For the past two weeks, I’ve been participating in a summer program at Emerson College specifically for journalism. We’ve worked on our writing skills, reporting skills, and on-camera skills throughout, and have been publishing all our work as we go! You can view all the work I did on the ECHSI blog here.
Originally posted on Ouch! My Ego
Dancing in the Dark: An Interview with George Lewis Jr. of Twin Shadow
The very first time I heard of Twin Shadow was back in my eighth grade year, and it just so happened to be because of one of Urban Outfitters’ LSTN mixtapes — a free monthly compilation of songs that UO published back in 2010 in order to further it’s hipster credentials. Though the mixtapes spanned only 15 volumes and abruptly stopped, my love for Twin Shadow has only grown since I first heard “Slow” through my tinny, pink gummy headphones.
The music of Twin Shadow is incredibly unique: chock-full of dark, groovy guitar riffs with strong R&B undertones and accompanied by Lewis’ amber voice, giving every listener vivid images of lost love and longing through his poetic lyrics. I had the chance to see him for the first time at the 2011 Austin City Limits Festival, and then exactly one year later in McAllen, where I got to meet him and briefly speak with him about his music and his life (shout out to Patrick Garcia for making this happen!). It seems that my story with Twin Shadow is a continued one, as I got the opportunity to speak with him the other day and ask him a couple of questions.
When I called him, he was driving through Los Angeles, where he’s now living. He recently moved to Hollywood from Brooklyn in order to finish polishing up details on the third album, which will no doubt live up to the standards that its predecessors have established. Throughout this morning drive, I got to speak with him about video games, dancing bachata, and Kendrick Lamar.
You visited McAllen the first time in September of 2012, and now you’re back to headline Galax Z Fair III. What made you want to come back?
I always feel like our Texas shows are our best shows. It’s kind of weird, in a way. It was especially nice to go to McAllen and to go to this kind of off-the-beaten path place and have so many people enjoy our music. We always like going to smaller towns to play shows because it’s really worth it.
What’s changed between then and now?
I can’t even remember when we were there. I know we were there, but I don’t remember at what point in Twin Shadow we were there. I know it was after the second record came out, but not too much has changed. I’ve been working on this new record. The band hasn’t been playing out too much. We’ll probably play a couple of new songs while we’re there, maybe two or three. We’ll be testing out all our new material on you guys, and then say to the crowd in Austin that it’s the first time anyone’s heard it. So you all will actually be the first to hear it.
In regards to your new music, do the songs sound anything like “Old Love/New Love”?
It’s kind of interesting. That song is much more dance-y, and so far that hasn’t happened much on the record. But it could change, the record is still not done yet. We’ll see what happens.
“Old Love/New Love” was recorded for Grand Theft Auto V, and you also lent your voice for the radio host of the “Radio Mirror Park” station in the game. How did you become involved with Rockstar Games?
I’ve known those guys for a while now, and we’d always talked about doing something. I’ve kind of become friends with a bunch of those guys over there, and we just talked about doing something together for a long time, whether it was soundtrack work or whatever, and they had the new Grand Theft Auto they were developing, and they reached out to me and were wondering if I wanted to host the radio show and do songs for the soundtrack, and that was it.
Do you play Grand Theft Auto?
Haha! You know, they gave me a copy of the game for the Xbox. I’m one of those people who I’ve always been bad at video games, and I hate being bad at something. I’m really awful at video games; always have been, always will be. I played it a few times. I still haven’t heard my songs playing in the game, so I don’t have that experience yet. I play it time to time, but often times with video games I’ll find myself playing it for a day and then never playing again.
I just recently heard the cover of The Smiths’ “There Is A Light That Never Goes Out” that you did with Samantha Urbani for your UNDER THE CVRS series. Which song did you enjoy recording the most?
Probably my 112 cover of “Cupid”. That was like, my favorite song when I was in high school. That song soundtracked my high school years. That was really cool, and I liked that one the most. But they were all really fun to record, it was fun to record other stuff.
Was one of them more difficult to do than the others?
I mean, reinterpreting a Smiths’ song isn’t easy. I think all of them were kind of a challenge in a way because they’re all really, like, big huge amazing songs. And it’s always pretty easy to fuck up a cover. But it was fun, I didn’t really have to think about it.
What were your high school years like?
Ha, well I didn’t really go to high school. I basically dropped out of high school when I was in my sophomore year. So my high school years were actually pretty exciting. I wasn’t in school, I made a bunch of friends. Well, two of my good friends dropped out kind of alongside with me; they dropped out first and I was like “That’s a good idea!” So I dropped out and I just hung out with a lot of older kids, and it was exciting. I don’t recommend it for everybody, but for me it made a lot of sense to leave high school. A lot of it actually I can credit music to doing that, because when I dropped out I used to hang out this little club called The Blue Parrot, and I met this older guy Zach who really just taught me so much about playing guitar and songwriting. I wouldn’t have had that if I had stayed in school. So I really kind of became a musician by doing that.
My mom was funny [when I dropped out]. Since I was so young, I actually had to get signed out, like officially I had to have my parents sign for me so that I could drop out of high school. My mom actually said to me, “Well, Bill Cosby dropped out of high school, so I guess you can.” So I got the OK. She’s the best.
You were born in the Dominican Republic, and you just recently played a show in Santo Domingo at the Isle of Light Festival. What influence has being Dominican had on your music?
I grew up in America; I was born in Santo Domingo but I really grew up in Florida. I think being a Floridian has more to do with my music than being Dominican at this point. The more I spend time down there and the more I reconnect, the more influence I do think it has. I’m very interested in Dominican music, and I want to learn what I can kind of take from it, because it really is very unique and I’m very drawn to it.
So can you dance merengue? Are you a good dancer?
I can dance merengue and I can dance bachata. My salsa is not so great, though.
As an artist, is fashion and the way you present yourself a big deal to you?
I always say that it’s just like a life thing, I don’t think it has anything to do with being a musician or being in Twin Shadow. I care about presentation in everything.
Do you have any favorite designers or collections?
Right now I’m working closely with this company called the Public School. They’re doing really well; I’m a huge fan of theirs and a huge believer. I just did the music for their runway show [at New York Fashion Week]. They’re amazing. What they do is really inspiring.
Are there any artists or bands that you’re liking at the moment?
I just met up with these guys called Milo Greene, and I’m excited about new things that they’re working on. I’m super excited by Kendrick Lamar. I think he’s gonna save music.
What do you think of the apology text Macklemore sent Kendrick after winning a Grammy?
I don’t think anyone should apologize for winning an award. I mean, awards are such a joke anyways. All that matters is the impact that the music has on people’s lives. It’s nice to win an award, of course. It’s definitely a musician’s dream to win a Grammy because we all grew up thinking, “Oh, that’s the pinnacle of getting the credit you deserve,” I suppose. I think Kendrick’s music has had a much bigger impact in a real way. I know for me, listening to Kendrick’s music, it’s a given to me that he’s probably one of the greatest artists of the last ten years, and he’s just going to continue making amazing music.
Can we expect to see you in the crowd for some of the sets at Galax Z Fair III?
Yeah, for sure! I want to see what’s going on there. I’ve been kind of checked out for a while.
Originally posted on Noise Polluter
If you take St. Vincent’s discography and play a game of “One of These is Not Like the Other,” you’ll have quite a difficult time, seeing as none of the albums are like one another; each has its own distinct identity. This is what Annie Clark has come to gain praise for: crafting, innovating, and inventing sounds that redefine the very construct of pop, alternative, or whatever genre people choose to place her in, time after time. The truth is that there is no mold to fit the expansive sounds of St. Vincent.
Largely veering away from anything anyone could have expected from her, St. Vincent’s new self-titled manages to retain a very individualistic quality while at the same time taking pages from her past work, bringing forth an album well beyond the 21st century; chock-full of ear-splitting but meticulously constructed guitar riffs and lyrics that are pure poetry, while still colored with the wry humor, lovelorn nostalgia, and passive aggressiveness that St. Vincent is known for.
Songs such as “Digital Witness” and “Huey Newton” serve as the poster children of the album, both carrying an undercurrent of contempt for the technological age of today, while in different forms. The album slows down on “I Prefer Your Love,” a ballad that would presumably get lost among the fervor of riffs in other songs, but is exquisitely carried out and serves almost as a palate cleanser. “Prince Johnny,” a lyrical narrative of a boy looking to be found relevant, is quite honestly the best track on the album, and sounds like it could have been a bonus track on 2012’s Strange Mercy; however, its magnificence would have been lost among the tracks similar to it. Its inclusion on St. Vincent among the gritty riffs of “Birth in Reverse” and “Regret,” and the brilliant insanity of “Bring Me Your Loves” add a completely new dimension not only to the album, but to St. Vincent’s music overall, showing Clark not only as a true master of her craft, but also as a ever-changing, continually powerful musical force.
Originally posted on Ouch! My Ego on February 10, 2014.
Seeing Through Rose-Colored Glasses: An Interview with Frankie Rose
Back when I was an eight-year old, frizzy haired little girl, my dad bought a circular plastic star map, showing all the constellations present in the night sky, complete with labels, and a small chart showing all the constellations of the Northern Hemisphere, as well as where each one will be during a certain month.
Every time we took a trip to the beach, I would pack it into my backpack, along with my armada of Bratz dolls, and at night we would sit in the driveway and stare up into the sky, perhaps searching for the three collinear stars marking Orion’s Belt or for the familiarity that was the Big Dipper. Flash-forward to 2014: the frizzy hair persists, and my love of the stars remains fervent and has turned into looking at the stars for meaning – whether it be in the form of my astrological sign (Scorpio, if you were curious) or perhaps claiming that certain events happen because of the stars.
Surely enough, the stars have aligned and have presented the valley with a beautiful event: Frankie Rose performing at Cine El Rey this Thursday February 13.
A not-so-unfortunate cancellation of all her Pacific Northwest shows and a Valentine’s Day performance in Austin opened up a window for her to come down to McAllen and charm us with her exquisite dream-pop music, something which she has actually been seeking to do for a while. “I’ve heard only amazing things from everyone who’s been going through there,” she says, “I’ve been wanting to go down there forever, but unless you’re already sort of in Texas it doesn’t make huge amounts of sense to get down there.”
I got the chance to speak with Frankie about her Mexican heritage, being a band leader, and if blondes really do have more fun.
I’ve read that you’re of Mexican descent – where in Mexico is your family from?
My family is from Chihuahua, but they are from Texas before Texas was part of the United States, so they’re like Tejanos.
Are there any elements of Mexican culture that you’ve still retained?
I have all my grandma’s recipes – I make Pozole all the time. All that is ingrained in me, and my mom lives in Tijuana. I’m third generation American, I don’t even speak Spanish, or at least not very well so that’s a shame, I wish I did. I definitely relate more to the Mexican side of my Cultural heritage.
I love border towns, that’s why I love Tijuana and Rosarito, I love Mexican culture and I love Mexico. I’ve wanted to do a tour there forever it just, never seemed to work out so this is as close as I’m going to get, but I’ll take it! I’m really excited.
I’m currently in high school and it’s said that the music I listen to now will be what continuously influences me as I get older. What were some of your favorite artists while you were in high school?
The Smiths was the main band, I was obsessed with the Smiths all from when I was twelve and on, up into high school. That was definitely the soundtrack to my adolescence, I would say. That was my number one. The Smiths, The Cure… There are definitely influences from The Cure in my music.
Herein Wild, to me at least when I listened to it, it took on a more serious tone compared to Interstellar. To me Interstellar was like this huge, ethereal, fluid album; it resembled being in a dream, and Herein Wild was sort of waking up from that dream. Was there a certain theme or attitude you wanted to try and convey with this album?
I really like what you just said! I feel like that’s really close to how I felt about making it, actually. Herein Wild is a lot harder-edged, the drums are really present, it’s not sleepy at all, there’s not really any sleepy parts on the album. I really love the analogy you just gave actually; I think it really sums it up. There are a lot of themes actually running through Herein Wild that I don’t think I actually even intended to have. It was a vision of what was happening with me at the time, and even though they’re pop songs and they’re more straightforward and more serious, the lyrics are serious and dark; it’s a dark record, even though it’s poppier.
Was the writing process different compared to your other albums?
With Herein Wild I had four months to turn around an entire record, so it was really different than Interstellar. I wrote songs for Interstellar for like a year before we recorded it and we worked on it in pieces so I had a lot more time to work on that one. So it definitely was a little bit different in terms of the writing process.
I’ve been looking at some pictures of you recently and it hasn’t been too long since you dyed your hair blonde. Do blondes really have more fun?
Haha! I have more fun looking at my pictures. I think if you have black hair, your hair just kind of blends into the background of the photograph, so it’s crazy ‘cause I can actually see what my hair looks like for once! That’s kind of fun. So yeah, I guess blondes do have more fun.
I’ve also noticed that you’ve got some really cool tattoos on your arms! I’m a big fan of the significance that tattoos hold – do yours mean anything in particular?
You know it’s so funny, I forget. I got all my tattoos when I was really young, so now I forget that I have them. If I could go back I probably would not have done it at all. It’s sort of the first thing people notice about you when they see you, which is why I would tell anybody not to get a tattoo. You don’t want to be defined by a tattoo. It’s just some scribbles on my arm and none of them really mean anything!
You’re a former member of Crystal Stilts, Dum Dum Girls, and Vivian Girls. Is there something that you took from being in these bands that found itself into your solo work? Maybe things you picked up from other members?
Each one was a really great learning experience for me, sometimes positive and sometimes negative. I definitely took away things from each band. For example, JB of Crystal Stilts is an amazing guitar player and I learned so much from him. I learned how to run a band, how to be a band leader, I learned what things I didn’t want to do, how I didn’t want to run a band. Just sonically I absorbed something from all the bands, what it is exactly I couldn’t tell you. From record to record you learn more and your style changes.
Would you say you prefer working with yourself being the band leader as opposed to being in a band?
I really do like working alone. I like working with a producer though, because I really do like having someone to bounce my ideas off of, and there’s a lot of things that I’m not particularly skilled at, like I’ll hear something – a synth I want or something, I’m not the most amazing synth wizard in the world – so it’s nice to have someone around to help shape the ideas, like the production ideas that I have, because that’s my strong point. I’m not a great musician, I just think that I have ideas, and I want to see them manifested. And that is the most gratifying thing, to have your sort of vision realized.
You currently live in Brooklyn, and countless bands make a sort of “pilgrimage” to Brooklyn, you know, and they start themselves up and become these Brooklyn-esque bands. How has living in Brooklyn inspired you?
I don’t think that I’m specifically influenced; in fact, I think being in Brooklyn is detrimental to me because there’s no space. I really don’t go outside for inspiration. It’s purely internal for me. You could pretty much lock me in a room, and I would find all I need in there. I could be anywhere.
Your show in McAllen is the night before Valentine’s Day. I have to ask – are you the romantic type?
No, I’m really not. It’s terrible but I’m not. I’ll go out to dinner with friends but not a big thing. I don’t like big productions.
Through the Glass: An Interview with Ida No, by Isabella Soto
Back in July of 2012, McAllen got its first taste of Glass Candy, the electronic duo comprised of producer Johnny Jewel and frontwoman Ida No. What we experienced was a fresh, fun, energetic show full of the lush and bubbly Italo-disco music that has become synonymous with their name. And on November 10th, we’re going to bust out our dancing shoes once again and head out to Cine El Rey for their show with fellow Italians Do It Better label-mates,Chromatics. Recently, I had the chance to ask Ida No a few questions on her life and on Glass Candy. Here is our conversation:
I was reading that you were born on September 28, the same day as Brigitte Bardot, and that you have the same blood type as Marilyn Monroe. Do you feel a certain connection to either of these two iconic women in any aspects of your life? Do you try to establish yourself as an icon as well?
Ida No: I certainly wouldn’t ever think of myself as being iconic at their level, but I do really like the idea of the female icon. I’ve been very inspired by strong, outspoken women in my life.Siouxsie Sioux, Debbie Harry, and Nina Hagen were my obsessions when I was a teenager and probably my biggest influence in deciding to cast off my shyness and be the front woman of a band. All three of them have a very strong presence and let their unique perspectives on life come through in their lyrics. Those are the main themes I focus on in Glass Candy. Iconic ideas. I am very happy to hold up my little candle to their giant stars because these women have given me a lot.
There’s a line in “Beatific” that says, “People’s rules and what they do are often different things.” As a musician, do you have rules that you have to set for yourself while making music? If you do, are they more to steer you in the direction of what you want to achieve, or to keep you from doing a particular thing?
IN: The only rule is there are no rules. That’s the reason Glass Candy has remained fiercely independent. For me it would be nothing without all the exploration that leads to revelation.
IN: That’s a really good question and one that I still can’t quite figure out. I really love personal style, but that’s different than fashion. I love fashion, but I am not sure I really understand it. I enjoy it more in the way that I enjoy a beautiful painting, or a film, or an extravagant multi-tiered cake, but I don’t understand how you would wear any of those.
In times where you aren’t touring of making music, what do you like to do?
IN: I just started taking ballet again, and I’m training with classical piano and voice.
From what I understand you and Johnny Jewel are almost opposites, but you balance each other out. In what ways is he different from you, and you from him? How do you play off of each other’s differences?
IN: John is the nucleus and I’m the electron. John has two feet firmly on the ground and I’m out circling the stratosphere. It’s like how the flower needs the root and vice versa. How nature sustains and the world goes around because of the dynamic tension between opposites. That’s Glass Candy.
What artists do you consider to be some of Glass Candy’s primary influences? Are there any artists that you particularly identify with?
IN: Our influences range from Kraftwerk to 70’s neon punk like the Sex Pistols, 60’s girl groups like the Shangri-Las and The Ronettes, 80’s synth music like Gary Numan, Dark Dayand Suicide, and a huge dose of disco music as well as hip hop, The Velvet Underground, opera, film soundtracks and vintage TV theme songs. We love The Rocky Horror Picture Show. I can’t say I identify with any particular artist. I just admire them through the glass.
What’s the writing and recording process like? As opposed to conventional recording, is there anything that is done differently?
IN: I don’t know how conventional recording is done but I’m pretty sure that’s not how we’re doing it. John is the only person I have ever recorded with. We do our creating separately in different cities, and then fuse it together in a “big bang” kind of moment and boom…. there’s a song where previously there was a void. As for the actual process of this music being committed onto some form of physical media, I couldn’t tell you a thing. As many years as I’ve sat there in the studio and stared at John while he’s mixing and cutting Glass Candy tracks, I still have no idea what he’s doing over there because I’m a Libra and it’s way too complicated. He’s Gemini with a Libra moon, so we find our way.
IN: I like to read Yogic philosophy. I love Sri Aurobindo. There’s a really great book by his disciple Satprem called “The Adventure Of Consciousness” that is one of my all time favorites. Another book I revisit a lot is “The Mark” by Maurice Nicoll. I love the poetry of Sylvia Plath, and anything by J.D. Salinger.
The first time you played in McAllen was in July of last year. Had you heard about McAllen before coming down and playing here? Did what you heard before and what you experienced after differ?
IN: I had never heard of McAllen before, but I think it’s the cutest and most mysterious place ever. I always keep a list of cities that intrigue me. I told John I wanted to come back next time we were in Texas.
As a band that has been together for over 15 years, how do you believe your sound has developed over time? In achieving the sound you have now, was it a sudden change, or did it just come naturally as a result of both yourself and Johnny maturing?
IN: It has grown as we have grown. It would feel unnatural to never change.
It seems as though Alberto Rossini is the director of choice not only for Glass Candy’s videos, but for the videos of almost all the groups signed to Italians Do It Better. Is there a reason as to why you enjoy working with him so much?
Yeah, it seems like he’s just one of us. He always knows how to please us. It’s like he shares a brain with us. His films are not narrative. Just mood, and we of course love that.
IN: Glass Candy has a surprise addition to its act, and I think both bands will be extra excited because now McAllen is a nostalgic place for us to come back to.
Originally posted on Tigersblood.org on October 23, 2013.
Good Good Things: Isabella Soto interviews Colleen Green
On November 1st, McAllen will be graced with Colleen Green’s presence for the second time this year – a rarity for out-of-state acts down here in the valley. A California native, she is the singular force behind her sticky-sweet stoner punk, singing simple, breathy lyrics over her signature drum machine and accompanied by her effortlessly cool guitar work. Her most recent release, Sock it to Me (Hardly Art), is almost a slap in the face to what many musicians try to put out there today. It’s completely honest, unpretentious, and pretty damn awesome. I had the opportunity to speak with Colleen over the phone and ask her some questions about her music, her life, and of course, weed.
The last time you came down to McAllen was in April of this year. What’s changed between then and now?
Colleen Green: I always do different stuff from show to show, so the last time that I came to McAllen was actually me doing something “different” because I was playing with a bass player. I usually play alone, so that was kind of a different, special thing. This time around I’ll just be playing solo like I normally do, so that’ll be a good chance for McAllen to come out and see me how I usually am and how I’m supposed to be experienced.
I’ve noticed that you’re a very DIY person when it comes to writing your music, recording, and performing. Are there certain advantages and disadvantages that come with flying solo?
CG: Definitely, there are advantages and disadvantages just like with any way you do it. Unfortunately there’s no perfect way to go about doing stuff, but I really like to do things myself because I have total control over everything and that way I know it’s coming out the way I wanted it and the way I envisioned it, and you don’t have to deal with other people’s opinions and egos. The cons with it is that who knows what kind of music I could make if I worked with other people, and I actually am planning with collaborating with a lot of different people, I just had to work up to that point where I felt comfortable enough to work with other people and share ideas with other people ‘cause it’s really scary and really hard. So in working alone you might not get to experience what you would if you were working with another person, and it does get to be a lot of work.
You’re originally from Massachusetts but you now live in California. Do you believe your music is influenced more by the lifestyle of the west coast, the east coast, or is it more about your experiences in those places?
CG: It’s mostly based on my experiences, for sure. I grew up listening to a lot of California bands, Sublime was my first favorite band and I always wanted to do everything like them, like I wanted to live by the beach and I really identified with that whole vibe. So I guess that kind of California feel does come through just because during my formative years that’s what was seeping into my brain. My values and just the way that I am and my life are definitely shaped by New England and I’m still New England to the heart, like I don’t really feel like I fit in that well in California. Well I do! But I’m different. My mindset is different. So I would say I have a little bit from the east coast, a little bit from California, and I just take all the things that I’ve experienced from every place I’ve ever lived and everyone I’ve ever met and everything I’ve ever done and that’s what I tend to put into my songs.
You’ve cited early blink-182 and The Ramones as inspirations for your music. Are there any artists right now that you’re especially liking?
CG: I love Dent May’s new album. He’s my buddy and he just put out a new album, he has this song “Born Too Late” on it that I think is such a good pop song, like I can’t believe that my friend made it and I hear it on the radio all the time which I think is really, really great, so I like him. I love White Fang and The Memories, the two bands that I’m on tour with. They’re great. I love JEFF the Brotherhood, and I like Parquet Courts too.
So a few of the bands you mentioned are signed with Burger Records and you just finished touring with some of them on the Burgerama tour a few days ago. How was it working with all those bands, and Burger Records overall?
CG: I love Burger Records and I love Sean and Lee. I love hanging out with them; they’re really cool and nice and they do a lot of really cool stuff. They love music, which is great, and it was really, really fun being on the Burger tour. I was the only girl, which was kind of overwhelming just because there were like twenty guys and me, but everyone was so nice and I didn’t feel weird about being the only girl or anything like that, I didn’t feel left out or anything. They’re a wild bunch though — it was wild. It was really fun. Like, I didn’t really know too much about The Growlers when we started but by the end of the tour I was like “These guys are so good” and I never got sick of watching them every night. I love Cosmonauts- they’re great, and the Growlers really grew on me a lot and it was really sad when we had to leave.
There’s a very intimate feeling that comes with listening to your music. It’s very stripped down and no-nonsense, but it still packs a punch. As an artist and when it comes to writing your music, do you tend to stick to your guns or are there times where you just say “fuck it” and experiment?
CG: I always want to write the perfect pop song, but there have been times where I’ve started something and I have to remind myself that the song doesn’t always have to be in one format- it doesn’t always have to be verse-chorus-verse-chorus, it can be anything you want. I’m into the idea of having some songs on the album that you wouldn’t really see being on the radio, like they don’t have that sound, but on the album it could be really cool and it kind of serves as punctuation between the songs that are super commercial and super poppy that you could hear on the radio. I like to keep that in mind while I’m writing and recording and I always remind myself that it doesn’t have to be one thing; it doesn’t have to be what people are expecting and it’s your art and you have that freedom, like that’s the most freedom in the world, when you’re creating art and it can be anything you want, that’s what I like about it.
I was reading that when you first moved to California you started a music venue out of your living room, the Full House House. How was that? Did it influence you in any way?
CG: It was amazing! It was really fun. We lived in a free-standing house in Oakland, which is rare, so we were like, we have to have shows here, and it turned out to be just a really great way to make new friends. I was in a band at the time and we would just kind of invite bands that we liked to come play and then we’d maybe play with them or at least we’d just hang out with them and meet new people and provide a fun spot for them to play. It was super wholesome, it was like going to your parents house for a while, and that’s what I wanted it to be, like super comfy and pleasant to be in, but then at the same time you could go to a really cool punk show. But yeah, when we first moved to Oakland we realized that there were really no venues there and that mostly everyone was having house shows ‘cause the cops don’t give a fuck in Oakland and you can pretty much just do whatever you want, so we were just like “Oh, we need to take advantage of this,” and it turned out to be a lot of fun for a long time until I moved out, and then my friend starting having like crust-punk shows and metal shows there every night and they totally destroyed the house, and I was really sad but we had a really good run.
How do you believe that your music has changed from your first release, Milo Goes to Compton, to Sock it to Me?
CG: I think the songs on Sock it to Me are a little different. They’re the same, but the structures are a little different. Like “Taxi Driver,” doesn’t really have a chorus, I mean it kind of does, it has repeating parts but it doesn’t really have, like, that chorus. I don’t know, for Sock it to Me I just wanted to make like another version of Milo Goes to Compton. That was my idea, and I really like all those songs and that was the kind of album I wanted to make, like I want to have a bunch of poppy songs and a couple of songs that just stay on the album, and I guess because I’m older now and I’ve been writing songs for these past three years, like I’ve just been playing music and writing songs straight through the whole time, so I run out of some ideas or I use up some ideas and have to just come up with new songs and whatever comes out comes out.
I can see what you mean when you say that, so could it be said that Sock it to Me is the 2013 version of Milo Goes to Compton?
CG: Yeah, totally! I feel like Milo Goes to Compton was me in record form, and I was a different person three years ago, like I was still me, but I kind of was a different person. Three years have gone by, I’ve done so much touring and I’ve met so many inspirational bands and people and have just thought so much more about music and about what I want to do and what I want my music to be and so it’s three years later, and now I’m writing another album, and that’s just kind of me now. Sock it to Me is just what I’m up to now, I guess.
CG: Yeah, the last time I played there I was just pleasantly surprised by the amount of kids that were there and their enthusiasm for the bands that were playing ‘cause they’re pretty far away from a lot of stuff it seems, but they had a cool little scene going on there, like the local bands we played with were great and everyone was really nice and excited and everyone was like “Thank you so much for coming here!” It felt really good. People in the big cities are excited too, if they like your music, but I think they’re less likely to give new bands a chance just because in a place like New York City where they have it all, they’ve seen it all, and they can get whatever they want any time of day or night, it isn’t that big of a deal to have interesting acts come through, like they might get more overlooked. But in a place like McAllen, I guess not that many bands go down there, so we were really happy to be able to go down there and I’m really excited to go back there again and I hope it was as good as it was last time. It was really nice.
It’s no secret that you’re a fan of weed. What’s the craziest/weirdest smoke session you’ve had on tour or in general?
CG: Oh man, I don’t know, there have been a lot of smoke sessions on tour. Well, this was a pretty cool thing that happened. It was back in March, I was on the Burger Caravan and we went to South by Southwest, so we were driving across Arizona and New Mexico going home, and they don’t really like weed that much in those states, like if you get caught with it it’s not that cool, so Sean from Burger Records had actually planted a bag of weed at a rest area right at the California-Arizona state border before we left, like it was the last rest stop before you got into Arizona. He planted it near a rock and then penned it on his GPS, and it was there during the whole time we were on tour, and we were going through these southwest states on our way home and we were hurting, you know like, fuck! We don’t have any weed! We need to get high! I feel like we drove all night long. It was like seven in the morning and the sun was coming up it was just me and Sean and Lee and Gap Dream, that was our van, and everyone else was asleep. I was in the front seat and Sean was driving and I had just woken up, and I was like “Oh, we’re about to go back into California, that’s cool!” and Sean was saying we were going to go this rest stop and so he pulls over and I’m like “Oh I know what’s going on” and I just see him go and walk off and bend down to this tree and then he like, triumphantly turns around and comes running back to the car with the bag of weed in his hand just being like “YES!” ‘cause those guys LOVE weed. I like to get high but those guys really, really love weed. So he came back and like everyone’s waking up to this amazing bag of weed that was miraculously bestowed upon us and everyone was super excited and in a good mood. It was then my job to roll the entire eighth into many joints that we just smoked all the way back to Fullerton.
Do you have any advice for musicians trying to make it out there on their own?
CG: If you want something to happen bad enough and if you keep trying at it, like if you’re passionate about something then you just have to not stop. If it’s what you really want to do just don’t stop, ever. Eventually, if you put in some hard work and pay your dues and if you’re talented, people will definitely notice. You don’t have to be obnoxious about it or anything, but if all the cards are there then you should be good. Just remember to stay true to yourself and don’t just follow trends ‘cause they come and go and then you’ll just be stuck and you’ll end up having to find a new trend. If you’re true to yourself eventually what you like will come into style. So just be patient, and just be yourself, and that’s the best advice I can give you.