Bombay Bicycle Club’s Ed Nash Talks Solo Project, Toothless

Posted on by Darby McNally

TOOTHLESS-3

Bombay Bicycle Club’s impact on modern indie rock is undeniable. The four boys from England were part of the modern day British invasion that saw the rise of bands like Arctic Monkeys and Kaiser Chiefs. After four gold certified records, the band decided to take a hiatus in 2016. While he deserved a break, bassist Ed Nash isn’t taking a vacation; he chose instead to embark on an endeavor all his own.

Thus Toothless was born, Nash’s solo project that proves bassists deserve way more cred for their musical prowess. His album, The Pace Of the Passing, debuted in January. The record, both fresh and familiar, incorporates elements of the artist’s own distinct sound along with allusions to Greek mythology. We caught up with Nash to talk about his new album and what song he would cover in Radio 1’s Live Lounge.

Vinyl Mag: The Pace Of the Passing is a phenomenal debut. How did it feel to finally get your solo work out in the open?

Ed Nash: It’s fantastic, actually. I’ve been planning on doing it for five or six years, but I never had the time with Bombay Bicycle Club. It’s quite scary as well. I didn’t realize how nervous I would be putting something I created alone out into the world. But mostly, it’s a relief.

VM: Do you feel like you approach the creative process differently for Toothless than you did for Bombay Bicycle Club?

EN: I guess they’re quite a similar process, but the roles I played are very different. For Bombay Bicycle Club, the songs were very much Jack’s songs. He’d write the song, and we’d give him pointers. With Toothless, all the songs start with me and are written by me.

VM: Do you think that being in a successful band prepared you to take on this solo project, or is it like starting all over again?

EN: It prepared me in terms of like writing music and how the business works. You learn tricks. I don’t think anything can prepare you for taking a step forward and taking on the lead role. Certainly I learned how the business works—like what’s a good deal, what’s not a good deal. The only thing I wasn’t fully prepared for was becoming a frontman …

When I say frontman, I mean the main focus of the group.  In Bombay, there was very little attention or pressure on me, whereas with this project everything lives or dies by me, and I am the person that needs to interact with people and get across what the band is about. For example, talking in between songs is always the job of the frontman.  I found this very hard at first, and I don’t think it’s something you can really prepare for; you learn by doing it. I can happily say I feel much better with all the frontman duties.

VM: [Who are your artistic inspirations?]

EN: I love Sufjan Stevens and Nick Cave. What I took from them was to tell stories, and to use your own experiences to talk through the music. With Toothless, that’s what I wanted to do with the songs. I wanted to tell stories through Greek mythology and things like that.

VM: Can you give us any details about a potential US tour?

EN: Actually, I literally just got my American visa. Hopefully in the next couple of months I’ll get to come back. I love coming to the states.

VM: [Bassists are often underestimated.  Why do you think that is?]

EN: I don’t know. Bassists do really have a bad reputation. That’s kind of why I started Toothless. I needed to prove it to myself that I could play music and write music outside of playing bass. Everyone has an opinion. The name Toothless came out of he idea that nobody really expects anything out of a bass player. It’s quite unfair. Hopefully I can change that.

VM: Any music you’ve been listening to lately that you’d like to recommend to our readers?

EN: I’ve been listening to sir Was. It’s kind of like hip-hop and kind of like indie. That sounds like a weird description, but it’s very good.

VM: Do you have any artists in your library that might make you lose your indie street cred?

EN: One of my favorite records ever is Ozzy Osbourne’s debut Blizzard of Oz. It’s incredibly lame. When I was like 12 learning to play guitar, all I would do was listen to that album and learn how to play the guitar solos. That one would probably make me lose my indie cred.

VM: Bombay Bicycle Club played Radio 1’s Live Lounge a couple times. If you played the Live Lounge as Toothless tomorrow, what would be your potential cover song?

EN: I think about cover songs all the time. I really would like to cover “I Really Like You” by Carly Rae Jepsen. I’d like to make it a guitar song. That’d be fun.

Premiere: Half the Animal – “Babylon” (Acoustic)

Posted on by Lexi Kelson

image007

If you loved Half the Animal‘s single “Babylon,” get ready to fall in love with a whole new layer of it, thanks to the acoustic version. Chase Johnson, Nick Gross, Evan Smith and Dan Graham are the voices behind this not yet one-year-old project.

We spent a few minutes with frontman Chase, and he filled us in on the (literally) colorful way he sees the new songs as well as the two meanings behind the band name. Check out the SHAPES EP, the acoustic video, and the interview below.

Vinyl Mag: So tell me a little bit about how this project came about.

Chase Johnson: Nick and I met in Catechism class when we were 14, and we’re 28 now, so a long time ago! We’d get kicked out on purpose to talk about music, and finally we just thought, “hey, wanna do a band thing?” I was like, “I sing,” and he was like “I drum.” I already had like a little group set up at elementary school. So, we started from there and had a band called Open Air Stereo for a really long time, did some great things with that. And then we took a break from Open Air Stereo, and it led to Half the Animal. We started writing all these songs, and we felt a whole new birth, a whole new sound for us, and it felt really good; it felt different. We felt new. We’re a lot less rock now, there’s a lot more pop-driven kind of stuff going on. So, we wanted that to pull through, and with Open Air Stereo there was a whole lot of rock stigma going on so we felt that a change was good.

VM: What’s the biggest strength that each member brings to the table?

CJ: We all have our strengths. Nick is the business mindset and an amazing drummer, obviously. Evan is the most amazing sound-tech guy that there is. He actually owns a production company for live shows. And he holds down the low-end obviously … everyone holds down their instruments. Dan is an incredible guitarist, and between me, Dan and Nick we all write a lot of music ourselves, for the band, for other people. Dan is an amazing writer–he’s always got his laptop and making beats, making everything—and we all collaborate on finishing the song. And then for me, I’m the crazy, outgoing lead singer, I guess! I keep getting pegged as that, but I guess that’s kind of what I signed up for. I always love talking to people and getting to know people. I love engaging with fans, and I love hearing their stories. And then I also do fashion/editorial photography, and I’ve done some photography for the band, too, and then I’m also a writer as well.

VM: How do you combine those strengths and backgrounds into a cohesive sound?

CJ: You know, I don’t know how we do it. We just do it, and it works. Even though Dan’s fairly new to the band and the project has only been around since July, there’s this cohesiveness because we’ve all done other stuff outside of it. We brought all of our experience to the table, and I think that’s a collective thing we have together.

VM: What’s the history behind the band name?

CJ: I have my own perception, and then Nick has his own. For me … I love researching human behavior, and I feel like everything in life—especially if you live a creative life—everything I’ve done well at has been a little bit off the cuff and making quick decisions and going with your gut, going with your animal instinct. We all have it–not in like a crazy person negative way, but in the positive way. Using that animal that you have in you to do great things in life is really important. So that’s what it is to me. For Nick, he has this buddy who does a bunch of broker stuff in New York–he’s a big business guy. Nick was on the phone with him one day, and he said, “Man, if I’m half the animal you are, I’m going to live a very great life.” So, those are the two ways that we rationalize it, I guess!

VM: I know you guys just released the SHAPES EP at the end of last month! If you had to describe it in one tweet, what would you say?

CJ: Each song on the SHAPES EP has its own shape and its own color. “Babylon” is blue, “Saturday Night” is bright red, “If You Want My Love” is green.

VM: What makes “Babylon” blue?

CJ: “Babylon” can be conceived to me as a love song or a struggle song or an empowerment song. I want it to be open to interpretation for everyone–if you’ve had a struggle with drugs, alcohol, love, just life in general. As we all know, Babylon was the most amazing, advanced, beautiful place, and it fell one day. It took a long time to build it, and then it fell. For me, there were some things going on in my life–half of it’s for the woman I was with for a long time and the other half is for some choices that I made that weren’t the best in life. It’s that whole thing of thinking that’s the most amazing thing in the whole world, oh my god it feels so good, and then it falls. And I don’t think there’s any gray area with blue, which I know is confusing because I’m talking about colors. But blue like the ocean–the ocean’s the best thing in the world. Blue can be a really good feeling, or blue can be like having the blues. It’s a bit of both. I’ve listened to the song before and was like, “Oh, that’s kind of heavy.” And then I listened to it again and think, “it’s uplifting!” It’s very moody.

VM: What made you choose that song for an acoustic performance video?

CJ: Other than it being the single, I think we would’ve chosen that song regardless, because it translates. We kind of do it a little differently acoustic to change it up a little bit to give it a new little bit of life. Bringing a new light to a song (especially a single) that everyone’s going to be hearing so much … it’s really cool to get a different viewpoint for it.

VM: Which version do you like better?

CJ: Personally, I like playing it all out live. I love it; it’s so much fun. I love acoustic music, but with my ADD I want to jump around all the time. But I’m kind of digging the acoustic; it’s fun! It was almost like a challenge for me mentally to do which is cool. I always accept a challenge.

VM: Would you say it’s your favorite song to perform live?

CJ: I do love to perform “Babylon.” I love playing “If You Want My Love” live; it’s so different. It’s a little bit more jazzy and kind of vibey, which I love. But live, I have a couple favorites. “Saturday Night” I like to play live and then a couple new ones that aren’t out yet that we play. We have one called “Shapes” that’s really fun that people are digging a lot, and then a song called “People in the Room.” But yea, I could say “Babylon” is a favorite.

VM: Which song was your favorite to write and record?

CJ: “Babylon,” absolutely. I got to get out some stuff.

VM: What do you hope audience members walk away with when they leave your show?

CJ: I hope they feel like they just saw a great music show. I hope they feel emotions from the songs … we just want people to feel good after they see us, and excited and definitely wanting more. We pride ourselves on our live show–we love to perform so we want them to feel good, great, amazing!

 

Review: Blaenavon – ‘That’s Your Lot’

Posted on by Lexi Kelson

unnamed

Today is a good day, because 1) it’s the weekend—TGIf, folks—and 2) Hampshire, England-based Blaenavon is dropping their debut album. That’s Your Lot, via Transgressive and Canvasback, is produced by Jim Abbiss (Arctic Monkeys, Adele) and is five years in the making.

Blaenavon released a few EPs after their very first single “Into The Night” hit ears all the way back in 2013. Since then, fanbase and anticipation for the trio’s debut LP have been steadily growing.

“That’s Your Lot is five years of our lives condensed into 59 minutes of yours,” said singer/guitarist Ben Gregory in a press release about the album. “Youth, capriciousness, duality, duplicity, love, bitterness, fate. Songs from the human core: some malleable, long considered—others pure, direct, cruelly honest. An album to bathe in and appreciate the inevitable end.”

The Tracks

“Take Care” serves as an upbeat introduction to the band if you haven’t met their sound before. They’ve performed it live a lot, and if the energy in the recording is any indication, the live version must be a party.

“Let’s Pray” takes you on a heavy lyrical journey.  While the words may be somber, the refreshing honesty and energetic sounds come together in a balance of emotions. After belting out a few rounds of the words “let’s pray for death,” the band draws you into a chorus of “ooh’s” that will have you singing along in no time.

“Orthodox Man” may be the third track on That’s Your Lot, but it’s Number One in our hearts and hotbed of catchy melodies. Get ready for a groove of a bass line, because its presence is felt throughout the whole song. The repetitive lyrics in the chorus add to the catchy factor—it’s no wonder the band released it as a single. It definitely got us all pumped for the rest of the album.

From one headbanger to another, we move into “My Bark Is Your Bite.“  The guitar riff from the kickoff sticks with you and makes this song another contender for catchiest track. Conceptually, it’s also a winner. Gregory sings of lying because his “mind says it’s the best thing to do.”

In “Lonely Side,” the vocals hit immediately, and “in a land of parasites” is one of the first lyrical phrases you hear. Heavy. The chord progression reflects the mood with its minor emphasis, and though it starts out somber, it brightens up with the addition of vocals and synth.

It’s clear from the first few seconds of “Let Me See What Happens Next” that it’s going to pull on your heartstrings. Gregory’s vocals and a piano: that’s all you get, but that’s all you need. Simple chord progression, piano arrangement, vocal lines and harmonies—it works. In the midst of fully produced, guitar-heavy, percussive tracks, it’s nice to have a piano ballad to mix it up and provide a point of rest.

I’m a sucker for any song with a person’s name in it, so when I saw “Alice Come Home” on the list, I immediately began romanticizing. It builds slowly and launches after the first minute or so. Gregory switches his vocal style from airy to belting and back again to provide a rollercoaster of a song that’s dynamic and fun to follow.

“Ode to Joe” can only be described as “eerie,” a tone accomplished with a piano and what I’m picturing as a damp, dark echo chamber.

“I Will Be The World” has punctuating vocals that match the precision of the drums. The track escalates, forming one of the heavier rock song of the album and proving the trio’s range.

“Prague ‘99” suggests a trip around the world as well as back in time, and the song takes you on a high-energy run and into a room of groove. From the top, an intricate guitar riff is introduced, and then driving rhythms from the drums and more guitars are added to fill the landscape.

“Swans” is a lullaby with a dark side. It makes use of the eight minutes with a slow but steady build up to hard-hitting percussion and layered guitars.

Closing out, the title track, “That’s Your Lot,” rests at the very end. The band carries their less-than-sunny outlook to this melodic farewell, musing “I’m part cloth and part man.”

Review: Tei Shi – ‘Crawl Space’

Posted on by Darby McNally

unnamed

As improvements in technology have expanded musical possibilities and resulted in a surge of experimental music, it can be difficult for an artist to differentiate themselves in such an extensive landscape. For Grimes-approved new wave pop artist Tei Shi–real name Valerie Teicher–this isn’t an issue.

Born in Argentina, the 26-year-old singer-songwriter and producer makes music that isn’t confined to one genre but is still instantaneously recognizable as her own. Her first EP Saudade was the first taste we got of Tei Shi, also marking her first collaboration with producer Luca. It was their collaboration on a cover of Beyoncé’s “No Angel” that put them on the map; a unique take on an already acclaimed track was the boost Tei Shi needed. Now, she’s back with a full-length album comprised of a fusion of synths, evocative vocal loops, and a tinge of childlike whimsy.

As expected, Crawl Space a reflection of her eccentric musicality, but it also serves as a window into her own life experiences. The album opens with a clip of what appears to be a young Tei Shi speaking Spanglish as she learns how to record vocals via a cassette player, an homage to her Argentine roots and an allusion to the inspiration behind the album name; when she was younger, Tei Shi overcame her fear of the dark by entering a crawl space. Interludes featuring her younger self are interspersed throughout the record, chronicling her growth from fresh-faced newcomer to musical veteran.

“Keep Running,” the lead single from the record, is both catchy and otherworldly. The music video features a silk-clad Tei Shi performing karaoke at a neon house party, exploring the different rooms while seemingly invisible to other partygoers. Heavy drum hits bring a larger-than-life character to the song as Tei Shi croons a vocally demanding chorus.

The album’s other single, “How Far,” is mellower. Haunting vocals surf over Eagles-esque electric guitar, bringing the listener into Tei Shi’s world. “Justify,” a track in which Tei Shi is almost exclusively whispering over an electronic beat, is reminiscent of FKA Twigs. “Say You Do” belongs more in the pop world, baring a likeness to fellow alt-pop artists Sky Ferreira and Charli XCX. Crawl Space takes a welcome turn with “Como Si,” a slow, sultry track that Tei Shi sings entirely in Spanish.

While the variety of elements on this record are undoubtedly unique to Tei Shi, it’s her own personal style and stage presence that set her apart from other experimental artists. She describes her music as fitting into the “mermaid genre,” and we can’t help but agree. Her work is playful yet unforgettably eerie. Its light and spirit mask its uncanny nature.

Crawl Space is an embodiment of Tei Shi’s artistry; it’s the refreshingly introspective body of work that you need in your life. After you become as obsessed with this record as we are, you can catch Tei Shi on tour with Danish artist MØ this year.

8/10

Review: Drew Beskin – ‘Cha-Ching Machine’

Posted on by Lexi Kelson

Processed with VSCO with f2 preset

Drew Beskin has worn many hats. He’s been the frontman for the bands The District Attorneys, Party Dolls and PURSES, which have spanned Atlanta and Athens venues such as Smith’s Olde Bar and the Caledonia Lounge. He’s also been serving as the manager of the Georgia Theatre in Athens for the past few years. These days, however, he’s been working on a solo, self-titled project: an album entitled Cha-Ching Machine, out today.

Beskin teamed up with Chase Park Transduction (the Athens studio that’s been instrumental in bands like Drive-By-Truckers and Deerhunter) and is self-releasing the record on his own label, Laser Brains, with the help of This Is American Music. The 29-year-old recruited his fellow Athens creatives to make the album feel like one big jam session.

In February, he premiered the album’s first single, “Love Trauma,” with Pure Volume. Even though he considers the song to be “a silly song,” he admitted that it’s actually the one that “kind of brought the project together.” It was written in a mere five minutes the day before he went into the studio proving that sometimes the songs that simply happen end up being the best ones. It’s definitely a good introduction song for a new fan since it sets the tone nicely.

Last week, he premiered the second single, “Hair Metal,” with Paste Magazine where he described the song as accidentally becoming the “intense emotional climax of the album.” After taking a listen, I couldn’t help but be drawn into the complex (but well-balanced) sound the song emits.

Each song on Cha-Ching Machine is carefully constructed with melodies that are unique but still catchy enough to get stuck in your head. Stylistically, you can hear the ‘80s rock influence on the guitars and drums, making it a throwback album without losing its relevance.

When it comes to musical influences, the artist notes Elvis Costello, The Cure, The Smiths, Roy Orbison, Pavement, T. Rex, Beck (the Sea Change era) and Marshall Crenshaw.

The opening song, “Smile In Denial,” is an energetic track that pleas with listeners to “get up and lose control.”  From the kickoff, it’s clear we’re in for a good time over the next 10 tracks.

“I Don’t Know What To Do”–one of the deeper cuts on the record–starts off with a percussive piece that sets the groove for the next five minutes. On the heels of belting out the honest title lyric about confusion, Beskin pulls out his falsetto. It’s airy, beautiful and contrasts nicely with the rough-around-the-edges rock feel of the rest of the album.

Beskin’s token love song, “Eyes At Me,” is as sweet as it gets and passed my belting-in-the-car test beautifully.  Well done.

The album closes with “Save Your Thoughts,” making its entrance with a smooth synth and bringing in some vibey jazz elements as it builds.  An excellent closer.

Cha-Ching Machine is available now.  Have a listen, and then—if you’re an Athenian—head over to the Caledonia Lounge tomorrow, where Beskin will be playing an album release show, along with opening bands Chief Scout, Neighbor Lady and Blanko.

8/10

Behind-the-Scenes with ACL Executive Producer Terry Lickona

Posted on by Lexi Kelson

Reel To Reel: A Song For You: The Austin City Limits Story

Meet Terry Lickona. You may not recognize his face, but you know his influence. Lickona prefers to be the man behind the scenes making sure all the pieces come together, and though he claims he’s not musically talented, his role in the industry is highly instrumental. He wears the title of executive producer of Austin City Limits and also co-produces the GRAMMYs each year.

After a fateful move to Austin, Lickona started the journey he now gets to call his career. We chatted with him about that path and how he’s added yet another job title to his resume—artist manager to 22-year-old James Junius (Junius was on the South by Southwest lineup this year, so check him out if you didn’t catch him down there).

Apparently, we’re also the first to put him on the spot about choosing barbecue or tacos down at SX, so that’s our claim to fame now.  Read the full interview below.

Vinyl Mag: So how did you end up as the executive producer for Austin City Limits?

Terry Lickona: Well, to make a long story short, I used to be a radio DJ back in New York where I’m originally from. And when I was in my twenties after college, I decided I wanted to pull up my roots and go live some place else and see what it’d be like. I’d heard about Austin and the music scene here–even back then–so I thought I’d check it out and maybe stay a couple of years. And 43 years later, I’m still here.

It turned out to be a good deal for me. My first radio job in Austin was with the NPR station KUT, and they happened to be in the same building as the PBS station where they were producing this new music show called Austin City Limits. I’d never set foot in a TV studio and never thought twice about working in television, but I’d always loved music even though I don’t really have any music talent. But I’ve always hung out with musicians–I’m one of those types. So, I got my foot in the door of this new TV show, and within two years I became the producer, and here I am. The show has become the longest running music show on television anywhere in the world as far as we can figure out. It’s become a great showcase for all kinds of music … I think that’s why it’s been so successful is that it’s kind of an “anything goes” format.

VM: How do you feel like your experience as a radio DJ helped prepare you for the producer role?

TL: I think it did in the sense that, for eight hours a day, all I did was play music and listen to music and discover new music … it definitely opened up the whole world of music to me more than just your typical listener. I would say it definitely did expand my horizons when it came to my musical taste. Anything that’s good is kind of my main criteria–good, original, authentic music that stands out.

VM: Do you have a favorite artist that you’ve put on the show?

TL: Well, that’s a hard question to answer after all these years! I think probably my favorite artist in the last couple of years is Kendrick Lamar. That might surprise some people, because people wouldn’t normally think of someone like Kendrick doing our show, but we pretty much are open to anything. He’s such an electrifying, live performer, and I think we really captured all of that really well on our show, and he seemed to think so, too. He raved about it afterwards. It was one of the only TV shows that he’d done when that record, To Pimp A Butterfly, first came out. But we do a little bit of everything, so my favorite show changes sometimes year to year.

VM: What’s the process like of finding and choosing artists for the show?

TL: Well, part of my job is to book the talent, and that’s the part I enjoy the most. It’s kind of like when I was still a DJ in radio—I try to absorb as much music as I can. I try to keep up with what’s happening and what’s new. We do 13 new episodes a year, and since our format is so eclectic, I try to break it out so that there’s a little bit of each in the mix to come up with those 13 shows. And I also try to mix it up between what’s new and what’s classic. We’ll have legacy artists—we just did a show this week with The Pretenders with Chrissie Hynde–and we’ll do shows like that at the same time that we’re doing Kendrick Lamar or somebody who’s brand new.

One thing I’ve learned over the years is that timing is everything. I don’t want to book an artist too soon before they’ve kind of hit their stride, and I don’t want to be the last one either. When an artist has a new record out or when they’re on tour and they’re getting a lot of attention, that’s usually the best time for them to do it.

VM: How do you make sure you capture the full experience of an artist with the TV format?

TL: We try to create the most natural environment we can for the artist or band just to get up on stage and do their show without feeling like the TV is getting in the way. We shoot the shows in Austin, of course, in our own venue with a live audience, and Austin music fans are the best. They’re very enthusiastic, and they don’t hold anything back and they don’t act inhibited just because of the cameras. So, we try to stay out of the way! The stage is surrounded on three sides by the audience, and we keep the stage low to the floor, so there’s a real connection between the performer and the audience. The artist could reach out and touch the people on the floor in front of the stage. That makes a huge difference in terms of the whole entertainment and chemistry of the show, and then we capture it!

VM: How is your role as a producer for the GRAMMYs different from your role at ACL?

TL: Well, on the GRAMMYs I’m the co-producer so I’m not the top dog, and I don’t personally book the talent like I do for ACL. For ACL, when we do a taping, it’s one band. For the GRAMMYs, there’s like 25 and it’s live TV, and there’s all this pressure about the awards … it’s definitely a different vibe.

VM: Has working behind the scenes completely changed how you watch award shows?

TL: Oh, yeah! I would say so once you see what goes on behind the scenes, what it costs and how complicated it is to put one of these performances together that you see on TV. When I was watching the Academy Awards with the rest of the world, I saw that huge faux pas … I could not imagine how that could’ve possibly happened. We’re behind stage during the GRAMMYs, and we sit next to the people with the envelopes, and it’s just hard to imagine how somebody could make a mistake like that, because we’re so buttoned up about it. So, I had to laugh but also shake my head wondering how did they do that!

But being behind the scenes, whether it’s the GRAMMYs or anything else, definitely gives me an appreciation for the artists. I get to work with an artist when they come in to tape Austin City Limits. We spend the whole day together, so we get to know each other really well, and then at the end of the night after the taping, I do an interview in the dressing room with each artist. So, I get to realize what they’re dealing with, and these artists don’t live normal lives, obviously. They get up on a stage night after night, and they pour out their heart and soul, and then they have to do it again the next day and deal with all of the logistics that go along with being an artist. The insecurities, the paranoia, and the anxieties … I have a respect for them, knowing what they go through.

VM: Does seeing all of that make you glad you’re on the production side and not a performing artist yourself?

TL: Oh yeah, I like being behind the scenes!  When I was a radio DJ—that was fun doing my own show on the air. I did some on-camera TV for a while, too, nothing special, but I can’t imagine getting up on a stage and doing that night after night. So, I am glad to be just the guy behind the scenes who makes it all happen along with a big team of people–it’s not just me, of course.

VM: What made you want to add artist management to your resume?

TL: So, this is not something I was planning to do ever in my life. If you’d asked me six months ago, I would’ve laughed and said your crazy. But I met this young artist named James Junius on Facebook! He just reached out to me and said he was from Utah and that he grew up watching Austin City Limits, and one of his favorite artists was James Taylor and he heard that we were going to do a taping with James Taylor. He asked if he could find a way to fly down to Austin if I could get him in to see the show. Well, of course, that part’s easy, so I said, “Yeah, come on down,” and he came to the taping with James. He spent the day at the rehearsal and even introduced himself. The next thing I knew, he and James Taylor were sitting over there in the corner talking for an hour and a half, and they just hit it off instantly. He brought his guitar with him and sang some of his songs, and there was something about him and his songs but also just his personality that impressed me more than most of the artists I deal with and especially somebody just starting out at that age.

It was kind of a wild hair or an impulse for me to want to reach out to help him. I found myself taking on more and more responsibility, because I have those connections that I could use to help him and at least open the door. I helped him submit to South By Southwest for a showcase, and they accepted his application.

VM: How is being a manager different from your other jobs?

TL: It’s really interesting … as long as I’ve been involved with music and producing a TV show, I’ve worked with a zillion artists and managers and publicists and record label people, but I’ve never been involved inside of the process as somebody who’s representing the artist and pitching the artist to the other people.

VM: What drew you to this particular artist?

TL: He’s just a really good person. He’s got a lot of heart and soul for somebody his age. He’s very bright, very tuned-in to the music business and what it takes to try to get anywhere. So, I’m also at the point in my life where I am in a position to help somebody. That’s not to say that I want to open up my own artist management company and sign up a dozen artists right away. But if I can help somebody who I believe in who I think has talent, then why shouldn’t I? I feel like it’s almost an obligation to take the lessons that I’ve learned in life, the people that I’ve met and maybe put that to good use and help somebody else along the way.

VM: Kudos to James for putting himself out there with you and James Taylor!

TL: He’s good that way! He’s down at the convention center at South By right now, and he’s going to every panel he can get into, and he printed up a bunch of flyers to hand out to people about his showcases this week. He’ll go up to anybody and introduce himself, but in a good way–not to be pushy. He also has that kind of personality that it’s hard not to like him. And then on top of that, when you find out that he’s actually got talent, that makes it even better.

VM: What skills from your job as a producer have carried over into managing an artist?

TL: I would say I’ve got pretty good people skills when it comes to dealing with all kinds of people no matter where they’re from or what age they are. People have always told me throughout the years that I seem very calm. I never seem to get rattled or uptight when there’s a lot of stress, and that’s just the way I am I guess. I think that has helped me with James and this new role. Instead of trying to shove him down somebody’s throat, I think I’ve got a pretty good sales pitch when it comes to why I think people should listen to his music and why I like it and why I think it’s worthy. So, when you’ve dealt with so many different people over the years and all kinds of different situations … most situations that I find myself in I’ve kind of been in before or I’ve seen how other people deal with them. So, I think there is a connection between one set of skills and the other.

VM: If you had to describe James’ music to a new listener in one tweet, what would you say?

TL: I would say, singer-songwriter at heart but with a very contemporary outlook about the world he lives in today and someone who loves to experiment with different musical sounds as he tells a story with his songs.

VM: Besides him, of course, are there any other particular artists you’re looking forward to seeing at SXSW?

TL: You know, I’ve got a list of people that I’ve put together … people have given me names of people I need to go check out. I’d say 90 percent of the artists that I see this week I’ve never heard of or at least never seen or heard their music. But if someone who I trust recommends them, then I figure it’s worth me taking the time. Maybe the one exception to that is Ryan Adams is playing a showcase this Friday night, and I’m definitely going to go out and see him. He’s always been a favorite!

VM: And because it’s SXSW, we have to ask: barbecue or tacos?

TL: Tacos, for sure! I like really good barbecue … I’m not really the biggest meat eater in the world so I kind of limit my meat intake, but if somebody points me to some really good ribs or brisket, I will definitely go for it without any hesitation. Some people who come to Austin during SXSW eat barbecue every day, but you can’t beat a good taco! A breakfast taco, a lunch taco, you can have a plate of tacos for dinner. And you can have anything you want in your taco! You can have your eggs and bacon breakfast taco, your chicken taco, your salmon taco–yes, they do have it. So, I’m a bigger fan of tacos, because I think you can do more with them. Tacos win my vote.

SXSW 2017: Goon x Vinyl Mag

Posted on by Darby McNally

goon

Los Angeles indie rockers Goon are a breath of fresh air, generating buzz around South by Southwest with their enticingly individualistic lo-fi jams.  Singer-songwriter Kenny Becker leads the quartet, writing songs in his room and fleshing them out with the rest of the band.

Kenny’s affinity for making music stems from an unlikely place; he suffers from a medical condition that periodically deadens his sense of smell and hearing. Instead of letting it bog him down, he decides to make music during the periods in which he can hear clearly. The result is a pleasingly subdued sound that can only be described as summertime music.

They’re first EP Dusk of Punk establishes a seasoned sound that most bands don’t develop until after they pop out a couple of records, which is impressive to say the least. Goon is in the process of creating their debut album, and we caught up with Kenny to get the details.

Vinyl Mag: How many times have you played SXSW?

Kenny Becker: This is our first time playing SX.

VM: Do you have any pre-festival rituals?

KB: Not like officially, but we took a bunch of rest stops just any time we saw them. Also we found this tunnel, and we just yelled at each other. It was very cathartic.

VM: Dusk of Punk dabbles in a variety of musical styles. Is that sort of what we can expect from your first full-length album?

KB: That is a great question. I hope to continue that sort of range. At the same time, I’m not trying to make that, like, something that has to happen at all costs. It was just kind of something that happened from writing songs and just being down with whatever we make. We’re trying to maintain that spirit of music first. We’re trying to not be pigeonholed into a genre.

VM: Are there any specific artists whose sounds you try to emulate or who inspire you in other ways when you’re creating your music?

KB: For me, personally, I’m inspired a lot by Pavement’s sort of sparkly guitar work. Boards of Canada is maybe my favorite band of all time. Their crazy sounds and synth tones are something I kind of aim for a little bit. I guess I would say Pixies, too. 

VM: The album artwork for Dusk of Punk really encapsulates the general feel of the EP. Who created the artwork? Was it one of you guys?

KB: I actually painted that. Actually, before I was trying to pursue music full time, I thought I would be a painter full time, but I kind of ended up being both. I had this phase of painting monster dudes and after doing that, that particular image happened. I ended up really liking it. It kind of looked like the Kid A bear for Radiohead. Kind of simple imagery but still iconic. I just loved that it’s a potentially menacing looking figure for music that isn’t particularly menacing.

VM: What’s your creative process like for writing a song?

KB: Usually I just kind of write a song in my bedroom and record it, and we’ll sort of learn it as a band. And sometimes we’ll end up fleshing it out more as a band, but I usually have a pretty good idea of where I want to take it.

VM: Are there any artists outside of your genre that you’d like to collaborate with?

KB: I’ve thought about this in the past, and I’ve often thought of Bibio. He’s really similar to Boards of Canada, but he’s really capable. His production style is just insane. Every time I listen to a Bibio song, I’m just like amazed.

VM: If you could bring one artist back from the dead to play a show with, who would it be and why?

KB: This is probably the most obvious answer, but it would be Kurt [Cobain]. Jake and I were actually just talking about this last night. He died at this crazy moment where they were still a huge band and they potentially could have continued their upward trajectory. I was hearing recently about how Michael Stipe [R.E.M.] was talking to him about making a new record and making it more acoustic sounding. But on top of that, it’s fucking Nirvana. Playing a show with them would be insane.

VM: What albums have you been listening to recently that you’d like to recommend?

KB: There’s a band called Porches–their album Slow Dance in the Cosmos. It came out in 2013, and honestly it’s just kind of perfect. It’s really good emotional rock ‘n’ roll. I also relistened to In Rainbows and kind of had my mind reblown.

VM: Who are you most looking forward to seeing at SX?

KB: If I had to pick one, it would have to be our friends, minihorse. We played with them in San Francisco. It’s like muscly shoegaze. They’re so in control of their fuzz tones. Also Charly Bliss. They’re kind of like pop grunge in a way.

VM: What’s your favorite part of the festival experience?

KB: It’s just really exciting that so many people are here just for music. It’s easy to get bummed out as a musician, because you feel like nobody really cares about music anymore, which I don’t think is ever really true. Still, it’s cool that they like shut down a city for a day for music.

VM: What would be your dream festival lineup?

KB: Definitely Boards of Canada, because they never play live, and they’re kind of like a bucket list band. It would be kind of a weird lineup. It’d be Pixies, Pavement and our friends, Draag. The term muscly shoegaze also applies to them I guess. They have really cool synth stuff going on.

VM: Do you prefer barbecue or tacos?

KB: I’d have to go tacos. I grew up in San Diego, so I just grew up eating tacos.