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Interview: See-I

November 5, 2011 By Leave a Comment

The reggae band See-I. Photo courtesy of see-i.com


By Tom Roth

Tom Roth: How has See-I’s membership changed over the years and how has that affected the band’s music?
See-I: We have grown stronger and stronger over the years.  Our band members are so talented and each brings his own background and special experiences to the table, that’s what makes the band’s sound so unique.  We are really proud of each one of these guys, they are all so talented and accomplished on their own.  It’s really a band of all-stars.
TR: With a discography reaching back to 2003, when would you say things really started picking up for See I? Was there a certain release that helped in that?
SI: We started touring heavily in 2009 and that was a big catalyst.  We were also able to rebuild our entire studio that year and the new gear really helped us get the album together.  And now that the first album is done, we are already halfway done with our second album, so things are rolling now.

 

TR: In the reggae genre, which artists do you identify most with, both musically and in terms of style? Any artists from other genres?
SI: Mostly dancehall, lovers rock and foundation reggae from the 1970′s.  Of course there was great reggae before and after the 1970′s, but that decade shaped our singers, Rootz and Zeebo, the most.  And not just 1970′s reggae, but also funk and soul.  When you hear our music or come see us play, you will realize this is a unique and genuine reggae sound.  A fusion based on rock, soul, gospel and funk, all driven by a steady reggae beat and vibe.  This is the real See-I sound.

 

TR:  See-I seems to have a fairly special relationship with Thievery Corporation. What sort of things have you learned from each other?
SI: See-I’s relationship with Thievery Corporation goes back to the 90′s and the history of both bands are intertwined together.  Thievery has been real blessing, giving our singers and musicians incredible opportunities worldwide.  Chances to play on some of the best and biggest stages all over the world.  Thievery has also maintained a pretty busy touring schedule, so the See-I guys are trained and ready for extended stays on the road.  When you come to a See-I show you get to enjoy the vibes developed by years of touring, and that’s a special thing.  This is positive and fun music, you are meant to have a good time.  But we take it seriously and are professionals.  So let’s get it on!!

 
TR: Which cities, on east coast and west, do you have the closest connection to?
SI: We love Colorado.  It’s like a second home to us.  The people, the landscape, nature, energy, everything is so great there.  California has been incredibly good to us, i think you get a similar vibration out here – people are tuned into nature, the earth and each other.  We thrive off of that kind of energy.  The people just love music and love to dance so much, we give you a lot of respect for that.  On the east coast, DC is our home and has a special place in our heart of course.  We play in Baltimore a lot and have some great fans and friends in Charm City.  And of course we have to give a shout out to our main Rob Paine in Philly, him and Lee Mayjahs of PEX have really built that city up musically and shared their community with us.  Much respect and thanks to them.

 

TR:  In September, you played the Earthdance festival in Vallejo. How was the West Coast vibe apparent there?
SI: Love, unity, mother earth, positive vibrations, yoga, and lots of reggae music.   Earthdance is incredible, much thanks to Chris Deckker and all who work so hard to put it on.  Music is a spiritual thing and we have a lot of respect and admiration for those who can keep the sacred aspects alive while bringing together thousands of people under one roof.  Corporate sponsorships and funding are not really our thing, we believe in the people, the underground and our family.  YOU!

 

TR: What can fans expect to see on this tour and more specifically at your San Diego stop on November 5?
SI: Expect a funky good party.  Wear your dancing shoes.  Get ready to smile and get down with us from start to finish.  We came to party.

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Interview: Metronomy

October 19, 2011 By Leave a Comment

Metronomy's newest album, The English Riviera

By Crystal Lynn Walter

When I meet Metronomy, the England-based band, at their hotel in El Cajon, they have just arrived and are unloading their belongings, awaiting access to their hotel rooms.  I am struck, almost immediately, by their overall friendliness, wittiness, and charisma as we gather in the lobby discussing Toms, the American shoe company, and the ways that technology seems to be manifesting a new form of language within modern society.  Soon, we have made our way into the hotel room, complete with the luxury of hot-running water, and Joseph Mount, composer, singer, keyboard player, and guitar player, takes a seat next to me on the couch to begin the interview.

 As broaching the topic of their newest album The English Riviera, released in April 2011, the album art and its significance initiates the direction of the conversation, due to its direct relationship with the contents of the album.  The album cover selected for their newest album, The English Riviera, produced on the Because Music record label, is that of an old poster originally used to revamp the image of the English Riviera, in hopes of making it appear to be more of a desired travel destination, Mount said.  This sleek and modern image, evoking a sense of glamour, is very different from the actuality of the English Riviera, and thus the band’s utilization of this image helps to create a sense of irony between the album’s content and one’s first visual impression of the album.  The English Riviera is filled with a sense of irony, appreciation, and reminiscence with regards to childhood experiences and hometowns, revealing the various ways that these characteristics can influence and shape one’s future. The band expressed excitement about their gradual rise in success and the increased publicity they are receiving for The English Riviera, with songs such as “The Look” and “The Bay.”

Crystal Walter: What was the point in time that you realized Metronomy was really working out, and that it would be a project that would experience the high level of success and popularity that it has today? 

Joseph Mount: I mean there’s been a few points where it’s felt like it was going better than I could have imagined in a way.  When our band started playing the live stuff it felt like a nice time for us to start going out and touring, because it felt like people were coming out and watching us.  It has gotten better and better, and this year has felt very exciting for us…so maybe now (laughs).

 

CW: Do you feel that The English Riviera contains more of a dance-pop feel, where Pip Paine and Nights Out are more centered on electronic sounds and beats?  Why these changes towards a more dance-pop feel? Is this a direction that you would like to continue moving towards and further exploring, or do you see yourself returning to music focused mainly on electronic sound?   

Gbenga Adelekan: It’s interesting that you say that, because in Europe I don’t think that anyone has really called the new album “dance-pop.”  A lot of the questions we’ve had about the album in Europe have been “why the move away from dance-pop into a pop rock?”

JM: The same question has been oppositely phrased in Europe.  People notice a move from something that’s maybe more nice, into something that’s a bit more commercial.  It’s weird because the only thing that makes it commercial is the coverage it gets.  There are no decisions to change the style for any particular reason other than just keeping it kind of interesting.  It just so happens that on this record it seems to appeal to a lot more people, at least more than other albums.  It sounds a bit more palatable for a lot of people (takes off his 1980s style windbreaker).

Oscar Cash: I always think that Night Out, in particular, was definitely trying to be pop.

GA: I think the production values on The English Riviera are higher, just because it was recorded in a studio for the first time.  Joe and Ash, the guys that engineered it, got a great sound out of that room, so for people who are listening to it on the radio may find it easier to get into it.  It sounds better than the previous albums, but I think that the previous albums are just as catchy as say “The Look.”

 

CW: How did you decide on the album art for The English Riviera?   

JM: The artwork is actually an old tourism poster from where I grew up, which is the English Riviera.  I was always aware of that picture, but it seemed too obvious and too easy, and so for some reason I was trying to think of other bits of artwork to make.  In the end I just tried it, and thought “that was easy wasn’t it?”  It’s funny, because for that picture itself, they hired this graphic designer to try and help re-brand the area for the tourism office, but the only way he could do that was to make this very simple graphic image.  It’s not a photograph of the place, its not very literal, but makes it seem very beautiful, clean, and sheik.  That’s the idea for the record.  If you see that picture and you actually travel there, the feelings the picture gives you aren’t necessarily the feelings you will have when you get there.

 

CW: The album name, The English Riviera, evokes a sense of vacation, relaxation, and almost paradise, was that your intention when selecting the title for this album?  What significant meaning does the album title have for you?  

JM: Yes. It’s maybe a bit more of a personal attachment because it is a place that reminds me much of my childhood.  I think the thing that I really enjoy most is that you find yourself going to places like Brazil, Chile, or even here in America, and someone is asking you about the English Riviera.  It’s quite a funny concept.  So…yeah, the idea that there is this paradise in England and it’s somewhere that no one would ever really think to travel to is quite nice.  It is the idea of being a bit proud of the fact that there is this relatively nice coastline in England.

 

CW: For me, the lyrics and instrumentals present within “The Bay” evoke a sense of yearning and desire that seems to be limited or unfulfilled to a certain extent, was that the intention when composing “The Bay”?  What influenced its lyrical and instrumental content?  

JM: I guess the idea of the song is to give an anthem to the people of the bay, in Devon, England.  I think it’s the same for Anna who is from a relatively small town “it is a town, isn’t it?” (Joe says to Anna), “It’s a town” (Anna responds to Joe).  There are these towns in England where the biggest decision, and maybe the one that will affect your life the most, is if you leave that town or if you stay there.  So…yeah, I guess a whole lot of the lyrics share this idea where leaving is a very big step and staying is deciding that you are content.  I know that Anna’s is always saying that if she were still in Duncan’s (Anna’s hometown), that she would probability have lots of children.

Anna Prior: it’s a bit of a “booger,” because you go home for Christmas and people treat me differently.  They say, “oh your accent’s changed.”  They think that for some reason I feel that I am better than them now.  I have to say I come home because “my parents still live here, and I have to go back to see my parents.” I find it a bit annoying.

JM: It’s the same from where I’m from.  There are all the people working in the supermarkets, who were working there when you left and are still working there when you come home.  It’s supposed to have the idea of being stuck somewhere, being proud of where you are stuck, and believing that “it’s a great place” (spoken with a hint of irony).

 

CW: Within the song “The Look,” the lyrics and corresponding instrumentals, remain somewhat upbeat, but also mellow at the same time.  Throughout this song I gained the feelings of betrayal, rejection, and nostalgia for times passed.  Were these the intended responses you considered while composing “The Look”?  What influenced its lyrical and instrumental content? 

JM: Yeah…the song is really simple and based around this little organ idea.

GA: “Hook,” a massive organ (spoken with a hint of friendly sarcasm, laughs).

JM: Yes, based around this “massive” organ (laughs).  When anyone asks me about this song, I have to sing the lyrics in my head (more laughs).  When I was writing it, I was thinking it was about small towns.  I can remember that when I was growing up in a small town, if you had an interest, which was maybe a bit artistic, you would end up becoming this weird “target” for people.  People who thought, “oh, you like drawing, you’re a girl.”  They had these weird, jealous reactions. The interest in something different was almost like your ticket out of the place that you were from, because it was something to focus you.   The song was based on the idea that you have to really stick to what you want to do, despite the people who want to “take the mink out of you.” Anyways…I’m rambling…I’m getting heavy (laughs).

 

CW: What songs on The English Riviera have a special meaning to you, and for what reasons? Which songs do you really connect with, and for what reasons?  

AP: I feel a connection to “Love Underlying,” because of the drums in it.  Joe got me into playing the “little synthesizer pad thing” and I played it for eight, nine, ten minutes (acts out laboring over the instrument)…So, I feel connected in that way.

JM: Yeah.  There’s probably about thirty minutes recorded material that you did (referring to Anna’s drumming).  But yeah, I guess the ones that we’ve talked about, “The Look” and “The Bay,” that I feel an emotional connection to.  It’s weird because once you start playing them live you they start to become this other thing.  You start to think of them much more in terms of how people like them, rather than your experience of them.

GA: So…then that becomes your experience of listening to them (referring to Joe’s comment).  It becomes this sort of weird symbiotic relationship.

JM: I mean playing “The Bay” in places where there is water you feel a nice interaction with the people in the audience.

AP: In some ways “The Bay” feels Christmassy to me because the first time I heard it “properly” and in full, was when I had gone home for Christmas.  Our manager sent it to us and I remember lying in bed on the 26th of December (acting out listening to the song and being satisfied with what she is hearing).

 

CW: Are there any examples of songs, on the new album, that you wrote a certain way and then they turned out completely different that was originally intended? 

JM: Umm…they all go through quite a different process from when they were first done to what they are like now and when they are played live.  It’s been so long since I’ve listened to the record, that when I’ve occasionally listened to a song it has a real different feel and that’s nice.  None of the songs are any different for the worst.  There are some songs on the record like, “The Bay,” that started out very different than how they are now on the record.  That’s the nice thing about working like we do, because half of the experience is working into stuff and seeing what they change into.

 

CW: What inspired the imagery, story line, and setting for “The Bay” music video?   

AP: The west coast (laughs).  That’s what we were trying make it look like, and I think we kind of succeeded in a way.

JM: It was the idea of making a really glamorous, almost R& B style video in England, which no one has ever really tried to do before.  I think the whole idea that it would be shot in England gave it a slight sense of irony I suppose.  It’s kind of humorous in that way.  There’s this nice idea of doing a kind of glitzy video in England (laughs).   Someone, the other day, said “it’s like a biggie video,” and this made me feel like, “oh, that’s brilliant.”  Because if people can actually think this, not like it’s trying to be like an R&B video, that’s great, because that was the idea.  The idea was really to make this slightly tongue in cheek, slick video which people hadn’t expected form us.

 

CW: What do you want listeners to get out of listening to The English Riviera?  What sort of audiences to you hope to reach with The English Riviera? 

JM: I’m Kind of old fashioned.  I always imagine the records that should be listened to in cars, in teenagers’ bedrooms, not like albums in clubs.  These are the places that I always imagine that you listen to records, on headphones, while you are traveling. I think all kinds of places.  That’s how I kind of listen to records, you just don’t want people to feel like they are wasting forty-five minutes of their lives. Kids, children, (laughs at the reference) everyone, have this attention span that is getting shorter.  I think of the amount of time people spend watching terrible films from start to finish, two hours, even three hours sometimes.  All you want to do is to make a type of record that makes people want to listen to the whole thing, like a good film, where they don’t feel bad about wasting forty-five minutes.

GA: Yeah.  You don’t notice the time passing, you get to the end and you’re like, “oh… that was good.”

AP: I was on a train back to my hometown, and I sat behind this girl.  I was sitting, you know, behind those big seats, so I couldn’t see the girl, but I could hear what was coming out of her headphones.  She was listening to “The Bay” (Anna acts out the excitement she felt).  It was pretty cool.

 

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Interview: Lil Debbie

October 19, 2011 By Leave a Comment

Lil Debbie Interview from USD Student Radio on Vimeo.

If you’ve been anywhere near a computer lately, let alone a Tumblr page, you know one of the hottest personalities out right now is Lil Debbie. Still not familiar? Well, you better recognize! Seen alongside Kreayshawn’s mega hit video “Gucci Gucci”, Lil Debbie has been causing quite a buzz not only for her association with the Oakland MC, but for her unique look and dynamic personality. With already 54,000 + followers on Twitter, the Bay Area born and raised stylist is on her way to the top. But dont be fooled by her petite frame, she’s packing a punch with an array of talents, everything from modeling, styling, DJing, and more.

We’re happy to bring you one of the first one-on-one interviews with her as we had a great time choppin it up and buzzing on somethings I’m sure you’re Mama wouldn’t condone.

Video shot by: Roy Hathon
Edited by: Scott Roush for Black Resume Productions
Hosted by: Alex Floro
Follow Lil Debbie on:
Twitter – @L1LD3BB13
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Interview: RGLND

September 28, 2011 By Leave a Comment

By Alex Floro

If the first thing that comes to your mind when you hear Oakland, CA is “where the youngsters get hyphy”, let us help you out. Coming out of “The Town” is up and coming rapper RGLND (pronounced RAG-LAND). Departing from the stereotypical Bay sound that had been popularized nationally by E-40 and Mac Dre, RGLND gives listeners a new perspective. With beats give a much needed breath of fresh air, and lyrics to match, his career is definitely on a steady progression.

Recently, he’s been opening for the hottest names in hip hop, with shows with The Cool Kids and  Wale in November. Look out for his upcoming album Electric Daisy coming out Nov. 11, 2011.
Check the video interview out where we discuss how he relates to fans, his rise to the top, and why he hates to be called a “rapper.”
For more information on RGLND: RGLND.tumblr.com and follow him @RGLND

 

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Interview: Tim Foreman of Switchfoot

September 14, 2011 By Leave a Comment

Switchfoot's upcoming album, Vice Verses

By Tom Roth

This week, Tim Foreman of San Diego-based Switchfoot took time to speak with USD Radio about the band’s upcoming album, San Diego, Mandy Moore, and international scavenger hunts before Switchfoot’s homecoming performance at Petco Park on September 18.

USD Radio:  I figured with Switchfoot as a San Diego band and with USD Radio as a student run organization here in San Diego, I’d talk to my fellow students and friends in San Diego and find out what questions they want to ask. I’ve got this list here in front of me and we’ll just start working our way down it, if that’s alright with you.
Tim Foreman: Sounds perfect.

USDR: Is the title of your upcoming album, Vice Verses, in any way related to the themes of human polarity that the band has hinted at?
TF: Yeah, absolutely. It’s a record of contrast. Highs and lows. The polar human experience, for me. It probably means something different to all of us. It’s that kind of album title. I love things like that when it can mean different things to different people. For me, Vice Verses is an album of songs birthed in struggle and the concept that oftentimes, beautiful things are the result of really difficult experiences. These are the verses that are birthed in Vice Verses.

USDR: Related to the music, was the marketing plan for “Mess of Me” off of your last album something formal or organic? Was that the band’s idea?
TF: Yeah, that was Jon’s idea. You’re talking about when we hid the copies of the single all over the world. That was my brother’s idea. He’s got a great head for writing songs but also for connecting with people and marketing. That was a really fun thing for us to do. We were on tour at the time when we decided to give it a try. We hid a few copies in pretty fun places around town, sent out Tweets about where the single was hidden, and let it take a life of its own from there. It was great to see copies of the single showing up in Rome and Australia and China, you know, in very unlikely spots. It was a lot of fun to watch.

USDR: “Switchfoot originally broke out as a Christian band and a few years ago, changed labels. Has that been a negative or positive evolution and is the loss of Switchfoot’s overtly, almost uniquely religious aspect something you’re comfortable with?” –Tara
TF: That feels like a bit of a loaded question because that hasn’t been our experience. We’ve always been the same five guys – well, we started as three guys – but the same band playing songs that are meaningful to us. Exploring life and all aspects of life: God, girls, politics. There’s nothing that’s taboo or off the table when it comes to art and I think songs are a great way of expressing the more uncomfortable aspects of life: the painfully honest parts of life and for us, things that we don’t understand more than what we do. It’s kind of our vehicle that we hop in and explore the world through these songs and that has never changed. We’ve always been very honest about our faith through the music and also about our doubts. To me, that’s what good music has always been whether it’s Bob Dylan, Johnny Cash, or Bono. It has to be honest.

USDR: “How has your faith grown from touring” –David and Alex
TF: I think it’s been challenged and hopefully, has grown quite a bit. I don’t know if it’s so much a result of touring as simply growing older. My dad once told me when I was a kid – my dad is one of my heroes and someone I really look up to – and he told me that he never trusts a man without a limp. I always liked that because what he meant by that was that until you’ve really lost something, you don’t really know who you are. I think in growing older and travelling the world and experiencing new things, we’ve taken a few things on the chin through the years and we’ve had some great moments but we’ve also endured some painful ones. I think that has given us a deeper appreciation for fellow humans and the plight of others around the world and that we’re all in this together.

USDR: “How did you meet John Perkins? What are your thoughts on his view of race and reconciliation?” –Tyler
TF: John Perkins is an amazing individual. We initially came upon his book, Let Justice Roll Down, and were really inspired by his thoughts and his story. Really, we couldn’t believe we’d never heard of him before. It’s a remarkable story of faith and courage and boldness to love the oppressor. We were excited about telling his story whether that was something we could tell to a thousand people or a million people, we felt like it was worth using the platform we had to further his cause. We did that in a song called “The Sound.” We wrote the song and he actually found out about it and contacted us. Since then, we’ve become pretty close friends. A really unique thing was being able to go to his home in Jackson, Mississippi and spend some time with his family and do some events together. It feels like a very unlikely partnership for five surfers from San Diego to be involved in justice in Jackson, Mississippi and racial reconciliation around the states but it’s been an amazing experience and I think what we take from that is the idea that love will be the loudest song we ever sing. There’s no weapon stronger than love.

USDR: “What was the motivation behind ‘Dare You To Move’?” –MacKenzie
TF: “Dare You To Move” like a lot of our songs, was written from an autobiographical, introspective place. John wrote it at about two or three in the morning to himself like the way some of the songs are. It’s an amazing thing that some of the most personal, the most deeply personal, introspective songs can be so universal because I think we all relate to songs – that song in particular – about the feeling of apathy in life, that you’re just kind of drifting through . The song was intended to be a shot in the arm to himself to wake up and to do something. I feel really fortunate that that song was written ten years ago… maybe longer and it still means just as much to us today as the day it was written.

USDR: “How do you feel about Mandy Moore covering your music on (the film) A Walk to Remember?” –Ali
TF: I think it’s great. We’ve had the privilege of having a lot of our songs be used in TV shows and movies. Sometimes it feels like a really appropriate use of the song and sometimes it feels really inappropriate and bizarre. Unfortunately, because of the business of the music industry, we oftentimes don’t have full control over how it’s used. But if you’re able to put all that aside, then no matter what, it’s a compliment that someone from a different industry and a different line of work heard a song that you created and liked it and felt like it was a applicable to his art or her art. This was actually one of the cases where I thought it was a great use of the song and I think she’s got a really sweet voice and she’s a really sweet person. It was a fun experience for us. It was our first Hollywood experience. We were pretty young and walking the red carpet and just feeling like we were living someone else’s life at the time. It was fun.

USDR: “What are the good spots for a new band in San Diego?” –Kenny
TF: There’s a lot of up-and-coming coffee shops and that sort of thing that is always changing. It’s tough for me to keep up with it because it seems like every couple weeks there’s another one closing and another one opening. When we were first starting out, one of the spots was the Chai Café at UCSD. That’s where we used to play and a lot of our favorite bands used to play. It’s a tiny place… holds maybe 50 people on a good day. That’s still one of my favorite places to do a show. Then, up in North County where we all grew up and lived, there’s the Belly Up which is a pretty good sounding venue but probably is a little exclusive for a lot of the kids in the class. Those are two of my favorites and have been for years and years.

USDR: “What was the first song you ever wrote?” –Allie
TF: The first song that I ever wrote is, without a doubt, a song that none of you have ever heard (laughs) but John and I started fooling around with making music when we were probably six or seven years old. At that age up until we were maybe 13, we were doing our best to write songs that Led Zeppelin had somehow missed and we were trying to discover them on their behalf. We had the pre-puberty voices so we were still able to hit the high notes and we had a lot of fun trying to do our best Robert Plant impersonations.

USDR: “If you weren’t a musician, what would you be doing?” –Allie
TF: I was going to school in the computer science program at UCSD. I put that on an indefinite hiatus. For the first few years of our band, I was trying to juggle both things at once and that only worked for so long. As far as I know, I think I still am enrolled in the program. Maybe I’ll go back one of these years. I love school, I love learning. I probably wouldn’t be going back to get a degree. It would be for the love of learning and that’s the thing that I hope I’ll always have. I think the moment you lose a passion for growing and learning, that’s kind of a scary thing so I hope I’ll never lose that. As far as occupationally, I love building things and figuring out how things work so maybe I’d be somewhere between a high school math teacher and a carpenter.

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Interview: The Cool Kids

August 4, 2011 By Leave a Comment

By Alex Floro

Sir Michael Rocks and Chuck Inglish are back, proving that a little time away is never a bad thing with their newest release When Fish Ride Bicycles.  Working with some of the crème de la crème of hip hop, Pharrell Williams and Ghostface Killah of the Wu Tang Clan, the new album has the minimalist style fans have grown to love as well as heavier beats, crunk influences and synths. Sometimes described as a group that brings the best of 90s hip hop back to into cultural consciousness, the Kids also provide a preview of what is, hopefully, to come in the future of  rap. For us, The Cool Kids prove that the over-styling of radio “hip pop” needs to change, and we’d love to see more groups and artists have even half the creativity these Midwest guys posses. They go hard on “Penny Hardaway” featuring Ghostface, as well as in “Gas Station” with Bun B, all beats produced mainly by the Cool Kids themselves.
We had the chance to sit down with The Cool Kids last week at their show at The New Parish in Oakland, CA.  Right in the middle of putting their set list together, we found these guys friendly without any airs about them. We discussed their beginnings, new album, flying squirrels, Airsoft wars and finally settle the age old debate: J’s or heels on a girl.

Check out the full interview below:

 

USD: So how’s your time in Cali been so far?
Sir Michael Rocks: Excellent. Top Notch man, I’ve been here in Oakland a gang of times, and it’s always a good time.
USD: What’s your favorite part about Oakland?
SMR : Aw man, the people. A lot of the fans are out here. The people are dope as fuck.
USD: Fan  of any Bay Area artists?
SMR: PFunk over there. Mac Dre, of course. Thizzing everywhere this way and that way. Too Short. All the classics.
USD: How’d you get your name?
SMR : Kindergarten. I don’t know what I was thinking, but I always wanted my name to be Mikey. I’ve always been a big fan of Michael Jordan, you know growing up in Chicago. I wanted to change my name and I started writing it all over my papers. And they told me that I couldn’t change my name and rap came along and I found a way where I could change my name.
USD: Who said you couldn’t change your name?
SMR : Teachers, my mom-
USD: But I bet your mom likes your name now, huh?
SMR: Yea definitely.
USD: I heard that you and Chuck got together through Myspace? How did that all start?
SMR: Man, we really met through a mutual friend we both had, we were both producing. He kinda linked us up because he thought we should meet. I ending up hitting him up through Myspace, messaged him through that and been making music ever since.
USD: Nice, so ever since then you two have been releasing mixtapes and albums. There’s your new album, When Fish Ride Bicyles, the Tacklebox and Gone Fishing tapes, among other. What’s this reoccurring theme with fish?
SMR: There’s gonna be more. We’re gonna save that secret for the end of our career, then ya’ll can put it together .It’ll all come to full circle.
USD: We’ll definitely be waiting for that. Speaking of albums, what was the process for When Fish Ride Bicycles?
SMR : The process was us going to our road manager Rich’s house.  Recording in the studio, we’d be going to his crib and just make hella songs. He’d come up with a beat and I would come in later after he cooked it up, then I’d come up with an idea, adding to each of the pieces.  So that’s the dynamic, all of us coming together, putting it together piece by piece. Then Green Label Sound asked us who’d we like to collaborate, we told them and it all got started. Nothing awkward, it was great, easy to create.
USD: The label you’ve been recording under is your own, C.A.K.E. What does that mean, or is that another secret we should wait for?
SMR: Nah, that’s us man. Creating Art for Kids Everywhere.
USD: In a recent interview it was said that you worked with Ghostface. How was that? I also read that Raekwon said it was like working in the 90s?
SMR: Man–
Chuck Inglish: No that interview, let me clear that up… Raekwon didn’t work with us, Ghostface did. Raekwon came and hung out with us. But you know, working with Ghostface was like sending something out to someone and seeing what they thought about it. And his verse showed us what he thought about it. It was dope.
USD: On the note of classic artists, you said you both have been inspired by the “Golden Age”  of Hip hop, Rakim & Eric B, etc…
SMR: Yea you know that’s the music we grew up with. Our parents were younger than most people’s parents and I grew up listening to rap. Instead of Otis Redding and Barry White, I had to find out about all those artists later. My parents were listening to Slick Rick and Eric B & Rakim, Nas.  That’s what I was born into.  That was my first taste in music, rap.
USD: You guys are definitnetly known for your style, what’s the craziest thing you’ve ever bought?
In the background: Shown him the Roley!
SMR: Man, that’s not even the craziest. I had an iguana tank and it was like half the size as this wall. And the iguana was small.
CI: The iguana tank was real, but who has fly squirrels?
SMR: I do man.
CI: With an all wood cage.

 

USD: What are their names?
SMR: Ralph and Lauren.
USD: So Chuck, what’s the craziest you’ve done?
CI: There’s a lot of shit. I definitely went to Walmart and dropped $400 on airsoft pistols.
USD: Did you use them that day?
CI: Yea we got video. He shot me in the face with one!
USD: Aww, how could you shoot your dude in the face!
SMR: Hey we were having an all out war! All’s fair in war.

 

USD: So who won the war?
SMR: We were having teams. I was on one team, and I was behind the tree and came out, had the pistol and squeezed the trigger and ended up shooting him between the nose. Once you get hit it leaves a cheerio on you.
USD: Haha, well next time we’ll bring some airsoft guns to join the teams. Hey so I’ve been hearing about this super group, P.O.C. (Pulled over Bu The Cops) you formed with Chip the Ripper and Freddie Gibbs?
CI: I mean it was a super group that happened, and some people form groups and never drop songs. We recorded two songs, gave it a name and those songs were dope. Unless we’re all in the same place, I don’t think we should force it. Both songs were crazy. One was Freddie’s songs and the other song was Me, Mikey, and Chip. Like we were all jamming and there was a different sound coming from all of us. So, whenever we meet up again there will be more.
USD: We had a question we came up on the way here, what do you like better on your girl, J’s or heels?
SMR: I need versatility. I can’t always have a girl that rocks the Js. I need her to get fly for me. I’m not trying to cop out on you or anything, but I genuinely prefer both, on different occasions. If we’re going to a family 4th of July party you can throw on J’s.
USD: Which ones do you prefer?
SMR: Hmm, up to number 7, wait, up to number 8.
CI: 9! 8? 11, 13!
SMR: I like them on little feet man. Small 13’s are the best.
USD: So what about you Chuck?
CI: (looks over for a bit) … I like Jordans. (smiles)

 

Photos by Christian Rabago & Karl Orotea
www.chrissofresh.net
www.fcknsrs.blogspot.com

Filed Under: Interviews, USD Radio Tagged With: , , , ,

Interview: Slum Village

July 27, 2011 By Leave a Comment

 

http://blahblahblahscience.com/wp-content/uploads/2010/07/slum-village.jpg

Slum Village

By Alex Floro

To raise a child on hip hop, it takes more than a couple of artists. It takes a Slum Village. For most hip hop aficionados, there is no denying that this group, with their incorporation of feel Motown beats and tastings of booty techno, is must in any iTunes library. Originally formed in 1996 by childhood friends Baatin, T3 and J Dilla in Detroit, the group has managed to stay together through difficulties surrounding band members, record labels and the ever changing landscape of hip hop. If you don’t recognize them, you might be familiar with some of the beats J Dilla has made for other artists such as Common, Erykah Badu, Talib Kweli, just to name a few.

Slum proves to be one of the most resilient and persistent acts in music, with T3 continuing the legacy of the group with Dilla’s younger brother Illa J (you can start calling him John Regal from now on). We had the privilege to sit down with them at The New Parish in Oakland, CA to talk about their history, thoughts on the current climate of music, and even a little preview of things to come from the members, both collectively and individually. We got to say, they are some of the most humble and easy to get along with guys we’ve met and it was a pleasure getting to know them.

Check out our interview below, with the accompanying video:

USD: So for those who don’t know, who is Slum Village?
T3: Uhh, that’s a long question, but let’s just say that we represent Slum today. But I’m T3 and that’s Illa, or John Regal now…

USD: You changed your name, transitioning?
IllaJ: The John Regal character was already there, but IllaJ was what started it off. I’m kinda just morphing into John Regal, but I’ll always be IllaJ.

USD: So how did you get started? We know that you worked with Tribe and sort of the Native Tounges?
T3: Ehh, really it was QTip that started Slum Village’s career, you can say that. You can say he had a big part. The story is we gave our first demo to QTip, who put it on J Dilla, with The Ummah. That was J Dilla’s first foot in the door as far as production. Also, Tribe put us on tour on a college run. That was a big thing for us because nobody gave us that opportunity cause we were just guys from Detroit. Not only that, but once we did Vol. 1, QTip is the one that circulated it to everybody. That’s how we got all of those features on Vol. 2,  D’Angelo, Busta Rhymes, etc.
USD: So being from Detroit, how has the city shaped your career and what does it mean to you?
T3: Detroit is everything. We grew up in the East side of Detroit. You know it was urban, but as most urban places, Detroit has soul. Then there’s Motown, all of that. I think that it’s the reason why we gravitate to the type of hip hop we do.
USD: Yea and I read in an interview that techno is a big part in your sound too?
T3/IllaJ: Definitely, techno is a huge part of our sound.
USD: Over here in the Bay we love techno as well!
T3: Yea, our’s is more booty though. Does Oakland does Booty?
USD: You can say that, a little different but definitely there’s booty going on.
(T3 and IllaJ laugh)
So Villa Manifesto came out last year. What was the process like? And we heard that it might be your last album together, no!
T3: It was a tough process, I tried to incorporate all the members of Slum. Even the member who aren’t here. It was a task making that album. A lot of drama and controversy.
USD: So it was a labor of love? Or love and hate?
(A few more laughs)
T3: There was a lot of love and hate going on. But now we’re doing mostly solo stuff. I have my digital EP out and Illa had his EP that came out, as well as Yancey Boys a couple years back.
USD: Planning any new projects coming up?
IllaJ: Ya, got my John Regal project, finishing it up. Working with 3, on a little secret project…
USD: Oh, can you give us a little info?
T3/IllaJ: Ahh, cant tell you that, stay tuned.
USD: Haha, ok ok. So Any advice or tips for upcoming musicians or people trying to get in the game?
T3: The key for me loving an artist is that each of them must do a song that I wouldn’t have done or I wouldn’t have thought of. That makes me respect the artists. That’s in all genres in music.  Now music is so… ehh… My other advice is if you wanna be an MC, ok, it’s really simple nowadays. It’s about how much you put out, more so than the quality. If you can build yourself a fanbase than anybody can kinda be an artist. You won’t be the biggest artist, but you will be somewhat of an artist.
USD: So it’s more about networking yourself? You think talent is second to that?
T3: Talent is way second now. You have so much software now, it’s easier to make beats and sing now if you couldn’t sing.
IllaJ: It’s always changing. You’re gotta learn to take ideas from the past, yet stay futuristic, but at the same time be current. It’s like a balancing act.
USD: For sure. So anything else for our listeners?
T3: You know what, go to school. Get your knowledge up. Haha, but yeah, just please support the projects. T3, Illa J. We love ya’ll.
Peep the video below:

USD Radio Presents: Slum Village from USD Student Radio on Vimeo.

Filed Under: Interviews, USD Radio Tagged With: , ,

Artist Interview: Mickey Avalon

June 24, 2011 By Leave a Comment

by Tom “Wonderboy” Roth

USD Radio got a chance to speak with LA artist, Mickey Avalon before his Portland stop. Read on for Mickey’s thoughts on strip clubs, record labels, and his new album, On the Ave.

USD RADIO: How are things going in the studio?

MICKEY AVALON: Good. I’m actually lying on the floor in a towel because it’s so hot in here. I got a bunch of records already done. There’s just all the politics of getting my masters back and stuff but I’m working on finishing up another album… so we’re on a little tour right now, just a mini one, but we have two days off so we’re home to take care of some business and record and then tomorrow, we go to Portland for two days in a row at Dante’s, and then Seattle for the Showbox and then Boise. So that’s what we’re doing.

USDR: You used to live in Portland. Will coming back to Portland allow you any time to check out some of your old hangouts?

MA: I’m from here in LA, but I lived there for a few years. When I was young, I got married and had a kid and we thought that that was a good place to raise her. I don’t have many friends there and if I did, they’re probably not alive anymore, but there is a place I like to hang out called the Magic Gardens which is my favorite strip club in the whole world and I’m sure I will go there because we’re gonna be there for two days. We have the second day to hang out all day and after the show. Its walking distance from Dante’s so we usually walk over there. It’s kinda cool because now when I go there, all the strippers know me and they’ll dance to my songs when I walk in. I was also friends with the dancers when I lived there but I had no money or anything and there was a $2.50 minimum because you had to buy one beer, and scrounging up that $2.50 was always really difficult so it’s cool to go back there in better times.

USDR: You have few people on stage with you in your live performances. Who’s who and how do you know them or how do your recruit them?

MA: The thing with rap music – for the most part – a live show isn’t so good all the time because there’s no band but then adding a band doesn’t always solve the problem. Actually, a lot of times, it makes a whole bunch of other problems… I mean, there are a few people who pull it off. So, right off the bat I knew from being a fan of other people we had to do something different to be entertaining and fun. So we would do different types of stuff like on my first show, I had this big, black bodybuilder just lifting weights the whole time. I’ve had trannies do weird stuff and then we just started doing dancers. I met a few different ones so, basically, the crew I have right now is… I got three dancers. For big shows, we use all three. We usually use two, and on the road, usually we take one more just for budget reasons. Stephanie and Hannah are like the two main ones and they’re kinda like bookends to me. They look real similar. They’re skinny with, like, olive colored skin and short hair. Then Jillian is this white girl with a big, fat ass. It’s not so much like dancing dancing. It’s like live-performance art and it just kinda fills up the stage and they work good with me. Then there’s the DJ, who’s Mikey Clark, and he sets the music. There’s a lot of girls at the shows so I think it’s nice to have girls on stage because for the guys at the shows, it’s nice to have something to look at and I also think it makes me look better if there are hot chicks around me. I like to look at them on stage too. Sometimes, I’ll just be zoning off for a second then I’ll just look over and it wakes me up. They’re pretty scantily clad especially for the 21 and over shows where they might be barely wearing anything, just pasties and some garter belts so it’s pretty hot. I like it.

USDR: You had a few stops in Australia. Was the reception there different than the reception in the States?

MA: Oh its way crazier out there. They riot, basically. We’ve been going out there every year for the last five years and I think I actually have a bigger fan base in Australia than here and they’re way nuts. It’s funny you ask about that because we’re working on a song right now with this guy, Kid Mac, who’s from out there. He’s super dope and we’re doing this song for his record right now that we’re recording and I dunno if you’ve heard of the Brah Boys but they did a documentary on them. It’s these guys from Arubra, these surfers, and he’s from that crew and, yeah, we’re writing this song right now, it’s called “Lunatic”.

USDR: Another recent stop was at the Roxy in LA. Those home shows must be different from all the rest.

MA: Oh yeah. For me, all the other shows kinda get in a blur but I always remember those shows because it’s nice to be home and I love the Roxy and that was the first place I ever played and, you know, we just put a lot into it. So for that show, we had all three of the dancers and it was just fun. It was sold out and got pretty crazy. I try to give it my all at all the shows but for home, its home so you can’t really compare anything to that.

USDR: You said the Roxy was your first show. Was that the show where Rod Stewart was in attendance?

MA: No, that was my second show and that was at the Hard Rock Café. That’s when the Hard Rock was still there, it’s not even there anymore… the Hard Rock at the Beverly Center that had the ’59 Cadillac  up in it. So yeah, he was there. That was flattering. I do a lot of work with this one guy who produces a lot of my songs and he was dating his (Rod Stewart’s) daughter at the time, Kimberly, so I think that’s what brought him to the show.

USDR: After the tour ends in Austin at the end of July, what do you have planned?

MA: Well… I don’t talk much about it because I’m a fan of music and I know I don’t really like hearing artists talk about all the politics and record label stuff but I’m really just trying to get my masters so I can get my record out. Once I get my record out, these are all just kinda make-shift little tours that are like, places that will have me back and that I sell out really easily and stuff, and I can’t really do a real tour until I get my record out. I mean, once I get my record out, then I can tour the whole country and go to all the cities that people write on Facebook, like “Why don’t you come here?”. Its like, “I can’t. No promoters will really have me out there until I get my record out”. It’s been way over due and I’m not holding back because I’m making a Chinese Democracy record or anything… it’s ready to go and if it takes much longer we’ll just have to jump to the third record which doesn’t have any politics around that because that was done after I left Interscope. So I just think, you know, you’re a writer and in telling a story, if you’re writing a book, you kinda want the second chapter to come out before the third chapter. But if it really gets to be too much of a pain in the ass… then I’ll just have to leak the second record and put out the third record legally. That’s kinda all I’m dealing with. So what’s next, I guess, is just getting this damn record out and then doing everything I gotta do to promote it. I do have a good team behind me now that I just kinda put together in order to do all this. I got a new lawyer, a new manager, and they should hopefully prove worthy and get all this stuff done sooner rather than later. The record’s called On the Ave.

USDR: How is On the Ave going to be different than your first record? On your first album, you dealt with a lot of personal hardship via humorous lyrics. How is On the Ave going to change from that?

MA: Well, this one’s a lot more similar to the first one than the [forthcoming] third one. Same producer, similar sound, same cast of characters as the first one. I mean, I like to deal with things on the lowest common denominator basis so I think it’s pretty similar. It’s still personal but I’m not trying to go back to a time that’s not relevant anymore. I’m talking more about other people than myself but there are a few with me in the song. There’s one called “Mickey’s Girl” which is kinda like a New York tale and I’m in the middle of that and then there’s even some that were written at the same time as the first record and just didn’t make the first record. Not that they weren’t good enough, they just didn’t fit in that group of songs whereas this time around, they fit.

I think it’s very similar to the first record. It’s kind of a segue between the first and the third record so, again, in a perfect world, I’d like to put them out in order because I think that leads into the third record better than the third record coming after the first. That’d be a big jump with a big void in the middle.

I think there’s the same kind of humor. The difference is some of the songs are more… When I wrote my first record, I hadn’t performed live yet so now when I write a song, I kinda think about how it would be taken by the crowd and now, I’ve even had a chance to play the songs on the [third] record in my shows so I get to see which songs people like and how they react to them. So I’ve already tested a lot of the songs and they’ve worked. People always say, “it’s just like the first album, but bigger and better” but I really think it is like that which is a little more… you know some of the songs could really rock an arena just as well as a little club. I’m proud of it and I’ve been listening to it for almost a year now and I think it was ahead of its time before so now it’s just getting ready to be relevant now.

USDR: You had a hand in Ke$ha’s early exposure. Does seeing her current fame and success give you more of the proud-father feeling or the that-should-be-me feeling?

MA: No, neither. Definitely not the latter and as far as the former, I didn’t really do anything for her. I knew that that was about to happen because of the people that were involved in putting her out. There is a so-called “button” that can be pushed by the right people if those people are behind you and I knew that that was about to happen. She just needed to get her feet wet and get some practice. I was working with those people and kind of had a falling out so if I was involved with those people, I would be there. I was willing to jump through the hoops, it just didn’t really work out and if something doesn’t fit, then you can’t do it and to me it just didn’t fit. I tried to write certain songs in a kind of way and they just didn’t sound good and I didn’t like them. It wasn’t like a surprise that when the tour was over that she got huge. They were already doing all this stuff behind the scenes so when she came on tour, her song was already out but no one could really put a face with the name. No one really knew her at the shows even though a handful of people knew the song but then once the tour was over and they were really ready to push the button, then they did that and she got huge.I could lie and say that I had a hand in it, but I didn’t so that why there’s not really a proud-father thing and then as far as the jealousy thing, that’s not there because we just have different lives.

I’d be okay with having that kind of success but I can’t know what’s gonna happen until I get this record out so without a record, I can’t really have anything. I tried to get with the big producer and all that stuff and it just wasn’t really a good fit. Not only did I not like it, no one really liked it. It wasn’t like “Oh, I’m not gonna sell out” or “I’m not gonna do this”. I tried. It just, honestly, was garbage. That group of songs? I have no problem leaving them at Interscope. Those aren’t the masters I’m trying to get. It’s all the other stuff that I was recording at the same time and before and after. Not only do I like those songs more, all my friends and fans like those songs more too. I just think it would’ve been a bad move to put that other stuff out when it sucked.  It wasn’t even a case of losing my original fans. It would be losing everyone (laughs). My original fans and my new, potential fans. I would’ve just lost everybody. Now I’ve got labels interested in putting this record out, it’s just that we can’t do nothing until I get the masters. I would put out a record illegally and leak it or whatever but no one wants to put a few hundred thousand dollars behind something that isn’t legal so you know, we have to go about it the right way and deal with the legal aspects of it.

I’m proud of her… for her. You know, to go back the the Ke$ha thing. No matter what anyone wants to say about anybody, you know, music or models… people say “Oh, that’s so easy”. Nothing on that big a scale is easy. There’s work that goes along. The travel and all that stuff. The so-called haters find it so easy to talk shit about people but if it’s like, “If it’s so easy, why aren’t you doing it?” I know that these people that say these things who are probably telemarketers or something would trade their right arm to be in that situation so if it’s so easy, why don’t they get up and do it?

There is a fun part. Yes, it is a better job than most jobs. You won’t hear me complaining about my job but it’s definitely a job. The recording part is fun and the performing part is fun but there’s all the in-betweens. Luckily for me, most of my fans are really cool and I don’t have to have a fake image or do any of that stuff so it’s easier. Even like people that interview me, like you, those people are pretty cool. I don’t have people trying to cut me down or something so I get a better version of it but it is a lot of work.

With Ke$ha, it didn’t happen overnight. She did do a few years worth of work and she was writing for other people. I’m proud of her and I’m thankful to her because I think she just said something good about me in People magazine or something big like that and she was willing to take me out on tour but the money wouldn’t have really made sense for me. It wasn’t like “Oh, I’m not gonna go. She just opened for me, I’m not gonna [open for her]”. It wasn’t an ego thing. It would’ve been cool to get some new fans and stuff but when I go out myself I make a lot more money. It probably would’ve ended up costing me to go so it wouldn’t have really made sense.

USDR:You’re right about the full-time job bit. I’m glad that we can include that because it’s something that people don’t realize. The amount of appointments, travel, meetings, and that’s just on top of the recording and performing.

MA: Yeah, and maybe some people like doing that stuff. Even the corniest of corny reality shows… think of someone like Kim Karadashian. She probably goes to, like, a hundred fucking meetings a fucking day and she might like it, but as far as the hours of work, its tons.

USDR: And then where’s your personal time?

MA: They joke that the painter’s house is never painted. Since my job is in clubs, it becomes not so fun to go do that stuff. So whereas when someone’s not working, that would be something they would go and do, I don’t really wanna do that because that’s how I spend my working hours. So I like just kind of staying at home and chilling but we do go to some local bars and stuff like that. Not so much like Hollywood nightclub stuff but just like go to a bar that’s walking distance.

USDR: Or the strip club in Portland.

MA: (Laughs) Portland has the most strip clubs per capita. They’re nude with drinking. We (California) have the worst strip clubs. They’re not even nude. They wear, like, fucking bikinis or something. You can’t drink if it’s nude. That’s even creepier. Just a bunch of fucking horny dudes sitting around looking at fuckin’ pussy without drinking. Being at a bar without drinking is just creepy by itself. So yeah, if we had a strip club like that here I’d probably go every once in a while. There, it’s really nice. The thing that’s awesome about that place is from the looks of the neighborhood and the building and everything, you would think it was some crack-head dancers who are dancing to pay for their crack habits but you go in there, and it’s, like, the hottest chicks and they’re literally putting themselves through college. It’s like the fantasy thing you see in movies that you don’t think really exists. These are healthy girls that don’t do drugs and are just open-minded and… hot. And that’s their job. It’s just this crazy thing what you think is gonna be in there and what’s really in there. It’s kinda cool.

USDR: Last question: Harvard University asks you to speak at commencement. What do you tell the world’s future business and political leaders?

MA: They’ve already gotten through the hard part which is getting through college… especially a college like that. I guess, take the world by the balls and do it your way. Make a change. It can’t get any worse.

Click here to see the all of Mickey’s upcoming shows

Filed Under: Interviews, USD Radio Tagged With: ,

Interview: The Parlotones, 6/9 at Belly Up

June 6, 2011 By 1 Comment

www.theparlotones.net

USD Radio caught up with Paul Hodgson, guitarist of South Afrian rock band, The Parlotones prior to their 6/2 performance at The Belly Up Tavern in Solana Beach.  We talked about California, hamburgers, and the band’s wine label before the band’s set.

By: Chuck Cartwright

The Belly Up Tavern is on a hot streak booking top flight international talent for the sleepy seaside community of Solana Beach to enjoy.  First it was Biffy Clyro a few weeks back, and this past Thursday 6/2 we had the good fortune of catching South African superstars, The Parlatones live and in full color.

The Parlotones are arguably the hottest thing out of South Africa since the 2010 FIFA World Cup final.  The self-proclaimed “melodic rock” four piece has achieved multiplatinum status in their home country.  They have been criss-crossing the globe over the past two years in support of their 2009 release, “Stardust Galaxies”.

USD Radio had the opportunity to speak with guitarist Paul Hodgson (@Paul_Parlotones) in advance of their performance.  When asked about his impressions on California, he replied “it looks just like the movies”.  While personally I disagree, Hodgson said California was his favorite part of America, though “not quite like Cape Town”.  The band has tourned in the United States on a few different occasions, building a feverant cult-like fanbase along the way.

The crowd at The Belly Up wasn’t very large, though those who were in attendence were extremely passionate about the act they paid to see.  Fans sang along with band through much of the set.  The Parlotones launched into a borrage of their well-traveled tunes, carrying themselves as true veterans of the touring circuit.  Complete with matching suits, the band put on a fantastic show despite questionable attendence figures.  Led by the showmanship of frontman Kahn Morbee, The Parlatones didn’t hold back as they energetically performed all of their most popular songs.  The closest thing I could compare them to would be a cross between The Killers and Muse, although they definitely had a unique flavor all to themselves.

The Parlotones- Stardust Galaxies

As Hodgson notes, “we just like to go out and play, whether it’s for a few thousand or a few hundred”.  And play the band did, even graciously submitting to a two song encore for the passionate fans who seemed to hang on every lyric.

The only downside to the evening was that Hodgson and the band didn’t bring along any of their specially vinted South African wine.  “None of us are wine makers, we just know what we think tastes good”, said Hodgson in reference to the winemaking efforts of the band.  The Parlatones created a wine called ‘Giant Mistake‘, named after their single from the album A World Next Door to Yours which will soon be distributed in the United States.

Regardless, The Parlotones show no signs of stopping.  “The American fans have actually been easier to win over than the British” noted Hodson, clearly with world domination on his mind.  When asked if he was sick of eating hamburgers and french fries yet, he quickly replied that “hamburgers were the one thing he’s definitely not sick of”; which further illustrates that he and his band are fully committed to breaking in America.

You can catch the band across the U.S. through the end of June.

Check out “Push Me To The Floor” here.

Stardust Galaxies - The Parlotones

5 June: Santa Fe, NM – Corazon - Buy Tickets

7 June: Dallas, TX – The Prophet Bar - Buy Tickets

8 June: Austin, TX – Stubbs Jr - Buy Tickets

10 June: Jacksonville, FL – Jack Rabbits- Buy Tickets

11 June: St. Petersburg, FL – Local 662 - Buy Tickets

12 June: Orlando, FL – Backbooth Bar - Buy Tickets

14 June: Chapel Hill, NC – Local 506 - Buy Tickets

15 June: Nashville, TN – Exit/In - Buy Tickets

16 June: Atlanta, GA – Smith’s Olde Bar - Buy Tickets

18 June: Columbus, OH – The Basement - Buy Tickets

19 June: Chicago, IL – The Double Door - Buy Tickets

21 June: Cleveland, OH – The Grog Shop - Buy Tickets

22 June: Pittsburgh, PA – The Hard Rock Cafe - Buy Tickets

23 June: New York, NY – Bowery Ballroom - Buy Tickets

24 June: Washington, DC – Red Palace - Buy Tickets

25 June: Boston, MA – T.T. The Bear’s - Buy Tickets

26 June: Philadelphia, PA – World Cafe Live - Buy Tickets

2 July: Port Elizabeth, South Africa – Kirkwood Festival

13 July – 17 July: Dragonflies & Astronauts at El Teatro in Montecasino

16 October: Pensacola, FL – Deluna Fest - Buy Tickets

 

Filed Under: Interviews, USD Radio Tagged With: , , ,

Interview: Grieves

May 27, 2011 By Leave a Comment

 

Grieves at the May 10 Portland stop of the Rhymesayers tour

 

 

By Tom Roth

I had the opportunity to sit down with Grieves during the Rhymesayers tour stop in Portland on May 10.

Tom Roth: In May 2010, you’d just played Bamboozle Festival in New Jersey. How does where you are now compare to where you were last year?
Grieves: Yes, I did play Bamboozle last year. I also played it back in 2008 with Mac Lethal. It seems that steadily from 2007 on, everything we have been doing has been on a positive incline. I got a super great team working with me and I feel everybody has done a great job a harnessing our momentum and keeping it constant. Some people focus on a big “blowout” but have no clue what to do once they hit the ground running. Not us… we all got our stripes now and we’re ready to up the speed!

TR: How do you compare your first shows to the ones you’ve had on this tour?
G: My first shows… like back in 2005 were real thin but I was just getting out there. It took a few years to really get the ball rolling and gain that fan base. But like I said above, I got a great team now that helps me focus my energy in the right spots to help things grow. It’s really nice to see how far a lot of this has gone.

TR: You’ve had a history with Chicago, Fort Collins, Seattle, and Brooklyn. When you’re touring/performing, where do you feel the most at home?
G: Every one of those places holds a sense of home for me, including San Diego (which was left out). For me though, I feel most at home in two places. Seattle, because that’s where my house is, my friends, and my heart. I love that city! But then there is Fort Collins…. the city where my family lives, where I pretty much grew up, and the city in which I have a support system unlike any other. Every city I visit has its slice of comfort, but these two places I consider home.

TR: Soundset is coming up on May 29th. Will that be different than any of the other shows on this tour?
G: Sure! Soundset is a festival… a BIG festival full of some of the most amazing artists and fans in the country (and the world!! shout outs to the Looptroop Rockers!). That dynamic is different than a venue tour… it would be more comparable to something like the Warped Tour. I would say the closest thing we did to that on THIS tour would be the show we just did at the Greek Theatre in Berkeley. I believe there was something like 8,000 people there… it was AMAZING!

TR: “Together/Apart” drops on June 21st. Where will you be on that day and what do you plan on doing?
G: It sure does! On that day, I will be on a plane to Minneapolis for a signing at the Fifth Element store. This day is by far one of the biggest days of my life so you can bet I’ll be doing a lot of smiling!

TR: “Bloody Poetry” is available for download on the Washington Post’s website. What’s your reaction to having your material featured in an international publication like that?
G: At first it blew my mind. I couldn’t wrap my head around why they would want to feature me over there but that’s kind of the beauty about all of this. You never know who you are going to influence or how. I learn that more and more each day.

TR: What was it like shooting the “Bloody Poetry” video?
G: It was great! Griff is a long time friend of mine so I feel very comfortable around him. A lot of video shoots can be a bit uncomfortable due to the fact you got a bunch of people you have never met before standing around watching you sing a song they have never heard before while they stick a camera in your face for 20 hours. You eventually warm up but those first few hours can be a bit uncomfortable. Not with Griff. Dude knows my comfort level and knows how to push me when he needs it.

TR: Did the video reflect what was going through your mind when you wrote the lyrics?
G: I think Griff nailed it. We sat down and talked about the imagery for a while but it was really his story and his vision. This was his favorite song off the album and I feel that he and I were pretty like minded on our perception of the song so keeping that haunting and ominous feel that the song provides… I think this is Griff’s best video to date.

Filed Under: Interviews, USD Radio Tagged With: , , ,
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