Hearts of Palm

2011-08-13T14:45:00.000-07:00

We are raising money to put out a double cd compilation that will feature some of Orlando's great independent bands. All the proceeds are going to the artwork and printing of these CD's so we can get them out in our community, as well as into other towns around Florida. We want to make a BUNCH of these things. . . and double CD's ain't cheap. But, you are helping the locals. Also, bands that are on the comp, if you are willing to donate your time or something like that as a buy option for this, please let me know! (merch, playing shows, etc)

Here are the bands:

khann

demoter

teenage softies

mr pussy

slippery slopes

larf

caffiends

sexcapades

lazy boyzzz

vein cranes

lagues

hungry gayze

garbo's daughter

wet nurse

tam tam the sandwichman and his magical sugar cookies

the moon is a disco ball

great deceivers

andy matchett & the minks

fever

lonesome city travelers

maximino

bob on blonde

howling owls

estate sale boat

grave return

alias punch

yogurt smoothness

telethon

hot hands

no dick

abuse

basements of florida

I love having creative friends

2010-07-06T17:19:00.000-07:00

My friend Rion Harmon came up with one of the funniest ways to promote a new record I have seen in a long time: pit himself against Heidi Montag. Check it out before she makes him take it down:

http://www.helpmesellmorerecordsthanheidimontag.com/

Summertime

2010-05-20T14:11:00.000-07:00

Photo: Jenn Fest IV in May, 2009. Tallahassee, FL.

Almost summer. May as well be summer; May in Central Florida is hot enough to be summer damn near anywhere else, anyways. Some people are complaining- too hot, afternoon showers. They should move.
I love summer in Florida. Sure, my power bill goes up. Sure, it is hot, sweaty or rainy at times, but really there are few things I love more than a post-thunderstorm dusk.
The air smells wet, the clouds make the baddest sunsets, everything seems so settled and relaxed. Tree frogs are chirping like crazy. You don't get it quite like that any other time of year- nothing like it.
Everything you do outdoors is more fun. The beach is better. The springs are better. The woods are better. If you don't get that, get out of Florida.

Another thing that is better is road trips. There is just something about driving down the turnpike to South Florida, or I-4 to Tampa in the late afternoon/ early evening that is just more alive than it is during the winter. Last weekend I drove down to South Florida, alone. Listened to The Hold Steady, thought about music, my friends, life. It was awesome. When I got down there, I got to hangout with some amazing people I haven't seen in quite a while (hadn't been in Fort Lauderdale since August- a long time for me.)

Tonight, I'm driving over to Tampa to see some more friends. Can't wait. More of The Hold Steady. Finishing up my 3/4 sleeve tomorrow morning. It will be nice to see that finally completed.

I'm also finally playing music regularly again. 3 bands. Practices Monday, Wednesday and Thursday. First show in 9-10 months June 22. School starts again July 4. New project with a good friend that I think will be fun. Fuck yeah, summer.

I'm getting older!

2010-04-26T15:40:00.001-07:00

It's almost May, which means a boat load of my friends and I are getting older. It's weird how many friends I have with May birthdays. Kind of awesome, too. This year I am turning 32 years old. That really doesn't mean anything to me anymore. Feels the same as 28, 29, 30, and 31. Maybe I will feel differently when I wake up on May 5 (birthday is May 4.) Sometime's I think it is weird to think that I don't feel like I am getting old or something. I feel like I've matured a lot, gained a lot of knowledge, but just don't feel any older at all. I just like enjoying my life and my friends. I'm pretty lucky to have some of the people around me that I do, some which have been around me for quite a while now. I also miss a lot of people I haven't seen in a bit. It looks like my schedule at work is finally normalizing to where I won't be working every Saturday, which is nice. I miss having two days off in a row. You really take it for granted until you work 12 out of 16 Saturdays or whatever crap it has been. Means I will actually be able to do some occasional visits to friends in other towns again, hopefully. Plus I'm going to LA June 3. That should be great.

Tyson and Maria's birthdays are also May 4, so we are celebrating together at Will's Pub. Should be pretty fun. We're going to have Slippery Slopes and Teenage Softies play, some people Dj'ng, cheap PBRs, and more. I haven't celebrated my birthday in a while so I don't feel like a total jerk doing so this year.

Also working on a show May 13 at Will's Pub for Shaking Hands. I love/hate helping people book a show. I love it because it's fun, like a creative problem solving puzzle assembling the pieces to make it work. I hate it because I always feel personally responsible for how many people do or do not show up, and I'd feel worse if it did poorly than I would feel good if it did well. Plus, I never take any money for it. Usually I just end up having fun because I get to help out someone who is a nice person. So. . . if you're free May 13, come out to Will's. We don't know all the bands that will be playing yet, but hopefully we will soon.

The Acceptance of Differing Opinions, The Ignorance of. . .

2010-03-31T01:23:00.000-07:00

Recently read an interview I did for some dude that lives in England for the first time. He wanted to interview me because he saw a band I played in one time- not because I am particularly interesting (which I certainly would not profess to be- just try holding a conversation with me)- but because I guess he thought the band was. While reading the interview, I came across something in particular that struck me as interesting. Being an editor for a “punk mag” he seemed to have a particular interest in politics. When he saw us play, it was prior to the historic election of Barack Obama. The question he asked me was, “What are your (the band’s) political leanings then? You were telling people the importance of voting at Fest 7, do you think that ‘ordinary’ people’s perceptions of the political process has changed since Obama won?”
I proceeded to spout a bunch of bull-shit, but the one line that caught my attention was, “I think when you feel strongly about your candidate (as we did with Obama) and see or hear in the media inaccurate or grossly exaggerated attacks against your candidate, you feel catalyzed to stand up for him. I think a lot of Obama supporters felt that The McCain campaign was personally attacking them, and their personal value systems with these methods. Probably a mistake on the GOP’s part. Preaching tolerance and rationality will hopefully turn into a winning combination in the future for all involved.”
The personal (and perhaps broader?) significance of this statement did not strike me until I made a joke on Twitter, about creating a specific group on Facebook attacking Sarah Palin’s (and in turn her followers’) value systems, and I realized that in doing so, all I would be doing is catalyzing them in a similar fashion. I realized that if we keep offering the Palinites the legitimacy of scoffing at their beliefs, all we will do is make them all the more fervent in said beliefs. I’d also be a massive hypocrite.
I have certain friends on Facebook who are what I call, “Palinites.” I do not mean this in a derogatory way. I mean simply that their belief system is, or has become, aligned with that of Sarah Palin, and those who support and agree strongly with her. Some of them periodically will post things that clearly relate to their Christian Conservative leanings. These posts have flared up recently with the recent medical reform. Often times the posts are clearly biased, easily proven untrue with basic research, and most likely derived from some form of public radio (which in one particular case was openly admitted.) Each time, I have taken it upon myself to question them (in a non-confrontational, albeit somewhat condescending, manner) regarding the information or content they posted. I would say it is safe to say that the vast majority of people responding also disagreed with them. I would also say it is safe to say the Palinites felt their values were being attacked.
Are we- people like me making similar responses regardless of tone, affect, rationality, or humor- catalyzing a Palin movement, much as The McCain campaign inadvertently catalyzed record numbers of non-traditional voters to turn out and vote for Obama? Are we not fueling a fire that could actually help to usher non-conservative candidates out of office?
It seems to me that the selection of Sarah Palin has been the impetus for a growing political divide in our country. This was probably not the intended effect long term, probably just during the election. Think about it:
“We are the McCain campaign, and we risk losing to a liberal Black Man with a name that sounds Arab. Let’s pick a running mate who is his opposite, in order to get the people who don’t traditionally vote that are not like him to vote for us. A White Female who will appeal to gun-toting Christian Conservatives and soccer moms.”
I do not say this to discount any credibility Sarah Palin may have had as a potential Vice-Presidential candidate. I say it only to point out that it was a choice of division. A choice that seemingly is carrying over beyond the election, to me in alarming fashion. No, political division and the derision incumbent are not new. I acknowledge this. But has it been this bad in recent history?
I am also not going to say that I think the Democrats and Liberals are innocent.
“We are the Democrats. The current President is a Southern White Male from Texas, with Christian Conservative leanings. He is immensely unpopular. Let’s choose someone who is his opposite to capitalize on this unpopularity.”
Again, I do not say this to marginalize Obama’s legitimacy as a Presidential candidate in the prior election, or to say that he was chosen, “because he was a Black Man.”
Obama was elected. He had to win primaries; he had to beat several other White Men in his own party to get to where he is. The Democrats did not truly just “choose him” based upon the way he served as a juxtaposition to the person he sought to replace. They could not have; he had to be elected. The McCain campaign, however, had the option of choosing an opposite. They must have recognized the way Obama’s differences from Bush served as a strength. Ironically, it could be argued that Joe Biden was selected based upon his relative similarity to John McCain.
The question I pose then, is how do we- as the self-proclaimed rationalists and realists- avoid causing our own meltdown by fueling the Christian Conservative fire? Traditionally, these sort of divides in values come to a head in confrontation. The Stamp Act, The Boston Tea Party, The Revolutionary War. Dred Scott Decision, Harper’s Ferry, The Civil War. Insert Liberal Agenda, Insert Conservative Response, Insert Conflict.
Am I saying this will happen? Absolutely not. And, I certainly hope it does not. Frankly, I appreciate those situations in which two sides of differing opinions are able to keep each other in check. The issue is the extent of difference between two the extremes are at this point. Conservatives- particularly Christian Conservatives- feel attacked. Their value systems are being questioned. I can actually understand to some degree why this would be so offensive to them, as many of these values are directly related to their interpretation of their religion. I believe it is safe to say that Americans are well aware of the extreme to which religion can catalyze people to hedge toward political extremity in some cases. It is why Osama Bin Laden attacked us (no, I am not likening Christian Conservatives to terrorists, only demonstrating the influence of Religion.) It is also why separation of Church and State was built into Our Nation’s Constitution.
What do I suggest, then? If you cannot find or invite into your life the positives of your political rival- ignore them. If you find something they say so outlandish that you cannot fathom how they can believe it- ignore them. To ignore them does not say that they are right. In fact, to ignore them lessens the perception of legitimacy you give their claims. Don’t make claims of your own about them, about their statements, do not directly confront their beliefs, do not play that game. It is childish, and rather than see what you consider the wisdom of your ways, they will only become further ingrained in their own. Instead, encourage acceptance and the value of differing opinions. Turn the other cheek if you must. A wounded animal is a dangerous thing indeed. Seek common ground, however small. Accept them for who they are. You know, the important stuff you learn in The Bible.

Tolerance implies no lack of commitment to one's own beliefs. Rather it condemns the oppression or persecution of others. – John F. Kennedy
Of all religions, Christianity is without a doubt the one that should inspire tolerance most, although, up to now, the Christians have been the most intolerant of all men. – Voltaire
Neither anticipated that the cause of the conflict [slavery] might cease with, or even before, the conflict itself should cease. Each looked for an easier triumph, and a result less fundamental and astounding. Both read the same Bible, and pray to the same God; and each invokes His aid against the other. It may seem strange that any men should dare to ask a just God's assistance in wringing their bread from the sweat of other men's faces; but let us judge not that we be not judged. The prayers of both could not be answered; that of neither has been answered fully. The Almighty has His own purposes. – Abraham Lincoln
Collective fear stimulates herd instinct, and tends to produce ferocity toward those who are not regarded as members of the herd. – Bertrand Russel
The only way to make sure people you agree with can speak is to support the rights of people you don't agree with. – Eleanor Holmes Norton
It is the duty of every cultured man or woman to read sympathetically the scriptures of the world. If we are to respect others' religions as we would have them respect our own, a friendly study of the world's religions is a sacred duty. – Mohandas K. Gandhi
I used to think anyone doing anything weird was weird. Now I know that it is the people that call others weird that are weird. – Paul McCartney
I tell them I have worked 40 years to make the W.S. platform broad enough for Atheists and Agnostics to stand upon, and now if need be I will fight the next 40 to keep it Catholic enough to permit the straightest Orthodox religionist to speak or pray and count her beads upon. – Susan B. Anthony (on Women’s Suffrage)
Think for yourselves and let others enjoy the privilege to do so too. – Voltaire
Monsieur l'abbe, I detest what you write, but I would give my life to make it possible for you to continue to write. – Voltaire
It were not best that we should all think alike; it is difference of opinion that makes horse-races. – Mark Twain (Pudd’nhead Wilson)

Blogosphere

2010-02-24T06:45:00.000-08:00

I just realized that my old blog, Myspace Mutants, has more posts on it than this one. Not sure how proud I am of that. Good thing I didn't quit my job, and put all my chips in on a Myspace based website.
I woke up way early for work today, so I decided to get some outside of work work done. In other words, I have spammed about 1000 people this morning, and if I'm real good maybe I can spam another 2000 in the next 45 minutes. I sent out "fan" suggestions for Will's Pub, Parafora Presents:, and Vinyl Richie's Wiggly World of Records from the Orlando Shows profile. If you got the invites, I hope you appreciate one of them and choose to join the group or page I invited you to. They're all related to local music in some way or another, so I'm guessing you may. If not, ignore my shit.
I also created a group called Orlando Shows Group, mostly just because it has discussion threads on it. Maybe people will find it a useful place to connect regarding music in Orlando, maybe they will just be giant ass holes to each other (like what happens on virtually every music related message board for some reason.) Maybe nobody uses it, maybe somebody does. I also bought the url, orlandoshows.org, and I am going to hopefully get a site together to accomplish virtually the same thing the FB profiles do. I don't know if this is superfluous or not, but I'll try it out. It works with tallahasseeshows.org and I like/respect what they've got going on. If anyone wants to help me out, let me know.
In other news. . . I leave for vacation tomorrow. Going to the frigid north to visit old Tallahassee and Orlando friends. Should be fun!

Parafora Presents: 3 Year Anniversary Party

2010-01-31T15:20:00.000-08:00

This past Tuesday we put on the 3 year anniversary party for Parafora Presents: at Backbooth. I've only been working with these dudes for about 2 months, but I am really having fun contributing (I think) to our local music scene. Parafora Presents: was started by Chris Anderson, and he put together an amazing lineup for Tuesday: Monotonix, Surfer Blood, The Tenant, Yip Yip and Basements of Florida. The show went off really well, so thanks a million to all of our friends who came out to support us, it was great to see everyone out supporting the bands.
Basements opened up by playing on the floor while people were still filing in (before the place got completely packed the fuck out). For those of you not familiar with Basements of Florida, they feature three bass players (Patrick O'Neal, Phil Longo, Henry M**$) and two drummers (Tyson Bodiford and Jeff Ilgenfritz) which of course sounds over the top in theory but in execution it works, due in large part to the fact they are all excellent at what they do. Playing on the floor works for them. . . and definitely added to the intimacy of the experience watching them that night. They're playing February 21 at Will's Pub for a Haiti Benefit show, check it out.
Basements was followed up by Yip Yip, which I guess you would call, "experimental." Lots of cool synths, an electric saxophone, drum machines and crazy costumes. The music is replete with a quirkiness that was matched by their stark white attire with white specs and black berets. I described their music as The Mephiskaphales on acid, mostly due to the electric (or should I say electrified?) saxophone and bouncing beats. It's an acquired taste. Kind of like LSD. Their next show is February 16 at BBQ Bar if you want to get nerd zapped.

In a drastic shift in atmosphere, The Tenant was up next. I think Brad Register's smooth vocal delivery was about as big a juxtaposition to Yip Yip's electronic acid trip as could possibly be found, but it worked. Honestly, I am into diverse shows. I enjoy seeing bands play together that you might not always consider obvious. They had a solid set, especially considering Brad lives out in Austin, Texas now and they clearly cannot practice on a regular basis. They didn't even miss a beat when drummer Chandler Strang's kick drum had to be swapped out (yeah, I made that joke.)

Surfer Blood came up next. Pitchfork loves this band, so I am sure there are some people out there who have a preconceived notion that they are a cliché hipster band with no substance. If you are of this opinion, you are only doing your self a disservice because these kids really do bring it and it is not contrived. Phil Longo, known more for his punk rock musical background than liking the "new in thing" said it best during their set:
"I get it. It's real, you know?"
In other words, not gimmicky.
I think it took them a couple songs to hit their stride, but once they did they delivered in admirable fashion. I think frontman John Paul Pitts' affable demeanor alone probably won over some of the skeptics that were inevitably in the crowd that night, but if it didn't I think their brand of reverb laden guitar hooks had to win over quite a few others. They're playing again at Backbooth February 16 with Turbo Fruits and Holiday Shores. If you missed them Tuesday, don't miss them this time because they won't be back for quite a while. The February 16 show will be their first show of a two month long North American tour.

Monotonix. Holy shit. This show was my first time seeing them. I've heard that they were "crazy" and "put on a good live show," but holy shit. These guys aren't just musicians, they are fucking performers. The fact that Backbooth was packed out with wall to wall people only served as a greater platform for them to blow my mind. During the first song, vocalist Ami Shalev did a stage dive, and crowd surfed from the stage all the way to the opposing wall of the venue and back. What the fuck? Who does that shit? Monotonix. Like Basements of Florida, they chose to set up amongst the crowd on the floor, which is intensified when you consider the crowd was already about 400 plus by this point. Guitarist Yonatan Gat ended up standing on the banister and playing there, as it was the only safe place not on stage that he could go. Shalev even managed to climb on to the balcony above the sound booth, and ultimately led a crowd of people out the front door, where he climbed a street sign (what the fuck?) and then dove into the crowd. I can only hope that I one day see another band perform like that (and not look like douchebags) because I doubt it will happen. I should also mention that the next night, Shalev injured his leg at a show in West Palm. They cancelled one show, but plan to continue touring. What the fuck?

I'm waiting for some more pictures, so if you have any please send them my way! kyle@paraforapresents.com.
Montonix photo credit: Norrel Blair. Surfer Blood photo credit: Christopher Keith Garcia (ckgphotography.com) Yip Yip photo credit: Christopher Keith Garcia. The Tenant photo credit: Bryne Yancey

Tonight will be awesome

2010-01-26T15:41:00.001-08:00

So awesome I'm using a picture to demonstrate:

Help!

2010-01-21T17:21:00.000-08:00

Pretty stoked, I talked to Bryne Yancey of overheated.org and punknews.org and it looks like he is going to start working on the blog with me. It will be awesome to have another person contributing. You may even start finding it interesting.
Really excited about Casiotone for The Painfully Alone Sunday, and the Parafora Presents anniversary party Tuesday (Monotonix, Surfer Blood, The Tenant, Basements of Florida, Yip Yip,) if you plan to go I recommend buying a presale ticket, because a lot of them are being sold. Both shows are at Backbooth.

Support your friends!

2010-01-19T15:32:00.000-08:00

I felt like this would be an appropriate post for this blog. Earlier on in the life of the blog, I interview my good friend Josh Mikel, aka Sharkguts. He is a great artist, and I just ordered two of his prints for my bare bedroom walls:

Pretty stoked on that. Also pretty stoked that his band moved to Austin, TX, because now I have a reason to visit. Which I definitely will be doing in the near future. Actually, I think I will be visiting a lot of places this year. Where should I go?
I also swear to God I am working on more interviews. I'd also like to have another contributor to the blog if anyone is interested. I want to keep it all positive, and related to independent art and music. If you're interested email me, kyle@paraforapresents.com. Also, I was wondering if anyone has a copy of Sony Acid Pro or Ableton Live they would let me "borrow".

2010!!!

2010-01-11T20:50:00.001-08:00

Whoa. 2010 has been fucking BUSY. "The day job" has picked up/gotten busier again, and has been a lot of fun. I also work part-time for Parafora Presents: and I also started working on my Master's Degree again. Doing hw is weird, and doing show work is fun. How I still find time for outdoor fun is beyond me, but I seem to be doing OK.
The holidays were amazing, got to hangout with some amazing people who don't live here anymore, like Robin, Laura, Dina, etc. Took a toll on my wallet though. Also got to have some hang time with my Grandma. She is 90, but she is still smart as a whip. Another highlight was New Years, my friend Bryan came to town from Sarasota. Love that guy. We always manage to end up singing along to Face to Face (which I couldn't get to load on the jukebox the next time I went back. I think they took it off?!)
2009 didn't necessarily end the way I wanted it. 2010 is at least starting the way I wanted it to. Swim.
Anyways, I wanted to make a post because Parafora Presents: has some interesting shows coming up, and I made a mix of some of the upcoming bands. Here is a track list:
1- Casiotone for the Painfully Alone (1.24.10)
2. An Introduction to Sunshine (1.16.10)
3. Dead Confederate (1.19.10)
4. Surfer Blood (1.26.10- Parafora Presents: 3 year anniversary)
5. Cold Cave (2.09.10)
6. Nite Jewel (2.09.10)
7. The Tenant (1.26.10- Parafora Presents: 3 year anniversary)
8. Surfer Blood (1.26.10- Parafora Presents: 3 year anniversary)
9. Monotonix (1.26.10- Parafora Presents: 3 year anniversary)
10. Warpaint. (2.19.10)
11. Evan Dando (2.13.10)
12. A Place To Bury Strangers (4.04.10)
13. Akron/Family (2.19.10)

So go listen to it. Email if you want a DL link. Maybe you will find a band you like that you haven't listened to yet.

Supposed to interview Tony Weinbender, Chris Anderson, Wayne (the sound dude at The Social) if I ever find time to write up some questions. And hopefully Davey from Of Montreal if he has time and agrees to it. Oh, and my room is a pig stye. Anybody wanna clean that shit for me? (hey, something has to give, and I hate cleaning.)
Also, I found a cool review of a show I booked over in Tampa, with Look Mexico, Mike Dunn and The Kings of New England, Andy Matchett & The Minks, and The Equines. Check it.

Upcoming shows from Parafora Presents:
1.16.10: An Introduction to Sunshine, Andy Matchett & The Minks, Lonesome City Travellers, The Equines
1.19.10: Dead Confederate, Great Deceivers, Bananafish, The Beauvilles
1.24.10: Casiotone for the Painfully Alone, Emily Reo, Guests
1.26.10: Parafora Presents: 3 Year Anniversary Party. Monotonix, Surfer Blood, The Tenant, Basements of Florida, Yip Yip
1.28.10: Smashing Pumpkins cover set by Mumpsy.
1.29.10: Thomas Wynn & The Believers, Jonathan Tyler & The Northern Lights, King Bee
2.09.10: Cold Cave, Nite Jewel, Technobox, Emily Reo
2.13.10: Evan Dando (of The Lemonheads), Sterling Schroeder & The Chosen Ones, Guest
2.19.10: Akron/Family, Warpaint, Queen of Spain
2.23.10: Rachel Goodrich, Bananafish, Guest
3.15.10: Leatherface, Yesterday's Ring, The Attack
4.04.10: A Place to Bury Strangers, Guests

An interview with Will Walker of Will's Pub

2009-12-01T19:57:00.000-08:00

Will's Pub has been an institution in the Orlando music scene for a long time now, so it was only fitting that I interviewed Will. He has seen a lot of bands and a lot of people come and go, so I bribed him with sake bombs, and he agreed to let me interview him. Will's Birthday Bash is Saturday at Will's Pub. Go check it out. Thanks a lot Will!

When did you first get involved in music? How?

I was always a music fan in one way or another. Whether it was my parents listening to Motown or my own stuff growing into a teen. I tried to take some guitar lessons as a kid, and well lets just say I sucked.

What made you decide to open your own venue?

Will's wasn't a venue in the beginning. We just had some pool tables and a jukebox. . . Orlando was a different place at the time. There was a decent music scene but no where for people to play. Skinnys, Go Lounge, The Sapphire. . . that was basically it. A lot of my customers were in local bands. And well they asked, so we did it.

What was the first band to play at Will's Pub? When was that?

Jim Orourke was the first. He's still playing around town.

It sounds like you've basically learned this on the fly, over the years. What lessons have you learned (maybe even the hard way) in this time that you would pass on to someone who wanted to open a venue of their own?

Well the venue part is pretty common sense. We learn things all the time. It's usually the human element that catches you by surprise. Like some asshole stage diving to no where.

I'm sure you've learned a lot since then about running a bar that is also a venue, learned a lot about booking and promoting shows. Any words of advice you have for bands that are trying to play shows at your venue?

Be persistent but not annoying. Don't call or come to the club thinking you're going to speak with someone. Get together a couple of songs online. GO TO OTHER PEOPLE'S SHOWS. Nothing like getting an email from a band in the "407" saying "I've never been to your club but we should play there." Networking pays!

What's the story behind the old Will's being torn down, and how you decided on the current location?

Awe yeah. This is where a lot of speculation has happened. I was sub-letting from the motel next to the old local local. When the property went up for sale I was supposed to have first right of refusal to buy my parcel. Well in layman's terms, money talks and I was simply left out of the circle until it was more than I could afford. The rest is history.

What's your favorite Orlando band right now?

Really? Whatever band is playing at Will's tonight?.?.?

Any bands you miss that you wish were still around today? Any you're glad to see are no longer around?

Really? Again? I miss some of the ones I started working with. Kow, Cluj, The Hate Bombs, so many more. . . I kind of grew as a person with some bands.

Naming names about who I'm glad isn't around anymore is just a little more than I'd do while sober.

Any other ways you have been involved in the music scene over the years.

I had Will's South for about a year (fucking awesome). I built the stage they are using at Taste and booked that place for about a year. I'd like to think I've had a little to do with Orlando's music scene since I started. I've helped fund a couple of CD's and hopefully there are a few babies out there Will's Pub made happen!

You mentioned Will's South. Do you plan on opening a second location again in the future? What kind of plans do you have for the current location?

Yes, we do. It's going to be a little while but a second location is in the plans.

As far as the "new" location, it will never be done. We do want to open the back patio up. Improve the pa. Possibly work on the ventilation.

I know Tierney Tough works with you a lot, and she does a great job planning shows, and you guys were heavily involved in Orange You Glad Fest (which was great.) Do you think you guys will do more things like that in the future?

Orange You Glad is her project. I helped her with it as much as I could. I hope she wants to do it again. I definitely think a lot of people want to be involved again. I also think we learned quite a bit from the first one.

How would you compare the Orlando music scene today, to what it was say, 5, 10, 15 years ago? I've asked other people similar questions, it is always interesting to see the responses I get.

The "scene" is way bigger in terms of how much is going on. BUT it is less cohesive than ever. There are little microcosms that exist in the outskirts that aren't even known about around the rest of the city.

What do you think you would like to see more of in our local music scene? Why?

Once again people in other bands really should go see other local bands. That is how you make a scene. Then they come see you. Their friends and fans become yours and it grows from there.

Also some show sharing is really healthy. Trade some gigs with Tampa bands or Gainesville bands. It's a small drive and it enriches the whole area.

And local bands PLEASE learn how to promote your shows. If some of you were as inventive in promoting as you are in making up excuses we would all be fucking successful.

You joked about there probably being some babies out there that are a direct result of Will's Pub, ha. How many would you estimate? How many are yours?

Well, Will's is romantic. It's the lighting or something. As to how many babies we have helped conceive I couldnt tell you.

How many were mine? Yeah right.. back in the day...

Last question: which band in town would you say are the heaviest drinkers?

The old guard are still the champs. Bands like The Ludes or Shak Nasti kill it. The new guys just aren't that passionate. They'll learn.

Thanks Kyle, This was fun!

Excited (To Reach The End) of 2009? Here's one more reason! (Jon Mann CD Review)

2009-11-18T20:21:00.000-08:00

What can be said about a band with a name like Surfer Blood? I'll admit that my first perception of the band upon hearing their name uttered by a friend was very different from what I can easily say is now my favorite band of 2009. Surfer Blood is an indie pop band from Florida's own Palm Beach and "Astro Coast" is their debut record. I haven't been able to stop listening to this album on a daily basis since the first time I heard it. The mellow melodies and soothing song writing throughout the album are unlike a lot of new music I've heard put out in recent years. I am a fan of the record as a whole, but the stand out tracks in my opinion would have to be "Take It Easy", and "Twin Peaks". "Catholic Pegasus" is also very much a righteous jam; I must say those deep/haunting vocals are very reminiscent of Why?, and they make me shiver every time I hear the song. All in all, "Astro Coast" is the must hear, must have, must love record for 2010. But don't just take my word for it, please check it out for yourself or you will all be sorry. (editor's note: is that a threat?)

"Swim (To Reach The End)" - Now available on iTunes

Surfer Blood - Astro Coast out on Kanine Records January 19th, 2010

Surfer Blood, Bananafish, An Introduction to Sunshine, and Great Deceivers - Live at Backbooth 12/13/09

-Jon Mann

Also, here is a link to a Kanine Records sampler. Thanks Kanine!

2009-11-11T14:10:00.000-08:00

Looking forward to some of the Anti-Pop shows this weekend, especially hanging hard with Furious Dudes. They're playing Friday night at Uncle Lou's. If you like beer and hanging, you will like the band and the dudes.

I have some new stuff in the pipe for the blog. My roommate (Jon Mann) is going to start putting up album reviews here. Should be some good stuff. It will pretty much be all inclusive content-wise, but sounds like he is going to focus on local acts, Florida acts, and bands coming through town to play shows. But then again, who really knows.

Also, have a few interviews in the pipe: Will Walker, Tony Weinbender and also Chris Anderson. I've gotten some great stuff back from them already so I think their interviews should come out pretty well. Got some other interesting people I want to interview, if I ever get around to asking them. I should get on that.

Oh, and Municipal Waste (the few songs I saw when I wasn't working the door) was great. And, I really want to play music with people.

An interview with Richard Minino

2009-10-30T09:16:00.000-07:00

I'm stoked I got this one back in time for Fest 8 weekend. Richard Minino is the prolific artist behind Horsebites, whose unique artwork you will see everywhere this weekend if you go to Gainesville (for good reason, it's great stuff.) He's also a pretty decent drummer (understatement) and eats more nachos than anyone I know (follow him on Twitter or read his blog, you'll see what I mean.)

When and how did you first get involved in music?

I first started playing drums in highschool when I was 17. . . I had no clue what I was doing until my neighbor (who actually got me in to punk) showed me a few basic beats and I sort of went on from there. Later I joined a band with Sam whom I'm in a band with til this day. It's kind of just second nature now and always been something fun to do. I never went in to it with aspirations of becoming some kind of rockstar or some BS like that.

You've been playing with Sam for a long ass time. Actually I guess you've been involved in music with several of the same people for a very long time. I'm sure you've had some ups and downs throughout that period. What have you learned in regards to keeping those sorts of relationships working, and keeping everybody on the same page in a band for a long time?

It definitely gets hard when you're trapped in a metal rolling closet for long periods but if you're good friends then you'll stay good friends if you don't try and stab each other in the back. Whatever we fought or bickered about was mainly about dumb things siblings would fight over. At the end of the tour we all hugged and went back to normal life. It really taught me to have patience and to not be self-absorbed.

How many bands are you even in right now?

I'm currently in 3 bands right now, Gatorface, No Friends and None More Black.

You do a lot of work as an artist, too. When and how did you first take drawing and turn it into something more than just a hobby?

It wasn't my call really. I was kind of thrown in to the whole illustration world by force. I was just doing designs for my own band (New Mexican Disaster Squad) and other bands and people started noticing and wanting me to do stuff for them. Then my friend Kyle from Tampa told me I was gonna do a shirt for a band called Fall Out Boy (at the time I never heard of them) and I said ok. Then it showed up in Hot Topic. That was when I started seeing designing as an actual career possibility.

Aside from Horsebites and the bands you are in, what other things do you do creatively or involving music in general that I may not know about.

The Black Axe which is the design firm that 4 other designer/web dudes started early this year is keeping me busy with all my art. We just started a new company Crispy Tees and it sells novelty type shirts but with a better twist on them instead of the standard funny one liner and crappy illustrated shirt. I'm also starting a new company with Heather Gabel called The Caustic Collection and it's been a little slow mainly because she's having her first child soon and I've been wicked busy. That's about it for now. HA!

This is a question I asked Josh from Sharkguts, but I'm curious to see your response to it. Is your approach to art any different from music? When you sit down to draw something, is it a total different mindset from playing drums for you, or do you draw that creativity from the same place you think?

It's completely different. Sam and Alex are usually the song writers in the bands that I'm in so they are actually pretty good at drums too. They have a rough idea of what I would probably play and write songs to usually fit that. It works out pretty well because I don't have to think that much. When it comes to art I have to get in a completely different creative zone where visual objects are what I'm looking for to inspire me.

If someone came to you tomorrow and told you that you had to pick between music and art, or have both your arms cut off, which would you choose?

Definitely art, that was my first passion and will always be my main passion. Music is great but drawing is where I feel completely in charge and open. Even if someone cut off my arms I would still draw with my feet or stick a brush up my butt and draw with that. Ain't no stopping me!

Who do you look up to as a drummer? What about artistically? Is there anyone in general that you respect as a big influence on your work and how you live and work?

I really look up to Bill Stevenson (Black Flag, Descendents, ALL) and Josh Freese (The Vandals, Devo, NIN). They are amazing drummers with completely different styles. Bill has a sort of Bill Ward (Black Sabbath) style mixed with some type of Jazz influence. Hearing that in punk music blew my mind growing up. Josh is just an all around prodigy. He can play anything but what I really admire about him is his care free attitude and how really doesn't give a fuck. He wore an orange suit with a green bow tie when playing with a Perfect Circle and then he was talking on his cell phone when Carson Daly tried to interview while he was playing for No Doubt. During the show! How rad is that. What a jackass.

Artistically I really like the attitude of some of the greats like Ed Roth and Robert Williams who were extreme low brow artists doing whatever they felt like and not worrying if they would ever be accepted in the fine arts community. They also brought a real edge to that style of art. You know it makes you feel good to see your parents frown at that type of art and not get it at all. That's what made me realize what art really was growing up.

Have you discovered any new bands that you're way into? I know you listen to a lot of punk rock. What other things are you into?

I actually listen to less and less punk as I'm getting in to a lot more of 50's and 60's Rockabilly and even old Ragtime and Big Band stuff. Although I have to say a new band that knocked my socks off was the new Bronx band "Mariachi el Bronx". Love it.

I know you are pretty into nachos. So, I have to ask you- where do you get the best nachos in Orlando?

It's true. I think nachos are a vital element to my life source. The best nachos is a repeating topic that comes up between my friends and I. I guess I would say it's neck and neck between City Fish seafood nachos and the nachos from Stardust. Wooooo they are good!!

What is the absolute worst place on this planet that you have ever had to play a show in your entire life? Why?

Hmmmm, I've played so many shit holes before that it's a hard choice. I do have to say I would probably play most of them again though so this makes it hard. I guess one that I could remember is playing inside of an Electronics Boutique in a strip mall. It really wasn't a bad show it was just super surreal and made me feel awkward as hell. I mean come on a video game store!?!?!

When you are working for a client doing design work, do they usually come to you with a preconceived notion of what they want? It seems like it would be like being a tattoo artist. Some person comes in with a really douchey idea, and you have to find a way to make it into something that looks good.

I actually prefer when they give me an idea because I think any designers worst nightmare is "just do something cool". That kills me. I would way rather have them explain to me exactly what they are looking for and for them to expect that I'm gonna do it in my own style. That's what I like.

Of all the albums, shirts, etc that you have designed, which one is your favorite? Why? Also, what do you have the most fun designing?

I actually had a blast doing some snowboards for K2 recently. That was a real blast because it was in a format I rarely get to do, and to see your art printed that big is a real treat. Also, dealing with people in the X-treme sports field is nice because they really know what their demographic is and they have a hold on it. They give the best direction because of that.

I know you are a guy that prefers to hand draw things, and then convert them into a digital format after. Do you have any tips for people out there who like to draw, and just really don't know a lot about photoshop and illustrator, but would like to start doing design?

Yeah, don't do it. Honestly, if you you're not that good at drawing then stop. You're taking my nacho eating money from me.

Actually, as a veteran of playing music and being an artist in the punk scene for a good amount of time, what advice do you have for youngins that are just getting started, or want to get started?

You really have to be willing to be stepped on and really not make money for a long time. It goes the same for a band. If you have intentions of being rich or famous then you're not doing it right. Those are usually the people that fail at these type of things. If you keep your head up and just draw to please yourself and to always get better, that is the only way you're gonna be noticed. People who try too hard can succeed quickly but usually die quicker also because they don't build a strong fan base.

Tell me (us) about your cafe racer. I don't know shit about motorcycles.

HA! I actually don't own a cafe racer, my roommate Ben does. I own a Honda CB350 which can be converted into a cafe racer and is usually the japanese motorcycle that most people convert to a cafe racer. I just got in to bikes less then a year ago and have been obsessive about them since. I don't think it will wear off cause I'm looking to buy another soon. There is just something about riding with your friends and getting lost on some weird ass back roads in Florida. It's so much fun.

OK, I think this is the last question. If you were going to start a band/biker gang, and tour on motorcycles for 3 months straight, what famous people would you want in it?

Well, I would definitely want all the bikers from Pee Wee's Big Adventure. Have you seen the part where they party in the bar? Yeah, they know how to roll. I would also like to have Anna Faris because let's face it, she's hot. Um, a lot of the Scout Troopers on their speeder bikes from Return of the Jedi and I guess the last person I would like to have is Kurt Russel. Hands down. Ultimate Bad-Ass.

Thanks a lot Richard, have a great time at Fest.

Friends and shows!

2009-10-28T15:26:00.000-07:00

Been working with some friends on some pretty awesome shows that are coming up. If you're around you should check them out!

October 29
Pre Fest 8 Party

The Menzingers
How Dare You
Cool To Be You
The Knockdown
Only Thieves
Highlites
Mayflower
(for links see prior post)

7pm, $6 @ Will's Pub in Orlando
w/ Lola Pizzeria serving food.

November 13
Furious Dudes @ Uncle Lou's for Anti-Pop in Orlando

November 14
Only Thieves ? @ Tanquerays for Anti-Pop in Orlando

December 5
Andy Matchett & The Minks + TBA @ Propaganda in Lake Worth

December 19
Look Mexico, Andy Matchett & The Minks , Mike Dunn & The Kings of New England (CD Release) w/ TBA @ New World Brewery in Tampa

Thanks to Joe, Paul, Steev and Will for helping me and helping these guys out!

2009-10-26T04:29:00.000-07:00

Did the Sunday brunch thing yesterday with a few friends. Dr. Geek made an appearance:
Maybe I should interview that guy.

2009-10-24T14:19:00.000-07:00

I was talking to Richard earlier, and he asked me about the blog, how often I post and stuff. And I told him really only like twice a month, since it'd be a pain in the ass coming up with enough people to interview to do more interview posts than that. But, then I started thinking maybe I should post about other stuff, too? I dunno. Anyways, I'm real stoked on this show Justin and I are putting on at Will's Pub Thursday. It is a pre- Fest 8 show, and it is an awesome lineup. If you read this you should come:
The Menzingers
How Dare You
Cool To Be You
The Knockdown
Only Thieves
Highlites
Mayflower

Doors are at 7pm, and it will be $6.

An interview with Dan Rozenblum of Thunderdome Touring

2009-10-23T10:19:00.000-07:00

Thunderdome Touring's Dan Rozenblum agreed to let me pick his brain about booking, touring, and music in general. There is definitely some useful information here for anyone who cares about any of those things. I think I first officially met Dan when I booked Psyopus at this crappy (and sorta awesome) bar I worked at in Tallahasse called The Inn Between. Thanks in part to Dan, they no longer have to play crappy bars like that.

When did you first start playing music? What instrument did you pick up first? When did you start playing in bands, and what was your first?

I picked up guitar in 1988, so when I was 13. I was really into U2, Pink Floyd, Metallica, Slayer, and Testament. I begged my mom to let me play guitar and that pretty much was the turning point for me for the direction my life has taken. I got really into music and that really became the main focal point of everything. I didn't start playing in a band till 10th grade. But that was just jamming with my friends at school. I went to a private school so there were only a few kids who played metal, but I ended up going to public school in 11th grade and that's where I played in my first real band. I actually played bass in that band and it was hardcore punk band called Now Or Never. That was 1991, and the kids at public school are the ones who gave me my introduction into Dead Kennedys, Misfits, Minor Threat, Youth Of Today and stuff like Thrill Kill Kult. That year was pivotal for me. All that punk stuff, and also the Nirvana thing. That was the year I played my first show and it was the most incredible experience ever!

Cream Abdul Babar started in 1994; you guys had a pretty long run. Lots of touring, and I'm sure some great and some not so great experiences along the way. Of the bands you guys had a chance to tour with, who was one of your personal favorites? Why?

Yeah that band defined my life for the 13 years we were together. It was a group of best friends that were together not because of any sort of strategy on song writing or getting signed or "which guy are we gonna get to play guitar who has bad ass riffs". It was 110% based on friendship and fun. That is all. And the fact of the matter is that we are not "broken up." we simply "do not play together at the moment." The term "break up" implies there is animosity or that something went wrong. Nothing is wrong; we just logistically cannot play together. These are still my 7 best friends. The coolest tour in my opinion was our tour with Dragbody. That lasted 3 months, and was simply amazing. We toured with Mastodon too, but that was the worst performed tour ever for us, hahaha! Another really good one was with Melt-Banana.

What other bands did you have a chance to play with over the years?

We played hundreds and hundreds of shows across the US, that included bands like Neurosis, Morbid Angel, Citizen Fish, Taken, Mastodon, Kill Your Idols, Indecision, Kylesa, Melt-Banana....

It is clear that you learned a lot over the years touring with CAB. Now you run your own booking agency, Thunderdome Touring. What advice do you have for young bands out there that would like to book and promote their own tours? What to do, what not to do? Any tips for them on finding places to book shows at, etc.

The best piece of advice I can give a band is to do as much as you can for yourself and by yourself. There are all these bands that think they've played 4 shows and they can get signed and get a booking agent. That's the worst crock of shit ever. There are 10 million bands that want the same thing you do. Do what you need to separate yourself from them, and get yourself ahead. Labels and agents want to see what you can do yourself. Tour constantly and get your chops down. You do not have good chops after 4 shows. You have good chops after 3 months on the road straight through. Then do it again. And maybe even one more time. Book it yourself. Promote it yourself. Bands nowadays have it easy; there are all these internet sites at your fingertips to utilize. Work them hard. Make posters, send them out to clubs, stores, create a street team etc. If you have some $ run an ad in a magazine or web banners on a site. Do everything you want your ideal label to do yourself. Then when the labels come calling, you have the power to say:"what can you do that we can't do ourselves?” The best way to find venues is to look at other bands' sites. Don't look at bands that are way bigger than you, because those bands are playing venues far too big for you. Check out bands on your level or a little bigger.

Any nightmare tour experiences when you were with CAB? What about something awesome?

No nightmares really... the worst thing was probably a blow-out... so thankfully that is all!awesomeness is having Dick from Subhumans / Citizen Fish buy all your shit in Berkeley and tell you that your band is "brilliant", while you are standing next to Dave from Neurosis who also comes to see you every time you play the bay area, even if it's 3 days in a row.

How do you keep up with what venues are out there to book shows at in various towns around the country that you have either never been to, or haven't been in years?

I usually work with the same reliable people all the time, but when a new place pops up, all the agents know about.

You mostly cater to metal bands, but at times you have also done work for hardcore, punk and indie rock bands. How do they differ? How is booking a series of shows for a metal band different, easier, or more difficult than it is for other genres?

It's the circuit of venues & clubs. We've got metal promoters and punk promoters and what have you . . . or guys who do all of it. I lean mostly to metal bands because that is what I do best. I work with all the metal agents and we exchange bands on each other's tours.

Are you working on any major tours right now? How much work goes into setting up say, a month of shows for a band? If a band wants to book a lengthy tour, how far ahead of time do you suggest they start contacting venues?

Established bands I will book 6 months ahead. Sometimes less, but for an international band, I like to start working on it about 1/2 a year out. So I may place holds at venues in October or November for a tour in May. Generally speaking though, you can book a tour with 3 months notice. Anything shorter than that is scrambling, in my opinion.

Is there a constant flow of you having to follow up with venues and promoters trying to lock down these shows? What do you do when you need say, one date in between two cities, and you just are not hearing back at all from the venue? Give up and move on and try to find a different place to send them? Keep following up, trying to make contact?

I never give up and if someone isn’t getting back to me, I move on. Since we work with the same people repeatedly, we have an on-going relationship and it's rare for that to happen. I also assume if you don't call me back you don't want the show.

Tell me about the history of the name, Thunderdome. How it started, how you came to use it.

That's all Ian Mott. He came up with it and it was going to be the name of his punk radio show on WVFS I believe. Then we used it- with his permission- as the name of the all ages venue.

You were involved in the Tallahassee music scene for quite a long time. If you were to pick a given era that was your favorite: the bands, the venues, the people at the shows, when and who would it be?

Hands down it was the mid-late 90's, with bands like Nel Aspinal, Bacon Ray, Flanders, Syrup, Atlas Shrug, The New You, etc. That was a thriving local scene and it has never been like that since. We were on the verge of having an Athens-like scene with bands really blowing up.

Any new bands you've heard recently or begun working with that you are really excited about, that more people should know of?

I'm listing to Born Of Osiris right now, as well as Revocation, this bad ass band on Relapse. The guitarist is insane and his solos are very much in the Vai / Van Halen area.

What's your favorite thing about doing what you do for a living? You're a pretty new Dad, right? Does it afford you a lot of time to spend with your child?

Yes, I am a new Dad. It's the coolest thing ever. I work from home currently, so that makes it easy to spend time with her. But I work long hours and it's intense. I accepted a job at another agency though, so soon I'll be going to an office. Bye-bye working from home.My favorite thing about what I do for a living is watching a show on a tour you put together at a House of Blues or similar type venue. It rules.

If you weren't doing what you do now, what would you be doing?

I have no idea. I really would like to be an actor, but that's just a dream.

An actor? What kind of actor would you be? Are you into comedy, drama, action? I could see you toting some bad ass grenade launcher or something.

Hahahaha, that would rule but I'm not built enough for action flicks! I think I'd like to do drama.

Who are some people you look up to- personally or professionally- that you have learned a lot from and have in some way lead to you running a successful business working in music? How did they impact you?

I watched a guy named Tim Borror grow from working in his friend's basement to opening his own company, building that and then having the entire company be brought in to a corporate agency, making him the vice president of the NYC office. He's a bad ass and if I could follow that mold I would. Also a guy named Ash Avildsen. He is a self-made dude who has a knack for turning bands from $100 bands into headliners. He's got the Midas touch and what he has done so far has been amazing.

Last question. What town would you never recommend anyone ever trying to book a show in? And, what town was your favorite to play in when you were touring?

Hahahahaha, Wow. Ummmmm, hard one. Every town has something to offer. It's just if the promoter is good or not. You have to balance expectations. Knowing you are going to play a small town you have to know that it's not going to be 750 people. My favorite place to play was always New York City or San Francisco.

Chris Cucci of Post*Records

2009-10-07T18:08:00.000-07:00

I've been wanting to do this interview for a while, but I had to take a break for a bit from the blog. I got my motivation back recently and I knew Chris would make for a great interview. He has his own record label, Post*Records. They have helped out a lot of great local bands here in Orlando, and I felt he deserved a spotlight.

When did you first get involved in music in general?

I took guitar lessons for a very short time when I was young. I think I learned to play hot crossed buns or something. I am left handed and played a borrowed righty guitar restrung for a lefty. I didn't play again until high school when myuncle gave me my first guitar and taught me a bunch of chords and scales. It was a right handed guitar so I learned to play that way and have no idea how I ever played the left handed one as a kid. I always liked putting events together and helped organize stuff like that in high school for bands in our little Florida beach town.

What little florida beach town did you grow up in?

Englewood...west coast, gulf beach town south of Sarasota.

What other instruments and such did you end up picking up along the way?

Guitar first, then got a banjo as a gift and learned that as well as all kinds of electronic gadgets. My uncle is pretty nerdy about gear and I own a few homemade tube amps as well as analog synth and midi modules that he built. He is supposed to be making me ananalog synth powered by SID (the sound chip from a Commodore 64). I hope that happens. That synth sounds pretty great.

Think it'll see the light of day in a new band or project you could get involved in?

Hopefully! I am a big fan of the C64 and especially love computer music from that era so I would very much like to use it for a project. I'd probably call the band The Hard Hat Macks...if anyone likes that, we need to do some retro gaming together.

What bands have you played in in the past? I remember that you were a member of The Heathens.

I played a couple years in highschool in a 3 piece called Bootleg!, then played with my friend Alex in a band that we always changed the name of in the late 90s / early 2000s. It was lots of drum synths, phased out guitar, and he was a badass keyboard player. Then I did The Heathens and have played a few parts as guest spots on various Post*Records projects. Oh and I also was in Old Dogs which was super fun...we have a live tape floating around that is supposed to get released someday, so we will see about that. I've also been in a lot of bands
that lasted like a week based on ideas that sounded better on beer.

Haha. What was the worst band idea that sounded better on beer?

There have been many...one will actually be performing as a one shot deal this Halloween at Ethos...Meneaters: A Tribute to Hall & Oates. As the name implies, a Hall & Oates cover band..me, my brother, Shawn McNulty. Joe (brother) and I were drinking beers blasting a live Hall & Oates album one recent night when the idea was born. The record had an 8 minute version of Sara Smile..it was pretty intense.

So eventually, after being involved in putting on shows, playing in bands, etc, you started your own label. Post*Records. When did you start Post?

I started Post*Records in 2004. I had been working with a partner doing local live events in Orlando and I started releasing compilation albums for us around 2001/2002. I really liked that and wanted to release music from unknown bands full time so I broke off and formed Post.

It is clear that aside from just enjoying listening to and playing music, you also care a lot about helping foster a sense of community within the music scene- helping, involving, supporting those involved from all aspects- be it fans, musicians, venues, etc. Do you think anyone influenced you in this regard?

Slim Moon did a lot for independent bands and I respect the fact that he used the success of bigger acts to support releases from lower selling bands and also stayed very loyal to the scene in the northwest, specifically Olympia. Ian MacKaye also was an influence. I would buy records from them via mailorder in highschool and get handwritten notes and always extras thrown in. I try to throw extrasin all the orders and write notes to thank people for supporting. I am also a huge fan of Long Gone John at Sympathy...I appreciate howhis personality is such a big part of the label's brand.

That's awesome. I remember ordering a shirt from a band one time. They sent me two shirts, an old CD, and stickers. I was thinking,"Holy shit this is great!" I totally know where you're coming from on that. It really makes you feel appreciated. So you are pretty involved with everything then, huh? You aren't just the guy who comes up with ideas and helps unknown bands, you're also packing up boxes, dropping in some extras, then driving down to UPS to ship them out. That involves a certain degree of self-sacrifice, from a time and effort standpoint. Do you get a pretty strong sense of satisfaction from knowing you've helped someone else out or making that connection with a fan? It can't be purely entrepreneurial.

Yeah, exactly. It's not about money. If it was, I would be a big idiot. When I had a lawyer draw up the contracts for the label...tailor made to my specifications of giving the bands most of the rights and an easy opt-out, he said "Get ready to work really hard for not a lot of money." He was right. When Phil started Sleepy Bird, I passed the quote along to him. It's a good quote, seems to be pretty accurate for anyone running a small label (and from what I've seen, many bigger ones too.)

What tips do you have for someone- a musician, or a fan, that wants to get involved in music and do some of the things you have done over the years? Lessons you've learned from your mistakes, or your successes.

Running a tiny record label is like becoming a Pokemaster..it takes hard work and dedication. You can't just go out there with a Chimchar and expect to conquer the world, you need to cultivate and stay at it, turn that little guy into an Infernape so you can really kick some butt. Be nice to people. Everyone has their share of success and failures. Get ready to work hard for not a lot of money (thanks, Greg the lawyer.)

What do you do when you aren't working with music? Would you say there are things you have learned working with music that translate to that?

I help other people grow their businesses. I think that everything I do probably affects everything else...so yeah, it all translates. I like working on business plans, interpreting data from businesses, and learning about how different types of companies operate. From that standpoint, I can say with some certainty that a record label is a horrible business idea despite being a very rewarding one if you like supporting your scene.

Are there any new Post*Records releases, or even just new bands in general you've recently discovered that you are excited about?

1991 is working on a release for Post and Darin from Happy Valley is recording it...should be great! There's this other local thing coming from Post that's sort of a surprise but all I can say right now it that it's an album themed around the ancient greek gods and most locals will know who when they hear it. I think Mowgli is an awesome local band right now. And I really love the band Buff Clout from Jacksonville and urge everyone to go out and see them live (US tour starts in a few weeks)...they give an amazing live show...lots of energy, raw..no stupid theatrics, all fingertap shreddage and hard drum hits. I try to see Garbo's Daughter whenever I can, they're great live and on tape. I really like Hot Hands too. Another suggestion..go see Reviver/Reviver on Oct 24 at Wills! There's lots of good bands playing that night. There's this French band called The Last Rapes of Mr Teach that has a new 7" coming out soon...look them up, I really like them and I have bugged them to do something a few times....we'll see.

How do you feel about the current state of the Orlando music scene? Do you feel it is as strong today as it was in some of the earlier years in which you were involved with it? In what ways would you say it is different or similar now as it was then? What do you attribute this to?

Orlando's scene has these waves of greatness and then HUGE periods of dull nothing. I think we have some really awesome stuff going on in Orlando right now and it's totally attributed to the younger bands out there..like high school thru 20 yr olds mostly but then a few others. It is always like this from what I've seen. I attribute the dull times to bands getting a few good turnout shows and then thinking they're some superband and not playing shows in town anymore to the point that when they do, nobody even cares anymore. Or really crappy bands overplaying, also a problem. I would like to see more people put on events instead of just the same shows with the same 3 bands playing every month at the same place. There are lots of house shows now and that's great, it was not like that for a while but house shows really help make a scene. I wish people would stop relying on myspace and facebook as their sole promotion tools ( and I don't mean that they need to add twitter and texting to their marketing tactics)...it's nice to see posters for shows and flyers around town. I was in barbq and I mentioned to Henry that the wall was covered in posters for shows at Firestone. He said something about how it's true but he likes that there is someone actually putting posters on the big wall in there. It's true, it would be nice to see some other bands and venues putting up their posters in there...

Anything new you're planning to get involved with? You don't strike me as someone who stays sedentary without working on new things.

Oh yeah, also about to launch a new company called "the DIY team" www.thediyteam.com its what I'm calling an "indie co-op"...basically a big indie band/label collective for anyone who needs help with getting distribution and also some assistance with press campaigns, college radio promo, and booking. The idea is that I've gained some nice resources thru doing Post*Records but it's a small operation and I can't take on every band. the DIY team is a way to use my resources from Post to help bands and small labels out there who want to help themselves. I give the bands digital distro at a way better deal than anyone out there and also provide them with members-only access to an online community of other bands...as it grows, so will the diversity and depth of the resources it provides. I'm just getting it started now locally to test out the concept but it should be national by the end of the year or sooner.

The last questions I want to ask you, is: If you were kidnapped, and forced to start a band with *any* member of the Orlando music scene- past or present- who would it be, and what would you want the band to sound like?

I would like to start a 50s rock band with Sean McNulty on sax, my brother Joe on piano, Dino from the Copper Rocket on drums, and this girl with this awesome squeaky voice that used to work at Panera Bread (the old Rollins location) as singer. I would play guitar. And you would not have to kidnap or force me because it would be awesome. I would probably have to kidnap and force all of them to make it happen.

Thanks a lot Chris!

An Interview w/ Andy Matchett

2009-08-25T12:03:00.000-07:00

Today's interview is with Andy Matchett. He has played in a lot of bands, including my own, and is now focusing more intently on his solo effort. His music in this solo effort is far different from that which he created as The Monorail, but is no less endearing in any way; he's just. . . grown up. I'd drop a bunch of pompous adjectives to make it sound like I was capturing in words the effect his music has upon listening, but I think that's stupid. Mostly.

What do you do creatively?

I write songs and sing them in front of people, preferably with a backing band. I usually play guitar or some kind of piano or keyboard, but I’ve been obsessing about the drums for a few years now, so we’ll see where that leads… I like to paint & draw and I like to build things. A couple years ago I started doing these large scale, elaborate doodles with sharpie marker on plywood. A few friends had them tattooed and I’m really proud of that. Right now I’m working on a series of handmade guitar straps & equipment cases for low-budget artists who don’t want to drop wads of cash on that kind of gear.

You definitely have a broad range of interests. You mention that you are focusing on being a solo artist, musically. In the past you have done the Monorail and People Chasing People. In what ways do you consider what you are doing now different? Will you carry on any of the Monorail songs as Andy Matchett, Andy Matchett and the Monorail? Or do you intend to leave that part of your musical history behind?

I've been writing songs for almost 15 years now and 9 of them have been with The Monorail in mind. The idea of that band will never completely die for me. We started The Monorail before being dancy & poppy was an acceptable thing in indie rock and we took a lot of heat from the hipster crowd for that, but by 2004 every band on the radio had a disco beat and it just got irritating. I felt a little slighted by the whole thing, to be honest, so I started to gravitate to things that were less gimmick-related and more about longevity and true expression. You think about The Beatles, Neil Young, Tom Petty, Springsteen, Beck - people who weren’t necessarily associated with a fashion movement (or able to transcend one, anyway) - they've got dance songs, introspective songs, protest songs, everything. There aren’t any rules with those guys. I'd rather be completely unknown in that kind of position than locked into fleeting success with something stylized & fashionable. This album I'm working on now will probably just be a solo record without the connotation that comes with a band name. I'm pulling songs of mine from the last 10 years without any concern for what's happening right now in music. I want to focus on songwriting instead of some sort of disposable genre gimmick.... That’s not to say I wouldn’t drop a super catchy ELO party album out of the sky in few years, call it The Monorail & make everybody realize I'm a huge weirdo like they do when Neil Young comes out with Vocoder records about electric cars & space.

So does that mean you won't be writing about electric cars & space?

How about a three disc song cycle on the plight of soybean farmers instead?

How did People Chasing People come out of The Monorail?

People Chasing People needed a guitarist and The Monorail needed a band. It was a best-friendship formed in mutual admiration of each other’s music. For all intents & purposes, we were the same band, we just couldn’t decide on which of us would sing or what name we would drop.

When did you decide, "I'm not content just playing guitar. I want to sing,
too”?

It was always about doing both. I think I decided that before I even had a guitar. I wanted to write songs, sing them and have a great band playing along. It took a lot of time to figure out the rest.

At that point, was singing something you were good at, or did you have to work at it? Is there anything in particular you learned about singing in a band that you think people should know if they wanted to do it, too?

It was a struggle for me to get comfortable listening to my own voice. I never felt weird while I was singing, but listening to it afterwards was the worst. The first time someone isolated my vocals in a recording session I almost abandoned the whole project entirely. I couldn’t imagine anyone else wanting to hear that. You get over that stuff pretty quick, though. To me, if you want to sing you should just start singing, regardless of how you think people will feel about it. If you’re comfortable in the moment, the rest will work itself out at some point.

The lyrics in your newer songs often paint some pretty vivid scenes, and recount stories that have happened. From a writing standpoint, you do a great job of showing people your story, rather than simply telling it to them. Where did you learn this? It doesn't seem like something you could accomplish on accident.

Well, I’ve got about 3 years of an English degree from a fairly reputable Florida university - that probably did the trick. (laughter followed by a heavy sigh) (editor’s note: I dunno, all it got me was this lousy blog.)
When I was doing The Monorail it was always more important that the music be intense and emotional and fun. Words tended to be an afterthought. We’d play new songs live without even finishing the words, so I’d just make things up. When I started singing on my own and realized people could actually hear what I was saying, I decided to get my act together. I still think a powerful melody or a striking chord change can be the focal point of a great song, but the older I get, the more I seek out music for its lyrical content.

You've been doing this for 15 years now. If you were going to sit down with someone who is say, 15 years old, and they said, "teach me how to write songs," what's the most important lesson that you have learned in this time that you would want them to learn?

I would tell them to pick their 5 favorite songs and learn them inside and out. Then I would tell them to pick 5 songs they hated and do the same. Then I would tell them to go somewhere dark and eat a sandwich. I’m just kidding. You can’t teach people to write songs. They either figure it out for themselves or they don’t. Like capitalism!

With this much time under your belt playing in bands, mediating personalities, playing shows and touring, do you have any advice for someone who is just starting to do these things?

Yes – talk to as many people as you can and BE NICE. You’ll either succeed or you won’t, so there’s no need to be a total shit along the way.

What is something you learned about touring in a band that you wish you had known before you first tried it?

There is nothing that anyone can say to you that will prepare you for that first month on the road. The most important thing is to be sensitive to the people you are sharing the experience with. You should be up front about the things that bother you and respect the things that bother everyone else. Conflicts should be dealt with openly and quickly so everyone can move on without lingering tension. Everything else is a glorious exercise in self-realization that can only be fully understood in hindsight.

What song-writers do you find particularly inspiring? Do you have a song that you could point to and say, "I was totally imitating that guy when I wrote that song” ?

I love anyone with a good work ethic who invests a lot of themselves in their songs & albums, but never forgets about the audience. I believe in writing songs for yourself, but recording them for other people. I’m a big fan of Dave Grohl, early Weezer, REM, Blur, Dave Bazan, Ben Folds and the holy quartet of Supers – ‘Grass, ‘Drag, ‘Chunk and ‘Furry Animals. I have a lot of respect for people like Eddie Vedder & Neil Young who have made a career out of doing things their own way. I don’t really feel a compulsion to imitate any particular sound or style of music, though. There is a sweet spot right in the middle of all the rock music we’ve come to know as a society and I just want to explore the hell out of that spot. I want to build a little house there and raise a family.

You're currently putting together a full band to perform your newer material. You're recording it, too. What will you call the band?

The live band is called Andy Matchett & The Minks, but I think this album coming out is an Andy Matchett album. We’ll see. We all still have a ways to go yet.

You said that you also enjoy painting. Does your inspiration to paint come from a different place than music, or is it all as simple as being a creative release for you?

I usually only paint as a vehicle to visually express the ideas I’m presenting in the music - like when I need an album cover or something. I’ve only done a few pieces just for the sake of painting. I find it a little easier to express things directly from my subconscious with visual art, but the results haven’t been nearly as satisfying to me as a finished song is. Songs can be relevant to your life over & over in hundreds of different ways. Paintings are done and they either look good or they don’t. People either like them or they don’t, but that’s the end of it for you as the artist. I’m never as proud of my paintings as I am of my songs.

Do you see painting as being something you will pursue more as time goes on? Is there anything painting wise that you would like to achieve that you have not yet?

I see myself being more into creating actual things as I get older. Since I was a kid, I’ve been completely immersed in the world of sounds, words & ideas. Really, anything intangible that can be associated with emotion. The older I get, though, the more I realize those things are temporary in their importance. There is a fleeting passion to music that you strive, sometimes successfully, to capture. It’s addictive and potentially destructive work that is never finished. Building things, painting, sewing, fixing – there’s a satisfaction to seeing these things done and sitting in front of you. It’s easy to move on. Songs stay with you, churning around in your life, demanding attention and taking new shape. I love songs in the way I love complicated women – you can never rest or know what to expect from them. Thinking of myself as a humble ‘maker of things’ is a romantic vision of myself growing older, but at this point in my life anyway, its still all about the struggle to document things in musical form that are extremely difficult to express.

Are there any new bands that you have discovered in the last year that you
are particularly fond of? Why?

Oh, wow, so many. The Thermals – its been longer than a year, but I’m still in love with this band. Hutch has the most amazing lyrical voice. Funny, smart and urgent. His wife/girlfriend Kathy plays bass live, but on the records she drums like a freaking wolfman. I haven’t seen them on stage yet, but I can’t wait. The National is another favorite. I’m a few years behind on these guys, but I feel like I got into them just in time. They’re playing the perfect soundtrack for the great American hangover we’re all in the middle of. I think Boxer is a masterpiece. The Whigs came out with a decent one last year that I just stumbled upon and ended up liking a lot. There are 3 or 4 songs that really kill it. I think Rob Schnapf could record two goats playing checkers and it would still be an indie-rock classic. I like this new Grizzly Bear album, too – weird but familiar somehow. It’s got a quiet, sweaty, summer night kind of vibe. I love the new Mumpsy stuff, too – no surprise there - and the Surfer Blood record I got slipped an advanced copy of is just great. There’s so much good stuff out there right now.

What about in high school and middle school. What music molded you back
then?

Every type of classic or alternative rock imaginable. I would stay up to watch 120 Minutes on Sunday nights, write down everything I liked and go buy it later in the week. I had my folks’ vinyl collection from the 60s & 70s, too, and that stuff really had an impact on me. There wasn’t any particular record or band that pops out, I just loved all of it and wanted to be involved.

Thanks a lot Andy. Last question:

Who would win in a fight between Brian Wilson and Paul McCartney?

Jesus, like a fist fight? Wow. I think Brian Wilson would probably just psych himself out and kick his own ass. Paul wouldn’t have to do anything at all but stand there and smile. And then Mick Jagger would swoop in out of nowhere, kick BOTH of their fussy asses, do a little rooster strut and take off.

*Thanks SO MUCH*
No, no. Thank YOU Kyle!

XOXO C'est La Vie EP Reviewed

2009-08-11T08:08:00.000-07:00

By Dryvetimeonlyne.com:
"This album finds a band reaching for the stars with wide eyes and big smiles, but with its collective feet planted firmly on the ground. The big indie-pop textures at play here manage to sound fresh, hip, and relevant without coming across with any flavor-of-the-month aftertaste – XOXO is not taking its cues from Portland or Brooklyn. Kind of like a musical Goldilocks, C’est La Vie has the right amount of ambition, style, and swagger the sort that should carry this band further on and higher up in the musical landscape."

Read here.

Download their EP here.

Hearts of Palm News

2009-08-02T10:42:00.001-07:00

Hey guys. . . a couple little updates on Hearts of Palm. Wanted to let you know that Andy Matchett is going to soon be joining me on here, doing some CD reviews and some things. Still going to be mostly focused on promoting and discussing with our friends, but we will also probably branch out a bit, and talk to people who are involved in other aspects of art and music than just making it. Should be pretty fun.

Jeff Ilgenfritz of Mumpsy

2009-07-27T18:10:00.000-07:00

(photo courtesy of Chris Garcia)

Today's interview is with Jeff Ilgenfritz, creator and singer/songwriter guy for Orlando based Indie-act, Mumpsy. Jeff is a majorly talented musician, as he was also the drummer for The Heathens, and currently the drummer for Basements of Florida. He is also endlessly energetic, fun to chat with, and likes beer and Greek Gods and Goddesses, though not necessarily in that order. Mumpsy is hosting a Cd Release show for their new 7", "Posturing," at Backbooth Friday July 31.

So Jeff, I know you have been doing the Mumpsy thing for a few years now. How long has Mumpsy existed? How is it different now from what it was when you started it?

Mumpsy was formed back in 2004 when I taught myself music theory. I had never written songs before, and I wanted to challenge myself. I recorded every instrument on it and distributed the album around to friends. Chris Rae helped me produce it, because I had just recently started to play with him in the Heathens. It's different now because I have more fun playing music live, I don't have to worry about what everything sounds like except singing and playing guitar, and we release music all the time. The songwriting has always been all over the place, though.

You guys have your 7" release on Friday at Backbooth. What do you think is one thing people who are familiar with Mumpsy songs will notice as being different on "Posturing" versus "Cat and Canary" or "Three People," for example?

For one, there is more swear words. I think that naturally came as a result of touring over time, and having fun with your bandmates. I didn't even want to record these songs. I thought they were too offenseive. But Rae told me otherwise and the other guys liked them, too. But yeah. More of the cursing, and a lot better recording quality. That's about it. I still like writing pop songs.

You're releasing this on vinyl. What are the plans/ details of the release, and your motivation behind the vinyl release?

We just finally wanted to appease the fans on the road who want to know if we have vinyl. And we all wanted a record like that, too. If we do decide to put in the web, it'll be mp3 only. We wanted this release to be secretive, on the best quality format we can get, and then move on. We want to record more songs, goddamnit.

Did you approach writing this album differently from how you have in the past? If so, why do you think that is?

We recorded this one in Gainesville, FL with Rob McGregor because I couldn't track more than two tracks in my home studio. And we wanted to focus on our sounds, amps, and drinking. And if I had recorded it, it wouldn't have been like that at all.

What is your personal favorite Mumpsy song? Why?

I love "Don't Let Your Big Boots Drag You Down" because it rules and only has three chords. And it's country, and it can make the crowd move. (editor's note: I happen to agree. That, and "You Glued My Broken Heart.")

What sort of things does Mumpsy have planned for the near future? Anything in particular, or are you just taking it as it comes?

Touring a bunch and releasing more music. Nothing special as far as record labels or anything. Although we just recently got someone who wants to help with our touring strategies. But nothing big.

You played drums in The Heathens, before doing the singer/songwriter thing in Mumpsy. What do you prefer?

I prefer only playing drums and not writing. But what can you do?

How long have you been playing music? What other bands have you been in in the past?

I've been playing drums since I was 9 years old. I have been in the Heathens, Dodger, Basements of Florida, and various other projects.

At what point did you decide you wanted to play guitar and sing? How bad did you suck when you first tried it out?

When I learned music theory from a website, and decided I wanted to try it. I was terrible. But then again, I've always been bad at things the first times I try them. That's part of the process of human error.

Where did you learn to write songs? Was there a certain band you were in that really taught you a lot about writing songs, or various bands you have been a fan of over the years that have strongly influenced your song writing?

I learned to write songs mainly from hearing chord progressions from artists I admired and figuring out the music theory behind them. I then tried to remember everything I heard so that I could emulate some of my favorite artists. I learned the most from the Mama's and the Papa's and the Kinks, I'd say.

What is the most important thing you learned about song writing?

That nothing is going to be absolutely original. Nothing.

In addition to writing your own music, you also produce albums for other bands. Who are some of the bands you've worked with recently?

I oversaw the recording and mixing of the XOXO release, I mastered the Oh Fortuna album coming out on Post*Records in a couple months, and I like to work freelance out of Brighton Conservatory, my home studio.

What's that like, working on someone else's songs? Do you approach it much differently from recording and producing your own music?

Yeah, well, I try not to produce the songs too much when I didn't write them. Often times, I just record them and offer input. One time, a local band wanted me to produce every aspect (arrangement, what instruments, et cetera), and I had to politely tell them I wasn't interested in doing their project. When I get too much freedom on a project, I tend to not want to do it. If I have a specific job, I love doing it.

Any new bands (local or otherwise) that you have discovered recently you think people should give a try?

So Help Me Rifle, Flowers Forever, Oh Fortuna (Gainesville), Slippery Slopes, Mike Dunn, Thomas Wynn & the Believers, Vanda, Brimstone Howl, the Dealers, and Gringo Star.

If you had to start a new band tomorrow, and automatically have whatever members you needed to start it, what kind of music would you make?

A heavily layered dance project. With auto-tuned vocals. And synthesizers.

You've got a Zeus tattoo, right? Tell me about your thing with Greek Mythology. I think you should make an entire album dedicated to it.
Loves songs for Athena, and shit. What do you think?

I write songs about my Greek gods and goddesses all the time. Athena is a remarkable deity. I love it. Nereus is a great one, too. He was the "Old Man of the Sea," and was trustworthy, and never spoke a lie. Triton was the master of the waves, and of course, Poseidon was 1/3 of the Holders of the Universe.

If you had a chance to party with Zeus for a night, where would you take him? What kind of beer do you think Zeus would drink?

Zeus eats ambrosia and drinks nectar. Anywhere that serves that type of food and drink would be great. Dionysus would have to be there, too. He'd tear the shit out of some wine and the whores as well.

Actually, to take the question from earlier about starting a band and twist it, if you had to start a band of Greek Gods and Goddesses tomorrow, and you could only pick five, which five would you pick and what would you have them play?

Hermes (my favorite God) is the god of thieves, liars, travellers, and persuasion. So he would be the singer. Hephaestus, the carpenter of the gods, is handicapped, so he would be sitting in his wheelchair playing synthesizers. Zeus, supplying the lightning bolts, is on drums. Artemus is the goddess of the hunt, banging the tasty riffs out on bass (cause women bassists are super hot); naturally, her twin brother Apollo would be a ba-ba-ba-badass on the guitar. I would manage them and take their money.

Download their new single here.

Thanks Jeff!

Interview with Jerrod Landon Porter of IHeartJLP.Com

2009-07-05T22:35:00.000-07:00

Today I did an interview with Jerrod Landon Porter, aka JLP of IHeartJLP.Com. He has done all of the artwork for my band, XOXO, as well as a million of my friends' bands, yet everything he churns out is unique to the individual he is working with, and always professional quality. He's also a pretty funny dude to boot. Plus, he did the OFFICIAL Cheaters Myspace. That show rules.

Jerrod, how would you describe what it is that you

do creatively?"

I'm a graphic designer, or so I've been told. I place myself into a caffeine induced high and create visuals for music and products.

How long have you been doing graphic design? I have seen some things you have done that were done quite a while ago. It seems as if this is something you picked up at what could be considered a relatively early age.

I've been doing graphic design a long time. I'll admit to anything I've made in the past 9 or 10 years. Beyond that? I never touched it.

I was taught a lot of classical art techniques when I was younger. The graphic design didn't come until much later.

It also seems like the majority (though not the entirety) of what you have done is band related. What was the first band you did graphic design work for? Do you prefer working with bands, or is that more of just a natural extension of you starting off doing work for your friends' bands?

Yeah, I do a lot of designing for bands. It's something I am just comfortable with.

I always enjoyed album art work. My mom had a shelf of LPs and I'd put them out and look at them all the time. Michael Jackson's "Thriller" and 38 Special's "Strength In Numbers" were some that really stick out in my head. That 38 Special LP really blew my mind and made me think about cover designs. The cover just looks like a bunch of C's, but then you look at it harder (keep in mind I was 6 years old) they form 38. It was so simple and yet I got so excited about it!

I was really into drawing and painting, thanks to comic books and art classes, and I was way into music as a kid. I was exposed to a lot of college age sub culture due to family members working at movie theaters. By middle school I was itching to start my own band. This was way before digital music, and even the CD-R, so we were dubbing cassette tapes and passing them around school. I pretty much became a graphic designer due to needs rather than wanting to learn the trade.

Later, I networked while sharing bills with other bands and they saw I could competently make packaging for music. I got so into the design side of bands that I now care very little for playing in the bands. Plus, there were people doing a better job at the music side of it anyways. I enjoy listening to music way more than playing it.

You are basically self-taught, aren't you? What advice do you have for someone who is say, into painting and drawing- more traditional fine art- who is interested in learning to translate that talent into working as a graphic designer? It seems like these days to do graphic design, it is pretty much a requirement you have a certain level of computer savvy, using programs such as illustrator and photoshop.

My skills as a designer are mostly learned by trial and error and studying other designs I liked. It's something you just have to have an eye and a hand for.

Also, having a background in fine arts is an essential to graphic design. It's very rare that I meet a designer that doesn't draw or paint or sculpt. Photography is another gateway skill into graphic design. Classical art and photography are two starting points for design and typography is the glue. Once you nail typography you can slap professional looking words all over your art.

There's a reason they call computer programs by names like Photoshop, Illustrator, Painter... and so on. Think about it. Some programs have bogus names, too, like Dreamweaver and Flash, but whatever. Fuck those guys.

I have noticed some changes in your work over the years, with a lot of the work you do now having more of a hand-drawn effect, and sometimes vintage effect to it. Is that just a natural extension of you growing as an artist over time, or is it a reflection of design trends overall that I am completely unaware of?

I do like to reinvent my look and extend my range. You get way more longevity out of your career if you have versatility to your style. I can hit a lot of different notes in my design, but to me it still all looks like I did it.

Following trends is not my focus, but I do know when something is over played, or when I am burnt out on something. You know, like, dripping paint? (laughs) There's personal satisfaction in staying fresh.

Does that exist in design, as it does in music? Music can head overall in certain directions for a while. Does graphic design do this, too?

Entertainment and art are hand in hand. Everything goes in trends and waves. There's no mistaking it.

We could talk forever on if people set trends or if trends set people, but it exists. It's there.

Where do you see your own work heading over the next year, two years, three years? Are there things you would like to do as an artist that you have not been afforded the opportunity to try yet?

I'm really poor at looking into future. It's never what I want it to be, so what's the point, eh? There's never going to be flying cars or hoverboards.

Maybe I should get into air brushing? Spray some sweet shirts with people's names on them? Or, maybe, paint face's on boobs. That's a pretty different direction for me. (editor's note: Please get into air brushing! haha)

The myspace you created for Kevin Allen/ One Small Step For Landmines is one of the most creative ones I have ever seen. Would you say it was as difficult to make as it is creative? How did you come up with that concept?

That was the easiest most stress free project ever. Kevin and I have a very simple collaborative partnership. We both like the same things and enjoy each other's creative outputs.

I just had this idea, because I know Kevin loves his bike, to make an animation of him riding his bike with all his most frequented cities' skylines in the background. I picked up the phone and said, "Can you get me some photos of you on a bike during your next photoshoot?"

He said yes and he liked the idea, and it was done. It is a great opportunity to have that kind of symbiotic relationship with a musician. Guys like Kevin understand the point of having a graphic designer.

It's like walking into a tattoo shop. You don't bring them a picture of a butterfly, tell them to slap it over your ass, and expect them to put their all into it. You tell them you like their work and you like badass dragons and to go nuts on it, but hold off on the tribal. (laughs)

Actually, of all the work you've done, be it shirts designs, myspace profiles, websites, albums covers, etc. . . what one are you personally the most proud of?

Most proud of? Of all time? That's an impossible thing to answer. Once I get hung up on something I'll run it into the ground. I gotta keep moving on... moving on! I'm a loner, Dottie... A REBEL!

Any pieces you have done that you wish you could recall, hide, and not let anybody see again?

Nope. I post everything I do on my website. The good, the bad, and the ugly.

Actually, I did this CD layout for A New Kind of American Saint... it involves some crude photos. I think there's some minors involved. I don't want my parents or the authorities to see it. That I won't be posting.

At what point did you start to consider yourself a professional graphic designer?

When people started calling me and saying, "I wanna give you some moneys."

There's a lot of levels to me considering myself professional. I thought it was awesome that all my friends wanted me to work with their bands. Then, I was like wow, bands from around the country are calling me. Next, awesome record labels were talking to me. When I started working with Doghouse Records I was thrilled! I loved that label when I was in highschool. Yup... I just made them feel old.

Once, I got an email from a 14 year old that got my web address off a Mayday Parade CD. He wanted to be a graphic designer and he wanted relationship advice. I wanna lie and say I gave him "good" advice, but I don't recall. He asked the wrong guy about girls. (laughs)

Any valuable lessons you have learned doing work for others that you wish you learned sooner?

I learned so many things from trial and error. My biggest lesson I learned early on was not to send material to get printed as an RGB file. The only thing that comes back in color is the red on your face.

No two customers are the same. Everybody has different taste.

Some people are pickier than others. How frustrating is it when you come up with something you really like, and your customer just isn't into it?

Have you been talking to Noah Kussack? (laughs)

There are different ways I take it, depending on the answer I get back. Sometimes I tell the client I might not be the guy for them- but that isn't professional, and it's hard for me to turn a job down. Recently I have been so busy I have had to learn to say, "no".

Most of the time I suck it up and take it as a challenge. Also, it's not to say that maybe what I gave them does stink. I'll pace around and mumble a little, but I like getting my boundaries pushed.

Is there a certain design element that people ask you for more than anything else? Something like the tribal arm band of graphic design work?

Why are we on a roll of making fun of tribal tattoo designs? (laughs)

Yeah, I get a lot of pop-punk bands that say, "Make it colorful and fun."

I wouldn't say my art is really far into the moody and dark, but have these folks ever looked at my portfolio? There's an image of someone's face melting in one. I'm all for drawing cartoon images, but I usually put some kind of ironic twist into it. I think it is genetic. I'm related to O. Henry, famous for his twist endings. Little fun fact for you there.

Enough of the rant. I have gotten a million emails with "make it colorful and fun," and it really got under my skin for a while.

I know you are really into comics, especially Batman. Have you ever thought about doing that yourself one day, whether for fun or even professionally?

Yes, I am secretly studying and plotting stories out now. That is why I subscribe to 30 titles a month.

I love DC comic books so much. I am a pool of knowledge for comics, and I am still learning. I'd love to be a cover artist or writer. Maybe even an editor. Those guys are the keymasters of modern mythology. Think about it. Comic book characters are the Greek and Roman Gods of America and our age in history.

BTW, read Wednesday Comics, Batman and Robin, Detective Comics and the upcoming Blackest Night mini-series this summer and fall. Those titles are amazing right now.

Would you consider comic art something that has influenced you and the development of your own style?

Of course comic books have influenced me. It is a magazine full of art, typography, logos and packaging layout. Those things have evolved into the perfect product of addiction. There must be some kind of math equation for how it is put together to make someone keep coming back to buy them every month. (editor's note: Hey, don't get too concerned with that formula thing. We saw what it did to Rivers Cuomo.)

I must know this secret of the industry!!!

What about other artists. Are there other artists whose work you particularly admire? What is it about their work that you find intriguing?

I like what I see. It's hard to make a list of artists I am influenced by. You know, I don't want them to know I am ripping them off. (laughs) I don't want to me sued.

I will admit to loving v23's Vaughan Oliver. He did a bunch of designs for 4AD Records and all the Pixies albums. That guy is AMAZING!!! People need to go buy his books and read up on him.

Is there anything you have learned from other artists that made you a better artist yourself?

Yes: That we fall, so we can learn to pick ourselves up. No, wait, that was Batman Begins.

Ok, how about this one: With great art comes great responsibilities.

Actually, Pablo Picasso said, "Bad artists copy... Great artists steal." I like that one a lot. (laughs)

How do you get your mindset to do the work that you do? I'm sure you're not always in the mood to make something for someone else. How do you get yourself motivated in these situations?

I have a terrible time staying focused, I am all over the place. I am busy and sociable and my brain is always turning out new ideas.

Sometimes I just have to lock myself down and emotionally kick my own ass to just focus on getting a project done. Other times I just get into a groove. Coffee helps, but if I don't eat enough I get the shakes and that is a couple hours down the toilet until I get leveled out.

Could Batman take Wolverine?

Batman has a contingency plan for EVERYTHING! You're talking about the guy that beat Aliens and Predator at the same time. I'm putting my money on the Bat. (editors note: How would THAT be as a summer blockbuster flick? They'd probably end up on the same page and team up anyways.)

Joshua Mikel of Look Mexico, Sharkguts, and Himself.

2009-06-02T00:29:00.000-07:00

Josh is one of those rare guys you meet that does everything well. Even interviews. He made my questions seem better than they were. Thanks Josh.

So, you do a lot of different things: Writing, playing drums for Look Mexico, and you are the artist behind Sharkguts. You told me that overall, you really would like to consider yourself a writer, although at this time you spend more time with music and design. What sort of things do you like to write? I know you have written a play or two. Anything else in particular you find enjoyable?

I wrote a little poetry and a few short stories. I really enjoyed that stuff, but generally I concentrate my efforts in the theater. It's what I got my degree in, and I like seeing my stuff come to life. I am currently in Amherst, VA working with my friend Geoff's theater company on a piece I wrote called My Brother's Knife. It's a real heavy piece, and has gone through a ton of changes in the last month or two. I've written a handful of other one acts, and I wrote a children's play called The Monster Hunters that's published by Playscripts play publishing. It's awesome to write children's theater because it's just so much easier for me, and it's such a welcomed vacation from writing heavy stuff like what I'm working on now. I do better thinking in whimsy than I do in real life, I guess. I'm currently writing another children's piece called "Good Good Trouble on Bad Bad Island".

When you compare writing to other things you do, such as art and music, you said that ultimately you would like to be a writer one day. Why do you think that is? Also, do you think that with the amount of creative energy you expend playing drums in Look Mexico and doing artwork as Sharkguts hinders your ability to write as much as you would like to? I.E. you have an amount of creative output now that leaves little in the tank for you to write on?

I think everything I do is relative. Playing drums, art, acting, writing- there is really SO MUCH cross over. When I write, I essentially act out each part as I write them. I try and think about how I would play the part I am writing, and I think it helps me address problems with the characters before they end up on the page. I've been trying a lot lately to incorporate my more graphically minded side to mingle with my writing and such- to create better images for the stage, and I am trying to write with the teeth and fearlessness I can sometimes do art with. As far as drumming- there is certainly an element of my theater background that comes across at live shows- and a good sense of timing and rhythm is priceless in all art, I'd say. As far as being creatively drained- I like to think that creativity is endless, and it's just a matter of finding the catalyst to spur me into something else. I would say though, when I am working all day on design, by the third design, I am about done with staring at a computer screen. I also find it hard to change gears when I am doing art, and then switch over and write on a play or article or something. I think the writing and art come from different parts of my psyche, and it's hard to access those fluidly. Playing drums always comes a little easier, but sometimes I sit behind the kit and am completely spent and have nothing to offer as far as new writing goes. Acting is different too- I like to think that doing some solid character research and having some good rehearsals before going into a piece definitely brings about the best performance.

What are some of the things you have written thus far, that you are most proud of? Of these, which is your favorite? Why?

I guess I covered this in an earlier question, but as far as what I'm happy with- I wrote this ten minute play called "The Great Black Vulture" - I'm very proud of it. I think like any writer, I fall in love with the things that are most recent to me, but then the honeymoon wears off, and I need to write more.

Do you have any tips for someone who aspires to become a better, or more productive writer?

Put yourself, if at all possible, in situations where other people are depending on you. Right now I am up at my friend's company working on this play full well knowing that actors, crew, and an audience are waiting to perform, design, and see this piece. I mean, they announced it as a season show, and put it on a t-shirt. I have to deliver. It's a kind of stressful spot to be in, but the alternative is taking naps and feeling guilty I wasn't writing. Other than that- I'd say I did my best writing in classes when I had deadlines. If there's any way you can find a way to hold yourself accountable and give yourself a practical deadline for things (and not go off and party hard because it's just easier) then you will undoubtedly get some stuff written. Also- don't wait to be inspired. Once you start writing, you start thinking more about writing, and suddenly things seem more worthy to write about. It's self propelling.

How is your approach to writing different from approaching say, a shirt design for a band? Do you get yourself up for the tasks mentally the same way, or is it all completely different for you?

Yeah- it's definitely different. But there's some cross over. When I come up with a design, I try and come up with a real bad ass sounding idea. For instance "I want to draw a dude sawing his arm off while he's vomiting and getting eaten by beetles." In the same way- I try and come up with a cool idea for a play- "I want to have a crazy cop stop this dude from committing suicide and make the suicider start a rock and roll band with him." That sort of thing. And most always when I go into write or draw something, I am influenced by one previous work or another. Some piece of art I saw before that I liked- or some movie or play I saw that I was really inspired by, and want to recreate in my words and scratches.

How long have you been into graphic design?

Eh- wouldn't say I've ever really been into graphic design. I like drawing bad ass pictures, but the whole design thing- I could take it or leave it.

At what point did you realize it was something you could do on a freelance basis for other people?

I knew I enjoyed drawing, and I felt like I could make some pretty cool t-shirts, so I started doing Look Mexico's. The dudes were cool enough to let me put my stuff on our shirts, and I just kind of fine tuned my style a little, and people started asking at the merch table who designed our stuff. I started small, and just recently in the past half a year or so have really started paying the bills with my art. It's something I can do virtually anywhere, and I love that. I'm doing my best to never work a REAL job the rest of my life. Or at least a job where I'm not actively creating.

Is there a particular Sharkguts project you have done that you are the most proud of?

I like the Look Mexico Gasp Asp EP artwork a lot, but I'm getting a bit tired of it. Again- it's that thing of being SO STOKED immediately when I design something, and then the newness wears off. I think I will always be proud of the video I did for Look Mexico's "You Come Into My House While I Sleep?" just because it was such a passion project. And I really like the "Expecting Concept Art" I did for my friend Ryan's feature film script. I learned a lot in that process.

Has anyone ever asked you to design something that you absolutely hated, and thought, "what the hell is this crap?"

I've designed stuff for bands and projects I didn't necessarily believe in, but folks are generally pretty awesome about letting me do what I want on their shirts. I've been trying to hold myself to a higher standard and give it the "would I like to wear this shirt?" test. There are some past projects that I cringe at, and am kind of sad I let them make it to a screen print.

What is one of the most valuable lessons you have learned about design as you have gotten more and more involved in it?

If it's a project I believe in from the get go, I always do a better job. AND don't do any work until I have seen at least half the money up front because I used to do designs for every dick that asked, and thusly did a lot of work for nothing.
(editor note: funny, my dad is an accountant, the exact opposite possibly of an artist, and he says the same thing: The hardest thing of working for yourself, is working for others who may or may not pay you for the services rendered.)

I guess one of the great advantages of being in a band, and doing graphic design, is that you can do a lot of the work for your band, offering both yourself some practice and your band some cheap design work. Were the Look Mexico shirts the first shirts you designed?

I actually started designing shirts for my high school theater. My mentor was awesome enough to let me throw my stuff on the show shirts. I did a real cool design for the stage version of The Hobbit and about ten shirts after that. They weren't anything like the stuff I do now. I had no idea what I was doing.

Speaking of Look Mexico, you guys have been a band for 5 years now, right? You guys have gone through some changes, but you have been there the entire time. How does it feel to know you guys are still kicking?

I like saying I am one of the founding members (but I think that is still kind of arguable) but I was certainly the first drummer to play shows with the dudes and record with them. All in all, I am proud of the hard work I've done with Look Mexico. I love the dudes, and I believe in the music, and I am goddamn proud of the songs we have written together (maybe not the recordings) but the raw material. We've been recently getting labeled as indie rock veterans, which is nice to get some cred- I think younger bands respect us because we've been through a lot of shit, and still keep at it- and it's gotten progressively easier with each tour we head out on. More people show up to the shows, and things are more comfortable for us. I've never been one to shy away from slow and steady. I don't want to be a flash in the pot anyway.

How long have you been playing drums, exactly?

I joined band, playing standing snare in 8th grade to go on a field trip to Disney World. It was kind of a sexual Babylon. Then I started playing a kit in 9th grade. Dropped out of band, and have been in bands ever since- save a short spell where I was bandless my freshmen year of college.

What are some other bands that you have played in over that time?

The first band I played in was called Last In First Out- and, go figure, we were awful. Then I played with a ska band called The Soapbox Prophets, A melodic hardcore band called Blackpaper Diary who kicked me out for not being able to double bass, then a metal core band called Victims of Society (who were exponentially better than their name would suggest)- I always thought it was a bit ludicrous being a middle class white kid in a band called Victims of Society. Then I went to college and played with Kids Like Us, had a short regrettable stint as a singer for a band called Milktime Riot, and then met up with Look Mexico.

How is drumming in an Indie band like Look Mexico different from, say, drumming in a hardcore band such as Kids Like Us?

Drumming for KLU was about the most uninspired I have ever been as a drummer. The dudes would always be telling me to stop playing "jungle beats" which was anything that involved my toms. That pissed me off, and I got pretty disinterested in hardcore and the "scene". It was fun though how amped kids would get at KLU shows. Mob mentality. Look Mexico in contrast is a breath of fresh air to play for. The guys' math minded guitar styles really help open songs up to lots of movement in the drums, and generally the dudes are real supportive of what I'm playing. I'd say they let me know when they think I'm getting a bit too busy for the good of the song, and sometimes that's hard to take, but I'm usually always happy they said something.

Do you think it has made you a better drummer, by playing in diverse musical styles?

For sure. I think I brought a lot of what I learned in hardcore to Look Mexico- and it's just nice to have a gamut of beats I have written over the years for different things. The experience and familiarity that sometimes comes with working new songs is the best.

Do you play any other instruments? It seems like every drummer I know is the most proficient in the most instruments. Why do you think that is?

I am being very liberal in saying I can play the guitar. I think a lot of musicians tend to learn other instruments- it's just drums are hard to learn for a lot of reasons- I'd say A- a drumset is expensive and B- you just can't practice drums anywhere. Got to have space and cool parents. Whereas dudes can go out and buy a hundred dollar guitar and play it quiet in their room. I think it's also a little frustrating sometimes for drummers for not being a part of the melody creation for songs. I myself have a whole phone full of recordings that I sing to myself on long trips- songs that I'd like to, but probably will never record.

Where do you see Look Mexico, Sharkguts and your writing going over the next couple of years?

Look Mexico- continuing to write, tour, and record a record a year for as long as we're inspired. I'd like Sharkguts to eventually mean a few designers- perhaps a production company to offer larger services like band videos- which I've started dabbling in with Look Mexico- and maybe down the road funding some small budget films (that I or my friends write) - and ideally I'd like to write at least a play a year. I think I'd be a pretty happy dead dude if things work out this way. I think I'd be a pretty happy dead dude now though too.

Are there any bands that you have seen in the last year or so that you have absolutely fallen in love with? What is their link?

I really liked touring with Frank Turner, but other than that- haven't gotten a chance to check out a lot of new live music. As far as what's been spinning on my ipod- Gaslight Anthem, mewithoutYou, Iron & Wine, Okkervil River, Pedro the Lion, R.E.M., and Radiohead stay pretty constant.

Last question. . . Moe's or Chipotle?

Chipotle for burritos and chips- their rice, cheese, and romaine lettuce trump all. Moes for their mind blowing salsa bar and free chip refills.
Thanks Kyle,<3

Travis Adams of Inkwell and My Hotel Year

2009-05-30T06:03:00.000-07:00

I started the interview off by asking Travis, "what is it that you do, creatively?" , to which he gave an honest, modest reply:

Being creative has recently taken a backseat. I work, I hang with my

dogs, and I hang out with my fiance. Although none of those are very

creative they take up most of my time, in a very good way. I try to

pick up the guitar here and there but if I don't have a specific

project to work on I feel lost. I would like to try to be more

creative and I am trying to find new things to fill that void.

My previous project was My Hotel Year. I started the band in 2000 and

worked on it heavily for years touring my ass off. In the wake of its

demise I started a project called Inkwell with my best friend Davey.

We just released our third record and I feel like the project is the

one truly honest creative project I have ever done.

So, I know you have played in My Hotel Year and Inkwell. Any other bands you have played in that I am not aware of?

My very first band was called Remnant. I played bass in the first couple bands I played with. I was in high school and just wanted to be in a band and nobody played bass so I volunteered. We were a shoegazer type band. After that I started a band called Vivian (the first band I sang in). That band was short lived and I soon joined Dear Ephesus playing bass again, leading to (MY) Hotel Year.

How long ago did you start playing guitar? At what point did you realize that you wanted to sing, too?

I started playing guitar when I was 14. I started playing folk believe it or not. I have never considered myself a good guitarist by any means. I first realized I wanted to sing when I started MHY.

Was singing something that came naturally to you right away, or did you suck real bad at first and have to work at it till you got it right?

I was terrible and I have the Cd's to prove it. I have always been a super shy person so being a front man was never a comfortable thought. I worked really hard to get to a place where I could sing in front of people without needing to throw up.

Was there any "AH-HAH" moment for you when you first started writing and singing, where you finally felt like you "got it" ?

Inkwell. Inkwell was the first project where I threw out all of the rules and just wrote for fun. It was the first time where I felt like I was writing solid songs.

Any tips for someone aspiring to write songs, vocals, or the like?

Study study study. Listen to as much music as you can, all different types, and figure out what makes a song work.

How long was My Hotel Year together?

I started it in Atlanta in 2000 and we played and toured till 2004.

You guys spent a lot of time travelling it seems. Any highlights? Low lights?

I have plenty of both. Highlights were the friends we met and still have. Low lights were the damage touring did on my personal life.

Is touring with My Hotel Year how you met Davey, your partner in Inkwell?

Yes indeed. His band Believe in Toledo toured with us a lot and Davey and I connected immediately.

How does writing music with Davey differ from, say, writing with My Hotel Year?

First off, the fact that there is only two people instead of four makes a huge difference. There are less attitudes and opinions to deal with. Other than that Davey and I compliment each other very well. We push each other and no idea is ever shunned.

Do you and Davey generally split the songwriting duties on each song, or would you say there are some songs that are more, "Davey," while others are more, "Travis" ? How does this process work now that Davey lives in Athens, GA?

We generally have no rules regarding writing and we generally write as we record. The records are very spur of the moment and for the most part things just happen.

The new album varies a bit from some of the other Inkwell material. You described it to me as being some of the most honest music you have ever made. What do you think pushed the music in the direction it has gone, and why has it meant so much to you, personally that it has?

(I like it a lot, by the way)

Not really the most honest (Chaos, the first record, is painfully honest) but the most proud I have ever been of a record. This record was everything we have ever wanted in a record, no sound replacement, no auto-tune and completely “us.”

Where do you see Inkwell going from here?

Inkwell was never supposed to go this far. We never wanted this to be a band but three records later here we are. Every show and every record could be the last. I am as surprised as anyone we are still making music. If I get to make another record I will be more than happy to but I am not expecting to.

As someone who has worked with some very talented people, has toured a lot, and written a lot of songs, do you have any advice for someone who is just learning to play their instrument, just starting to play in a band, or going on tour for the first time? Anything they can glean from your experiences?

Have fun, love music for the right reasons, and don’t take it for granted.

You can listen to Travis' work here:

myspace.com/inkwell and myspace.com/myhotelyear

2009-05-06T13:14:00.000-07:00

Working on a couple of interviews with a couple of super nice guys. . . hopefully they will be done soon!

2009-04-26T14:49:00.001-07:00

I don't have any entries yet. Here's to hoping that changes soon!