It’s no doubt on many people’s minds, where are the good concerts gonna be this summer? Will I have to drive far? Should I stay local and take in jazz fests and coffee shops? Well those all sound like great options. Why not do them all? Be fiscally responsible though!
Spending my money responsibly is something that makes me overthink every purchase and trip. Do I go to a concert or buy some cool new artistic gadget (Like some cool paint pens I used on tropical Wesley up there)? Money is hard to come by these days, so logically I don’t like to part with it. But here’s the thing, you can’t retroactively buy back experience. So, I am going to try to balance all of these components to make up a mentally and culturally stimulating summer.
Midlake on a fine summer's day.
The first event that I will be attending is Midlake’s performance at Castaways in Ithaca. I’ve enjoyed this band for many years now, particularly their songs “Roscoe” and “We Gathered in Spring”. The dealmaker is that tickets are only $15. The show takes place after most students have left Ithaca, so it should be a low key affair, just like most of the well crafted songs of Midlake.
Interpol graphic inspired by TRON patrol bots?
The next concert on the “Should I stay or should I go” chopping block is Interpol playing at Waterstreet in Rochester. I missed them the last time they played in 2008, so this time around I have an inclination to see them even though their bassist Carlos D has left. Which is kind of weird, but it might be a good thing. I’m eagerly awaiting the news of what the heck is going on with them.
Double necked guitar for the win.
And last but not least, The Flaming Lips are playing in Canandaigua on July 23. This is the most difficult concert to justify because I just saw them in April. But they’re the Flaming Lips man! Such a great show. If I had my way I would see them once a month.
Well, on the accounts of Interpol and the Flaming Lips, should I stay or should I go?
If some of you were wondering why I hadn’t posted anything in a good solid month, well the real world came knocking and told me it was time to buckle down and get a million things done in time to graduate. So I apologize for my lapse, but just know that now you’re reading the words of an individual who now holds two college degrees and is on his way to his third. As an artsy type dude I brought a little sketchbook with me to graduation to pass the time and I sketched quickly almost everyone who spoke and at the end I had something of a real time graphic novel. Thinking this is kind of a neat idea, I’ve decided to share it with all of you!
Guys in a bar a few nights prior to graduation.
President Stanley and Sen. Schumer
Sen Schumer drops my catchphrase.
Representatives Owens and Barclay
President Stanley with one heck of a medallion.
Class President Ballesteros speaks!
The speech was long, and this baby was the only quiet baby.
Naomi Wolf was our featured speaker!
Naomi Wolf talked a lot. I was hungry.
Naomi Wolf says we are superheroes!
A camera man was looking silly.
The camera man watches the mighty wizard.
To top all of this off is a great cover of a terribly annoying song. Mr. Noxious makes the Black Eyed Peas tolerable. The theme of the song kind of goes along with the idea of graduating and celebrating, so yeah!
Cu-Cu's Miles George adorned in green winter's cap.
Cu-Cu is the alter ego of Miles George, a resident of the Rochester, NY area who has been writing songs since he was 10 years old.
How did you end up making music?
When I was a kid, probably about five or six years old, I had this analog tape recorder. I would go into my parents’ bedroom and record myself singing songs made up at the top of my head. Years later, I became much more serious about being a songwriter by writing lyrics down on paper. I felt that it was the only plausible way to express my thoughts at the time. I guess it still is.
Who are some of your older influences, and newer influences?
Like with many, The Beatles were one of my very first influences. After my first few listens of The White Album, I began to understand the concept of music as an art form. Later on, bands such as Barenaked Ladies and They Might Be Giants taught me how music can be both quirky and serious simultaneously. As my tastes broadened, I began listening to bands and artists such as Beck, Wilco, R.E.M., The Flaming Lips, Tom Waits and many others. Most recently, it’s been alot of Pixies and Arcade Fire.
How did you come up with the name “Cu-Cu” for your music? Does it have anything to do with bird calls or the state of your mental health?
My mental health is fine, thank you for asking. Cu-Cu was a name that I came up with when I was maybe eight years old. I didn’t exactly know how to spell the word ‘cuckoo’ at the time, so I just butchered it and went with ‘Cu-Cu’. I still don’t know its significance to this day, I guess it just stuck. If my music title remained as Miles George, people would be expecting a prepubescent teenager with an acoustic guitar singing sappy love songs. I believe I’m a little more than that.
When you write a song, do you think of the structure musically first or do you write the lyrics first and then build the music around it?
It really depends, as many artists would agree. When I first started writing music, I always wrote the melody first and improvised the lyrics while recording the songs. But within the past few years, I’ve been really focusing on my lyrics and spending time with them. As abstract as they can be sometimes, there are still hidden meanings behind a lot of them.
Are there any overarching themes that you find yourself returning to over and over in the process of recording your albums?
I mostly write my songs about people… all sorts of people. Businessmen abandoned in a haze, grumpy old men with dying lawns, prison guards, preachers, butchers, cheerleaders. Whatever inspiration comes to me at the time. I write personal songs as well, but I’m usually disguised as other people in my songs. I guess I’m just fascinated with characters.
Is there an instrument that you just can’t live without and have to play?
Well, if you’ve seen me play live, you know that I mostly center myself around a variety of instruments including a keyboard, some toy pianos, a set of gamelan chimes, some shakers and a voice changer. But if I ever lost my ability to sing, I would probably stop writing music all together.
Who are some of the best bands (or performer) you’ve had an opportunity to play with?
One of my best friends, Kirk Stevens, has played shows with me ever since we were in high school. He is an amazing songwriter who I feel does not receive the attention that he fully deserves.
Please check him out: www.myspace.com/kirkstevens
The music scene in Rochester is one that really goes overlooked sometimes, and it’s quite a shame. There are so many local musicians out there, continuing what they’ve been doing since they were teenagers. I think that’s pretty amazing.
Whats the best show you’ve taken in lately?
My best shows seem to always occur at Towpath Cafe in Fairport, NY. I live five minutes away from the place, and it’s pretty gratifying to know that I have the ability to fill that cramped space with over fifty people at a time, willing to listen to and get involved with the local music scene.
What’s currently in rotation on your portable music player of choice?
Right now, it’s been a lot of Sparklehorse. Mark Linkous was one of my favorite listens throughout high school, and his recent death is a great loss in the independent music world.
What’s on the horizon for Cu-Cu?
I’m working on a collection of new material right now, and I would like to have a new album done by later this year, hopefully. Besides that, I believe I have some shows lined up in the Rochester area this May, so stay tuned!
Wayne Coyne gives the crowd at Cornell some 'Face Time'
What a year for concerts it has been for upstate New York so far. Bands worth their hype like Passion Pit, Miike Snow, Dan Black (Formerly of The Servant), El Ten Eleven, Phantogram, Neon Indian, Freeze Pop and Plushgun have been streaming steadily through the sometimes seemingly stagnant spring season of the New York Area, but perhaps the crowning achievement of all this excellent 2010 booking is The Flaming Lips’ appearance at Cornell University. Often times, bands are heralded as the best live act of the year and then they fade away, but The Flaming Lips have been steadily increasing the spectacle of their live performances for well over a decade. This is a band known to invite and incite the wild dancing of fans in furry animal costumes as well as cover themselves and the crowd with fake blood, glitter, and streamers. With this in mind, their performance at Cornell University had a lot to live up to.
As with any good concert, the trip to the city and the venue is just as exciting as the show itself. The area of Ithaca is known for their dual academic institutions of Cornell and Ithaca College as well as their stunning gorges. Because of its beauty and status as a pre-eminent college town, there’s quite a culture brewing on the hilly streets of Ithaca. People looking for a good organic restaurant or a record rarity will have luck just walking down the street in their Ithaca commons area. Even an individual with an affinity for Austrian Expressionism can find something in this town. That is to say that I found a watercolor painting done by Austrian Expressionist Egon Schiele in Cornell’s Johnson Gallery and it made my day.
To add to the color of the moment, as I made my way to Cornell’s historic Barton Hall, where the likes of The Grateful Dead, Aretha Franklin and Bruce Springsteen have performed over the past four decades, people dressed in all kinds of ridiculous costumes walked beside me. Bananas, men wearing tutus – even Captain America made an appearance.
Opening for the Flaming Lips was a fellow band from Oklahoma City, Coyne’s nephew’s band Stardeath and White Dwarf, with whom the Lips recently recorded and released a complete cover of Pink Floyd’s Dark side of the moon. The limber men of SDAWD played songs that ranged from slow-mo psyche rock freakouts to dance-rock excercises all while imagery of dyed cells and images of space synched to their songs played on a giant circular screen.
After the completion of the SDWD set, the crew for The Flaming Lips resumed their technical duties setting up instruments and an assortment of set pieces. During this time, The Lips’ frontman Wayne Coyne made his way around the stage to shoot streamers and throw confetti to roars from the enormous crowd. This blatant disregard for typical lead singer behavior (i.e. waiting until the fans are at a fever pitch before making an appearance) is another reason that he has the reputation of being the most amiable indie rock personality.
When The Flaming Lips’ show did start, the Lips began their show in the best way they could to illustrate the concept of their latest album “Embryonic”. They did this by emerging from their giant circular projection screen of a woman’s neon pulsating genitals and moments later singer Wayne Coyne emerged from her pupil in his famous man-sized hamster ball and thrilled the audience as he crowd-strolled over them. The Lips played material from their new album like “She Can Be a Frog” from their latest album “Embryonic” before playing signature sing-a-longs like “She Don’t Use Jelly” and “Yoshimi Battles the Pink Robots” and “Yeah Yeah Yeah Song”. One very interesting highlight of the show was on a new song “Powerless” where Wayne Coyne led the band through a thrilling guitar solo. The Lips ended their main set with a chaotic, almost tribal rendition of “Watching the Planets”. For an encore, The Flaming Lips played a cover of “Eclipse” by Pink Floyd. Then the band pre-empted the last song of the night, a triumphant rendition of The Flaming Lip’s most recognized song, “Do You Realize”, with a sad note that a member of White Dwarf’s father had recently passed away and the song had been played at his funeral. Given this, Wayne Coyne and company implored the crowd to really respond to the song. This kind emotional weight that The Flaming Lips add to their music is what makes them a legend in modern music. Amid things like thousands of laser pointers, giant laser hands, giant circular LED screens and dancing catfish, the band has a heart that’s equal to the spectacle.
I spoke with Dan Black back in April about his new album ((un)) the ideas behind the music and his most recent tour.
A: On your last album with The Servant you felt stifled, do you think that lead to you branching out and creating solo work?
D: Yeah, Completely. That was a key part of it.
A: You’ve said that you wanted the album to sound like N.E.R.D. and Sigur Ros, were there any other prominent inspirations you drew from during your songwriting process?
D. Yeah, many [I took inspiration] from [people like] Nick Drake to Bjork, to early Missy Elliot, Scott Walker, Trent Smith and Sebastien.
A: You’ve said that what you really like to do is come up with melodies, are there any artists that you admire for their ability to put together a melody?
D: Sure, I love Liz Fraser of the Cocteau Twins, she’s an amazing melodicist. I quite like Perry Farell and his work early on with Jane’s addiction and of course Morrissey.
A: You wrote your album largely in the winter of 2007 at your place in Paris, what was that like?
D: One of the key things that was different about this album was that I’d made it totally on my own and that was heightened even more by being in a country where I didn’t speak the language that well and it being winter so I was kind of holed up in the cellar so it was very, very, solitary, even though I was in a city. It was very much just making music in general, which is sort of an eternal sordid thing, but it was heightened by it being winter and it being a city that I didn’t know that well and not knowing any people didn’t speak the language well so I didn’t properly understand people so I was sort of locked in my own little bubble.
A: How did you decide on Hypnotize the Biggie Smalls song “Hypnotize” to cover (Which Eventually became lead single “Symphonies”)?
D: Well I did a bunch of these experiments when I first began to see if I could do the sort of songs that I loved and was inspired by. I was thinking about the songs and ways to properly and literally sew the songs together to see if I could make them work and put other things on top. They were basically experiments to see if I could make music that way; if I could solve that puzzle. But some of them came out in such a way that they were more than an experiment, they had a life to themselves. So one of the ones that was like that was “Hypnotize”. “Hypnotize” the original song was one of my favorite hip-hop tracks ever and I wanted to see if I could bring it into a different universe. A different world.
A: How did using the Starman theme from the John Carpenter movie come into play on that song?
D: Well, it was a film I’d seen when I was a kid. I remember loving the soundtrack when I was a kid, when I saw it. And it just popped into my head and it was a nostalgic thing for me.
Dan Black's ((un))
A: You’ve expressed that the reason behind naming the album “UN” was because each letter was the opposite of the other. How did the idea of including the concept of opposites in your album come about?
D: Making the songs work for me is a mix of searching for things and making the song sound, well, good and sound real and true. The way it works to have a song with a contradiction in it, it’s got two things that are so opposite. I noticed that afterward, it wasn’t something where I thought to myself “I need to do this”. I’d like certain songs and I asked myself “Why does this song speak to me more than other things?” and often it would be because the song contained a happy quality or a sad quality at the same time or something that was aggressive but also sort of fragile. Or something that has electric elements in it but at the same time it sounds human and sounds organic. It was more of a discovery of that thing more than going “Oh, I want to do this”. The concept came after with me looking back at what made the songs work.
A: You recently played in Albany New York, how did that go?
D: It went really really good. We’d never been to Albany before so our expectations were kind of low. We’ve been to all these places where there are so many people who want to see you and check you out and Albany was pretty quiet, so, it was really really good.
A: I watched a video where you performed with a couple of your bandmates with samplers and laptops while you were sitting with an acoustic guitar. Was this how you performed in Albany or did you perform full on with all the members of the band?
D: It was full on, it’s only the three of us still, but I’m playing a laptop and triggering songs and stuff and I’m singing and the other guys are doing sometimes percussion and sometimes guitar, sometimes bass and sometimes keyboards.
A: What do you like about working off of laptops as opposed to playing with a more traditional rock set up? What do you find more satisfying about that?
D: We’ll be able to play all aspects of the song. I can build and sculpt the whole song. I like the fact that it makes more music, it’s like a leveler. Everything can be equal and turned into a wave form and you can do what you want with it. Whether your resource is a synth or a bass or a broken car engine they all turn into the same substance and they are equally malleable. From that point any possibility is possible.
A: For the visuals associated with the album, what kind of guidelines did you have for their creation?
D: Partly, just stuff that reflected me and my feelings at that time as well as the music. I just got loads of images together that I felt reflected what we were trying to do. We were trying to take everyday objects and bend them to their own will. It was similar to how I make songs that ring true in a way.
A: From those objects one that sticks out in my mind is the Gun Head that you wore in the video for “Yours” how did that idea get started?
D: When we started the very first thing we did was an avatar of me levitating in my studio. At that time I wanted to come up with a logo that made people think of Dan Black and one of the people that I had been working with came up with a shirt that had a bird that had a gun for a head. She replaced the bird’s head with a gun and I thought “Oh, that’s really cool,” and I thought maybe we could do the same thing with the [levitating] body and stick a gun on its head. At first I thought that could be a really good logo. I wasn’t quite sure why I liked it. It dawned on me as I was making the record that I had one mission and sacrificed every aspect of my life just to make the record and make the music and also how it was “Do or die”. I was shooting these songs out and I had only one function, and when it came time to do the video I thought “Hey, wouldn’t it be great to actually make the gun head and do a video with it” and so we did.
A: While we’re talking about visuals, the video for the song “Symphonies” is spectacular in the way that it cycles through the vignettes of classic films, how did that idea come to be?
D: The lyrics of the song are talking about “When is the soundtrack of my life going to kick in”. So they said why don’t we have you walk through the titles of classic movies and I thought that was really cool. So we sat there and discussed the kinds of films that we thought would be 1: executable and 2: relevant. From there we just made a crazy wish list and tried to make it work and then at the end slide it together.
A: You ended up getting Kid Cudi to rap on a version of the song, how did that come about?
D: It was very simple, my friend of a friend played him some of my stuff and he liked it. So he got in contact and said he liked it and asked for an instrumental and so I e-mailed him back with an instrumental. Then he sent me back a track with his vocals on it and I loved it and it was done. At that point I thought “What am I gonna do with this thing”. I was in Paris and he was in New York so it was a very modern music [project] using the internet. It was a very simple, uncomplicated thing.
A: In the video for “Symphonies”, there are some outer space scenes, and this question is kind of left field, but what is your favorite planet?
D: I don’t know, maybe moon of Saturn or Jupiter or even like Io, I like those weird kind of far away lonely places.
A: After listening to your album repeatedly, I feel like the album itself is about personal triumph, can you speak about that?
D: I wrote the album when I’d left a band and at that point I thought “Should I maybe give up music?” I’d been thinking about it for a long time and wasn’t having any more. Was I stupid to keep trying to do music, I wondered if I had peaked artistically. I had to make the choice and at the end I had to do it. A lot it stems from fear and in the end that’s what it’s all about, continuing. It’s about adversity and personal triumph. So that was definitely a theme.
A: What are some things that you were able to do on this record that you’re really excited about as opposed to any other music project you’ve done?
D: To not have my work filtered by others. Each song is my sole vision on how that song should be. That was the key thing that was different. I was able to include obscure hip hop things as well as pop things.
A: Speaking of pop and hip hop things, the bassline on “Alone” is great, how did that come about?
D: That was the first part of the song I wrote. That bassline came from just breaking up a beat and getting out a bass and just playing along. A lot of my songs come from just playing and that feeling of having fun and being free. I remember making the beat up and playing the bass part quite fast and the rest of the song came from that.
A: While you’re doing your tour what are some things you’re looking forward to?
D: Meeting new people. At the moment everywhere we’re playing is new so right now it’s just a question of covering as much ground as possible and playing good shows.
I recently had the chance to interview Elizabeth McGeown and Stevie Mac from the Belfast, Northern Ireland synth pop group called Uber Glitterati about their history, songwriting process and songs that get stuck in their head.
How did you guys come together as a music group?
ELIZABETH: I had done a little bit of musical theatre here and there and was looking for more regular singing work with a band. Stevie put an advert up on a local music forum saying he was looking for a female singer for an 80s electropop project and as I already knew Stevie from when we had both presented shows on our local student radio station, I replied!
How did you settle on the name “Uber Glitterati“?
STEVIE: That was my friend Matt’s idea. We were talking over Facebook one night and I said ‘Give me a name for this ’80s pop project thing’. That was the first thing he said, and it was perfect.
In Northern Ireland, what are the most prevalent music genres? Say I walk into a bar in Belfast, what’s playing in the background?
STEVIE: NI tends to be a bit behind the times when it comes to current musical trends, so I’d probably say the chances are it’d be an old favourite rather than anything cutting edge.
ELIZABETH: Depends on the bar! You hear a lot of r’n'b, a lot of indie, some heavy rock. In terms of the local live music scene it’s very rock oriented but we’re hoping to change that!
Is there an annoying radio single that you can’t seem to escape like there often is here in the States?
ELIZABETH: Right now it’s tough to escape anything by the Black Eyed Peas. I worked in a music store over Christmas and it was endless Black Eyed Peas, JLS [UK reality TV show stars] and Cheryl Cole. Most things with a lot of autotune on them are annoying and overplayed!
In your music process, do you write the music first and fit the words or vice versa?
STEVIE: Words always come last. I’ve never been much of a wordsmith, I can get a basic tune & melody down in an hour or so, but finding the right words can take days or weeks even, because I don’t want to stick down any old rubbish. I like a balance between the abstract and a definitive story being told.
ELIZABETH: Because of the way we formed as a band the music came first, as before I joined Stevie had a number of tracks already written. Now I’m involved it’s still the same way but some of the instumental tracks get handed over to me for lyrics. We have very different writing styles but it works, as I can write to suit my voice which wasn’t happening with the songs Stevie wrote himself.
Whats a piece of equipment or instrument that you can’t live without?
STEVIE: We couldn’t do anything really without Reason (www.propellerheads.se/products/reason) – all the sequenced material runs through it. In fact most of our creative tools are various bits of software on the laptop, I only own one hardware synth (a microKORG), and while I have a small collection of guitars and basses, they’re not exactly indispensible. I’d hate anything to happen to my ’52 Tele though.
What made you lean towards synth-pop as opposed to a more traditional band set-up?
STEVIE: I suppose at the beginning I was deliberately trying to emulate people like Depeche Mode, Eurythmics etc. and write something purposefully poppy. Writing on a piano/synth is very different to writing on a guitar and definitely influenced how the songs turned out. That said, a lot of the new songs have guitar on them as well, and we’re trying to fuse those ’80s influences with the sound of more modern bands we like.
To you, what makes a good song?
ELIZABETH: Singalongability! As a singer I find myself uninterested in a song if it doesn’t have a discernable melody, a catchy hook and – if it has lyrics – a good voice singing it. Synths, strings, and piano are added bonuses. A song and singer need to have attitude too. Not necessarily to be aggressive, but just have an attitude that fits the song.
You are known for your remixes as well, what’s been the most fun remix to work with so far?
STEVIE: It’s hard to pick one, I’ve loved doing them all, and I have a pile more to do! The Strait Laces one came out particularly well, and the band really liked it, which is what you’re secretly hoping for really.
The Lily Allen one has gotten us some attention, but it’s 100% unofficial. She’s one of an increasing number of artists who have made the stems of her tracks available to anyone who wants to tinker with them, which is really great.
I’ve enjoyed the musical stylings of Sydney, Australia band Grafton Primary for a few years now and I think it’s time I showed them some love. I was so fond of their track “I Can Cook” that I turned it into an unofficial ring tone, much to the dismay of those around me. I just love the yell and the break down on that track. Their energetic synth/rave-pop always gets me going. I wish they would tour the U.S. so I could experience their sensational stage show.
Depeche Mode have released a new single from their 2009 album “Sounds of the Universe” entitled “Fragile Tension”. The song, in addition to having the most epic choir backed guitar strum ever, also has an awesome video directed by The Found Collective, directed by Barney Steel and Rob Chandler. The particle effects and macro and micro photography combined with the dancers is quite stunning. I love it when good music and amazing visuals come together to create something great and unique.
The shoegazey Poconos, New York quintet Soundpool have released a new 7″ featuring the tracks “But It’s So” and “Makes No Sense”. “But It’s So” features the groups trademarked fuzzy ethereal sound but also infuses a bass groove and beats that the New Young Pony Club would be proud of. “Makes No Sense” similarly plays up the dance-ability and atmosphere, like a party heard through the television from Poltergeist. Kim Field’s smoky vocals, as usual, add that essential human touch to each of the songs. Bottom line, listen to these songs!
I recently had the chance to interview the singer of one of my all time favorite bands, Brandon Curtis of The Secret Machines. I discussed his new single, “Like I Can” as well as the state of things at TSM headquarters and the status of the group’s facial hair.
With the release of your last album “Secret Machines”, you said that the process was invigorating because it was like recording a debut album all over again because you worked with new guitarist Phil Karnats. How do you think your relationship as a band has changed now that the 2008 “Secret Machines” album has been out and you are now recording another album?
After having played together for a while i think we have reached a new comfort level. This new level of familiarity with one another has allowed a little more breathing room in the recording process. Which, I suppose, is why this record is taking so long for us to record. I believe we have sighted new ground and we are in the process of discovery.
Is this experience comparable to recording your sophomore album “Ten Silver Drops”?
Not really, TSD was recorded in a big studio, mixed by a famous mixer, released by a major label. This time we have recorded ourselves in our own homes, engineered and produced by us. Quite a bit different experience, actually.
Having worked with Benjamin [Curtis, Brandon's brother and former guitar player for The Secret Machines and now Phil [The new full time guitarist for The Secret Machines] in the band as guitarists, how are they different as guitar players?
well, they are both amazing guitarists and are two of my closest friends. but they are as different as night and day. couldn’t really be more specific.
The sonic experimentation on “Secret Machines” [TSM's 3rd album released in 2008] particularly on “The Walls are Starting to Crack” was mind blowing, can we expect more of these psychedelic centerpieces on the new album?
Of course. I think what I have envisioned for the next record is the same sort of sonic textures but instead of the free floating nature of “the walls” I want to infuse that ambience into a more recognizable structure.
Are there any overarching themes that you want to explore on the new album?
Doubt, anxiety, separation, loneliness, fear. the normal stuff.
Cover to The Secret Machines' Latest Single "Like I Can"
There are some great string flourishes on your new single “Like I Can”, will there be string arrangements on other songs on the new album?
The strings for “Like I Can” were arranged by the great Tony Visconti. It as a pleasure to work with him on that. a real legend and a true gentleman.
As for the next record, there are no strings planned as of yet.
Any word on the title of the new album?
The working title is “The Secret Machines, the Lizard and the Moth”
Your album art for the single “Like I Can” is vibrant and fractured, is there any special symbolic meaning behind it?
The art was done by George Salisbury, and of course. it is a visual representation of the sonic vibrations of the song “Like I Can”
Any news on a tour in 2010?
None yet.
Do you anticipate that you’ll be working with Blasco, most known for being Interpol’s touring keyboardist, when you tour your upcoming album?
No, he is a new father and I think is working on his own projects at the moment. we wish him the best.
Any favorite love songs (or maybe anti-love?) worth mentioning now that we’re approaching Valentine’s day?
I think my Valentine’s song would be “Celebrity Lifestyle” by the Swans. going out to - you know who you are…
Now that Brandon and Phil are sporting some fine facial hair, are there any plans to peer pressure Josh into sporting some fuzz as well?
No, we are all cleaned up for now. All proper and presentable.
The shoegazey Poconos, New York quintet Soundpool have released a new 7″ featuring the tracks “But It’s So” and “Makes No Sense”. “But It’s So” features the groups trademarked fuzzy ethereal sound but also infuses a bass groove and beats that the New Young Pony Club would be proud of. “Makes No Sense” similarly plays up the dance-ability and atmosphere, like a party heard through the television from Poltergeist. Kim Field’s smoky vocals, as usual, add that essential human touch to each of the songs. Bottom line, listen to these songs!
I recently had the chance to interview the singer of one of my 
