waited around for someone to do it… We definitely would be less broke, but we also wouldn’t have accomplished as much as we have wanted to. We just hope that eventually it’ll be a self sustaining thing, which is all we’re really aiming at now.
TE: You guys also recently started a crowd-funding campaign for the record, how did that idea come about and what was your experience with that? I know some people have reservations and strong opinions when it comes to crowd funding.
SCOTT: We were just going to pay for it out of pocket, initially but everything that goes into putting something out was just getting overwhelming, so we gave it a shot. Thankfully it worked out, and a lot of people donated and we made our mark. We had our reservations, though… It kind of humiliating. To be begging people for money that way… It’s obviously a truly useful and helpful thing, but people really want to believe the funding just comes from somewhere, and sometimes, it just doesn’t. I think we probably lost some “cool cred”, but we don’t give a fuck. We’re just happy to have the level of support we do at this point to have made it happen. Very lucky to have that in the music game these days…
TE: Can I ask the ever predictable interview question and ask if there where any contemporary influences on this new record?
SCOTT: Well our influences are pretty all over the place in general. I’ve been loving the new Grizzly Bear record, and the new Queens of The Stone Age, Tame Impala, the newest Tera Melos release, the new Feuding Fathers is amazing too. Also always jamming this r&b artist Bilal’s record “Love for Sale”… been digging on Raleigh Moncrief for a while, and Death Grips. Meanwhile Aaron is super into hip hop and r&b these days; Dilla, Robert Glasper, MF Doom, etc. Joeys always been a jazz guy, and general rock enthusiast. We all listen to everything though, it keeps our minds open. That new Whirr record is really cool too. We’re doing a couple shows with them next weekend. Stoked for that.
TE: Yeah Whirr is great! Speaking of shows, you guys have a bunch of dates coming up but what are plans for after tour?
SCOTT: After tour we’re planning on going into the studio again to start recording our next release. We’ll be finishing the rest of the US dates we had to postpone early next year, with some festival dates in the works as well. Aaron, and our new guitarist Jesse’s other band East Cameron Folkcore will be in Germany touring for a month, so we’ll be taking a little breather too.
TE: In closing, is there anything else you would want to add? Or any more questions you would want to throw in?
SCOTT: I think that well covers it, Thanks for being interested, amigo.
Stream / Download ‘Natures’ below:
7/30 – Austin, TX @ Holy Mountain w Twin Steps
Aug 2 – Dallas, TX @ Club Dada w WHIRR
Aug 3 – Austin, TX @ Mohawk w WHIRR
August 9 – Austin, TX @ MUSEUM OF HUMAN ACHIEVEMENT w/ CADDYWHOMPUS
August 17 – Austin, TX @ SECOND HOUSE SUMMER PARTY (Boyfrndz tour kick off/ Feuding fathers record release) DETAILS/LINEUP TBA
August 22 – Houston, TX @ FITZGERALDS w SUNRISE & AMMUNITION
August 23 – New Orleans, LA @ ONE EYED JACKS w CADDYWHOMPUS, ALL PEOPLE
August 24 – Athens, GA @ CALEDONIA LOUNGE
August 25 – Philadelphia, PA @ TBA
August 27 – Brooklyn, NY @ KNITTING FACTORY w CELESTIAL SHORE
August 28 – Pittsburgh, PA @ SMILING MOOSE w EDHOCHULI
August 29 – Cleveland, OH @ HAPPY DOG
August 30 – Chicago, IL @ THE EMPTY BOTTLE w WATERHOUSE
August 31 – Lawrence, KS @ JACKPOT SALOON w PINK ROYAL, ALIEN JONES
September 1 – Denver, CO @ HI-DIVE w COMMON ANOMALY
September 3 – Norman, OK @ THE DELI w TALLOWS & SONIC VIOLENCE
September 4 – Denton, TX @ HAILEYS w BABAR & CLEAN UP
Sacramento / L.A. two piece Wreck and Reference make the type of twisted experimental sounds that soundtrack your nightmares. And not just any old nightmares where you can’t punch an attacker, or you’re falling endlessly. The type of dark nightmares where your best friend is biting the 2nd tail off a cat with her bloody teeth. The ones where you can’t move as some small sharp-toothed leprechaun chews on your ear and you can feel his hot breath on the side of your face. Those nightmares. Their sophomore LP ‘
Youth‘ was one of my favorite LP’s of last year, and their follow up 7″, ‘ Content‘, was equally as delightful as it was disturbing. I sat down and asked them some questions. (more…)
Last week eternal T.E. homie Blake Gillespie wrote a piece over at Impose Magazine titled ‘New New York: the false prophecy’. If you didn’t read it, in short, Blake claimed that the early 2012 hype of NY Hip-Hop was ill-deserved given the output of last year. However, as Blake pointed out, the potential saving grace was Mr. Muthafuckin’ eXquire’s ‘Kimset’ mixtape. Today, we get to jam ‘Kimset’ for the first time. And while I don’t completely agree with Blake aforementioned article, I do agree that ‘Kimset’ is a behemoth of a release. Stream / Download below.
And while on the topic of eXquire, be sure to check out this interview-esque video we shot a week back on a roof overlooking the Manhattan skyline.
“In an editorial I wrote recently on the status of the New New York scene, I noted Mr. Muthafuckin’ eXquire possibly one of the few MCs who could render my thesis of “no classic albums” void, but it would take time. It felt important to leave his career arc up to question for two reasons. One: He’s only two, possibly three songs deep in his major label debut after inking the deal in 2012. Two: He’d recently begun discussing his music in a manner that suggests he cares not only about his craft, but how the public perceives it. He denounces the Power & Passion EP as pandering to his peers inability to maintain their identity, sacrificed to the radio hit, and as you’ll see from our Rooftop Interview, he did not arrive at this sobering conclusion alone.
When we set up the interview with Terroreyes.tv and Mr. Muthafuckin’ eXquire, we requested that he bring passages that have recently inspired him. He’s gone on record of having Malcolm X and Huey Newton speeches in his headphones, but he caught us with a curve when he quoted E.B. White’s Here Is New York essay, referring to him as “the dude who wrote Charlotte’s Web”, and opened a copy of George Lois’ Damn Good Advice (For People With Creative Talent). It’s not that we never expected him to quote old white men (he’s got a mixtape named after a Philip K. Dick novel). We were just pleasantly surprised to by those old white men in particular. With his Kismet mixtape dropping tomorrow, we’ll soon hear if eXquire is back in prime form after the stumble. It is our first opportunity to find out if the devil’s advocate lost.” -Blake Gillespie (Impose Magazine)
I was originally introduced to Weekend Money last year when they dropped their Greedhead released debut LP ‘NAKED CITY’ and finally got to catch them live a few months back when the duo opened for Antwon at Santos Party House. About 2 songs into their set I knew I had to shoot something with them. The following is the culmination of about one solid month of filming shows, studio footage, recording sessions, interviews, etc… Enjoy!
Stream / Download “Demons” below:
Do It Together is an independent full-length documentary film that explores the new ways of creating and exchanging sounds. Directed and produced by Alek Riquelme, this project has been in the works for well over 2.5 years now. I had the honor of shooting a handful of interviews and live sessions for this documentary and glad to see things coming together. Looks like it’s going to be a good one. Peep the first official trailer below, as well as a full list of all the amazing people involved.
Follow the D.I.T. Facebook page for updates: facebook.com/DITogether
Devo, Shellac, Flux Information Sciences, The Shipping News, The Jesus Lizard, Lite, John Dikeman, Adebisi Shank, Polvo, Tera Melos, Giraffes? Giraffes!, Chevreuil, Deerhoof, The Ex, Knalpot, Le Singe Blanc, Boutros Bubba, Jasper Stadhouders, Petrol, Parts & Labor, Deformica, Apneu, Aucan, Katedreuffe, Dan Deacon, Part Chimp, Al Scorch, Bostjan Simon, Nelson Can, Hurtmold, Classic Dracula V, Gijs Gieskes, The Bulletproof Tiger, Kit, Hauschka, Repetitor, Threesome, Ithak, RaaskaalBOMfukkerZ, Services, Hakim Kashmere, Loomis, Zea
Director / Producer / Audio: Alek Riquelme
Editor: Eavan Aiken
Animation / Graphic Design: Iva Spasojevic
Producer: Aneta Lesnikovska
New Media Adviser: Thomas Wielemaker
Camera: Miguel Tavares, Joao Costa, Sean Stout, Natalie Johns, Shawnecee Schneider
Ken Bhatt, Lindsey Topham, Daniel Flores Gonzales, Rob Gradisen, Alessandro Pontillo, Maaike Brinkman, Marnix John, Stephen Sharkey, Tatjana Krstevski, Gerardo Gonzales, Daniel Mendoza, Phil Yisrael, Xiao Liu, Emiliano Colantoni, Lauren Jade Lee, Susana Vilchez Porras.
ZS’ saxist Sam Hillmer’s new solo record entitled KILL THE SELF THAT WANTS TO KILL YOURSELF and released under the moniker Diamond Terrifier, dropped back in August via Northern Spy. An ambitious ‘work-of-art’ of a record that was tremendously overlooked. Hillmer is no stranger to the noise scene, but labeling him as strictly a noise artist would be irresponsible. Hillmer expores realms somewhere in between ‘free-RnB’ ‘Noise’ and highly experimental Sax-riffage, melding pop samples with the abstract and repetitive shrill of harmonizer pedals, static walls of noise, and hints of dub influence to create something truly beautiful in its own horror. The recently released music video for the title track off the LP was equally mesmerizing as the LP itself, clocking in just past the 5 minute mark, yet imposible to take your eyes off. We decided to get the inside scoop. We sat down with Hillmer via G-Chat to get a brief perspective on the project from the man himself.
Who would win, in a sax-off? you or Sexy Sax Man?
Hillmer: I think the only possible victory would be to just bum rush him and fuck him… So I may bow out, but dude IS hot… I’m spoken for though…
Can we talk a little bit about the concept of the video and how it came about? It’s fairly abstract, what was the inspiration?
Well… Lawrence Mesich, the video artist who made it, his work features him double acting in all of these scenes that normally take place in these very steril office environments… There seemed to be certain things at issue in his work that had a resonance with the title I had chosen. So I invited him to do the video, and he accepted, which was awesome… The particulars of the video itself I left completely in his hands.
How does this project differ from say, your prior involvement in ZS?
There is a real direct engagement with pop culture and dance music artifacts via sampling. So that is very different from ZS which has sort of built it’s own world from scratch… I work directly with samples, I take them straight out of pop songs or dance tracks. It’s a way of striking back against the utterly stultifying inundating property that pop has assumed, and also a way of celebrating the really amazing dance trends coming from the global hood, and trying to imagine a place for my I strument in that.
Where do you think that place is?
Out of dialogue with my instruments history as a citizen of a newer attitude about sound that dance trends embody. Tresting the saxophone as a sound source. Just one of many oscilators with specific properties. Shedding the preciousness it has assumed. Which has essentially counted it out of every major innovation in music in the last 25 to 30 years… With the possible exception of Sexy Sax Man…
Stream KILL THE SELF THAT WANTS TO KILL YOURSELF below, and order the LP here.
Let me start off by saying I like Death Grips, ALOT. I like their music, I like their aesthetic, I am a fan. But as far as this whole ‘leak’ is concerned, I call bullshit.
We all know in this day and age record sales don’t mean shit. I mean, there is no lack of free digital albums with accompanying physical releases; this is nothing new. Thousands of bands have streamed / given away their record digitally before the release of the physical product. Death Grips even did it themselves in a roundabout way with their debut LP The Money Store.
If you have been on the internet for any short amount of time since midnight last night you have no doubt seen or heard about this whole Death Grips debacle. According to DG their label (Epic Records) wouldn’t confirm a release date for DG’s upcoming LP No Love Deep Web so Death Grips took matters into their own hands and ‘leaked’ the record. The album art is a big boner with ‘No Love Deep Web’ written on it, they tweeted a photo of frontman Stefan Burnett standing on a ledge flipping the world the bird, and tweeted a couple not so cryptic ‘FUCK THE MAN’ tweets that sent the interweb into a flurry praising their DIY ‘Fuck it dog life’s a risk’ attitude. How punk of them.
But something is fishy about this whole thing. Firstly, the obvious; why sign to a major label if you don’t want to put up with their bullshit? I mean, I wouldn’t move to North Korea and then bitch that my government sucked. And, can not confirming a release date for a second record in one year even really be considered bullshit? How much money did you guys get again?
Secondly, the timeline of this whole thing seems a bit off. In a nutshell, the general timeline of events goes as follows: An unreleased track that was apparently ‘Hacked’ from the bands website gets released. About an hour later (8pm) the band tweets that they will leak their new record, No Love Deep Web at midnight because ‘The Man’ is being a total dick, and fuck that shit! But that announcement would have left Epic with a 4 hour window to do something… Silence. But today hours and hours after the initial leak, multiple streaming options, and various download sites hosting No Love Deep Web, Epic decides to shut down the bands website (As if that would even hinder anything at this point.) And all this to the eager open arms of the press, whom gobbled up every tweet, every suspicion, story on story, update upon update. Yes, I’m sure Epic is fuming with anger that every press outlet available on the internet is talking about and listening to one of their upcoming releases.
The biggest misconception everyone seems to have about this whole thing is that Epic Records is an oblivious, helpless entity that is only out to do harm and capitalize off artists, in no way caring about Death Grips or their creative vision. All of which is utterly wrong. Epic was nothing but helpful and supportive with Death Grips while releasing The Money Store, allowing the band to stream the entire LP far before physical release and even give away an absurd amount of free tracks from the LP, and eventually, the whole LP. The band’s Zach Hill has even voiced his admiration for Epic Record’s LA Reid, stating in an interview with The Source: “We meet with L.A. Reid regularly and we’re very active. He’s the one that signed us following many meetings with other labels. We went into that building with no expectations but that mans energy is an undeniable thing. We could really sense his connection to what we were trying to do. He alone out of all the people we met with, without naming names made it apparent he really wanted to f*ck with it and help it. When I say help it I mean like present us with the resources to help and maximize our vision. He helps us the most by actually granting us total freedom.” Yeah! FUCK THAT GUY!
Ultimately, who cares. We all got a free new Death Grips record and that is great. Wether or not the whole debacle is an elaborate orchestrated press scam is for you to decide. But ultimately, is leaking your own record because your label wouldn’t give you an exact release date the ‘punkest thing that has ever happened in music’ as the clamoring media and eager fans are making it out to be? No. Not by a long shot.
Stream and DL No Love Deep Web here.
Solos (Formerly Amaranth) is the new experimental rock venture of Hella’s Aaron Ross and Spencer Seim. Their ‘debut’ if, you want to technically call it that, is one of my favorite, more ‘standard’ rock projects I have heard this year. And while I would most definitely consider Solos ‘Rock Music’ there are elements that stand in a legue of their own. Something about Ross’s unique songwriting abilities juxtapozed against Seim’s technical abilities is somewhat of a match made in heaven. And while I tend to lean more towards more abstract rock stylings, I must say, I am loving this. I had the opportunity to hop on Gchat with Seim whilst he was in the midst of “Typing with his phone while trying to watch cars go 400mph on the salt flats in Utah at Bonneville Speedway” to talk a bit about the recording process, working with Guy Massey, and bluetooth headsets. Here is what he had to say:
TE: How long have you an Aaron been working on this new project? and why the name change from Amaranth?
Spencer: Aaron and I have been working on this project for a little over 2 years now. We played a few shows early on when we were demoing the album. Then, we went into record mode for the full length and wrote the songs for our next album. Amaranth was a working title doing that period so when it came time to officialy release an album we went with Solos.
Aaron seems to have much stronger presence on this record than previous Amaranth stuff, as in, his abilities as a songwriter really shine through. Was that a conscience effort?
We had two amazing producers on this album. Guy Massey and Josh Henry. With the right mics and the right coaching I think we really got the most out of Aaron’s voice.
I remember you talking about wanting to make a record like this for a while now, did this turn out the way you had envisioned it?
Totally! I have done a bunch of super critter lo fi recordings in the past (which I love) but this is something that I have always wanted to do. That is, work in a great studio with great producers who want to expand on what we are already doing. Not change it or water it down.
It’s allot less experimental than some of your previous recordings as well, also in terms of the songwriting, did you two consciously attempt to make more of a ‘rock’ record?
Not consciously. Aaron and I just started getting together and writing music. these are the songs that happened to come out during that time period. I can tell you that our next album will be drastically different. It wasn’t really planned that way, this next batch of songs just represent where our heads are at now musically.
When can we expect the next record?
No release schedule yet. Right now Beast of Both Worlds is taking precedence over everything. We are working on tours for the next year or so and we will fit in recording the next one when we can.
What was it like working with Guy Massey and how did that come about?
Our good friend Josh Henry who co-produced the album with Guy made the connection. He had worked with him previously on another recording and passed our demo along. Guy really liked our stuff and offered to come out and record us for a pretty punk budget. He was already scheduled to come out for the Grammys in Los Angeles for his work remixing and remastering the Beatles collection. We just extended his flight so he could spend 21 days in the studio with us. It was an amazing experience. We couldn’t have asked for more inspiring dudez to work with.
Did you ever have a moment where you took a step back and thought to yourself: ‘Whoa, this fuckin dude worked with The Beatles…”?
Well, he didn’t actually work with the Beatles on the original recordings. I did however stand back and think “Damn” this dude was given the job to remix and remastering the entire Beatles collection. He got to sit down with those original four t?rack tape masters and do his thing with them. Now I understand why he was given that job. Super rad dude with amazing talent.
Can I ask an unrelated question? And, you don’t necicarilly have to answer this, but, I remember a while back in Portland you where sportin a bluetooth because you didn’t like to hold your phone to your head, can you explain that theory? And, if you are still sportin the bluetooth, what is the current decoration setup?
Ha! I used that thing for about a month when I got my first cell phone. I didn’t want to be all Business/Bionic so the thing eventually got squished in my pocket. Big pain in the ass. I got a cellphone pretty late in the game and now I just melt my brain along with everyone else.
What was the decoration setup though? Didn’t you decorate it to make it less business/ bionic?
I think it was more of a fem rasta rave Bluetooth setup.
Haha awesome, anything else you want to add in regards to the record?
Just that we’re super stoked to have it coming out on Joyfulnoise recordings and plan on many records to come.
I personally, am also super stoked, and, ya know, you should be too… And if you aren’t completely sold yet, give it a listen below…
Terroreyes is an experimental video platform used to document things we love – get in the faces of people we love, have our microphones blown out by people we love, hear stories from people we love, etc. All we want to do is show you things you may never otherwise see, UP CLOSE, and inspire you in whatever way possible to do something – anything, whatever it is you love. We love music, and if you are reading this, we can only assume that you do too.
Have something you want to share with us? Send it on over! We would love to hear from you! (The weirder the better)
EMAIL: sean [at] terroreyes.tv
Site ran by: Sean Stout
Friends and rad people:
The Bay Bridged
Dig For Fire
Feel Good Lost
Heist Events & Blog
High 5 Collective
The Line of Best Fit
Listen Before You Buy
Mt. St. Mtn.
The Needle Drop
Punks Git Cut
Weekly Tape Deck
We Listen For You
E S S is a brand new doomy rock project hailing from Sacramento, CA championed by Jesse Phillips. Sacramento has for years been a hotbed of musical creativity, while somehow managing to remain vastly diverse. Jesse Phillips is a sort of ‘veteran’ in the Sacramento music scene. Having been involved with various projects throughout the years ranging from his involvement in avante-pop group Appetite, to his own various folk projects. We sat down with Jesse to discuss his newest project, influences, and process.
So, for people that don’t know, what other projects have you been involved in in the past?
My project prior to this was Ellie Fortune, a mostly solo venture primarily in the ‘folk’ category. I have been a part of Dead Western, Hot Girls Cool Guys, as well as many others, and currently Appetite.
Why the name change from Ellie Fortune to ESS?
This project was originally going to be a continuation of Ellie Fortune, yet it became evident fairly quickly that this is something quite different and new.
It seems a lot darker, in terms of the sound, as well as the subject matter. Was that a decision, or did it just turn out like that in the end?
It is definitely conscious. I have always been drawn to intense music, whether it be beautiful, crushing, or abstract. I finally decided to really make exactly what I wanted to. This music is also my regurgitation of living in Sacramento and it’s culture…
Can you elaborate more on that last statement?
Well, I certainly won’t pretend like I can peg this town, but the pace of life is slow, it has an incredibly political base, there is a certain grit that exists here. After a few years it feels like you know everyone, shit gets incestuous and ferments. The result is a tight pocket of some of the best friends and most talented people I’ve met, laced throughout the most flat, numbing, 9 to 5 smogged sprawl.
What was Ben Chrisholms involvement in the record and what is your connection with him?
I met Ben through Chelsea [Wolfe], when they were still in the area. He’s the best. He mastered the record. I couldn’t be more pleased, he really helped this work!
Can we talk a bit about the recording process?
Last year I had a discouraging experience recording a record that never left the studio. I got tired of feeling limited by being broke as fuck so I went ahead and I recorded the whole record with an sm58, and sm57, and some Radioshack mic I’ve had for years. Since I don’t own an interface, I plugged directly into my computer’s input into Garageband. It was just a million hours making sure my tones were right. There really isn’t much involved other than hours and hours of relentless work, It’s ultimately pretty low budget DIY.
You somehow made that home recording sound translate fairly well to suite the vibe and aesthetic of the music… Was that also a conscience decision also or did it just turn out that way?
I like production from all across the board. My favorite recordings are those that can lock into the overall feel of a band and transport the listener into that mood. Whether it’s an icy black metal recording or a chromed out million dollar Jay-Z song, it intensifies the feeling of the music. So… intentional. I also was working with the limitations of a minimal recording setup, so there were plenty of accidental gems…
There are some intense moments, is there any Black Metal influence?
Well, things like tremolo and chorus and fuzzed guitars are more influenced by drugs… The wall of sound and reverb filled textures are more Black Metal. Various types of metal definitely are an influence, yet we’re not a metal band, ya know?
Drug influence? As in, taking drugs while writing?
Haha, no… I mean, not more than usual, I suppose… I meant more like a drug inspired genre of music… which seems to be more and more appealing as a vessel for entertainment and expression. Downers though, always.
What happened with the previous record? I remember you were working on that for some time, are these ESS songs similar?
They are not too similar. It was for a new Ellie Fortune record, full band, pretty grungy… Someone referenced Slint as a comparison, ha.
Will those E.F. songs ever going to see the light of day?
Those tracks are still not mixed or even finished….
Wrapping up, is there anything else coming up that you are excited about?
We’ll have to see! Nothing to announce now. We don’t have a label or management or booking, and we all have to have jobs (no family checks) to pay rent, etc. So, for now we practice always, write always, there is an infinite agenda…