Tag Archives: Music

WAVVES’ King of the Beach: Free Stream on Fat Possum

1 Jul

Click Nasty Nate and be swept away to the new album’s free stream courtesy of Fat Possum.

“You’re never gonna stop me,” sings Nathan Williams on the opening track, clearing up any misgivings of just who the King of the Beach really is.

Despite WAVVES’ rapid rise to underground stardom with Wavvves and his subsequent insipid fall from grace, Williams comes charging back with an unapologetic string of songs confronting what went down in 2009. It is peaceful, playful, snarky, compelling, mature and an instant classic.

When Williams sings “I’d apologize, but it wouldn’t mean shit,” he is speaking to both himself and those who turned their backs. One can’t help but notice the peace he has come to in charging those demons. There is a clarity amongst the fuzz, without replacing the fuzz.

Just as important as Williams’ mental state is the craftsmanship and maturity of the music. Those artists who embrace the lo-fi culture have easy beginnings, but jutting the boredom of the fuzz and simplicity and emerging with fresh sound is difficult and often the downfall of a lo-fi superstar. Just as Williams confronted his doubters, he jammed a riflebutt right in the genre’s chest and produced a classic with well-crafted pop that doesn’t have to fight through the fuzz, but is given the right to live alongside of it.


Fri-Aug-06    Chicago, IL  Lollapalooza
Sat-Aug-07    Chicago, IL  Empty Bottle Lollapalooza afterparty *
Thu-Aug-12    San Diego, CA Museum of Contemporary A
Fri-Aug-13    Pomona, CA    The Glass House #
Sat-Aug-14    Portland, OR    Berbati’s Pan
Mon-Aug-16    Santa Barbara, CA    Soho
Tue-Aug-17    Santa Cruz, CA    Crepe Place
Wed-Aug-18    San Francisco, CA    Rickshaw Stop
Wed-Aug-25    Seattle, WA    Neumos
Thu-Aug-26    Vancouver, BC    Biltmore
Fri-Aug-27    Victoria, BC    Sugar
Mon-Aug-30    Sacramento, CA    Sol Collective
Tue-Aug-31    Visalia, CA    Howie and Sons Pizza

* = w/ Harlem, Fergus and Geronimo
# = w/ The Cool Kids

King of the Beach
(Fat Possum)
Physical Street date: Aug. 3, 2010

King Of The Beach
Super Soaker
When Will You Come?
Post Acid
Take On The World
Baseball Cards
Convertible Balloon
Green Eyes
Mickey Mouse
Linus Spacehead
Baby Say Goodbye

Screaming Females reveal Castle Talk details; Woven Bones announce tour dates; Forthcoming Brad Laner LP

29 Jun

Castle Talk due out Sept. 14

In 2010, Screaming Females continued their non-stop touring, including a February tour with Jeff the Brotherhood, two tours with fellow Jersey punk Ted Leo and his band the Pharmacists, a national headlining tour, and a spot on the Village Voice’s annual Siren Fest. The band says that thus far the highlight of 2010 was the sold out Don Giovanni Records showcase in February at Bowery Ballroom, which filled one of New York City’s biggest venues with the energy of a New Brunswick basement show. Like Power Move, Castle Talk was recorded at the Hunt Studio in New Jersey with engineer, Eric Bennet, but with a new approach to writing and recording. The record is out September 14th via Don Giovanni.


Laura + Marty
I Don’t Mind It
Boss, Normal
A New Kid
Fall Asleep
Nothing at All


06/26 – Chicago, IL Reckless Records Wicker Park In-Store 5pm
06/26 – Chicago, IL Empty Bottle
06/27 – Indianapolis, IN Vollrath Tavern (My Old Kentucky Blog Presents) ^
06/28 – Fort Wayne, IN The Brass Rail
06/29 – Cleveland, OH Now That’s Class
06/30 – Pittsburgh, PA Brillobox
07/01 – Brooklyn, NY Bruar Falls ~
07/02 – New York, NY Pier 17 / South Street Seaport (
07/03 – Baltimore, MD The Ottobar @
07/06 – Athens, GA Caledonia Lounge
07/08 – New Orleans, LA Circle Bar
08/06 – Austin, TX, United States Art Authority /
08/07 – Dallas, TX, The Nightmare +
08/10 – Denver, CO, Hi Dive –
08/11 – Salt Lake City, UT, Kilby Court TBA
08/12 – Boise, ID, Neurolux TBA
08/13 – Portland, OR, Plan B
08/14 – Seattle, WA, Wildrose >
08/15 – Olympia, WA, Northern }
08/17 – Reno, NV, Lincoln Lounge [
08/18 – San Francisco, CA, Bottom of the Hill <
08/19 – Los Angeles, CA, Spaceland
08/20 – San Diego, CA, Casbah
08/22 – Phoenix, AZ, Rhythm Room
08/24 – Albuquerque, NM, Launchpad
08/25 – Lubbock, TX, Bash Riprock’s 

^ = w/ We Are Hex
~ = w/ Beach Fossils
( = w/ YellowFever
@ = w/ Reading Rainbow
/ = w/ Residual Echoes and Happy Birthday
+ = w/ Bipolar Express and Nervous Curtains
– = w/ Woodsman
> = w/ Idle Times
} = w/ Christmas
[ = w/ The Madanna Bangers and The Humans
< = w/ The Splinters and Sandwitches


Underground shoegaze king Brad Laner will release Natural Selections on Aug. 24. If you are familiar with Laner all you need know of the new material are these words from him: “I would like to hereby apologize to anybody who wishes to see my stuff played live. I would too actually, but only if I got to watch from a safe distance.” This is because of the heavy electronic-infused production. Here’s the track Crawl Back In from the upcoming LP:

Brad Laner
Natural Selections
Street Date: Aug. 24, 2010

Eyes Close
Crawl Back In
Magnolia Doubles
Why Did I Do It
Dirty Bugs
Little Death

Sonny & the Sunsets sign to Fat Possum; 100 Records project

18 Jun

Sonny and the Sunsets

Sonny Smith is probably feeling pretty good right now.

After completing his first solo art exhibition in San Francisco (a project called 100 Records, discussed below), Sonny and his band signed on with Fat Possum Records to re-issue their debut LP Tomorrow is Alright. The album, originally released on vinyl by Soft Abuse in 2009, was a major critical success. With Fat Possum, Sonny & the Sunsets’ mixed bag of west coast fuzzpop, downhome americana, and outcast rock can see a larger audience while fans can still buy the vinyl via Soft Abuse.

“Strange Love” from Tomorrow is Alright:

Sonny’s 100 Records was equally well-received at Gallery 16 in San Francisco, and even moved on to Austin, TX and New York. The project is based on Smith’s creation of fictitious band names, backgrounds and tracks, after which he gave to visual artists in order to come up with 45 rpm cover album artwork. Once a visual artist agreed to a particular made up artist, Sonny would then write and record a song or two. The result is amazing as Sonny and friends even built a jukebox with all the fictitious bands’ songs. In addition, Soft Abuse will release the music from the project in a two-volume format later this year. Watch the story as covered by KQED of S.F. here:

Even though the project was completed by April, the 100 Records blog is up and still worth checking out to see the stories and artwork behind the bands. Here is the story behind The South East Land Otter Champs (“commonly referred to as the S.E. Champs”) along with the B-side “O Cities, Infamous, Cruel, Undeserving.” Enjoy:

“If you ever get your hands on this record, grab it right away. On side A, a track called Wolf-Like Howls from the Bathhouse, accompanied by the meandering but brilliant B-side, O Cities, Infamous, Cruel, Undeserving. Wild, earnest, and far-reaching recordings halfway between songs and tundra wind.

The South East Land Otter Champs recorded for Tlinket Archives between 1963-1967. Led by Vernon Wright, an almost mythic adventurer of Tlinket and Russian descent, they toured throughout the Alaska region and into Northern Canada, often delivering food and medical supplies to hard-to-reach regions. An early photograph of his cargo showed toiletry supplies, medical crates, blankets, and record crates.”

The actual Sonny & the Sunsets will conclude a mini-tour with the Pitchfork festival:

06/24 – San Diego, CA – Bar Pink Elephant ^
06/25 – Los Angeles, CA – Spaceland ^
06/26 – Visalia, CA – Howie & Sons ^
06/27 – San Francisco, CA – Bottom of the Hill ^ % #
07/17 – Chicago, IL – Pitchfork Music Festival

^ = w/ Ty Segall
% = w/ Grass Widow
# = w/ Royal Baths

Interview: Chic-A-Go-Go’s Jake Austen

8 Jun

The history behind public-access television is almost as interesting as the content it has spawned. Public-access television was created in the late 1960s as a First Amendment response to the dregs and slants of commercial broadcasting in order to cater to true social needs (The Public Broadcasting System, or PBS, is not public-access as it is funded by public and private entities). One of those needs is education and entertainment for children. Who knew something as awesome as this would evolve:

Chic-A-Go-Go is the brainchild of Jake Austen and Jacqueline Stewart, a couple whose love for Soul Train and Kiddie-A-Go-Go led to the creation of their hit public-access show. Chic-A-Go-Go is billed as “Chicago’s dance show for kids of all ages,” features adolescent puppet rats (Li’l Ratso is the coolest!) interviewing some of the best artists in music. Previous guests include Lemmy, Fugazi, Pere Ubu, Built to Spill, Sonic Youth, Patti Smith, Spoon, The Slits, and the list goes on forever.

Patti Smith being grilled by Ratso

Each episode includes a dance segment while that day’s guest lip-syncs to his or her song. Jake Austen delivers the goods and tells us about the show’s inception, trekking for weird music in Chicago, why we need to let our “freak flags fly,” which legendary musicians were too afraid to talk to a puppet rat, and gives a brief history lesson on black musicians in punk rock.

Q: Talk a little bit about your musical background since your show resonates with adults just as much as children because of your guests.

Jake Austen: I have collected records since I was a little kid, always going for cheap thrift store stuff and always taking chances on unusual stuff based on cover art or odd names, so I always had a wide variety of (often un)popular music in my wheelhouse. I went to  a high school where people mostly listened to black radio music so I listened to that, and when oldies radio started in Chicago in the 80s I listened to that non-stop trying to learn all the old songs (Wax Trax Records, famous for industrial and weirdo stuff, actually carried old pop 45s at the store and I used to take long bus rides to the North Side to get stuff there). So basically, genuinely liking almost everything makes me a good deejay for a show where we play everything for everybody.

Q: Your wife, Jacqueline Stewart, is a highly regarded film scholar. Explain how the two of you came to create Chic-A-Go-Go.

JA: We were always big fans of dance shows, and always wanted to work on cable access (Jacqueline is a film scholar, specializing in the low budget d.i.y. films by early 20th century black filmmakers, and I think the spirit of cable access relates to her work in her mind). After meeting a couple, the Mulqueens, who did a local children’s dance show in Chicago in the 60s called Kiddie-a-Go-Go we realized this was something for us to pursue.

Q: Given that kids are likely being exposed to indie, punk and non-mainstream
music for the first time, what effect do you think the music has on the children?
JA: I think children respond to rhythm and noise and good music pretty naturally, and even if they think it’s weird, lots of stuff is weird to them, so inherently most kids are cool with any kind of music if you create an open, safe, festive environment. What may have more effect on them is seeing the artists lip sync, especially when they are “deviant” (gender bending, odd dressing, lots of body art, extremely eccentric) because they see how comfortable and fun it is to be around “weirdos.” We hope this makes a good impression, and most kids and parents return, often letting their own freak flag fly (as far as attire) on their sophomore trip, so it seems like it’s working.

Shonen Knife making the kids boogie.

Q: Chic-A-Go-Go is a show for kids and kids will dance to pretty much anything. Is that why there is so much freedom in choosing the artists you do?

JA: It’s not total freedom – it has to be dance music. It’s just that we (and kids) consider almost anything dance music.

Q: Do guests come on expecting the show to be a sort of tongue-in-cheek format, only to find out that the sincerity is 100%? Or is it that they are just as down for the cause?
JA: Most of our guests are are familiar with the show, or if not they realize right off that kids and our kid-like adult dancers are not keen on irony (despite the sarcastic tone of dialogue on shows like Hannah Montana and iCarly…but I think that’s faux attitude rather than actual irony).
Q: Guests don’t always seem as comfortable talking to a puppet as they probably imagined. Were there some instances in which a guest was extremely awkward or completely frustrated?
JA: Both Vanilla Ice and Lemmy refused to speak with the puppet, but agreed to get on camera and explain why they felt that way (Lemmy’s bleeped advice for kids: “don’t talk to fucking puppets”). The Streets only got through a few seconds of his interview before getting so freaked out he had to quit. Later a journalist told us he had the next interview and it had to be cancelled because the rapper was so rattled. Speaking of white Brit rhymesayers, Lady Sovereign bailed as soon as she saw the puppet. Some acts, a 90s garage boogie act called Quadrajets comes to mind, can’t fathom that they are supposed to look at the puppet and just look down at the puppeteer.
Q: The guests have been just as notable as the concept. How are you able to pull in such amazing talent?
JA: Many bands ask to play the show because they like it, but any bands that we approach seem to be inclined to say yes because they never get to do things for kids and they never get to work with puppets. And when we can get classic or hot, current acts into the studio they are often excited to lip sync. Who gets to that these days?
Q: You have a music zine called Roctober in which you did a four-part series on blacks in punk? Outside of the fact that it was extremely interesting (I had no idea that Neneh Cherry was in the Slits at one point), why was that important for you?
JA: In the magazine it was a one-part series, online it’s broken down into four pages. The writer whose idea it was is a black rock fan who (like many of the musicians covered) was always suprised he had to explain himself or feel like an outsider when enjoying music created by African AMericans. Showing the lengthy legacy of black punk rockers addresses this.
Q: Who in that group of black punk pioneers do you think has been criminally overlooked?
JA: ONO is beginning to get some acclaim now that they play several times a month in Chicago, but they are true artists and iconoclasts, and no one is weirder or more soulful than they.


Q: You have a Roctober Hall of Fame, which honors artists wholeheartedly dedicated to entertainment. Wouldn’t you include Chic- A-Go-Go in the Roctober HoF?

JA: It’s more for artists, but Chic-A-Go-Go belongs in the Chicago cable-access dance show hall of fame!

Q: What is your favorite moment to date on Chic-A-Go-Go?
JA: One time a group of actual Hassidic Jewish teens came into the studioand just let loose, mixing traditional Jewish dances with club moves. We didn’t know they were coming and thought it might be a joke (hipsters in costumes, doing schtick) but we soon realized that a great many Hassidic Jewish teens are from…Brooklyn. Meaning they are actually hipsters despite their Orthodox beliefs, and this group had seen the show on video and made a point of coming to the studio during a visit to Chicago.
Q: What was Jacqueline’s favorite moment?
JA: We had one episode where we did all blues music and we had a big group of black adolescents in the studio and they were really into it, totally grooving. It’s often said that black kids of the 2nd or 3rd hip hop generation (or whatever it is now) reject this music, and seeing proof that such belief is fallacy really moved her.

Prince Rama to Release Debut LP on Paw Tracks

6 Jun

Prince Rama

If the retro thing is still cool (and we’re talkin’ 4th century here), Prince Rama is the Elvis of the prog world.

The newest addition to Paw Tracks, Animal Collective‘s label, is a progressive psycho mess of spiritual adventure: meditative chanting, soaring siren calls that simultaneously comfort, flirt and warn, and scary pagan/wiccan hoots, hollers and beats.

If Prince Rama is to be taken seriously (and they should be), this trio can scare the prog-loving shit out of you. Contrary to the few reviews that are available, they don’t aim to deliver positive hippie vibes. At least not exclusively. They tote a genre-divisional line of noise art/experimentation, new age and entertainment. Although they named themselves after the “perfect human,” the musical deliverance is based on ritual, sacrifice and celebration, a totality of sound that is both horrifying and enchanting.

The Brooklyn-via-Melbourne, FL-Krishna-commune-trio (Taraka and Nimai Larson and Michael Collins) recorded their debut LP Shadow Temple with the help of Animal Collective’s Avey Tare and Deakin. The album was recorded in two interesting spots: Kurt Vonnegut‘s grandson’s cabin and a 135-year-old haunted church.

Watch/listen to Prince Rama here with a complimentary yoga session:

Prince Rama
Shadow Temple
(Paw Tracks)
Street Date: Sept. 14, 2010

1. Om Mane Padme Hum
2. Om Namo Shivaya
3. Thunderdrums
4. Storm Worship
5. Lightening Fossil
6. Mythras
7. Satt Nam
8. Raghupati

Scrabble-Rousers #7: Burt Reynolds

2 Jun

What Scrabble-Rousers is: A word is chosen at random by blindly flipping the pages and finger-pointing a word/phrase (in this case “Burt Reynolds”) from a book also chosen at random (in this case The Andy Warhol Diaries edited by Pat Hackett).

Having grabbed The Andy Warhol Diaries from the shelf, today’s topic of Scrabble-Rousers had the topic range potential from AIDS and Kareem Abdul-Jabbar to Ardehir Zahedi and ZZ Top. And, so, Burt Reynolds related music it is.


Burt Reynolds is known to inspire a mustache here and there, but inspiring a legitimately good metal guitarist to pursue a life of mock metal? That’s the case with former Byzantine guitarist Skip Cromer, whose current project, The Burt Reynolds Death Metal Experience, is as much hilarious as it is good. And it only makes sense that Cromer has opened for Unknown Hinson.

Cromer’s own video introduction: “Classic vintage music video from 1987. This was Burt Reynolds Death Metal Experiment at its height in popularity.”

Scouring the Burt Reynolds catalog, the list of classic soundtracks and songs that played while the mustache danced for us is impossible to enumerate. This, however, is perhaps the most famous sound in cinematic history:

Burt helped bring disco back for a spell with his appearance as pornman Jack Horner in Boogie Nights. Unfortunately, the soundtrack (which was released in two parts) was nothing more than an expensive version of any other 70s compilation cheapo. The second release did feature Apollo 100’s only hit.  The studio-based group recorded “Joy,” a re-arranged baroque-pop version of J.S. Bach’s “Jesu, Joy of Man’s Desiring.”

Smokey and the Bandit and Hooper both played conduit to the pioneering rock and roll of Bill Justis. Justis was an accomplished musician in his own right, but also arranged music for Sam Phillips’ Sun Records, including arrangements for Roy Orbison, Johnny Cash and Jerry Lee Lewis.

“Raunchy” was Justis’ biggest hit:

Reynolds played Quint Asper on the TV show Gunsmoke in the early 60s, which actually began as a radio series. The Dodge City narrative of westward expansion gave way to two theme songs: one without lyrics composed by Rex Koury and one with lyrics written and sung by Tex Ritter, which was never played on either radio or television:


Tex Ritter:

Finally, Burt Reynolds himself performing a Silver Jews-like honky-tonk “Let’s Do Something Cheap and Superficial.”

From Smokey and the Bandit 2:

Interview: Electric Sunset’s Nic Zwart

1 Jun

The world of electronic pop will officially welcome its newest standout composer with the release of Electric Sunset’s eponymous debut album via K Records in September 2010. Electric Sunset is the new solo project of former Desolation Wilderness frontman Nic Zwart, and marks the return of his love for gadgetry. Zwart was ever the gentleman in answering questions regarding the famous Dub Narcotic Studio, the dissolution of Desolation Wilderness, why K Records’ secrets remain secrets and how rock music can be even colder than electronic music.

Nicolaas Zwart/Electric Sunset

Q: You started out as an intern for K Records and manned a lot of studio hours. That must have been a dream job. Which artists did you watch record and what ways were you involved?

Nic Zwart: I interned there in the beginning of ’07 and then they hired me in the middle of the year.  It was pretty sweet.  I worked on Jeremy Jay, Adrian Orange, Karl Blau and Old Time Relijun stuff, and a lot of other little things here and there.
Q: You were working at the famous Dub Narcotic Studio. The equipment there is famous for Dub Narcotic Sound System‘s reggae-influenced recording techniques. Did that actually limit you with what you wanted to do electronically?
A: Not at all.  Most of the Electric Sunset recording was done in various houses I was living in over the Winter, but the ES bits at Dub Narcotic were just Mic -> Preamp -> Audio Interface -> Computer.  So I got to use the really great old preamps but have the flexibility of my laptop also.
Q: When you started at K, you have said were more of an electronic artist until you had access to all this new equipment, which is partially how Desolation Wilderness came to be. Is that why this was so natural for you to form Electric Sunset? Did you miss what you started out as?
A: Yes, definitely.  I really like using the computer as an extra compositional tool, as well as using synthesizers and samples to get sounds I couldn’t otherwise. I like bands too, but I wanted to return to a more “insular” way of writing and recording music, as well as use sounds beyond the scope of Desolation Wilderness in band mode.
Q: What is the story behind ending the Desolation Wilderness era?
A: It felt like a good time… We had been on a pretty long tour (basically three straight months in the U.S. and then Europe) which was very fun but also taxing, and I was moving to San Francisco. Also, I was tired of worrying about what other people thought of my music, so this new project was a way to step away from that and make music for myself.  I’m happy when people like it, but on the other hand it doesn’t bum me out very much when they don’t.

Desolation Wilderness

Q: What are Adam [Oelsner] and Andrew [Dorsett] [former Desolation Wilderness members] up to musically these days? Any new projects for them?
A: Andrew is still in LAKE.  And Adam I think left that band and then was in France for a few months.  I haven’t been staying in touch with people back in Olympia as much as I could, I think, so it’s been a while since I spoke to them.
Q: How did the electronic element evolve into such a large influence for you?

Go Geoducks!

A: I’ve loved electronic music ever since high school, and then in college I was part of the really excellent electronic music program at the Evergreen State College in Olympia, so I got to play with some amazing synthesizers, samplers and stuff.  I think I just never stopped loving that way of making music since I first got into it.
Q: Electric Sunset songs like “Soda” and “Last Night on Earth” are so well-crafted and beautiful. Which artists inspire you from a production standpoint?
A: Thanks! I think production-wise, I really appreciate a lot of what Tony Visconti, Nigel Godrich, Clement Dodd, and even the dudes in Basement Jaxx have done.  And whoever produced “Fantasy” by Mariah Carey is pretty rad too [the producer was Dave “Jam” Hall, who also worked with Madonna, Mary J. Blige, Usher and was married to Wanda Sykes].
Q: “Soda” is an amazing song, the kind of song Pitchfork should/will jump on and make you a Pitchfork star. Do you ever think about that kind of stuff? How do artists think of Pitchfork?
A: I try to think about Pitchfork as little as possible.  I think every artist is different with how they regard big publications/blogs like that, but with Electric Sunset, I’m making a conscious decision to stop worrying about getting attention from that sort of stuff.  Which is not to say the upcoming LP won’t be publicized, it of course will be, but I just want to play my music and have a good time doing it, instead of trying to get as many people to hear it as possible by getting Pitchfork or whatever to write about it.


Q: Back to “Soda.” It’s perfect. Why is it called “Soda”? Why is it so fucking good?
A: I think it’s probably the rolling claves!  It’s called “Soda” because the word soda is used in the song as slang for beer.
Q: Are you now just working by yourself in a studio or do you have collaborators?
A: Right now I’m solo.  At some point it would be fun to collaborate with someone, but I’m going to play for a bit on my own and see how it turns out.
Q: Do you ever find a coldness in electronic music or is it something you don’t think about?
A: Sometimes I do.  Also, I find some rock music really cold, especially modern alt-rock hits and that sort of stuff.  I think a lot of electronic music can be extremely warm feeling also.  It’s a very flexible medium in terms of emotional expression, and I also think that the line between what is and is not electronic music is completely blurred. I think you could say that something is electronic if it’s recorded onto a computer and then looped to create a perfect performance, which would make basically every single in the Top 100 electronic music.
Q: Describe the recording/production process for an Electric Sunset song.
A: Right now, for brand new stuff I’ve been demoing after finishing the LP, I’ll start with a beat and/or a bassline and work up from there, creating tons of little parts around that. For the LP, I wrote all the songs on guitar and then put beats on them and in many cases replaced the guitar with other sounds.
Q: Your voice is a lot more prominent than it was in Desolation Wilderness songs. It’s a damn good voice. Why were you hiding it before?
A: It’s because I was brand new at singing in DW. And, frankly, I was bad at it then, so I hid it. Not that I think bad voices aren’t good! You know? But I thought mine was bad, and I had control of the faders, so that’s the way I mixed it. These days I’m a bit more confident with it.
Q: Where did the songs on your muxtape/myspace come from? I don’t see any EPs released yet, so are those just examples of what’s to come or will those appear on the September release?
A: Every song streaming on the internet right now is going to be on the September LP, which is self-titled.
Q: Talk a little bit about working with Jeremy Jay on “Airwalker.” Did you work with any other K musicians?
A: I’ve worked with a ton of K people, it’s fairly close knit.  “Airwalker” was recorded I think the week of 4th of July 2007, so I remember fireworks and barbecues mostly.
Q: Do you have any sort of working relationship with Calvin Johnson?
A: Yeah, he was first my intern sponsor and then essentially my boss at the studio.  It was incredibly great to work with him because he was down to show me the ropes, was very friendly and fun to be around, and also was very open to my opinion about recording stuff.

K Records, "Booty Run" founder Calvin Johnson

Q: Can you ask Calvin to explain “The Booty Run” please?
A: I cannot!  There are a lot of mysterious things that people (including me) ask him about, but I think he likes to keep them mysterious.
Q: Your own K rec bio page mentions your journey from San Fran to Seattle and back to San Fran. Do you think your music has partly mirrored your travels, or has your environments influenced your sound at all?
A: Hmm, I think it probably has, but I couldn’t actually say exactly how. Consciously, I don’t try and mirror where I’m living in my music.  I find that who I’m around, rather than the place I’m living, has a much larger effect on the way I feel, so I think maybe I write about that mostly.
Q: What details can you give us about the album due out in September?
A: It has nine songs, it’s half an hour long, it’s self-titled.  I played everything on it and the cover is a picture of me.  I guess you could say it’s a personal album and a labor of love.
Q: When are you going to back on tour? Any details about who you might be touring with?
A: I have plans for a full US tour sometime in the Fall, at this point there are no details whatsoever, just intentions.  Before that, I think I’m going to do a short Pacific Northwest tour in late August, around the Helsing Junction festival in Washington state.

Two cool cats (compliments of K records)