Expectations for the upcoming single, “Bridestep” from Brooklyn-based indie/R&B dynamic duo Moonheart are rising as each day prior to the release are mounting exponentially. Not only does the group have a sound unlike any other, they also have a message in their music of longing and endless romanticism that is haunting and beautiful. This track is the first to be release from their forthcoming debut full-length album Feel it Out. Although they are busy getting ready for the release, Moonheart was able to say a few words about who they are and what fans can expect within the next few months.
What would you consider to be your greatest success on and off of the stage?
Onstage, I’m really happy to feel very connected to my voice and what it sounds like. For a long time I was singing mostly jazz, and imitating all of my favorite singers when I learned the music. Doing that taught me so much about music in general, and about phrasing, rhythm and expression, but for awhile I was worried that I was without my own point of view. I definitely felt closer to my authentic voice and self when I started writing my own songs, and it feels good to be communicating that onstage.
Although you must be busy writing, producing and performing your music, when you do have free time, is there something that you like to do that may be out of the ordinary in order to destress and prepare for upcoming events and gigs?
I think this is probably pretty common, but I’ve found that for sure the most essential thing for me to get in the right headspace to play is lots of space and quiet. I live in Brooklyn and space and silence can feel sparse, but there are magic pockets of it everywhere. I’m lucky to live very near two of them, the botanical garden and the park. This is probably gonna sound so corny, but being in awe of nature’s design in the form of a flower or a tree or whatever it is is so humbling and I try to be surrounded by that stuff as much as I can. I recently learned about this Japanese healing practice called “forest bathing,” where you basically practice mindfulness and hyper-awareness of all of your sensory experiences while taking a walk in nature, and I guess this is kind of what I’m doing, or attempting to do. It feels really good when you can carry that open feeling with you on stage; your ego’s out of the way and the bad nerves that come from wondering what people are thinking or worrying that you look silly or whatever evaporate, leaving just the good butterflies to work through you.
As you continue to work towards your dream, do you have defined goals for Moonheart, or are you just enjoying the ride that your love of music has brought you on?
I wish I was cool enough to say that I’m not hella Capricorn and have notebooks and spreadsheets full of plans and goals but I do. The most immediate goal at the moment is to put out Feel It Out, our first full-length, in a way that we’re proud of. We’d also really like to start touring in a more serious and extensive way, so there’s lots of planning around that. Trying our best to enjoy the ride even in the planning stages, though 🙂
What news do you have for friends and family that are anxiously awaiting new music, tours and performances?
It’s coming! We’re releasing Feel It Out very soon, and we hope to be playing lots of shows to support that. Until then, anyone in or around NYC can come see our “Bridestep” single release show on Wednesday, April 4th at C’mon Everybody in Brooklyn.
As you have worked so hard to obtain something that, at one point, seemed so unobtainable, have you ever faced opposition that you thought that you wouldn’t succeed in overcoming?
My mental health is sometimes my biggest hater, so I’m unfortunately my biggest opposition, ha. Now I take good care of it and treat it like a baby, but I didn’t always have the ability to do that. When I didn’t, there were times I didn’t think I could turn my brain on or get out of a hole long enough to keep making music, but I’m grateful not to have been in that place for a long time.
What is the writing process like? Is it easy to sit down and write, or is it a spur of the moment occurrence?
The act of sitting down to write is actually the hardest part about writing in my experience- giving myself the space and time, sticking to the routine, and quieting the voices that would rather I procrastinate or do something else instead, those are the first hills to get over. Once there, though, the process depends on where I’m at that day. On the magic days it just flows, and those are songs I can’t really take credit for- some songs are already there and just need you to show up and be a vessel for them to come out. On days where nothing’s coming, I’ll try to do a writing exercise or read something beautiful and copy down phrases that are inspiring or words that feel good. The physical act of writing something pretty down on paper can sometimes wake up something dormant. Once I have a skeleton of a song, I’ll play it for Michael or send him a rough demo, and I don’t often give him much direction for the first attempt at building the world around the song. We have a lot of creative trust and a really open, intuitive channel between each other, and the majority of the time he just knows what I’m going for. He’ll usually work alone until things are in their place, and then we’ll iron everything out and edit together until we both feel the song is done.
After performing, is there a specific activity or tradition that you have to celebrate a “job well done?”
If we feel bad about it, we try not to let it feel too heavy and make sure to listen to the voice memo recording we always make of shows and take notes on how to make it better next time. If we feel good it about it, same thing 🙂
Reaching new heights since the release of their second album is Melbourne-based band PrettyCity who have not only taken over the Britpop grunge scene in Australia, but have also been gaining radio traction here in the US. Most recently, this group has been busy writing, performing and producing their new album Cancel the Future which was released this month. Despite their busy schedule, the band members of PrettyCity took the time to sit down with us and talk about some exciting news, here’s what they had to say.
When you started working together, what were your goals and plans for the future? How have they changed since then?
When we started, we had all been in other bands that weren’t playing as many shows as we’d have liked. We were all kind of frustrated, so we just played as many shows as possible. We said yes to absolutely everything and started touring straight away. I guess it was a very explosive but scattergun approach. Over the years we’ve refined this to try and build a more of a global fan base and not limit ourselves to Australian shores.
Was there ever a time where you felt that you had achieved what you set out to do? Or are you still chasing that dream?
No. Never. We’re always chasing better song writing and better albums. I don’t think we’ll ever stop trying to create that piece of art that we think is perfect, which is the trap because there’s no such thing. I think the four of us are just those kinds of people. Are there any bands or artists that you like to model your sound or style after?
I don’t think there’s anyone in particular that we’ve tried to model our sound and style after but we certainly have strong influences. The four of us have really diverse tastes and influences, but the band has always been great at allowing those influences to shine through and take Hugh’s songs in interesting directions. I think we draw we draw a lot from other band’s attitudes and approaches to song writing. We all love the Beatles and the Stones and the art of simplicity, but we also love bands like the Killers, Jet, and the Brian Jonestown Massacre for how they were able to reinterpret older ideas and make them their own. From the grunge era there are so many bands but I’ve been prettyinfluenced by Green River, Soundgarden, L7, Hole and the Smashing Pumpkins. From an attitude perspective we love Black Sabbath and the Doors and T. Rex. It’s just sexy stuff. What does your writing process look like? Is it a team or individual effort?
Hugh, our lead singer and guitarist, writes the songs for the most part. Or he at least has melodies and some lyrics and then we work on structures and parts together. It’s really very collaborative and each of us is totally free to make our own parts and contribute to the song writing. Hugh’s got an incredible ear for melody and for capturing and distilling complex emotions into catchy sing along lyrics, which is such a hard thing to do. We’re very lucky to have him, and the group dynamic is really productive and supportive. As you prepare for your 27-day long European tour, what are your expectations? What are you most excited for?
I’m expecting a lot of time on the autobahn. I’m expecting to eat more cheese and pork products than I would usually consume in a year. I’m really excited to go back and experience the amazing European hospitality. We had such a great time last year and we can’t wait to get back and reconnect with all the friends we made. Now that you are looking to take your music and sound to an international level, what are your expectations as far as reactions from fans and crowds?
I guess we’re excited to share our new music with people. That’s the unchanging thing for all of us that is the same whether we’re in Melbourne, Austin or Hamburg, we are excited to play music and share our experiences with everyone. I hope more people will come share that with us, but at the same time, we love playing music so much, so we’re happy either way. I think the crowds will grow in Europe significantly though.
What can fans expect in the year 2018?
Well, we’ve already recorded our third album, so you can expect to hear an early single from that later in the year. Other than that, I think we’ll be doing some more touring back home and enjoying our home town for a bit 🙂
DC-based quartet BRNDA is hitting the ground running, almost literally. While the band is on tour, they’re also set to release their new full-length – a collection titled Thanks For Playing – on March 30th. The preorder includes an instant download of two already available tracks – “House Show” and “Five Dollar Shake” – which just so happen to be perfect for this warmup our country is (hopefully) starting to experience for spring.
Despite the madness in their lives currently with the new release, the band sat down to chat briefly about the album, displaying their dry humor along the way for our eager ears. Check out our words below!
Each of you are important assets to the band. How did each of you get into music?
Actually, we’re not that into music. What we like is podcasts.
Fair response. Thanks for Playing is your third release. What makes this album different from the previous ones?
We haven’t released a record since 2015. This is our first time releasing a record in 2018. This is our first third release. This is the first time Christian has ever played bass on a BRNDA record – he is our bassist. This is the first record featuring a song where Leah sings lead. This is the first record we partially recorded at Alex’s house in Mt. Rainier. This is the first record featuring Dave soloing with guitar feedback. This is the shortest record we’ve ever made. We also worked with a different group of people this time, they are mentioned later in the interview so we won’t mention them just now.
What has been the biggest accomplishment that has come from Thanks for Playing?
Our greatest accomplishment of this record has been the collaboration with other cool people. Thomas William Rossi (Reyna Valencia) recorded it at lurch studios in DC; Justin Wm. Moyer (of so many of our favorite bands… Edie Sedgwick, Light Beams, Puff Pieces, Antelope, etc etc) mixed the record; TJ Lipple of Inner Ear mastered it. Christian’s sister Hadley Whittle painted the piece that is the cover art. Adam and Blake from Banana Tapes are putting it out. The National Film Board of Canadian Industry provided the footage for our recent music video for House Show. You’re writing about it. You’re reading about it. We’re collaborating.
What was the best part about developing the album?
Probably downloading the Adobe Creative Suite 10-day trial multiple times on multiple computers in order to create the album art j-card. We’re grateful for their love and support and collaboration.
We feel that! (Currently working on a trial of Lightroom.) You are out on tour right now. What sort of different experiences have you all had since being on the road?
Being on the road has a way of expanding your family. We kicked it with some truly wonderful people on this tour. We’ve been touring with Poppies, our forever buds from new York. We played the Community Records 10th anniversary celebration in New Orleans, a very special night in a very special town. We also played Mammal Gallery’s temporary location in this gorgeous former department store and shared the bill with 3 Great Bands (Breathers, Sad Fish, True Blossom). Touring around SXSW is like jumping into a giant vortex of favorite bands and friends that converges on Austin. We played three wonderful showcases. Dave saw Shopping and had a religious experience. All in all very good things and times.
What plans do you have after you wrap the tour?
Do laundry, vacuum the van, celebrate Torrey’s birthday, play our tape release show on March 29th, attend the melted mag release show at bathtub republic on March 31st, and then collaborate on some new songs.
Where do you see yourself as a band in the next 5 years?
Probably on tour.
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Preorder your copy of Thanks For Playinghere and Keep up with BRNDA here.
Having just released their brand new album Strange Times this morning, Los Angeles-based psych pop trio Hollow FortyFives – comprised of Lucas Renberg, Brett Incardone, and Travis Corsaut – is revving up to play their album release party tonight at The Troubadour. Which means they have absolutely no time to bask in the glow of their work and treasure the audience response, as they’re focused on what’s to come with the entirety of the week still to unfold.
Luckily, we got a hot minute to catch up with them to find out the inspiration behind their work as a whole, the album you’re probably about to listen to on repeat, as well as to poke and prod them with silly little questions that give us peace of mind. Check out our words below!
What was your first musical memory? Did it have any bearing on how you respond to or create music now?
Lucas: Listening to a Beatles cassette that my Uncle had made for me. Then seeing some footage of The Who play live, after that i knew i had to play music.
Brett: Driving in my dad’s car and asking him who the band was on the radio. Also, asking my brother which instrument was playing and him teaching me the different sounds.
Travis: Being taught to play the guitar by my uncle. I quickly gave up and when I got a drum set 5 years later was forced into lessons. I really grew to love it.
Where do you believe you pull the most inspiration from for your work?
Lucas: A big chuck of it comes from the music I listen to and care about, My two favorite songwriters are John Lennon and Bob Dylan. The rest i would have to say come from the way I see the world. Anything can spark a song.
Brett: My biggest inspiration for lyrics would be the people I’m surrounded by whether it be friends, family, or even strangers. For music, simply, it can be bands I like, a riff I hear, or something that just grabs my attention.
Travis: I’d have to say that Lucas and Brett are my biggest inspirations in writing.
What inspired the track “Return Ticket” specifically?
Lucas: “Return Ticket” came about from the feeling of wanting to leave and get away. I live in this paradise that is California, but it’s a huge world out there. Always nice to take a look around, and no need to fear when you have a return ticket back home.
Your album is finally coming out, and we are so excited about it. What was the process for creating this album like for you guys?
Lucas: It was great writing the album and giving these songs the treatment they deserve. As a band it was our first time not recording ourselves, which was a whole new experience itself. We didn’t have to worry about mic placement or levels, we could focus on just playing the songs. And that really helped us grow as a band.
Brett: The process was very fun and smooth. The creative process was an absolute blast to be a part of and recording the album was a lot how I had hoped it would be: lots of late nights, laughs with my band mates, and excitement for being in a professional setting.
Travis: It was eye opening creating this album. The most important part for me was seeing how the songs had grown into something we’re all really proud to show you.
How do you imagine people listening to this release in its entirety?
Lucas: In a smokey room, either laying on a carpet floor or dancing away as the music flows out the speakers.
Brett: Driving in a car on a nice, sunny day, windows down with a cigarette in your hand.
Travis: When you listen to this song, I want you driving to Joshua tree in the rain with one hand out the window. If your friends are awake belt it with them and if they’re asleep wake them up by belting it. Noise is for the boys.
If you could be any superhero, who would you be and why?
Lucas: As a kid i was obsessed with Robin. So it would have to be Robin! He’s got the bat bike and is the only one I know who can question Batman.
Brett: Spiderman because he’s been my favorite since I was a kid, I’ve always loved Spiderman stories, and no matter how tough his life gets he always finds a way to overcome his struggles. Besides, who wouldn’t want to swing from skyscrapers?
Travis: Captain Planet, let’s strive to always improve this world guys.
If you could collaborate with any artist on any medium, who would you choose and what would you make?
Lucas: I’d love to be able to do a split single with my favorite current musician Tim Presley of White Fence.
Brett: Co-writing an album with Jeff Tweedy at the Wilco loft. It would be the craziest thing ever.
Travis: I want to do covers of the Barenaked Ladies with the ghost of Buddy Holly.
Cats or dogs? Substantiate your claim.
Lucas: Dogs who act like cats and cats who act like dogs. Best of both worlds.
Brett: Dogs. I had a cat once when I was a child, but she was a demon. Now I’m not saying all cats are evil, but I have a dog now and he is an absolute angel.
Travis: Cats AND dogs, lil cuties are a damn blessing.
Anything else you’d like to add?
Lucas: Keep living life between the headphones.
Brett: Tip your bartender.
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Strange Times is out today and will be available here. Be sure to catch them at their album release show TONIGHT and keep up with the band here.
Los Angeles-based rock collective Swerve – comprised of Gregory Mahdesian, Brandon Duncan, Ryan Berti, and Mark Gardner – has blossomed into an incredibly impressive act since the days that the moniker was attached to Mahdesian’s solo career. While the band admits their chemistry is off the charts at this point, we can hear it in the music they release. In fact, with their latest single “Lose Control”, we pick up on hints of influence amidst a bed of music that sounds like they’re having a really great time.
Luckily enough, we got to chat briefly with the guys about the track itself, as well as some really important topics like supergroups and Batman. Check it out below!
What was your first musical moment (be it a song you remember, a memory with a family member, etc.)? How do you think that impacted the way you make music today?
I actually have two that I can think of. The first song I can remember is from the Traveling Wilburys- that super group with George Harrison, Bob Dylan, Tom Petty and Roy Orbison. They had this track called “Not Alone Anymore,” and Roy Orbison sang the lead vocal on it, and it just floored me. I think my family had just moved across the country and I was a depressed little 5 year old, and that song, and especially that vocal, really spoke to me.
The other moment was around the same time. I had this walkman that could record the radio, and the oldies station played this song by the Box Tops called “The Letter,” which is just an awesome single. I would just listen to the station until it would play again so I could record it, and it’s the first song that was ever “mine.”
These both definitely impacted how I make music. I guess even at an early age I had a tendency to look back to the past for inspiration, and these songs really solidified my appreciation for classic song structures and catchy as hell choruses.
“Lose Control” is so fun with that twinge of 90s nostalgia that seems to pop out at points. What was creating that song like?
Thanks! Creating this song with the band was really fun. I started writing it on my acoustic guitar, and I must have been listening to a lot of jangle rock at the time because the song is filled with those little moments. When I brought it to the guys it turned into this fun, upbeat electric rock song. We added some acoustic to the recording to kind of pay homage to how it began. I remember that it came together very quickly- we finished off writing it in one session and anytime we would go back to try and tweak it, it was just kind of superfluous. There are definitely 90s touches in it. We really like to reference our influences without sounding too much like them, so you can notice them if you pay attention, but might not if you’re just casually listening.
If you could collaborate with anyone besides your amazing bandmates, who would it be and why?
So many people! Paul McCartney, just because he is the all time legend and I think I would kill to have him sing or play on a song. He’s still got it too! A few years ago he released this album called New that was awesome. I think I’d really like to get the producer Stephen Street to work with us, if he would do it and we could afford him. He produced the Smiths and all the best Blur albums, and I think he would be able to make our band really push ourselves and do something great. Noel Gallagher is my favorite, so to write with him would be amazing. And to have Michael Stipe sing something for me would make my year.
This month, you headlined the What Angie Says showcase at The Mint. What was that performance like? How has your performance style developed over time?
That performance was a lot of fun. We actually booked that right at the last minute- we had all been traveling so the band hadn’t been together for a little while, and the only time we found to rehearse was right before the show. It turned out to be one of our most energetic sets. In general, we’ve just gotten a lot more comfortable over time. We play around with harmonies more, and we don’t get nervous, so we can engage with each other and with the audience rather than just looking at our instruments and trying to play the songs correctly. The more we play the better we get as performers, but I don’t ever see us busting out dance moves or anything like that!
What has been your favorite song to write thus far? What makes it so special?
We haven’t put it out yet, but there’s a song called “Kennedy.” We usually close our set with it because it’s a live favorite for our audience. I’m really happy with the lyrics of it- the main line started out as a placeholder lyric and as the song developed I realized that it was actually the linchpin of the whole song. It’s funny how things like that happen. As far as the music goes, it went through so many iterations that we considered giving up on it, but we finally landed on the right arrangement and it felt so natural that I’m glad we kept at it.
If you could be any superhero, who would you be and why?
Batman, because he gets all the best toys and chose to be a hero rather than being born with a superpower. Although his backstory is very sad, at least he has Alfred.
What’s up next?
Besides world domination? We’re going to keep putting out singles leading up to our EP. We have some music videos in the works, and shows coming up in LA- the next one is March 26th at the HiHat in Highland Park. We want to start playing outside of the city soon, and to get back into the studio to record all the new material we’ve been working on.
Echo Bloom’s founder and frontman Kyle Evans creates rigorous, detailed and well-thought out music. With the creation of Echo Bloom, Evans took their freshman album Jamboree and honed specific songs to create Blue, Red, and now, their latest album, Green. Accompanied by vocalist/keyboardist Aviva Jaye, Alex Minier playing bass and Cody Rahn on drums, Evans has created a collection of music that covers a variety of soundscapes and genres. Echo Bloom has been based in a variety of places, recently in New York City, and the multitude of locations mirrors the multitude of sounds they put out. Keep an eye out for Echo Bloom’s Green, out March 9th.
We were able to catch up with Echo Bloom recently — here’s what they had to say:
Echo Bloom is an evocative name. How did it come about?
The Baby Boom generation were folks born post WWII, so ~1946-1964. I heard once the phrase “Echo Boom” talking about the generation of kids that the baby boom generation had. My family always gardened a lot – we had this great big vegetable garden in our backyard – so “Echo Boom” became “Echo Bloom”.
Favorite live show played to date?
Breminale, in Bremen, Germany, in 2016. We performed under this beautiful circus tent, and it was our bass player Alex’s birthday, so we got about 500 folks to sing to him on stage before we started. It was about 400 degrees out and there a ton of lights, so everyone was *covered* in sweat by the time the show was done. But we got two encores, and ended the night at kind of this hub of Bremen called “Heartbreak Hotel” singing and toasting and laughing. It was the 8th or 9th show of a 60 date tour, and set the tone really nicely.
Recording: disciplined and rigorous or laid back jam sesh style?
More on the disciplined and rigorous side. We went into the recording of a record we put out a few years ago with a note-by-note score of everything, so the actual recording was more a documentation effort. We’ve gotten a little more away from that – we work more as a band to collaboratively arrange everything. But once we get in the studio, we usually have a very good idea of how everything is going to turn out.
Biggest influences for Green?
Ah, that’s tough. Musically – Big Star, Brian Eno, Neutral Milk Hotel, Debussy, and Pink Floyd. Lyrically -Georges Seurat, John Steinbeck, and Carl Sandburg.
Best part of touring?
The family. I am constantly amazed and humbled by the generosity and spirit of giving that we experience on the road. There is an amazing community of people that support art and go to shows – and being on tour allows you to experience that directly.
How did you come up with the idea for the album processes evolving from and following Jamboree?
It was pretty intentional. I finished Jamboree and took stock of what we’d come up with – there were a lot of good songs on there, but stylistically it was too diverse to make for any kind of consistent listening experience. We had a reggae song, a metal song, a country song, a weird French-sounding song. It was a *ton* of fun to make, but listening back to it – I mean, maybe we’re not a metal band? Maybe we’re not a reggae band? So I did an audit, and tried to figure out what the best songs were on the album. I took the three best songs, and wrote albums around each of them. The first was Blue (off of the song ‘The Prostitute’), then last year’s Red (off of the song ‘The Businessman’), and now Green (off of the song ‘The English Teacher’).
If you had one word to describe Echo Bloom to someone who had never heard of you, what would it be?
After releasing his debut EP Swimming in Circles in June 2017, founder and vocalist Ryan Parmenter enlisted the help of David Lee (guitar), Abraham Kim (drums) and Brian Blake (bass) to create Former Faces, an incredible indie rock quartet based out of Silver Lake. We’re expecting them to take the world by storm – as if they aren’t already well on their way – with the release of their first full length album Foreign Nature this spring. Learn more about Former Faces in our exclusive, quick interview below!
Your debut album Foreign Nature will be coming out soon. What was the creative process like when it came to developing the album?
Typically, Ryan would bring a sketch to Brian who would help to focus and arrange it. Then the idea would be presented to Abe and David whose musicianship would transform it into a song. Some of the tunes came together quickly and organically, others were reshaped several times. Completing the album was a journey and we learned a lot about the value of collaboration, persistence, and patience along the way.
What was the inspiration behind your new single “Forc# Fi#lds”?
Inspiration for Forc# Fi#lds began as a desire to reconcile the past and open up to the future. It is a song about letting your guard down and being “wide awake” to new relationships, ideas, and endeavors.
What was the best part about developing your debut album?
Our epic recording adventure in Dear Valley, Utah. We packed two SUVs to the brim with gear, trekked up to the mountains just outside of Park City, and reconstructed Brian’s studio in the living room of a friend’s cabin. We tracked for the better part of 5 days. The view and the vibes were incredible. And no plug-in in the world can match the natural room reverb we captured! We’d been playing together as a four-piece for a few months prior to that trip. When we headed back to L.A., we were a band.
What were some challenges when it came to developing Foreign Nature?
With limitless sonic options at musicians’ and producers’ disposal these days, it can be very difficult to define one’s sound. We set out to create a record that was organic, highlighted musicianship, and was true to our live sound. Accomplishing that while still creating ear candy that sonically competes with our idols’ music was definitely challenging (the record is entirely self-produced, a feat in and of itself!), but we feel like we pulled it off and couldn’t be prouder of the results.
What is a typical day like for you all?
Busy. Musical. Sunny. Busy.
What are your plans after releasing your album? Any tours in the future?
No tours as of now but we will be performing all over L.A. and have our sights set on the festival circuit. Foreign Nature is meant to be performed outdoors for a meandering crowd of nature-loving music fans 🙂
Who would you say are your musical inspirations?
The Sun. The Sea. Clouds and colors. Mountains, Bowie, Mercury, Byrne, Harrison, Martsch, Parker, Tortoise, York, Beck, Granduciel, Air… Former Faces is planning on releasing their debut album Foreign Nature this Spring 2018. In the meantime, check out their new single from Foreign Nature “Forc# Fi#lds”:
Previously of Victory Records, the four piece hardcore punk band American Standards independently produced, mixed, and released their album, ANTI-MELODY in April of 2017, following a tumultuous time in the lives of the bandmates, losing their founding guitarist to suicide amongst other traumatic events.While much has changed since their founding in 2011, Phoenix, AZ based American Standards have been putting out gritty tracks, always with a drive for authenticity, and ANTI-MELODY is no exception. Currently comprised of Brandon Kellum’s vocals, lead guitarist Corey Skowronski , Steven Mandell on bass, and Mitch Hosier providing drums, American Standards has never been a band to be put in a box. Described as noise/hardcorepunk, mathcore, and/or metal, American Standards makes their own name in the music world.
With explosive vocals and instrumentation to match, ANTI-MELODY not only touches on the band’s personal problems, but also global issues and relevant conversation – all, of course, wrapped up in music.
Coming off of the release of ANTI-MELODY, we had plenty of questions for Americans Standards, so we caught up with American Standards vocalist Brandon Kellum. He decided answer our seven questions about the band in all 90’s references, and we’re here for it.
What’s your favorite snack to eat while making music?
Dunkaroos washed down with an ice cold Fruitopia.
When was the defining moment for you guys to realize, “Wow, music is my life now!”
Somewhere in the 2nd chorus of “What’s Up” by 4 Non Blondes.
Do you come from musical families, or was your interest in music a deviation from “normal” growing up?
The closest thing I had to a musical family was watching Jesse And The Rippers on Full House.
Favorite track on your latest album, ANTI-MELODY?
The hidden track.
With so much accessibility to all kinds of music today, how do you make yourself stand out in the wide world of music?
ANTI-MELODY was birthed from what sounds to be a very emotional time. Do you consider writing/creating or performing music live to be more therapeutic?
It’s a nice distraction and more then anything, a vessel to connect with others. It allows us to start a conversation with people we may not have met otherwise, in a place we likely wouldn’t have gone. So out and create something and revel in the experience it brings you.
**Originally published Oct 22, 2016. Reposted with permission from the author.
Yesterday, the Dean Ween Group unleashed their debut album under the direction of founding member and frontman Dean Ween (Mickey Melchiondo). Formerly of the notorious American alternative rock band Ween (begun in 1984) – and still pulling inspiration from past work – Dean Ween has brought a new flare and energy to his catalogue with this new work. A rotating cast of incredible musicians finds their home with the musical project, various talents displayed on the recordings that were created in the incredible new(er) space that Dean Ween built from the ground up.
Shortly before the release of The Deaner Album, we got to sit down and speak with Dean Ween himself. Here’s a little bit from one of the most influential alternative musicians of our time.
Tell me about the studio you’re working from today.
Sure. I’ve ran it – and no exaggeration – over 25 buildings since when we started. It’s very hard to find a place where sound is not an issue, you know, privacy, security, neighbors, all that. So finally after being at this for 32 years, my friend’s father owns 200 acres and offered to work with me on my own spot. He’s a younger father, like only in his 50s. I’m 46 as of today. Yesterday was my birthday actually.
Oh wow, happy birthday!
Thank you. So, he said if you build a nice place you can have it. So I did, and sunk about $150,000 into it. Borrowed and built this beautiful place that I call my forever studio. It’s in the woods, I’m here all day everyday and all night every night. Every instrument, cable, amplifier I’ve ever owned is all here, it’s all set up. It’s very hard to force a studio into a vintage house. You know, we’ve had to do that – use the living room as a recording room, control room. So, I have everything perfect. It’s a gigantic live room for a band to play in, everything is mic’d up. Then there’s a giant control room with monitors, talk back, kitchens and showers and bathrooms. Musicians can stay here. You could blow up a bomb in here and you wouldn’t hear it outside since its soundproof.
We built it with being a studio in mind. We made it totally perfect and right. It’s so relaxing when you come here. It’s like a second home. We’re so respectful of it. I do not- a lot of time over the years, studios were too close to the bar, and the place turned into a hang, after hours. So it was very important to me that never happen here. So the couple years I’ve been here I respect it, and we keep it very clean. It’s very relaxing when you walk in. It’s all esthetically fun to look at and play with. I tell people don’t bring your junk here. I’ll put it outside if you do. I don’t want your broken amps or guitars. No I don’t want that poster. Take it with you when you leave.
Every time we move out of a place we end up throwing out half the shit- it’s like stuff that doesn’t work or will never get used. Some junk someone left while crashing there.
Well it’s cool to have your own space and establish your own rules.
Yeah. It’s really gorgeous.
Before all this happened, Ween, The Dean Ween Group… what’s the first album or song you remember listening to, and who introduced it to you?
Wow. That’s going back too far- I can remember pivotal things. Radio was a huge thing for me. Just seeing that radio isn’t as important as it used to be. That’s where you went. Even MTV doesn’t show videos anymore – it’s like reality shows. The local station would play the top 5 at 5 every night. The 5 most requested songs. So the fans were actually choosing them. I remember buying the 45s and taped the songs at 5, and would use my tape decks to edit out the announcer talking. Which was really hard.
I remember watching Teen Tot with my babysitter on Saturday Night Live – Steve Martin doing it – and she worked at like Gimbles the old department store. She bought it for me and the next time she babysat me she brought it and I was so happy. I listened to them and I still have it actually.
Musically, my babysitter had a bad brother. He was a bad kid, same age, and had his older brother’s record collection and A-tracks. I remember going over there and hearing Sleeper and Ziggy Stardust. The first *record* record I got on my own that I really coveted and wore out was the Beatles Red Album 1962 – 1966. Then they put out The Blue Record, 1966 – 1970. They had the lyrics with them. That was the thing that changed it with me. Reading the lyrics you know, “Yellow Matter Custard”, “Lucy in the Sky with Diamonds”, all that. Just the visuals that went along with the lyrics are just so freaking great. I wore that record out until the needle went out the other side of the record.
Was that around the time that you decided you were going to pursue music?
I didn’t really know that until later. My father owned a car lot. There was a music store across the street. And I’ve learned this as a father, I don’t want to buy expensive stuff if I think it’s going to be a passing thing. And I want to be there to support him, but want him to appreciate it. So, my father bought me this guitar, it was probably unplayable. But I made it playable, made it look cool with stickers, painted it. Kinda sounded like a chord when you belted all six strings. I would play it with myself. Which meant I couldn’t play minor chords or you know, too much with it, but I was off to a start.
Then I really wanted a drum set after that. I had two cassette decks, so I would record the drums first, the foundation, I was like 11. And then I’d put the guitar on it. Of course I needed a bass but it was all cheap stuff. And then my father realized that I was really, really into this. And I started taking lessons, and at Christmas one year, I was like 13, he got me a real guitar, a Fender, and I started taking lessons, learning how to play without just that one chord. I was recording every day, starting to see concerts. I wanted to be that guy really badly. Not a singer, but a guitar player.
Yeah, my drumming was really good, still is. I played drums on the Ween records, people don’t realize that. You know I remember an interview once where Kurt Cobain said he wanted to be as big as Sonic Youth. That was his goal. And that really stuck with me. Because, it was the same thing with us, except, we wanted to be the Butthole Surfers. As big as the Butthole Surfers. I mean, that was my goal. I thought if we could get to that point, then we were really famous and really good.
I didn’t think about what I was going to do after high school. I wasn’t going to college, I knew Aaron wasn’t going to college, we figured we were just going to work. We wanted to get an apartment together, so we did the day we graduated high school. We made music there pretty much 24/7. We had been doing that in my parent’s bedroom for like 6 years already. So we had a lot of experience recording ourselves. We got a multi-track recorder, a 4 track, instead of just dubbing two tapes back and forth. I knew we weren’t going to go to college, I didn’t know where Ween was going to go, but as it turns out, we had put all our energy in the right places, and we got signed that summer.
So there was never really any guesswork to it. So that was in 1989, and our debut record came in 1990. It was a double record. It was almost to me like a greatest hit, of like 7 years of Ween. We had that much experience. So we got that one out of the way, the second and third ones were almost done already. The second one came out and we got signed. Then we were on Warner Brothers all of the sudden. So I never really had to think about it much. Like I said, we put our energy in the right places. We worked really, really, really hard on being good.
You know, it seems like a whirlwind thing, but it’s not. When Ween started out, it was very experimental and noisy. And it sounded like two twelve year olds, you know. But within a few years, we were happening. We were writing really clean songs. Choruses that you could remember, that were catchy, my parents were hearing it, they loved it. You know, I was still doing the same exact thing, it’s incredible. Really nothing has changed on the front end. I still work exactly the same way I did back then, you know, but with better music.
I heard there was about a year after Ween where you didn’t work with your guitar, really?
It was more like 6 or 7 months, I don’t really think that much about that. I’ve suffered from anxiety my entire life. Depression is something that was never in my vocabulary. I’ve never been depressed but when Ween split up, I lost everything. All I’d ever done was that. I mean, I’ve told you how long I’ve been at it, I just knew I couldn’t get out of bed, eat, shower, go out. The guitar was just another thing that got ignored during that 8 months. I didn’t mow the lawn either. I just didn’t do anything, just ran up debt. Only battle with depression I ever had. I was stuck. I really empathize with people who have it now.
If it weren’t for my friends, my friends saved my life, they were like, “You have to start playing again. You have to force yourself, even if you’re not into it. Go out. You don’t realize how much you miss it.” So I started and it didn’t feel right. But it took, and they were right. I got a band together, called it the Dean Ween Group, said “fuck it I’m still Dean Ween.” And when does Johnny Ramone cease to be Johnny Ramone? He dies, that’s the answer. Even when the Ramones broke up he was still Johnny Ramone. And with Ween being a duo and all that, I didn’t know who I was. Hard to explain, I lost my confidence, my career, my identity, sense of worth. Love. Hobby. Passion. I’ll never make that mistake again.
You’ve been working on The Deaner Album for a hot second. Any fun anecdotes from the recording process?
Yeah, it took a while to make, and then it happened like a tornado. When I got it going I really got it going. Up until that point, I had like two songs from like a year before and then it just like caught. I ended up replacing those songs with newer ones, when I was like totally back, when the group was happening and touring. People were commenting and fans wouldn’t go away, and good stuff like that. So the anecdotes have more to do with building the studio, and watching it go up, and really just visualizing it. Fantasizing about how long I was going to be in the studio. I swore I would come here every day, and do a song a day. All day, every day, all night. And I have for a couple years now. So I have this enormous catalog, just ready to go. The second Dean Ween record is done. It’s ready to go. It’s better than the first one, and I can’t wait to get it out there.
But for the touring, we’re playing everything. I don’t have to play Ween songs unless I feel like it. Which, I do, they’re mine too.
“Exercise Man” is pretty witty. What inspired that song?
I sang it to my son when he was like 2 or 3 in the car every time we saw some idiot jogging or riding his bike in the snow at 6 am. i would make up lyrics to songs and we’d sing them. Ironically enough I’ve recorded a few of them, he’s 15 now, they were just funny ideas. A lotta people say ween makes children’s music and I guess that’s partially true. evidenced by how many kid’s shows we’ve been involved in—especially spongebob.
Do you have a favorite song off of this album, by chance?
YES. “Bundle of Joy” is my hands down favorite. It was one of the last songs I wrote for the album too.
You have a pretty extensive tour coming up.
Yeah, that’s the first leg of it. We’re going to be out all of next year. We might even go overseas.
What are you most looking forward to about getting out on the road?
The food. I eat much better on the road because normal people need to eat a few times a day. The restaurants where I live totally suck. Honestly, the music and the camaraderie, read the lyrics to Willie Nelson’s “On the Road again”, Willie has a way of summing things up perfectly and that song is about touring. traveling will always represent the epitome of the American dream, especially for a young man. Getting to meet people and play music for them, the road is where u get all the love back from the people you’re hoping to reach with your music.
You have a fishing charter business? HOW do you find time to do all of these things?
I am very busy, just leave at that. even having a few spare hours feels like a victory. I took some time off to go fishing two nights ago and I enjoyed every second of it.
