Tag Archive: “Polyvinyl”

The One With God Talk

Every week Ghettoblaster feature writers (and dear cousins!) Brian LaBenne and Luke LaBenne bring you fresh new songs with the hopes of introducing you to some that you may consider to be the best song ever.  Both Brian and Luke have no idea what songs the other has picked, so what you are hearing is their genuine reaction to listening to the songs together.  Also, if you enjoy this episode, head to ITunes to subscribe and rate our podcast with the highest rating available to you.

ITUNES LINK


Songs Played on The One With God Talk

Jay Som – Baybee from Everybody Works out now on Polyvinyl

Benjamin Booker feat. Mavis Staples – Witness from Witness out June 2nd on ATO Records

Bonny Doon – Relieved from Bonny Doon out now on Salinas Records

Dear Reader – Tie Me To The Ground from Day Fever out now on City Slang

Flasher – Winnie from an upcoming 7 inch on Sister Polygon Records

Portugal. The Man – Feel It Still from Woodstock out sometime this year

Michael Nau – Good Thing from Some Twist out June 16th on Suicide Squeeze

GRMLN – 27 Kids from Discovery EP out April 7th on KCRW

Welcome to Future Sounds vol. 6!

Every other week, Ghettoblaster brings you a playlist of singles from upcoming albums to excite and entice your ears.  Below you’ll find the entire playlist via Spotify as well as Playlist Highlights, which are songs that really stand out as essential listening.  So please sit back, relax and treat yourself to some seriously great music.

Deerhoof – “Plastic Thrills”

Deerhoof has recently announced their next full length album titled The Magic, coming out 6-24 on Polyvinyl Records. The Magic is explained by drummer Greg as being “what we liked when we were kids – when music was magic – before you knew about the industry and before there were rules. Sometimes hair metal is the right choice.”  They have shared two tracks from the upcoming album, “Debut” and “Plastic Thrills,” and thus far the sound from the upcoming album is definitely in line with this idea of music being magical and having no rules.  “Plastic Thrills” comes right out of the gate with a solid guitar riff and cuts out abruptly about two minutes later.  There are awesome shades of Iggy and the Stooges on “Plastic Thrills” and overall is just a blast to listen to.  Deerhoof keeps finding new ways to remain unpredictable and so far The Magic sounds like a triumphant next step.


 

Yumi Zouma – “Barricade (Matter of Fact)”

“Barricade (Matter of Fact)” is a song that sneaks up on you and before you know it has its teeth sunk in deep. Dreamy synths mix with beautiful vocals singing such a subtly catchy melody that you’ll find yourself humming later and not quite be able to  place where you heard it.  Yumi Zouma has put out a couple EPs and the band members were scattered across the globe during the recording process for those.  Josh Burgess of the band explains: “’Barricade’ was the first song that was really collaborative for us. I remember sitting on the floor in Charlie’s apartment playing an unplugged bass, Charlie with an unplugged guitar and Christie humming out melodies. I hadn’t worked on a track like that since I was in college.” The cohesion that results from this new style of songwriting for Yumi Zouma makes their debut full length album Yoncalla, out 5-27 on Cascine, an album to look forward to.


 

Look Park – “Aeroplane”

Chris Collingwood has enjoyed success over the years with his band Fountains of Wayne, but was inspired to embark on a solo music project under the name of Look Park. “I don’t like the expression ‘solo record,’” Collingwood says. “It means you don’t have to pay attention to it, it’s really just a side project. It really felt important to me to give this a proper name.” It’s been three years since Fountains of Wayne’s last album and in that time Collingwood has made over 100 new songs, mainly with acoustic guitar, MIDI and a ton of percussion instruments. “Aeroplane” is a classic pop rock song with a fantastic chorus and super catchy melody. There are acoustic and electric guitars interplaying with a great piano line over lyrics focusing on being stuck in a plane on a long flight and the feelings of connectedness and isolation that brings.  Look Park’s debut self titled album is out 7-22 on Yep Roc.


 

FAWNN – “Galaxies”

“Galaxies,” the lead single from FAWNN’s upcoming album Ultimate Oceans, is an appropriately titled and spacey dream rock song.  FAWNN describes their sound on “Galaxies” in the perfect way: “signature hooky boy/girl harmonies, melodic guitar interplay and undeniable rhythm grooves.”  The song floats along in a most enjoyable manner and ultimately culminates in an epic crescendo involving a nice guitar solo and even some subtle saxophone thrown in for good measure. Ultimate Oceans is out 6/17 on Quite Scientific.


Full Playlist

 

For their sixth official full-length, Sonny & The Sunsets teamed up with producer Merrill Garbus (tUnE-yArDs) to create a new wave masterpiece called Moods Baby Moods. The album is due on May 27 on Polyvinyl, and today the band shares the first official music video from the album, for “Well But Strangely Hung Man” which features Merrill Garbus, Shannon Shaw (Shannon & The Clams), Kelley Stoltz and tells the back story of a man who is looking for acceptance.

The band has also announced a full U.S. tour in support of Moods Baby Moods:

04/23 – Emeryville, CA – Greetings from Scandinavia @ Midsummer Studios

06/04 – San Francisco, CA – The Chapel

06/15 – Vancouver, BC – Psych Night @ Baltimore Cabaret

06/16 – Seattle, WA – Tractor Tavern

06/17 – Portland, OR – Mississippi Studios

06/18 – Eugene, OR – Hi Fi Music Hall

06/19 – Guerneville, CA – Deathstock II

06/23 – Los Angeles, CA – The Echo

06/24 – San Diego, CA – Soda Bar

06/25 – Visalia, CA – Cellar Door

07/07 – Chicago, IL – Empty Bottle

07/08 – Cincinnati, OH – MOTR

07/09 – Cleveland, OH – Happy Dog

07/12 – Somerville, MA – ONCE Ballroom

07/13 – New Haven, CT – BAR

07/14 – Philadelphia, PA – Kung Fu Necktie

07/15 – Brooklyn, NY – Baby’s All Right

07/17 – Carolina Beach, NC – Ocean Grill and Tiki Bar

07/19 – Knoxville, TN – Pilot Light

07/20 – Louisville, KY – Zanzibar

07/21 – Indianapolis, IN – The Hi Fi

07/22 – Grand Rapids, MI – The Tip Top

07/23 – Ferndale, MI – The Magic Bag

Every Monday, Ghettoblaster is looking back to new albums released the previous week.  Below you’ll find several albums released on Friday April 1st that we believe are definitely worth a listen.

 

Elzhi – Lead Poison (GLOW365 LLC)

Detroit rapper Elzhi takes us back in time with his new album, Lead Poison, which is heavily inspired by 90s hip-hop. This makes sense as Elzhi made his start in the late 90s with rap group Slum Village. He’s been recording solo albums for several years now and Lead Poison is one of his finest. The beats are solid loops and the emphasis here is on fantastic lyricism and stellar flows. Overall, it’s a melancholy affair focusing on storytelling rap with occasional turns to the surreal.  Apparently this album was actually released on March 25th but it slipped under the radar and we wanted to cover it anyway.

Tancred – Out of the Garden (Polyvinyl)

From the beginning riff of opener “Bed Case” to the fading guitar distortion of closer “Pretty Girls,” Tancred brings us a hugely enjoyable power pop ride with Out of the Garden. Comparisons to Weezer and The Breeders abound in the best possible way. The choruses are catchy, the music is loud and each song is a joy to listen to.

Tacocat – Lost Time (Hardly Art)

Lost Time is a strange, yet super fun listen. The album opens with a track titled “Dana Katherine Scully,” an ode to the character from The X-Files, and the clever humor never wavers throughout. This is an album that inspires as much head bobbing as it does laughing as the music is very well executed power pop. There are some definite heavy parts, both musically and lyrically, but even in these moments Tacocat’s wonderful sense of wit is present.

Laura Gibson – Empire Builder (City Slang)

Empire Builder is a beautiful singer-songwriter album with pop song structures and occasional shades of country. Laura Gibson alternates largely between pop songs, which contain interesting percussion and perfectly produced string arrangements, and slow burning folk songs with introspective lyrics and country influences. The mix between these two styles makes for an unpredictable and endlessly interesting listen.  She is also featured in the most recent issue of Ghettoblaster, out now!

Other Noteworthy Albums

This week was so full of great albums we couldn’t cover them all!  Below you’ll find other noteworthy albums to check out.

Frankie Cosmos – Next Thing (Bayonet Records)


 

Black Mountain – IV (Jagjaguwar)


 

Mike and the Melvins – Three Men and a Baby (Sub Pop)


 

Autolux – Pussy’s Dead (Columbia)

 

La Sera shares the first music video from their forthcoming album, Music For Listening to Music to (out March 4 on Polyvinyl), with “High Notes.”

They’ve also announced their first batch of tour dates in support of the album, with dates in SF (Noise Pop) and then a quick run of shows from Chicago to New York. More dates will be announced soon!

02/24 – San Francisco, CA – Noise Pop / Rickshaw Stop

05/06 – Chicago, IL – Empty Bottle

05/07 – Detroit, MI – Marble Bar

05/08 – Toronto, ON – CMW

05/09 – Montreal, QC – Casa del Popolo

05/10 – Boston, MA – Great Scott

05/11 – New York, NY – Market Hotel

Painted Palms share new track “Tracers” from sophomore album Horizons, due Sept 4 via Polyvinyl.

Painted Palms’ second full-length album, Horizons, exudes a sense of confidence and purpose that is only present when two creators share a singular focus and absolute trust in each other’s talents. On Horizons, emotional states are suspended between light and dark, driven by the tension of efficient song structures.

This week the band shares the synth-laden “Tracers,” melding ’60s psych pop with heavy-footed ’80s drum machines. Stream the track over at Stereogum.

Though vocalist Chris Prudhomme and producer Reese Donohue chose to collaborate on their second full-length by sending song ideas back and forth over e-mail, just as they did when crafting their 2014 debut Forever, Horizons marks the first time the duo has expanded their sound beyond the bedroom by stepping into the studio. Mixed by former DFA house engineer Eric Broucek (LCD Soundsystem, Classixx), Horizons engages with a diverse sonic palette on each track: ’60s psych-pop, ’80s synths, hypnotic vibes of the kind induced by Bjork and early ’90s Creation Records bands, and the trunk-rattling minimalism of Southern hip-hop.

Horizons is a meditation on achieving balance in a place where things are always changing, and there are no real ends. As a result, Painted Palms refines and executes their best work to date.

Catch them live:

8/27 San Francisco, CA @ Rickshaw Stop*

9/4 Brooklyn, NY @ Baby’s All Right

 

* = w/ Antwon, Meat Market

Painted Palms gave listeners their first taste of Horizons today by releasing a track off the record via Nerdist.

“Painted Palms new single “Disintegrate” is an aptly named dance-floor-worthy jam that channels Zonoscope-era Cut Copy, mid aughts DFA Records, ’80s pop and beyond. The DFA connection is a little more tangible here though: former DFA house engineer Eric Broucek played a large role in mixing the duo’s forthcoming second album, Horizons. That is an extremely exciting prospect for the rest of the album, as Broucek played a crucial role in some of the best dance music that arose throughout the past ten year,” said Nerdist.

Over the course of two EP’s and their debut album, Painted Palms toured relentlessly, making their way through North America, Europe, and Japan in 2014. The band will hit the road again this fall with tour dates to be announced soon.

Pre-Order Horizons: polyvinylrecords.com/horizons

Painted Palms’ second full-length album, Horizons, exudes a sense of confidence and purpose that is only present when two creators share a singular focus and absolute trust in each other’s talents.

With Horizons, emotional states are suspended between light and dark, driven by the tension of efficient song structures. From the first ominous harmonies of lead single “Refractor,” it’s clear that Painted Palms’ panoramic pop sound has never been more fully realized.

Even though vocalist Chris Prudhomme and producer Reese Donohue chose to collaborate on their second full-length by sending song fragments back and forth over email, just as they did when crafting their 2014 debut Forever, Horizons marks the duo’s first time expanding their sound beyond the bedroom and stepping into the studio.

Mixed by former DFA house engineer Eric Broucek (LCD Soundsystem, Classixx) Horizons engages with a diverse sonic palette on each track: 60s psych-pop, ’80s synths, hypnotic vibes induced by Bjork and early ’90s Creation Records bands, and the trunk-rattling minimalism of Southern hip-hop.

Horizons is a meditation on achieving balance in a place where things are always changing, and there are no real ends. As a result, Painted Palms refines and executes their best work to date.

Like everything White Reaper does, the band’s trajectory from regional act renowned for its high-intensity shows to national touring group was accomplished at the speed of 0 to 60.

After signing to Polyvinyl in early 2014 and releasing a self-titled EP that blasts through six tracks in a breakneck 15 minutes, the Reapers – Esposito, keyboardist Ryan Hater, bassist Sam Wilkerson, and drummer Nick Wilkerson – soon began working on new material to fill out their set.

Enter White Reaper Does It Again: a raucous debut full-length from a bunch of barely 20-somethings who have more fun on a Tuesday night than you do on a Saturday.

Recorded in White Reaper’s hometown of Louisville, KY, with engineer Kevin Ratterman (Young Widows, Coliseum), WRDIA is a pure rock ‘n’ roll adrenaline shot: vicious guitar scratches, elastic bass, sugary keyboard leads, and a thudding drums that will inevitably give your heartbeat a new rhythm.

The band then held reign over Ratterman’s La La Land space for a little over a week, arriving at noon and staying late into the night – a schedule that left everyone as giddily exhausted as the crowd at, well, a White Reaper show.

See for yourself here:

6/04 – Newport, KY – Southgate House Revival

6/05 – Indianapolis, IN – The HI-FI

6/06 – Grand Rapids, MI – The Stache at The Intersection

6/07 – St. Louis, MO – The Firebird

6/08 – Kansas City, MO – The Riot Room

6/11 – Sacramento, CA – Harlow’s

6/12 – Portland, OR – Dante’s

6/13 – Seattle, WA – Neumo’s

6/14 – Boise, ID – Neurolux

6/15 – Salt Lake City, UT – Bar Deluxe

6/16 – Denver, CO – Larimer Lounge

6/17 – Omaha, NE – The Waiting Room

6/18 – Des Moines, IA – Vaudeville Mews

6/19 – Minneapolis, MN – First Avenue

6/20 – Milwaukee, WI – Mad Planet

7/17-7/19 – Louisville, KY – Forecastle Music Festival

Their/They're/There
Their/They’re/There

(Editor’s note: This feature originally ran in Ghettoblaster Magazine, issue 37.)

According to Evan Weiss, who is perhaps better known as the vocalist/guitarist behind celebrated indie act Into It. Over It., the recording of the latest EP (their second) from his side project/super group Their/They’re/There was governed by forces outside of the band.

“In 2013, or maybe 2012, Ed Rose (of Black Lodge Studio) announced his retirement and said that 2013 would be the final year for bands to record with him” Weiss explained.  “I remembered that when he and I were doing Proper, he was saying that he wished we’d done the record to tape, and I’d promised to come back and do a record to tape with him.  Now time’s running out, and there was no Into It. Over It. material around, because I’d just finished writing the full-length and planning everything out for Intersections.  But Their/They’re/There had finished two songs and was beginning to write a third.”

“So, the guys and I discussed it and talked to Polyvinyl and Topshelf about funding the trip.  It ended up being one of the most fun recording experiences I’ve ever had.  In fact, Ed said that if all the sessions were as fun as ours was, he’d have no reason to quit.  That was a really flattering compliment coming from someone who has made a lot of records that I enjoy.”

In addition to Weiss, who handles bass in the band, his T/T/T bandmates are no stranger to intricate, catchy emo-leaning rock music.  T/T/T’s drummer is none other than Mike Kinsella, known to the independent music landscape for his contributions to Owls, Cap’n Jazz and American Football, as well as his popular solo project, Owen.  Although Weiss and Kinsella are studied and celebrated axemen, Matthew Frank, of Loose Lips Sink Ships, handles the guitarwork.

“Matt’s guitar playing is not at all how I look at playing the guitar.  It is nothing like Mike’s playing either.  We’re just spellbound by it all the time,” Weiss confessed.  “We can’t believe the stuff that he’s able to do.  So the idea was to take that guitar playing, which at times can seem nonsensical, and create something catchy and memorable from it.  That’s the challenge; to take his out of the box playing and make it something that doesn’t seem totally insane on first glance.  Tricky songs that don’t sound tricky.”

The resulting songs offer a complex, onion peel construction.  At their core, the songs deliver the relatable narrative, customary of Weiss’ lyricism, and his knack for catchy melody.  Another layer entirely is the intricate and off-kilter work of Frank.  And providing the form and delivery mechanism for their good idea machine is Weiss and Kinsella’s solid, rhythmic backbone.

Although time was of the essence during the recording of the band’s EP, Weiss said that the real source of T/T/T’s chemistry and magic lies in the band members’ far more casual approach to their collective endeavor.

“Saying it is a ‘side project’ makes it sound like it is an afterthought.  I don’t think that the band is an afterthought, but I don’t know that it is the primary concern for any of the three of us.  Mike is raising a family, I’m on tour a lot of the time, and Matt is finishing school, so it was agreed upon at the beginning that we would do it if we had time for it.  That’s what makes the band so enjoyable to do.

“There are no expectations,” Weiss explained.  “When we write, we aren’t writing to please anybody but ourselves.  I think it is naturally for people to play music and allow a level of stress to influence performing music in a full-time project.  But being in a band for the pure enjoyment of it makes for a really positive environment.  I think it is the kind of thing that we need to keep ourselves grounded.”

A twist that no one saw coming during the Analog Weekend sessions, was that it would allow the trio to introduce a fourth collaborator to the mix; the EP features piano by James Dewees of The Get Up Kids, Reggie and the Full Effect and Coalesce.

“We did the EP on a weekend between sessions for his latest Reggie and the Full Effect record,” Weiss recalled.  “So we had an idea for a piano part, but none of us are all that great at piano, and we wanted someone who knew their way around the instrument.  So we called him up and asked him if he’d stop by the studio and he agreed

“He showed up with a box of Krispy Kreme donuts and four chocolate milk shakes,” Weiss laughed.  “We explained the idea and he tracked it in about 15 minutes, making us laugh the whole time.  It was a funny, little moment.” (Tim Anderl)

Jamie Stewart of Xiu Xiu
Jamie Stewart of Xiu Xiu

(Web Editor’s note: This feature was originally published in issue 37 of Ghettoblaster Magazine.) Although it wasn’t glaringly obvious to Xiu Xiu mastermind Jamie Stewart while he was writing it, Angel Guts: Red Classroom, the group’s latest full-length, is really an homage to his new neighbors.  Having spent the previous four years living in North Carolina, Stewart relocated to Los Angeles, moving into a neighborhood whose notorious, and well-deserved reputation for danger and violence was unknown to him.  The amenities offered by his new home include a park divided among four gangs, a lake routinely dragged for bodies, and a building wherein two infant skeletons were recently uncovered. For the resulting response, Angel Guts: Red Classroom, he and his collaborators put their most radical and darkest foot forward, uncovering unsettling and touchy subject matter along the way.  Racialized sex, double suicide, criminality, fear of physical harm, the record is no Mister Rogers tale.  The impact of existing in his new environment is felt in each lyric, which bleeds the essence of terrible beauty, despair, violence, humanity, and uncertainty. The record, released by Polyvinyl on February 4, is Xiu Xiu’s first album of original material since 2012’s Always and caps an interesting few years for Stewart who travelled with Michael Gira’s Swans, and released Nina, an album that documents his unique take on a selection of Nina Simone covers. Inspired by a combination of muses, including John Congleton who recorded the LP and offered critical input its approach, Xiu Xiu entered the studio with analog synths, a drum set, and 1970s analog drum machines.  The lethal combination of inspiration and tools introduces the groups renewed focus to create risky, and gripping avante garde music that pushes the boundaries of boldness in barely bearable and ominously fantastic ways. This is what Stewart told Ghettoblaster about obsessing, feeling, transforming, and not giving up. What prompted the move to your new home and did the change of scenery set the mood or tone for an of your new record? Yeah, I had been living in North Carolina under not the best of circumstances and had been wanting to move away for a long time.  I figured I’d move back to San Francisco or Los Angeles or New York and I flipped a coin and ended up in Los Angeles.  A friend of mine found an apartment for me in a neighborhood, which I didn’t know very well.  But, as it turned out, it was an incredibly dangerous and somewhat fantastical kind of place.  It is such a mess here that it is almost surreal. I didn’t really realize the affect the neighborhood had on the record until my bandmate Angela pointed out that almost every song was about things that had happened to us here, or things that were going on here. Is recognizing that it catalyzed you in an artistic way what has kept you interested in staying there? I just moved here about a year ago, but really economics has kept me here. Are you willing to acknowledge on some level that some of your subject matter and artistic response to is it feels challenging or dangerous to some listeners? It’s not really any of my business how listeners respond to it.  People can think whatever they want to think (laughter). I did a search today and realized that there are several Xiu Xiu records at our public library and it occurred to me that there may be some new music listener who stumbles across your records and is challenged in a way that they’ve never been challenged before…Is that a welcome feeling for you as an artist; to challenge people’s normative feelings about who they are and what art they respond to at their core? Well, I wouldn’t presuppose that any of that actually goes on (laughter).  It would be nice.  It would be nice to think that it would.  There are certain types of bands and art that are important to me.  If that type of situation did happen for someone, great.  I can only be grateful for bands and artists who have done the same for me… Did you first encounter John Congleton when you did the split with The Paperchase, or is your relationship with him older than that? After our first record he wrote me a letter saying that he’d be interested in working with us.  We stayed in touch and our bands did a number of shows together over the years.  It took us a while before we were able to do a full-length together.  The first time he produced something that I was working on was the collaboration I did with Jonathan Meiburg from Shearwater called Blue Water White Death.  So I’d actually known him for about seven years before we had a chance to work together. When you started writing the material for the new record he became the natural choice for this?  What was it about him and his approach toward his work endeavors that made him right for this? Our approach to this record was really his idea.  He mixed our last record and said that the next one should be simple and really stripped down like something the band Suicide would do.  And as soon as he said it, it seemed like the right thing to do.  Additionally, he likes things to sound evil basically.  That’s his natural inclination.  For me he’s had a profound impact; he’s able to push sounds in ways that I’ve never even imagined before. The title tracks that bookend the record couldn’t be any more different to the casual listener in terms of space and volume and mood.  Which came first, “Angel Guts” or “Red Classroom”? (Laughter) I did them both on the same day (laughter). Do you think people will have that kind of surprised reaction to them? We did our best to make this record be very different than anything we’d done before.  I hope that people have a different reaction to it than the records we’ve released in the past.  But as I said before, I really don’t have any control over how people react.  We tried to do something different because the pop influences, which had been the driving force from the last several records, completely melted away from my brain.  It is just not there anymore.  So doing another pop record would be completely false.  Did I answer that question? I think so.  Do you have songs on the record that you’ve become obsessive about or is it the kind of thing where you put something out into the universe and then never really revisit those initial feelings later? Everything that is on that record is very much present in my current consciousness.  We didn’t finish the record that long ago. Do you believe that making a record like this affects or changes the core of who you are as a person or is there a distinction between an artist as an artist, and an artist as a person? Personally, making this record affected me tremendously.  I don’t think that is inherent in every artistic process.  I don’t think that it needs to be.  At the risk of sounding like a lunatic, there is not a lot of distance between what you’re hearing here and what the lives of the band members are actually like. So these are things that you feel constantly and struggle with consistently even after you’ve presented them in the recording studio? I would never record something that I didn’t feel.  It’s not like upon completing a song that the feelings are expunged from my consciousness.  I’m certainly not in the exact emotional state of what’s on the record every second of every day, but it is a regular part of my life and the lives of the people who are in the band.  Recording things is as much a way of processing feelings for me, as it is living through them. In 2013 you also did the Nina album.  Had that been in the work since your earlier covers EP in 2006, or was it something else that moved that back to the forefront for you? No, they were totally unrelated and I undertook those projects under completely different circumstances.  They weren’t related. I read that you had some conversations with Michael Gira that ignited your focus on the project… I’ve done a couple tours with Swans and we were talking at length backstage one night about how we both loved Nina Simone.  The next night we played a show together and I didn’t feel like I played particularly well, and I was sitting back stage feeling terrible about it.  And I was listening to Swans play incredibly well, which only made me feel worse…not that I was jealous, but the fact that they were playing so well only pointed out to me how badly I’d played.  So I put on my headphones and was listening to Nina Simone and I was realizing that she had all these dramatic ups and downs, but only got better.  It made me want to try to get better, and not to want to quit.  So the combination of that conversation and experience provided the inspiration for the record. What has the experience of being in the trenches with Gira done to affect your approach to your output? It has raised my standards tremendously (laughter). You’ve been doing this for a long time and have considerable chops too…what is it about his approach that challenges you in that way? I think it is what challenges anybody.  He is incredibly devoted, incredibly relentless, super talented.  He’s able to create something that no other band has done before.  Essentially, everything I’ve ever wanted to do, he is currently doing. Last time I talked to you was for a feature for Ghettoblaster online, and the next day I spoke with Youth Code, who relayed a story about eating next to you at a Vietnamese restaurant and how they got a kick out of dining in the same restaurant as the man who’d released a music video with a woman puking on him… (laughter) That said, you also mentioned really liking them too.  Could we ever anticipate you doing a collaboration with them? I hope so.  We are touring together this next year.  I’m hoping that discussion comes up.  I’d really like to do that.  They’ll be on the February/March tour. (Timothy Anderl)