A music e-zine-blog.
Welcome to The Underground Echo!
The other side of music that echoes through the small circles of the underground here on the internet.
There
are artists out there still performing and recording their heart and
soul, regardless of the upside down economy of the current music
industry.
The
Underground Echo would like you to hear what Paul Dillon Ex
(Mercury
Rev/Sparklehorse/Longwave)
has
been up to in his new home of Portland, OR.
JR-
How did you and Jason "Plucky" Anchando (The
Warlocks, Spindrift,
Hawkeye)get
the idea for forming the band Miracle Falls?
PD-
Well, the ‘band’ was essentially just my studio project until we
started playing out. I knew Plucky from his Clean Air/Clear Stars
Festival that he put
on
out at Joshua Tree. He told me about Collin’s studio and put forth
the idea of coming out to Portland to record. Which is exactly what I
did.
PD-
Revolver is the perfect studio for me really. It’s in a beautiful
old building in SE Portland and has a big, live room with high
ceilings, old hardwood floors, and natural light during the day which
helps avoid the dissociative ‘bunker effect’ that can sometimes
happen when you’re recording. It’s also nearby Sizzle Pie pizza
and all of my favourite bars, which doesn’t hurt.
JR-
I understand there are some guests on this album. How did that all
come together?
PD
-Well, Collin Hegna plays bass on most of the record. Peter
Holmstrom(The Dandy Warhols, P.I.A.)came
in to put some noisy, textural guitar stuff down and he lives in
Portland too obviously. The Mercury Rev folks helped out when I was
doing overdubs with Matthew Cullen in upstate, New York where they
live. So, all just friendship and proximity really. JR-
I see that Larry Crane from Jackpot Studios did the mixing. Did you
let him have full control or where you there for every mix? If so,
what's it like to work with Larry Crane? Does he have a certain
method to mixing? PD-
Well, the recordings are pretty dense and we had to mix two songs a
day so I was there the whole time. Also, Larry keeps pretty strict
hours, which is totally understandable, so if it’s not done within
the time alotted, it’s not done. Working with him at Jackpot was
kind of a dream come true actually as I’ve been an avid TapeOp and
Elliott Smith fan for years. JR-
What was the easiest song to record and what was the most
challenging?
PD-
Again, time was a factor here. There was a day when Plucky couldn’t
make it into the studio and we had to do something, so that’s when
‘Mistakes’ got recorded. I started off with a preset drumbeat
from an Omnichord and it came together pretty quickly. Funny really
as that’s a lot of people’s favourite track. We had Mitch from
1776 come in and play drums on that one. The most challenging would
probably have been ‘Hole In Your Soul’, but that was mostly just
at the mixing stage. I’m sure Collin would have a totally different
perspective on that question.
JR-
How do you usually come up with song material? Do you use a certain
formula? Start with a particular instrument?
PD-
It’s always just me and a guitar. I try to make notes as soon as
ideas come to me. The iPhone’s ‘Notes” app and built in
recorder is invaluable for this reason.
JR-
How are the songs relaying over a live performance? Do you find any
big differences live versus recorded in the way you think the songs
should be?
PD- Well, so far there have only been a
handful of shows. I played on the acoustic stage at CACS last year
while I was still in the middle of the record and we just finished up
a short west coast tour where the band consisted of me, Plucky &
Chris Cook from 1776 on Bass and backing Vox. It was tough at first
as all I could hear was what was missing but it’s sounding really
good now and I almost prefer the simplicity of playing as a three
piece. I play through two amps and use some loop pedals and delays
too, so that fleshes out the sound quite a bit.
JR-
Officially, is the band just twomembers? Or is it a open door to
musicians to come and go?
PD- The band is really
amorphous in the studio, I’m the only person who plays on every
track of the record, but Plucky would have been too if he didn’t
have to miss a day. Other than that it is a really open door type of
thing. We like to have our friends around.
JR- How
would you describe a Miracle Falls show to be like? Are you finding
venues to be adequate for your performance needs?
PD-
We like to play loud and preferably at night.
JR- You
have a couple of songs with references to the "Sun". I know
Portland is not very sunny at certain times of the year. Do you
think the Portland climate effects the way artists write?
PD-All
of these songs were written in New York, aside from See Stars
which was written in New Orleans, so you’ll have to ask me again
after the next record. But in answer to your question, yes. I do
expect that the lack of sun will mess with my head a bit. I grew up
in Dublin, so I’m used to bad weather but I do crave sunlight.
We’ll see.
JR- I know a lot of musicians play in
several projects at the same time. Has it been hard to coordinate a
live band as far as personnel for the shows? PD- Yes,
that’s always an issue, I’ve been lucky so far though. It’s
hard these days since there’s no money in music anymore. You
usually have to either be independently wealthy or work really hard
at something other than music to be able to spend the time and money
necessary to be in a band. It’s a completely insane venture
financially, emotionally and spiritually but every now and then you
get reminded that it’s not all for naught.
JR-
I want to thank Paul Dillon for taking the time to chat with The
Underground Echo. For
those of you in the Pacific Northwest,
you
can catch Miracle Falls performing live on November 24th
at The Doug Fir Lounge in Portland, OR. And for the rest of the world,you can purchase the Miracle Falls
album ”Debasement Tapes” on Itunes
Stay Tuned.....
I have an interview coming out with Paul Dillon of Miracle Falls . Paul talks about the creation of The Miracle Falls album with some veteran artists contributing to the project.Paul Dillon describes the inner workings of assembling musicians ,mix schedules with Larry Crane and recording with Collin Hegna at Revolver Studios and also discusses the desire to make music in this upside-down economic business of the Music Industry as of late.
The Underground Echo meets with Jason "Plucky" Anchondo to discuss The Clean Air Clear Stars Festival.
Jason "Plucky" Anchondo has played percussion with one of my all time favorite bands: The Warlocks and has also filled multi instrument talents in Pete's International Airport, Hawkeye, and The Upsidedown.
Jay Raker :
For those few that do not know "Plucky" , let me fill you in on this kool kat.
I first met Plucky here in Portland when I was helping out at The Doug Fir Lounge
with my friend Adrian H when The Warlocks played there I think it was 2007 maybe 2008? I was craving a cigarette and had no way to light it and out of the corner of my eye, Plucky had I think, a Zippo lighter and sparked my habit at the time.
And ever since then, Ive been bumming cigarettes from him just like this past Saturday. So I just did a gig with Plucky's band "Hawkeye". We were talking about my interview with Guy from The Entrance Band and I thought "hey why dont you do a interview man?" So Plucky agreed, but said only if it was about the Clean Air Clear Stars Festival. I agreed and so here we go folks !
JR: How did the idea of CACS Festival come into fruition?
JA: I had always wanted to put on a festival, something small and not in the mainstream. Originally, the idea was for it to go on all night. Tommy Dietrick and I were offered to put it on at Pappy and Harriet's, so we decided to make it a three day event. We wanted to make it so that all of the money and proceeds collected from the event would go to other causes. As the festival has grown, we have chosen different organizations to support every year, but it has always been 100% non-profit.
Tommy Dietrick and I came up with the idea and started planning the festival in the Spring of 2007. The festival began on July 7, 2007 (7/7/07). It was a scramble to get bands, the PA and everything else. We had a month and a half to put this whole thing together, but we ended up pulling it off. We are now on the fifth year.
The key members have been Tommy and I, with the help of many volunteers.
Christian Zollenkopf and Cynthia Merino have been with us from the very beginning.
JR: What is the Clean Air Clear Stars Festival about?
JA: The festival has been about turning people on to new music and having some of our favorite bands play, while supporting a good cause at the same time.
JR: Is this a non-profit venture?
JA: 100%; everybody volunteers their time and efforts and the bands play for free.
JR: How long has the CACS Festival been going for and do you see this going on for a decade or more?
JA: This will be the fifth year. I had never expected for it to go on this long, so who knows? There might be a year ten, or fifteen, or twenty. Who knows, we will just have to wait and see.
JR: What was the first CACS Festival like? Did you learn anything on making things go smoother for the future CACS Festivals?
JA:The first year was 110 degrees in the desert. The first thing i learned was not to put on a festival in the middle of summer in the desert. Ha!
JR: Has it been a challenge to get funding for The CACS Festival?
JA: Yes.
JR: Where can one donate to the CACS Festival? Do you have professional sponsorship to help out?
JA: If you would like to donate, go to www.cleanairclearstars.com. Sometimes we have sponsorship, sometimes it's 100% grassroots, just us.
JR: Is the outdoor stage a permanent fixture for the event?
Or does it have to be constructed every year? Is this a easy task or is there much involved with the production?
JA: The stage is part of the venue, but it takes a lot work to put on this event. So it's not an easy task.
JR: I bet it is. A lot of work behind the scenes that people may not even imagine.
JR: I understand too that there are indoor shows at Pappy & Harriets . So are the indoor shows at night? Or do they go on at the same time as the outdoor shows?
JA: It's changed over the years, now we just do the indoor stage on Friday nights & the outdoor stage on Saturday day & night. It just makes it easier & runs smoother and is less stress.
JR: How many days does the CACS Festival run? Has there always been a fixed time frame through the years or has there been adjustments on start and stop times for business reasons or band schedules?
JA: It use to be 3 days but now it's just 2. I think people were just too worn out by the 3rd day. so 2 works out the best.
JR: Whats it like to convince the artists to play for the CACS Festival? Do you end up having more bands to choose from or are you scrambling to get time slots filled with the bands? I assume the bands are doing it for free since its a non profit venture?
JA: The bands are doing it for free. It can be hard getting the bands. It really depends on tour schedules & availability.
JR: What artists or bands have played the CACS Festival in the past? Who would you like to invite in the future?
JA: Some of the bands that have played over the years have been DANDY WARHOLS, B.R.M.C, THE BLACK ANGELS, THE ENTRANCE BAND, SPINDRIFT, GRAM RABBIT, SILVER ROCKETS, SKY PARADE & HOPEWELL just to name a few.
JR: Are the crowds pretty mellow at the CACS Festival ?
Have you had any security issues or had to call the local law enforcement?
JA: The crowds have always been mellow. I've never had any problems.
knock on wood.
JR: What are the ticket prices and where can you best obtain them?
JR: You are playing with your old band The Warlocks for this event, would you care to share your thoughts on this for our readers?
JA: You'll just have to go & see.
JR: Thats a safe answer ha-hah!
JR: Any special thank yous Plucky? Shout outs?
JA: I would like to thank all the band & people who have made this happen for the last 5 years.
Thank you all!
JR: And thank you Plucky for taking the time to interview for The Underground Echo. I wish you all the success in your ventures in music and The Clean Air Clear Stars Festival!.
Introducing DJ Ola the unsung hero of underground radio on the internet.
"Basically mainstream radio sucks and that's why I do what I do. I provide a Kool alternative."-Ola
JR-Why and how did you an ordinary person with no broadcasting media background get a show on internet radio? Can anyone do it?
OLA-I was doing press for a band I really dig called The Playing Fields. I contacted all the major stations, I even got D J’s like Lauren Laverne from a major FM station here, XFM saying they like it but the station had a strict play-list only for airplay rule, so they couldn’t play it. Everywhere I approached in mainstream media the door was slammed shut in my face. I got really angry about it. One of the places that was open and gave the band airplay was internet radio stations. I started talking to the manager of one of the stations that gave the band airplay. He asked me to do a show, I did, it was supposed to be a one off but he liked it and asked me to be regular and I said hell yeah. I then channeled my anger and frustration at how myopic and mediocre mainstream media was into my own show. There is great music being made all the time it just doesn’t get heard. I now had the means to do something about it. Every time one of us does this kind of show, we kick or chip away at this lowest common denominator rubbish being force fed down our throats.
Yes I reckon anyone who really wants to can do it! I had no experience whatsoever and the technical expertise of a chimp, yet I still learned how to broadcast my own show. It is easy once you learn how. At my current station Radio23 that is the whole premise, that anyone can broadcast from home. The station provides all the tools in programs, information and training, all you need is a high speed internet connection.
JR-What is the meaning of internet radio and its impact on regular mainstream fm? Is it changing the nature of radio?
Ola-Since radio began its programming has always been in the hands of a small elite. For the first time ever through the net, media including radio has been opened up to allow people a chance to make the shows they want to see and hear. In fact, internet radio is like a bloodless revolution and it’s the future. It is an exciting time and the people involved are like pioneers. I can download the music I need and I can play what I like without having to worry about censorship. There is a real freedom in this medium. FM will become obsolete with its limitations. Internet radio has podcasts so you never miss your favourite shows, also with rapid developments in technology you will be able to hear internet radio anywhere. For example, just recently my show was broadcasting in a car through an iphone with an application.
JR-What are some stations out there to listen to and why?
Radio Nowhere is a good station, that’s where I started. Christopher Laird is the station manager that has a great show. He used to do sound for the BBC and then created his own station with various other shows. My show was inspired by his and he gave me great advice as to how to shape it. He plays an eclectic mix of music giving lots of new music a chance. Dandelion Radio which was inspired by the spirit of former UK DJ Jonathan Peel is also a great station with quite a few DJ’s playing great stuff. At Radio23, my current station, we have 60 plus DJ’s all over the world playing a huge mix dedicated to alternative non-commercial sounds with DIY DJ’s mostly live. Finally Dead TV, a station that is also televisual, hosted by Anton Newcombe playing a mix of many genres with new music and foreign beats. You can check these here http://www.radionowhere.org http://www.dandelionradio.com http://www.radio23.org http://www.ustream.tv/channel/dead-tv-berlin
JR- I believe you have been broadcasting for about 4 years now, have things in the Podcast/Internet Radio market been getting easier or more difficult?
OLA-To be honest at the moment it seems to be about the same except that the show through technological advances is getting more reach.
JR- I know I-Tunes is a bit of a challenge to get your Podcast on, do you have it good with I-Tunes now? Do they accept your work without hassle?
OLA-I tried to add it myself and it was rejected for some reason I can’t remember, but through my podcast page it is listed on itunes and I believe you can subscribe to it as well to download automatically to your MP3 player here
http://feeds.feedburner.com/koolkitchen
JR-What method, like software, for example, are you using to record your shows?
OLA-Most Radio23 shows are live but I do like to prerecord my show. I use a crack of Nuendo 3 to put the tracks and vocals together. I use a Zoom H2 to record my vocals on the show and any interviews. To record live gigs I use a Sony PCM D50, recording live gigs either through a sound board or an awesome external mike in high quality wav and easy for a non sound engineering person like me to get a great sound. One of the best and most expensive things I have purchased, but worth every penny. I have two of them and they look great like the robot from Forbidden Planet. I never used to understand guys and their love of say music pedals until I held one of these in my hands and used it. I became converted and started to dig technical recording stuff.
JR-Besides I-Tunes, how do most of the Stations put up their broadcasts these days? Are they personal blogs, bought web space, free pod-casting sites....etc.?
Ola-I can’t say for other stations but we use feedburner, which is like my own podcast page really. Besides Itunes there is a list of other players you can use to hear the show. It has a list of shows but the downside is there is a limit, as I upload new ones the old ones disappear.
JR- I know you do interviews as well as broadcasting. Is it easier to do written interviews or live audio to tape or video format for you?
OLA-I have to say I prefer face to face interviews over written. My interview with Peter Tork, for example, came out great, but it was written and because we couldn’t see each other I managed to piss him off with questions. He read some things into my line of questioning that wasn’t there and took offence and if he had seen my face and had I been able to explain my thinking in person I reckon it would of come off better.
JR- Who was your most challenging person and or persons to interview to this date?
OLA-Rather than one person, I find the hardest people to interview are the ones who give rather monosyllabic answers. That’s tough, you are trying to bring forth an interesting discussion and the person will not open up and give you anything; nothing worse than a dull interview. One of my easiest and interesting was Dave Bermen from The Silver Jews. I didn’t have to do anything. He just started talking and I just interrupted occasionally with a thought or two. It was intelligent and thought provoking naturally. That’s when it is great and that’s what I’m looking for: sparks, inspiration and ideas.
JR-How many Internet Radio station people are doing this as a sole source of income? Is this possible?
OLA- I don’t know Jay, but most people I know doing it are not paid. I have never been paid myself and I do it for the love. I’m addicted to broadcasting and if I don’t do it for a while I get twitchy. The only thing I get for it are free passes to gigs and festivals and the best perk of all is getting to meet and hang out with my favourite musicians. Radio23 is totally non-profit and we are lucky to break even and keep afloat. I think it will change in the future though.
JR- (From Wikipedia) In October 1998, the US Congress passed the Digital Millennium Copyright Act (DMCA). One result of the DMCA is that performance royalties are to be paid for satellite radio and Internet radio broadcasts in addition to publishing royalties. In contrast, traditional radio broadcasters pay only publishing royalties and no performance royalties.
JR-How do most of the radio stations that are underground or semi above ground cover the royalties
issue ?
OLA-This is a good question of which I know very little. I know that there is a difference for stations based in the UK and the US as Radio Nowhere was affected differently to Radio23. Both stations required me to keep a log of every track I played because they do pay royalties. At Radio23 we were considering making podcasts available only to people who donated to the station to cover our costs. Fund-raising is an issue and we are looking at merchandising like t’shirts etc .
JR – I never had really thought about it, but when you mentioned that there is an Anglo-American prejudice out there in the indie/underground scene, I would have to agree.
Maybe it is a culture thing or maybe there is no spotlight on these other areas around the globe. But I have to admit most of the bands that are popular in that vein are Caucasian and are British or American. Would you care to elaborate more on this subject?
OLA- I think my own take on this has to do with the fact English is not my first language and I am a first generation US citizen born to immigrant parents. I was used to hearing non-English music at home. So I think this made me open as a DJ to musical sounds from any language and anywhere. I always say any genre and any time period, good music has no boundaries and that also applies to location. Good music is global and the indie/underground/alternative sound should be holding hands and helping each other everywhere. I always enjoy throwing a non-English tune or two into my show if I can find it. It is exciting when I can find that French/German/Spanish/Polish/Thai track that rocks.
I also traveled a lot, especially in Thailand, Malaysia, Lao and Indonesia. For ages I was greatly disappointed in the music in clubs and bars in Thailand which just seemed to be filled with commercial trash, Thai musicians doing bad covers and thumping bad house/techno music everywhere. Only recently have I discovered the underground scene there and Malaysia. The best scene in this area, I’ve been told, is Singapore, where bands have government funding. Taiwan and I heard Indonesia has a great scene as well.
So I’ve recorded bands in Malaysia and I interviewed Joe Kidd, the godfather of punk in Malaysia. I’ve played bands from Thailand, Malaysia, Cambodia and Indonesia as well as non-English European stuff as well to try and highlight these areas and broaden people’s perspective. There also needs to be more bands from Europe going to these regions and vice versa. I met a guy in Malaysia who has several record companies and he brings in all the foreign independent bands for gigs and he said he wanted to create an Asian ATP. I want to make that dream come true for him, I mean what a brilliant idea and why shouldn’t it be that way? But these areas face difficulties that you get in Western countries, multiply it by three. For example, most people in Thailand and Malaysia won’t know who New Order is let alone Joy Division. There are almost no indie record shops in Thailand and I’d say very few in Malaysia. The idea of groovy hipsters with out of sight record collections, common in the UK and say USA, virtually don’t exist in these countries. If bands do come over from Europe/US to this region there is very little money in it, they will just about break even. It is also not as accepted in these regions to make a living from music; it really is seen as a hobby. There is loads of pressure to conform in these societies, get a job, get married and take care of the family as social welfare does not really exist in say a country like Thailand.
JR- What’s it like living in London these days?
OLA-Well, it’s a very expensive city. It is obviously old and a lot of its charm for me is the history. When I came over originally in 1991 it had a real underground squat culture. That changed; during the economic boom it became quite gentrified with Starbucks and yuppie chains everywhere and it lost that edginess that you can still find in some places like Berlin.
JR- What can listeners expect from Ola's Kool Kitchen in 2012?
OLA- Hmmm….I don’t know. But I tell you what I’d like to do, I’d like to do a stint on FM or BBC6 or maybe a show somewhere on FM in Thailand or Malaysia and I’d love to kick start a South-East Asian ATP for sure. One can always dream, and maybe, just maybe it can be real!
Once a Chicago based musician now a Los Angeles resident but still considers himself homeless, let me introduce to you Guy Blakeslee of The Entrance Band.
Now currently on tour in Europe, The Entrance Band carries on with there spiritual psychedelic groove down the German Autobahn spreading there sound vibrations and psychedelic performances to European audiences.
JR- Do you believe in the Third Eye?
GB- The "third eye" exists and is not something to "believe in"- it's a gland in our brains called the Pineal Gland, located roughly where Indian people put bind his of small dots... it is the source of DMT which is the brain's natural psychedelic. Fluoride in drinking water is known to calcify (block/clog) the Pineal Gland and so it should be avoided. if you really want to lube up your third eye, try taking this stuff called "skate liver oil" which is known to help DE-calcify the Pineal Gland. Meditation, use of psychedelics, and certain forms of breathing are viable ways to activate the third eye. "Holotropic Breath work" is a technique developed by Stanislav Grof, a deep Trans personal Psychologist, for tapping into third eye energies for awareness and healing.. Basically this breathing technique is the most profound psychedelic experience I've had, it changed my life and I highly recommend that people interested in spirit or psyche try it in the presence of a certified guide.. look it up and do it! tripping through breathing is very powerful and no drugs or negative side effects are necessary if you do it right with respect.
JR- Do you consider yourself a Seer ?
GB- Yes. I've had visions my whole life and only in the past year or so have. I’ve been able to understand and try to integrate this part of my experience into some kind of balanced approach to living. that said, visions are available to everyone and it's just a matter of being open to them, accepting them, seeking them, understanding what and where they come from and practicing the art of carrying out or exploring he visions while they are fresh and connecting them to the larger (infinite) web of consciousness.
JR- Can you remember when you had your first higher consciousness experience?
GB- I can't remember the first but I remember many moments of "peak consciousness" as a child.. moments where everything would slow down and I could see or perceive more than one dimension at the same time. before I ever ingested any substances for mind expansion I used to go into mystical states and manic trance states all the time, I just didn't understand that they were a part of existence so I would keep it to myself and think I might be crazy.. Schizophrenia runs in my family as does substance abuse so I used to be pretty afraid and cautious in such matters.
When I began performing music in front of other people, I found that my way of performing involves entering such an expanded state that the music/sound/voice/words are coming from a higher or non-ordinary state of consciousness. I did this for many years before I ever even drank my first sip of wine. I used to have similar cathartic/psycho-spiritual experiences at shows when I was just dancing in the audience.. Me and my friends would get so riled up that we were in another world, rolling on the floor laughing and crying and screaming and shaking.... Music is the strongest drug I can think of and it's no mistake that music and drugs have a relationship just as it makes sense that music is connected to religion and spirituality and that drugs are connected to religion and spirituality. I'm reading a book right now called "drugs and Magic" by George Andrews, and it is very informative and inspiring in taking us on a tour through the history and complexity of spiritual cultures' relations to the sacred substances for millenia.
JR- Have you ever experimented with psychedelic environments, ingestion, consumption, and or some out of body experience when song writing?
GB- Yes. Always.
JR- Do you find spirituality in all your music , the band members?
GB- Yes, and in all things, always. What that means to each is subjective, but our common ground proves this to be true for all of us.
JR- Have you ever wanted to not perform because of a certain environment or vibe in a certain setting or room or particular day?
GB- I always want to perform.. Sometimes I battle with the energy that might make me not want to engage a certain space or place or moment.
But I do so within the performance. Work it out through expression and try to find a balance within the energy in order to exorcise demons without harshing anyone's trip and sometimes the best way to find balance is through testing the extremes.
JR- Do you consider yourself clairvoyant ?
GB- No. I say no because all of us have the capacity to see more than we do, and time, being circular, doesn't really have a past or future. and also because I often do not see things until it's later on... and I realize my deeper self was perceiving them but my logical mind was blocking the reception of visions of premonitions. Paz is totally clairvoyant and so are a lot of my closest loves in life... but I think we're all capable of seeing so much and we need to learn in our own ways to make the most of this experience of life by being as open and expanded as we can, always widening and narrowing and exploring the limits of everything in our consciousness.... "it's an odyssey to the limits of the ultimate... he who hears will remain stretched out in his place"
JR- How has your resident gigs at the former Space-land , now called The Satellite been?
GB- Our residency in LA was quite an epic experience! we played 5 shows, every Thursday for 5 weeks. It was great to be able to bring
people together to trip out and dance.. A bunch of great bands played with us including the Allah-La's, Matt Baldwin, Sun Araw and even MAVIS STAPLES! She's my favorite singer so meeting her is definitely one of the highlights of my life so far. The residency was very helpful to prepare us for the tour we're on now... Each week had a different vibration, including one "acoustic" show.. We also got our friends Farmer Dave and Brad Caulkins to join us on stage for a few songs on Pedal Steel and Saxophone..
at the 4th show, a bunch of freaks got on stage and were dancing and Paz took off her top and things just went off from there.
Life hasn't really been the same since that moment when I looked over and saw her shimmying and smiling topless onstage.. the energy has really exploded around us and it's quite an adventure every day!
JR- Do you find it home in L.A.? Do you ever miss Chicago?
GB- I make my home everywhere I go. My true love lives in LA so LA is my home, but I've been obsessing on moving to London since
I've been on this UK/European tour. I used to live in Brighton UK years ago. I love the feeling of being a foreigner, a stranger in a new land. So as of now I'm "homeless" but everyday I am taken care of for doing what I love.. not a bad life I say! LA is the first place that I moved to where I stayed for more than a few months..and I've been in LA for 6 or 7 years, so yes it's Home. I miss Chicago all the time. We just played there and had a blast so I get to go there pretty often.
JR- I know you're a lefty and play with the guitar just flipped with the heavier strings down towards the feet. Do you find yourself coming up with guitar lines that are just completely whacked and original from the traditional right hand guitar players?
GB- I don't have any point of reference. I don't understand how normal people play with the strings the normal way. I just do what I do. I am whacked as a human being and my guitar playing is just an expression of that state of being whacked. I think and feel backwards and upside down. Someday I will seem right-side-up when things have changed a little more. The change is underway.
JR- Do you have a certain formula to writing songs?
GB- No! Coffee and some mild form of intoxication help, but inspiration has no formula. It helps to be awake in the quiet hours when everyone else is asleep, and it helps to have an open heart which leads to the kind of pain that is transformable into inspiration.
We write all of our new songs together now so there's even less of a formula.... see next question :)
JR- Is the song already formatted before the band hears it?
GB- NO! we write all of our songs together. In the past, like on our last "record", there were some songs that existed in some form that I brought to the band.. but even then, the real "song" comes to be through our collaboration. At this point though, it is fully collaborative. Most of our newest songs came from a bass idea that Paz had and we build from there, but there are no rules and every song has a different life-form.
JR- Being in a three piece do you find it easier over all to tour and manage personalities with the band ?
GB- We are very fortunate to get along so well and we've worked very hard as a trio to maintain a function and form that is only possible with the 3 of us. I can't imagine being in another band or trying to make it work with another individual involved. We have a special triangular balance that allows us to do what we do in a fluid way . the key is that we love and respect each other and we all bring energies and qualities that complete and even each other out. We own our school bus named "BB" and since last Fall we've been touring the USA in BB where we each have a bed... it's just the 3 of us with no crew or anyone else, and we feel very free and self-sufficient doing things this way. wherever we are, we can feel at home, and we're really evolved when it comes to respecting each others space in such a small bubble. Right now we're riding in another bus from the UK driven by our new friend Sam from Wales. He's another part of our bubble right now and a righteous one at that. As I type he's blasting us down the Autobahn to make our gig in Halle Germany tonight. Sam rules, and Paz and Derek are the best.
JR- What do you like about touring?
GB- Touring is my way of life, so I'd say- Everything! I love the opportunity to travel and be tapped in to the creative mind of the people of earth... it doesn't get much better than that for a gypsy like me. Touring is very unique because in addition to traveling, we are also welcomed and plugged in to the community that would likely be our community if we were to live in each town... it's amazing, a dream come to life that never ends, just bends and blends.
JR- What don't you like about touring?
GB- There's really not much I don't like about it. I have grown up touring and have learned my way of being through touring. I get restless if I'm in the same place for too long. When we were not touring for a bunch of years I lose my mind. I have found it again now that we're on the road. We just toured the entire USA for a month opening for the Kills, a great band, and all of the shows were in large venues and sold out. Now we're on a long European tour and have played all kinds of different shows so far, everything from a tiny last minute show in London to a huge London show opening for Warpaint, to a rad show in a small Belgian town.. each day is different. Variety is the spice of life.
JR- Whats the best show you have ever played as of this date?
GB- That would be really hard to answer... I'd have to say our show at All Tomorrow's Parties festival in Minehead, UK a couple weeks ago was up there with the most epic experiences of my life! Paz was kicked out of the festival the night we arrived for climbing to the top of the Pavilion, a huge white tent structure that the concerts were happening in. By the time she was finally allowed to return to the site after much negotiation, we played our most psychedelic set ever and then she had to leave again. The security guards were obsessed with her and didn't want her to stay on the festival grounds. I know that show is a legend already and it was just a couple weeks ago. Another really great show we played recently was the one I mentioned at the Satellite where everyone got naked.
JR- How does The Entrance Band approach recording in the studio?
GB- Differently eveytime. for our most recent release, a 7" single released on our friend Dirk's label Black Tent Press, we set up in our friend's basement in San Clemente and recorded ourselves, with Paz at the controls. All live in one take. The 7" is a pair of covers, featuring "I Want You" by the Troggs and "A house is not a motel" by LOVE, one of our favorite bands.
JR- Are you going old school with tape or digital with some DAW program?
GB- We've done both... the most important things is the feel and the vibe of the performances so it just depends on the situation. i love tape like anyone and would prefer to do things that way. Limitations are good for the creative process and the analog , whether tape or film or typewriters or whatever, usually sounds or looks or feels best. But digital recording done in the spirit of analog recording can sound and feel just as good.
JR- Whats your guitar , amp, effects set up for a live show, what kind of equipment are you using?
GB- I play a 1988 Stratocaster that was made by Fender for Robbie Robertson of Dylan/The Band. A friend used to date Robbie's daughter and Robbie gave it to my friend many years ago. I also play Paz's brother's Jaguar from 1967, her brother Luciano was a musician and he passed away before I got a chance to meet him, so I know him through playing his treasured axe. But I didn't bring that on the flight overseas because I wanted to be sure it was safe and sound. I borrow amps since I don't own one, and will not tell anyone the secrets of which pedals I use, though I will say that I've been removing a lot of effects from my chain to simplify and clarify. Reverb is essential.
JR- .Do you think bands should still put out physical products like CD's, and or Vinyl ?
GB- CD's suck! Vinyl is forever. my favorite medium will always be cassettes.
JR- People today don't want to pay for music it seems these days , whats your take on that?
GB- Music is free. Objects like vinyl should cost money and should be beautiful or special enough to be worth buying and owning. I don't have a record player and I give any records that I get or have to my lover for safe keeping. Paying to see a live show is only fair and I think performance is the most vital aspect of music. File-sharing is a great way to hear things and share music, so I have no problem with that, and I think musicians should get way more creative with the objects we sell in order to justify asking for any money over the production costs.
JR- Are there any artist or bands right now that your really into?
GB- Kurt Vile, Beach House, Warpaint, Animal Collective, the Growlers, Farmer Dave, Dungen, Spectrum/Sonic Boom, the Allah La's,Nick Waterhouse, Daniel Higgs, Celebration, Panda Bear, Slipping into Darkness, the Black Angels, Wanda Jackson, Shazzula Nebula, Sic Alps, Moon Duo, Wooden Shjips, Gil ScottHeron, Andre 3000 &Kelis together, Dizzee Rascal, James Blackshaw, Thurton Moore/Sonic Youth, Radiohead, Bob Dylan (!), HighLife, Gang Gang Dance, Chain and the Gang, The Kills (!), Tonie Joy (from Baltimore), Aqua Serge (from France), Holly Golightly & the Greenhornes, Jack White as a producer &label head, MIA, Omar S (detroit house music), Matt Baldwin, Mavis Staples (!), Cat Power, Sun Araw, Zomes, Thee Oh Sees, modern hip hop radio,
Witch House Music, and then there's all this insanely awesome stuff from Afrika-- Tinariwen, Group Bombino, Group Doueh, Group INerane, Khaira Arby from Mali, Vieux Farka Toure, Femi Kuti, Konono #1- everything that Mississippi Records from Portland does is very exceptional, as well as the Sublime Frequencies label which is run by Alan and Richard Bishop of the Sun City Girls
JR- What advice can you give to anybody that you have learned from personal experience playing music all these years?
GB- Don't take heroin unless you really don't wanna live anymore. At that point you're on your own, and if you're at that point, reconsider. I've never done it myself but have seen many of the most amazing and creatively talented people in our generation and of course previous ones destroyed by it. Not worth it. Also avoid cults, especially Scientology. Also, major labels are evil and clueless and we should all strive for true independence and autonomy from the betterment of culture and life in general.
JR- What can fans expect from The Entrance band for 2011?
GB- A new record of all new songs, and a never ending world tour, a ton of new media projects for the internet and as much of a contribution as we can possibly make to the global shift in consciousness that is taking place and surfing!
JR- Guy its been a pleasure to interview you. Thank you for all your time and sharing your experiences here at The Underground Echo. I do have to admit that I have really enjoyed your insights and your psychedelic experiences. The Entrance Band is not your average band by far and is a must see concert to attend. Have a great European tour! People make sure to go to The Entrance Band for more tour dates and info on the band.
Thanks to Guy Blakeslee from The Entrance Band for the interview. He sent me some real interesting things that I think the readers might get a kick out of. Look for this real soon in the Blogazine The Underground Echo.
Live performance: The Hi-Hos, Black Market Sunday, Beyond Veronica, Molino
Where:
Redwood Bar & Grill
3.5 star rating
based on 359 reviews
316 W 2nd St
Los Angeles, CA 90012
(213) 680-2600
What/Why:
**********************Bar muda Triangle in downtown LA.********************** ****************
There are a lot of music venues in Los Angeles and there has got to be more than a thousand bands in this city of angels . So you got your choice, On Saturday July 9th 2011 you may consider a downtown venue like The Redwood Bar.
With a Nautical Pirate theme and cheap drinks and a friendly staff who can satisfy your quenching thirst its a overall very inexpensive place. 3 people, 8 beers, 3 mixed drinks, and 2 meals for under $100. What a deal!!
Entertainment this night is going to be an eclectic smash bill of Home Grown Los Angeles
and Portland entertainment.
Live Performances from :
(Los Angeles)
Alt-Country Derivative -The Hi-Hos http://www.myspace.com...
THE HI-HOS******************* ************************* ************************* **************
Lachance chastises Camille for not doing anything with her life beyond throwing bitchin' parties and having occasional poetic thoughts at 4 am. Camille submits to Dave's iron will and becomes raging egomaniac, writes some songs. Enlists hapless friends and talent when they're too drunk to object. Signs contracts in blood; the rest is history
http://youtu.be/-d5SKA...
(Portland)
Post Punk -Black Market Sunday http://www.blackmarket...
BLACK MARKET SUNDAY******************* ************************* ************************
Hailing from Portland, Oregon. Black Market Sunday is an American Rock Band.
Established in 2008, Black Market Sunday broke into the underground music scene with their self titled , self released , debut album, Black Market Sunday.
The band is currently working on their sophomore album, titled Regeneration. Black Market Sunday Music is released to the public one at a time on the band's website.
Black Market Sunday was started by founder Jay Raker in 2008.
2009 - 2011 Black Market Sunday has increased there popularity through live performances and internet social networking.
The band has been classified to the genre of Post Punk , Experimental, Goth, Shoegaze and Psychedelic.
Bands similar to Black Market Sunday : Old Pink Floyd, Tones On Tail, Love And Rockets, The Sisters Of Mercy, Bauhaus, Christian Death, The Warlocks, A Place To Bury Strangers, The Black Angels, Joy Division, Black Rebel Motorcycle Club, Depeche Mode, Nine Inch Nails,The Rolling Stones, She Wants Revenge, The Church, The Cure.
Beyond Veronica banded in the spring of 2002 and have found their niche with a retro, power pop sound and sexy style to boot.
Just when pioneering female rock 'n roll rebels such as The Runaways, Blondie and The Avengers seemed to be a thing of the past,
front woman Bonnie Veronica took the reins and led her band into a resurgence of what was all but lost in the mainstream.
This accomplished five-piece ensemble is decidedly distinctive in every aural arena.
In 2006 founding members Bonnie Veronica and Kirk Larsen relocated to Portland, Oregon, and teamed with bassist Neesie Doss, drummer Kurt Steinke, and keys/vocalist Earl Temp. They plan to release their second album, "Hard Times For Dreamers", in 2011.
Do not listen to these guys without ear plugs because they will leave your ears and the rest of your body reverberating like their sound does on stage. I wanted more last night only to realize their sound is TOO big for the spot they played at. Seriously, Molino has sheer power coming out this four piece band and well worth checking out."
http://www.youtube.com...
July 9th 2011
The Redwood bar And Grill
316 West 2nd St # 202
Los Angeles, CA 90012-3527
(213) 680-2600
