Tag: cmj
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Broken Hands x Vinyl Mag
Imagine you’re standing on a jetway, planes soaring above and beside you, the sound of jet engines roaring on all sides–and you might just know what it feels like to be in the crowd at a live Broken Hands gig. Relatively new to the music scene, the British rockers have already received significant U.K. radio airplay with their lead single, “Meteor,” and their debut album, Turbulence, is set for release Nov. 4. With slots at SXSW and CMJ, the band is already making significant headway into the U.S. market.
We sat down with bassist Thomas Ford to talk about the band’s exciting new release, inspiration, and what it’s like when you step foot through the door of a live show.
VM: How would you describe your sound to someone who is unfamiliar with the band?
TF: It’s kind of the sound of jet engines and flights we really tried to convey in the album. A lot to do with escaping. It’s pretty heavy but the song always gets what it needs at the end of the day.
VM: And your debut album is set to come out next month, so what are you most excited for fans to hear?
TF: Really just the whole thing. As soon as people understand what we are trying to say, even if they don’t really like it, that’s not good, but if people hear it and they understand what we were trying to say with the album, understand where we were when we wrote it, then that is kind of big for us.
VM: When you set out to record the album, did you have a set plan or was it more of an experimental process?
TF: The songs in themselves, it was like one main songwriter. And then we found almost the concept, the vehicle we wanted to write with. It was very easy to write together and to achieve the same kind of goal. So the songs we worked on for a good six or seven months, and then we got into the studio, and that’s a great place to check creativity because we are very like-minded. So once we kind of built the song and everything up around it, then we went mad with the sounds. It was pretty straightforward, but then we went mad at the end.
VM: So the music video for “Meteor“ was captured at one of your sold-out shows, and the whole venue is covered in silver foil. Is this something you do at every show? What’s the inspiration behind it?
TF: We were playing shows and the album wasn’t actually out yet. So we couldn’t have people see the cover and instantly see all of the information, what was there to convey the concept. So it was really important to us that when people came into the shows, they weren’t just guessing to what we were trying to get to. We wanted to really build the experience up. So we got these huge parachutes of silver foil and then draped the entire venue. Because you could be in a really normal, everyday club in London and then step through the door and suddenly you’re in this capsule, and light reflects off all the walls. And I think it tied into our concept. They hadn’t heard it yet, so they got to hear the concept before they had a copy of the album.
VM: Speaking of live shows, how would you describe the vibes from a Broken Hands gig?
TF: We really try and extend how we wrote the album over into the room. And embody each song as it comes. We’ve got quite a big energy. So it’s hopefully kind of the feeling of getting sucked into a vacuum and then popping out the other end, a very kind of loud, windy experience. It’s almost like hearing it sounds like you’re near an airport, hearing a jet engine go, hearing things soar from one side to the other. For us, it’s all about extending and embodying that and trying to bring people as close into that as possible.
VM: Since forming, you’ve landed spots at festivals including SXSW and CMJ, was this your first time playing in the U.S.?
TF: Yeah, SXSW was the first time. That was one of my favorite weeks, ever. The states are just fantastic. I’ve only been to a few places yet—New York, Boston, and Minneapolis is another favorite, and it’s so different every single time. So many different people. Pretty much everyone is very vocal. They tell you exactly what they want to say. Whereas in England, it doesn’t matter if they like it or not, they might just walk away from the show. Which is really odd. But I love it out there, it’s crazy and there’s always a whole bunch of people to talk to afterward, which is huge. SXSW is truly something. It was really up there for us.
VM: Do you have any dream venues to perform at?
TF: We like the look of Red Rocks, and there’s a really cool place in Minneapolis, I think it was called First Avenue. And then I think Terminal 5 in New York was one. But every single room we get to play in is going to be exhilarating.
VM: What kind of artists are you listening to at the moment? Are there any you look to for inspiration?
TF: We all live together in one big house, we moved in together to write the album. It’s kind of a strange thing because if one person really gets on something, then everyone else is drawn in on it. This week has been Depeche Mode, and they just announced a tour which is absolutely wicked. I think in terms of a show, a band that has longevity and composure, My Morning Jacket, are really big for us. Really admire what they do, especially on stage. The energy they put out, but at the same time, it’s so composed. It’s ridiculous. I would love if we could get anywhere near opening for them.
VM: Circling back to your new album, out of all the tracks on Turbulence, which lyrics resonate with you the most? Or do you have a favorite track, one you’re most excited for fans to hear?
TF: Funny enough it is “Turbulence.” It just embodies the most what we were going for in the album. I think it was the first track we wrote, and we were coming back through the old tapes, and things change in the recording process, but when we put on “Turbulence,” it hasn’t changed since the day we put it together and arranged it in rehearsal space. Every time we play “Turbulence” it really reminds me of the beginning of this whole thing. The beginning of the album, the beginning of getting out to the world.
Check out Broken Hands’ debut album, Turbulence, out Nov. 4 via SO Recordings.
Saint Pé x Vinyl Mag: “Eat, Shit, Sleep, Breathe Rock ‘n’ Roll”
“The wheel ain’t broken. You don’t need to fix it, just trying to put some new rims on it.”
At CMJ this year, the first band on my must-interview list was Saint Pé, the newest project formed by Black Lips alum and current Diamond Rugs guitarist/vocalist Ian Saint Pé.
Backstory
As a not-born-but-bred Georgian, I’ve been a Black Lips fan since I switched Jack Rogers for Converse and mini skirts for skinny jeans back in the 9th grade. And then came college and post-college life in Athens, Georgia, where I was introduced to part-local supergroup Diamond Rugs. Dudes. This band is my joint, and I have been helplessly addicted since the release of their latest album Cosmetics back in February. Yes, that is nine full months that I have had D.Rugs in my constant rotation, and I’m nowhere near over it.
That being said, if Ian Saint Pé is involved with a band, I’m an instant convert. So when word reached my ears that he was forming a new band under his name, I was all kinds of psyched. And when I found out that the band was coming to CMJ, I snagged myself an interview with them so I could let my fan flag fly.
The Interview
We all sat down on the rooftop of Our Wicked Lady in Brooklyn before the band’s last of three shows at the fest, and as soon as the mic was on, Ian dove in, intro’ing us with our new slogan: “Vinyl Mag CMJ 2015. Pro gear, pro attitudes.” This turned out to be the first of countless ad-libbed one-liners throughout the interview, which he attributed to having a “lot of time in a van to think about things.”
When asked about his new direction away from the band that had built his career and on to a new self-titled project, Ian explained to me that sometimes, even the bands you love get a little stale (my nine-month Diamond Rugs binge might indicate that I have a higher tolerance than most for this phenomenon), and that after 10 years in the same band, things inevitably get a little redundant.
“I’d say after 10 years … honestly, The Rolling Stones—that’s my favorite band, and there’s a good reason why—but I don’t even want to hear them for more than an hour, you know? And that’s a super good band. I mean, ’cause how much more can you say in that amount of time? So with that statement, I’m gonna move it on to records. I did seven records in 10 years. What more can I say? It was time to change it up. Love the guys, but I got more to say. I love them, and I love the records, but I’m ready to birth new children with new people.”
And so, Saint Pé was born. The band came together the way all bands do, through the local music scene—in this case, the scene of Atlanta, mainly. Most of the band members are based and/or met in A-Town, with the exception of “ivory tickler” (a.k.a. keyboardist) Paul Wierdak, who is based in Chicago. Ian, who had lived in Atlanta for 15 years, credits the bulk of his musical career to the city, saying, “It ain’t New York, but it was my New York. And no regrets, because unlike New York and L.A., I could have half a job and spend all my time playing music–and did it–rather than having to have three jobs and maybe play music … if you have a fall back plan, you’ll fall back.”
So what does Saint Pé have to say that hasn’t been said in any of Ian’s other projects?
“It’s always been eat, shit, sleep, breathe rock and roll,” Ian told me. “The wheel ain’t broken. You don’t need to fix it, just trying to put some new rims on it.”
The rims are fresh indeed. Though it was Saint Pé’s oh-so-familiar moniker that originally grabbed my attention, it was the refreshingly upbeat track “Street Lights” that made me a believer in the band. Premiered via Noisey back in April, “Street Lights” is one of four tracks off the band’s debut Secular Music EP.
“It’s just my story of never worrying about what could have been, because I always knew what was,” Ian said of the song. “And that was to play music. ‘Street Lights’ is basically the adaptation of my novel I haven’t written and the movie that hasn’t been made yet … because late at night, with the white line fever, the only thing that comes to your head is the lights, physically. That’s powerful to the eye, the light … basically about being on the road and getting something. [The line] ‘Got a country house, quiet as a mouse’—you know, I was able to get everything I wanted … that’s what ‘Street Lights’ is about. Just everything I was striving for, I got–which wasn’t much, but just to be happy and do artistic shit on my terms.”
Sounds good to me.
“Nothing’s changed,” Ian clarified. “I’m 38, still bleed 17. I want to continue to play music with friends of mine. The other Black Lips guys are still my friends, but I just want to change it up … I had to take two steps back to go five steps forward, and I have a bunch of my friends from Atlanta and Chicago that are participating in this project. I’ve got nothing but great expectations. I did six continents, but I haven’t done seven. This band will do seven.”
The Future
Saint Pé is Ian Saint Pé (vocalist/guitarist), Matt McCalvin (bassist), Ian “Mickey D” McDonald (guitarist), Paul Weirdak (keyboardist), and John Restivo Jr. (drums). They are currently on tour, set to play shows with Natural Child and T. Hardy Morris. Check out their tour dates below, and keep an eye out for more dates coming in January. These guys won’t be slowing down any time soon. Parting words from Ian: “Ain’t gonna stop ’til it’s broken, and I don’t plan on being broken.”
Tour Dates:
Thursday, November 12 – The Earl – Atlanta, GA w/ Natural Child
Saturday, November 14 – Georgia Theatre – Athens, GA w/ Natural Child
Saturday, December 5 – JJ’s Bohemia – Chattanooga, TN w/ T. Hardy Morris
Sunday, December 6 – The Basement – Nashville, TN w/ T. Hardy Morris
Thursday, December 10 – Isis Restaurant and Music Hall – Asheville, GA w/ T. Hardy Morris and Roadkill Ghost Choir
Friday, December 11 – The Earl – Atlanta, GA w/ T. Hardy Morris
Saturday, December 12 – Saturn – Birmingham, AL w/ T. Hardy Morris and Duquette Johnston
Cardiknox x Vinyl Mag
New York electro-pop duo Lonnie Angle and Thomas Dutton got their start in a pretty unusual way—they met while working on a musical. After dabbling with their sound in the studio on the side, they decided to really put all their effort into making music, and Cardiknox was born. We sat down with the duo as they returned to NYC to talk inspiration, songwriting and plans for the future.
Vinyl Mag: Tell us about your single, “Doors.” Where did you get the inspiration for this song?
Lonnie Angle: “Doors” actually started as a dream. All songwriters have had this happen. They wake up in the middle of the night after dreaming of what seems like the world’s greatest melody. They fumble for their iPhone and record a sleepy, mumbled version of the melody, and go back to sleep. Usually, though, when you listen back in the morning, it’s a horrible melody that makes no sense. Not with “Doors,” though!
The initial dream also saw the song as more of a hip-hop song. On the production side, Thomas is hugely inspired by the simplistic power carried by a Drake or Kanye beat. So we tried to keep the music really simple and anthemic. Lyrically, it’s all about perseverance. Not losing self-confidence in the face of adversity. Believing in the outcome.
VM: What is your greatest accomplishment as a band so far?
LA: We just finished a few weeks of touring in Europe, which was a dream come true. Belgium, Amsterdam, Paris, and all over England. We didn’t know quite was to expect, but the shows were incredible. The kids at these festivals go nuts! It was so fun to play for crowds who have so much energy. It makes the performance so easy, because you’re just feeding off them.
VM: How was playing a festival like CMJ different than playing small clubs on a regular night?
LA: CMJ is always a whirlwind. In the best possible way. As long as you go in knowing that everything is going to be a bit of a mess, then you’ll be fine! There’s always twice as many bands on the bills, and there isn’t always a strong connection in the overall sound of the lineup — it’s a bit more random. But unlike playing a normal show, the whole city feels alive and electric (even more than normal). There’s this buzzing in the air, and you’re running around from show to show, not getting any sleep. It’s the best! Though I’m glad it’s only a few days every year…
VM: What was your favorite moment of your CMJ week?
LA: We haven’t played NYC in a hot second, so seeing all the familiar faces and all our friends come out was pure joy for us. We got to play some of our favorite spots, too — Webster and Brooklyn Bowl. Mmm their fried chicken… so good. Honestly I don’t know if there’s one singular moment that sticks out. It was just so great to be back in NYC, in full swing. Such a magical place.
VM: Any upcoming releases?
LA: Yes! Our next single, “On My Way” … [released October 30!] We’re really excited about releasing this song. We’re shooting the music video for it in a few weeks, too. We’ve been putting a ton of work and energy into the video, so we’re really stoked for that as well.
VM: If you could play any venue in the world, where would it be?
LA: Well, a few months ago I would have said The Gorge, up in Washington, but we got to play there at Sasquatch Festival. On second thought, that’s definitely up there on our list of biggest accomplishments. Thomas and I grew up in Seattle, so playing The Gorge has always been a dream.
Other venues on our bucket list are Red Rocks and Madison Square Garden. Hopefully someday soon!
VM: What is your songwriting process like? Do you draw inspiration from any other artists?
LA: We normally start with a certain lyric or concept that we want to write about. That’s often the hook and we’ll build a simple progression around it on the guitar. From there, sometimes we write the verse or pre-chorus and create a full skeleton of the song. Once the song is written, Thomas builds a beat around it, and starts creating the soundscape. Obviously it’s not always that linear. You never know when or where inspiration is going to strike.
VM: Do you prefer to play live shows or be in the studio working on something new?
LA: I love performing. It makes me feel completely alive and uninhibited. There’s something magic that happens when I step on stage—all my fears and anxieties about the world … all of the noise and chaos just falls away and it’s a kind of bliss.
VM: What artist would you most like to collaborate with?
LA: Thomas would probably say Drake. I’m pretty obsessed with Christine and the Queens. I’d love to collab with her in some way.
VM: If you could describe your sound in a single catchphrase, what would it be?
LA: As addictive as truffle fries.
VM: Do you have any pre-show routines or rituals?
LA: I always have a whiskey and jump up and down for about five minutes to get the blood moving. Thomas gets quiet and introspective … mapping out the show in his head.
VM: What is next for Cardiknox?
LA: World domination. J
VM: Anything else you want Vinyl Mag readers to know?
LA: We <3 u!
CMJ 2015: Good Morning x Vinyl Mag
Upon first glance, you might think Good Morning hails from New York City, with Katz’s Delicatessen proudly displayed on Stefan Blair’s sweatshirt. But then they open their mouths, and their Australian heritage is obvious. Vinyl Mag spent a great afternoon bantering with Good Morning’s Stefan Blair and Liam Parsons, who met in high school but have only been collaborating as Good Morning for one year. It’s been a busy year for the band, with the release of their first EP, Shawcross, their first CMJ experience, and Liam’s first visit to NYC.
Vinyl Mag: What are the coolest things you’ve done in NYC this week? What else do you want to do while you’re here?
Liam Parsons: The city is good overwhelming. There’s so much going on.
Stefan Blair: We were on an amazing rooftop last night.
LP: Amazing view of uptown and downtown.
SB: We went to Best Pizza in Brooklyn the other night, that was pretty sweet. Katz’s was also awesome. Those are two highlights.
LP: I’ve really been enjoying the bagels.
VM: How long have you been together as Good Morning, and how did you name the band?
SB: About a year.
LP: This is the first thing we’ve decided to put out, and give it a name.
SB: We just play at home recording this stuff, because it’s interesting and fun to do, a good waste of your time. And then one day we had some songs, so we got a couple more friends to come; they play bass and drums when we play live.
LP: The name was meant to be a non-event, that makes you think of nothing at all. Just a common phrase. So that kind of worked, because now I’ve completely forgotten how we thought of it.
SB: There’s no terrific story behind it.
VM: When did you each get into music?
LP: I’ve been playing since I was a kid. I had a few bands in high school here and there. We were in another band in high school. It was pretty terrible.
SB: It was shit. I started playing piano when I was four.
LP: Your first song ever written was pretty good.
SB: I recorded a song, “Logic,” when I was six or seven years old. I still have the burned CD in my room, and it’s just basically a rip-off of Linkin Park’s “In the End.” It’s just me playing with a mini keyboard.
LP: Pretty forward-thinking for a child. It’s quite experimental.
SB: It’s just always been something we’ve messed around with, music and stuff.
VM: So, Linkin Park. Who else inspires you?
LP: Just anything, early 2000s.
SB: Baby Bash. I wasn’t so into “Numb/Encore.” That is where I began to lose interest in Linkin Park.
LP: I don’t know, we have heaps of influences. I don’t really know what we’d say would be the influence for this. I think most of our influences we don’t sound anything like.
VM: How do you describe your sound?
LP: I just call it pop music. Call it like rock ‘n roll. Every time we have like a cab driver ask us what type of music we play—
SB: They sort of stare at you with a look of confusion when you say ‘pop music’ though like, how can you make pop music with those guitars? I just call it pop music as well, but it’s sort of a vague term I suppose. It’s our idea of pop music.
VM: What’s the writing process like? How often do you get together to rock out?
LP: There’s not really any one set way. Some of them are like little one-minute ideas that either Stefan or I have thought up and bring back to the other person to work on together. Or some of it’s on the spot, we make stuff up. We don’t write as much as we should I suppose.
SB: It depends on the time of the year really. I’ve been working full-time at university, so I haven’t really had a chance to get days at a time when we can sit and do it and it’s nice to have that time to sit down and do it if you want to write and record stuff.
LP: It’s nice to isolate yourself sometimes.
SB: The last time we did that we recorded an EP down at Liam’s beach house in June or Julyish. We spent a week down there and just spent every day doing 13 hours of recording, and then you go home and forget about it, and it’s all done.
LP: We play shows most weeks. And we just hang out, I suppose.
VM: What are you working on right now?
SB: We just finished that EP, and there’s nothing really being worked on at the moment. There’s always like demos and stuff floating around, and sort of a backlog of ideas, which I suppose the plan is to go back and record an album over summer, see what happens.
LP: Winter’s not as fun to record in.
VM: Is this your first CMJ experience?
LP: It’s our first anything like this experience.
SB: We weren’t even playing shows at this time last year.
VM: What do you want to be doing a year from now with the band?
LP: Making records that I like. Something I’m proud of I suppose.
SB: Maybe have some more recording gear.
LP: As long as we can keep playing shows it’s worthwhile. I mean, it’s worthwhile because it’s fun. By this time next year, I don’t want to just fade away.
SB: We’ll keep doing as we usually do in Melbourne, just play shows. Record some music.
VM: If you weren’t a musician, what would you be?
LP: I always wanted to be a homicide detective. I don’t like cops, but I’d like to be a homicide detective.
SB: I don’t think I’ve ever referred to myself as a musician. I don’t really think of myself as a musician; I call myself a university student right now. That would technically probably be my employment. Or sandwich master. One of the two. If I wasn’t one of those things, I’d probably be much happier, because I don’t want to be either of those things, but music’s not the way to make any money or whatever so you have to do real life things, sadly.
VM: What are the coolest or craziest things that you’ve experienced as a band?
SB: Probably coming to NYC is definitely the coolest thing we’ve experienced.
LP: Yeah. This. And the dude that plays deputy Andy on Twin Peaks started following us on Twitter. That was pretty crazy.
SB: We had an Uber driver yesterday come back to the venue and return our bag whilst we were playing. He’s like, ‘You guys forgot your bag in the car!’ So that was pretty crazy, because I wouldn’t have expected somebody to do that, which is pretty nice. Maybe it’s a shame that we find that crazy, that somebody would be that nice.
VM: Is there anything you want the Vinyl Mag audience to know?
LP: I feel like I thought of a good answer to this the other day.
SB: I feel like I’ve never had a good answer to this.
LP: Don’t be a dick.
SB: Be nice to people.
VM: What advice would you give to young musicians trying to make a name for themselves?
LP: Think less about trying to make a name for yourself.
SB: Just do it if you enjoy it. If you don’t enjoy it, fuck it.
LP: It’s weird to watch people try to get famous and stuff. It sort of corrupts people.
SB: It defeats the purpose of playing music.
LP: Don’t feel like you have to do shit that other people do just because other people do it.
VM: If there’s one more tourist thing you could do in the city, what would you pick?
LP: Probably go to the top of the Empire State. I’m just addicted to views at the moment. Anything that can get me a good skyline.
SB: I’d like to ride a bike over the Brooklyn Bridge. That would be exciting.
LP: I haven’t been to Central Park yet.
SB: Museum of Natural History as well.
LP: I want to go to MOMA.
CMJ 2015: Violent Mae x Vinyl Mag
Becky Kessler and Floyd Kellogg didn’t meet with the intention of becoming a band, but with their first album release in 2013 and another coming up next month, we’re glad Violent Mae found one another. The duo, who live five hours apart from one another—Floyd on an island off the coast of Massachusetts and Becky on an organic farm in Connecticut—met up with Vinyl Mag at Muchmore’s in Brooklyn during their one day in New York City for the CMJ festival to talk about their off the cuff creation and what’s coming up next for the band.
Vinyl Mag: How did you two become a band, and where did the name “Violent Mae” come from?
Floyd Kellogg: Becky moved up from Outer Banks, and we met right away because of a mutual friend that I have a studio with. We met kinda casually through that.
Becky Kessler: I wanted to record tunes, because he has a recording studio, and I had no ambition for it to go anywhere—just wanted to record these tunes so I didn’t forget them but wanted to do it in a nice, good way. I actually didn’t expect it to be as cool as it was. When we were in the studio recording, I was like if you’re inspired, drums, bass, whatever—he did that. When it came to release it, it was like well, we want to be a band now.
FK: We were thinking of having other members, but we just played duo off the cuff one night and thought, ‘Well that kind of works,’ and just kept working on it from there. The name came kind of from—we had a crazy year while we were recording that music—there were a lot of happy and darkish times, so it reflects the dichotomy of that feeling.
BK: It’s kind of inherent in the music itself, because it was some pretty moments and some kind of junky, punky moments, and I really like the contrast.
VM: When did you each individually get into music? Where do you get your inspiration for your collaborations?
FK: My uncle was a gear, techy person, and he had a bass he was fixing. I was like 11 and used to just be drawn toward it. I thought it was a guitar, so I started playing it, and he was like, ‘No, it’s a bass!’ Then I started playing bass, and that was that. I picked up some other instruments along the way.
BK: My mom played guitar and sang, and my dad played piano. My dad actually wrote songs too, but neither one were learned, educated musicians. I started playing my dad’s piano when I was eight, but didn’t get very far with that. I started playing my mom’s guitar when I was 11 and just loved something about the guitar. We share a lot of influences, but we definitely have different ones. Both of us are really obsessed with Morphine; that’s a major influence of both of ours. I think we actually had different style stuff that just blended together really cool—or at least we like it.
FK: I think when you’re writing tunes, they were very intimate and quiet, and all my bands before were like jet-taking-off loud.
VM: How did you get involved with CMJ this year, and what other CMJ shows have you caught?
BK: We got on the CMJ charts with our last record.
FK: We were on the CMJ radio charts at 88 for a couple weeks, which was really nice, out of the blue. The record kind of stuck with them, so it seemed natural to come play the festival. We just caught a couple friends’ bands and a couple we don’t know.
BK: We caught Eternal Summers, and Terrible Roars, who are friends of ours. Then this other band that kind of blew us away, Toronto Weaves, and another band, Strange Kids.
VM: If you were in NYC for more time, what one thing would you want to do?
FK: I should be visiting friends. Hopefully I drag them out tonight; it would be nice to see them.
BK: I have one friend I haven’t seen in years coming tonight that I’m very excited about. I’m actually more nervous about that than playing the show. But I’d go see that new museum, The Whitney. I saw the building from the outside, and it looks really, really cool.
FK: I’ve never been to the Statue of Liberty. I’d really like to go.
VM: How do you handle the long-distance relationship?
BK: It’s tricky. This summer was hard, but we did alright. Every once in awhile it’s like, ‘We have to get massive amounts of stuff figured out and done in the next hour on the phone.’ And we do, usually.
FK: We have intense sessions of working on band music.
BK: When we’re not together, I’m always working on writing, like every day. When we get together, we work on making it better, tighter, with arrangements and how it’s going to go down performance-wise.
FK: Then we update social media.
VM: If you weren’t a musician, what would you do if you could be anything else?
FK: I would be a mountaineering guy or blast off avalanches. Something that has to do with being in the wilderness.
BK: I think I probably would actually be what I am some of the time—I work on an organic farm that my boyfriend and I have. I really get super attached to animals and love that part; I also love the growing part and learning more about it. It’s so hard, but I love watching the plants grow, and the animals are just amazing.
VM: What’s one of the most unexpected things that you’ve found in this process?
FK: Something that surprises me is when we’re recording or working really closely together on something, how much we don’t need to fully say to the other person, ‘That’s not working,’ and have a discussion about it. It seems like we’re in line with shit like that. We don’t do a load of talking.
BK: There’s not a lot of discussion. That’s right, that’s cool. And I was really stoked and surprised that Floyd wanted to make it a band and be in the band when he had a bunch of other stuff going on. That, and I’m also surprised how much more loud gear and guitar pedals I have. And I want a lot more. Floyd’s definitely been educating me on a lot of that stuff, and I’m really enjoying using it.
VM: Do you have a new album coming out this year? What is next for you guys and the band?
BK: It’s not technically released yet, but we have the actual physical thing. It releases November 20th. Right now you can hear “In the Sun.” We actually have a video coming out that this dude who lives here directed—it was such an awesome experience doing that. I think it’s really good, I really like it. We did a live video with the last record that is pretty cool.
FK: Big picture is playing more shows and making sure the album sees the light of day and people get to hear it. It’s fun to share music with people.
BK: I think both of us don’t think too much big picture too often. We just think what’s next, and things we want to do—like making more music videos is fun. And now it’s such a great way to share your music with people, because people have to be engaged in a million different ways. And playing more places; that’s what would be great if the music got known better it wouldn’t be so difficult finding shows in other places.
VM: Is there anything else you want the Vinyl Mag audience to know?
BK: We’re hoping to have vinyl of this album in 2016.
FK: We’re gonna be around for a minute. So stop by.
CMJ 2015: Acid Dad x Vinyl Mag
“We’re on the f*cking fast track.”
On Thursday, Oct. 15, Acid Dad shook the walls of Our Wicked Lady in Brooklyn, New York at their second CMJ performance. The Brooklyn local band has only been together about a year, but their sound has an effortlessly seasoned blend that only comes with the most organic of connections. Merging band members from all areas of the nation and globe, Acid Dad is a touch of Los Angeles meets Nashville, meets Columbia, meets Minneapolis, all booming from inside the walls of one intimate Bushwick bar.
Lights fade between shades of blue, green, and red as they bounce off the walls of Our Wicked Lady in unison with the beat of Acid Dad’s “Grim.” Their set list is one that transitions from fast-paced, harder beats to mellow, rhythmic tones as the night goes on, running through a complete set list of band and fan favorites including: “Shoot Ya Down,” “The Digger,” “Master Blaster,” “Brain Body,” “Grim,” “Cinnamon Sky,” and “Worm.”
The band’s name was created just as it sounds with one part acid and one part alliteration. To its four members, Acid Dad “just felt right” and it sounds even better.
The ensemble is made up of four members: Vaughn Hunt of Nashville on vocals and guitar, Dany Gomez of Colombia also on guitar and vocals, Kevin Walker of Los Angeles on drums and Sean Fahey of Minneapolis, the newest band member, on bass.
Described as psych-punk, a term and genre coined by the band themselves, there’s a vintage electric hew in the vocals that’s parallelled in the guitar and balanced on a quick but steady bass line. Matched with upbeat drum hits for the unmistakeable punk influence, the sounds mesh to create an energetic original sound that’s all their own.
The sound inspiration, much like the band, is a melting pot of musical tastes, experiences and icons.
“We try to be very dynamic,” said Gomez, “If anything it’s a combination of all we’ve soaked in, and we kind of try to put it out in our own way.”
“I’ve been around music forever since I was a little kid, and it’s one of those things that you just like do, and you just kind of lose yourself in it. Everything you listen to just kind of gets ingrained in the back of your head, and when you’re writing it just kind of comes out whether you do it on purpose or not,” added Hunt, “Sometimes we’ll be like, ‘Oh, okay. Let’s write a fucking Black Sabbath breakdown here’ and sometimes it’s on purpose, but most of the time it’s pretty organic, pretty natural.”
And just as any new and thriving band does, Acid Dad is constantly evolving, and well aware of it.
“We have phases, too. We have writing phases. Like sometimes we write country, slower songs,” said Walker.
“Yeah, I’m in the country phase. We definitely like the country mood,” Hunt added, a statement which rang true through the sounds of his guitar only one hour ago as the set list slowed and the slightest hint of southern drawl weaved over the chords of “Brain Body.”
Three months after their official formation, the band saw its first big break in March of 2015, while opening for one of their friend and favorites Mystery Lights at Brooklyn’s Union Pool.
“That was a really good step forward for us, because that was when we started playing for people who weren’t just our friends, a little wider audience. Just because they’re big and they’re awesome. And we’ve played with them two or three times more since then,” said Walker. “The whole thing happened really fast,” he added.
With no agents, producers or public relations set ups, Walker handles all of the band’s publicity, booking, and promoting shows and interviews as often as possible. The tactic is clearly working.
“Saturday, we’re opening for Shannon and the Clams, and literally all these bands we were listening to in high school we’re opening up for. That’s honestly our biggest break. That hasn’t happened yet,” said Hunt. “We’re on the fucking fast track.”
By the end of this year, Acid Dad will have played 50 shows, according to Walker.
Big breaks aren’t the only thing Acid Dad can look forward to in the coming year. This winter, the band plans to release their first EP, I/II, which will be written, recorded, produced, and promoted entirely on their own with Hunt handling the EP’s production.
“I’m a producer, and I engineer and write lots of stuff and record all of it,” said Hunt.
“We’re really, like, autonomous, a well oiled machine,” Walker added.
To follow their run of CMJ showings, Acid Dad plans to retreat to their recording studio in Brewster, New York for a few days of writing for the new EP. Together, over the span of a few days, the band will run through their creative Rolodex, pulling from the likes of Neil Young, to the Brazilian psych rock band Os Mutantes. Big fans of 90s hip hop, there may even be some Biggie influence in there, too.
“We practice a lot. We practice at least twice a week, and I’m working on it every day. It is a lot of fuckin’ work, but it’s really fun,” said Hunt, “That’s what Eddie Van Halen talked about. He said, ‘we’re all fucking nerds; we’re all nerds just chilling in my garage learning all this crazy shit.’ You just gotta be into it.”
“So,” said Hunt, “I guess my advice would be to know music history and know music theory. Advice he and his band mates clearly follow as their banter is sprinkled with quotes and facts of legendary musicians, including the Van Halen and the Rolling Stones. They know their stuff.
For this young, up-and-coming band, sights are set on a sound and career they can carry with them long into the future. With role models and passions for a timeless, quality sound blazing the way, there’s no doubt Acid Dad will keep on the fast track for years to come, establishing themselves in ears and minds far and wide.
“Just to play music is the goal,” said Gomez, and play they will, because after all, they’re Acid Dad, and they’re here to stay.