Yesterday (August 21st) marked the birthday of one of the most influential people in my life, John Graham Mellor, better known as Joe Strummer. The vast majority of the music public know him only has one of the founding fathers of punk through The Clash, but he left behind so much more of a legacy, not only music, but of humanity. There is a lot to say about his music, but I’m just going to touch on why he was, and still is, so important to me personally. I got into The Clash thanks to Grosse Pointe Blank (which I would later learn that Joe did the original score for), and the music tastes of Martin Scorsese (he was very fond of The Clash), his effective use of them in Bringing Out The Dead brought their sound front and center to my impressionable high school freshman brain. That first album speaks, universally to the frustrations of youth, whether or not you pickup or identify with the greater social/political themes, they are angry, and loud, and you want to be too. I devoured their discography, and dug into all the bands that had influenced their sound, and that, was when I found out about The Mescaleros.
2001 saw the release of Global A Go-Go, the second Mescaleros album, the first, Rock Art and the X-Ray Style having come out in 1999. If I can recollect, my friend Brett is the one who found Rock Art and brought it to my attention, AND, it was a bit of a let down. I couldn’t wrap my head completely around it. How do you go from I’m So Bored with the USA to Sandpaper Blues? How do you go from Janie Jones to Yalla Yalla? Up until THAT point in my life, musicians existed in a kind of bubble of space, time, and fame. Most artists tried to keep riding the exact same wave until it finally crashed ashore, with them broken on the beach. So many bands from your youth just keep trying to play the same songs, the same way, 20 years after they were ripe, as if NOTHING in the world has changed. RARE was the artist who grew up, and grew the sound of their band. 1999 saw Joe Strummer grow up, it also saw Tom Petty grow up too with Echo, but that’s another conversation. Rock Art and the X-Ray Style was the first time an album made me think and try to understand it. Not only the lyrics, but the whole album had a sound, that was just all over the place, again, how do you go from Techno D-Day to Nitcomb?!
Joe Strummer, through Rock Art and the X-Ray Style, taught me that people are where it is at. That album has a lot to do with empowering people, and above all, hope. That lesson would still take a little while to sink in, but the imminent release of Global A Go-Go would accelerate the process. Where Rock Art confused me with it’s sharp contrasts, Global felt a lot more cohesive, more grounded, more on the mark. To this day listening to Global from start to finish is like a wonderful trip through the 5th dimension, with Buckaroo Banzai at the wheel. In digging into all of the musical references laid out in the title track, I learned more about Joe’s life, moving around and experiencing different countries as a young kid. The album has a wonderful, borderless feel to it, with flavors from many different countries. The lyrics would inspire me to figure out what was going on, and in doing so, discover amazing music from all around the world. Thanks to Mega Bottle Ride I found the Balkan Blues album, which really opened my eyes further to familiar music genres through the lens of other countries, which would only further reinforce the fact that underneath it all, at the end of the day, we are all just people, and we like to express ourselves, in our own way, and we like to be happy.
Suddenly Rock Art started to make more sense, Global started to shine with all manner of new facets after every listen. I found myself looking into the history of other countries, and wanting to know what their country music sounds like. Along the way I met a lot of amazing people through the internets, with their own local band and insight into the scene in Lithuania, Argentina, Norway, Venezuela, or wherever it was, people were living, people were having fun, and people were helping each other. Music reinforced the fact that as bad as the news and media might make it seem, the world wasn’t actually falling apart just outside your door, that there isn’t any difference between you and someone on the otherside of the planet, you put on a jamming tune, and they are going to get in the groove. We are all different in our own ways, and exactly the same at a base level, a level you can instantly access through certain acoustical resonances, through music, sweet music.
I’m sure I’ll write a few more words about Joe in due time, but I just wanted to say, Thanks Joe, thanks for being yourself, high on the hog, or singing to one man and a dog. Your music taught me more than you probably intended for it to do, and I’m sure I got some stuff right, and some stuff wrong, but in the end, they’re still great songs. We’ll keep the campfires burning for you, kindling the kindness that you showed us all.
“It’s time to take the humanity back into the center of the ring..without people, you’re nothing” -Joe Strummer
Take a minute to visit the Joe Strummer Foundation
“We don’t have a singer because we couldn’t find one that would stand behind the drummer. But we don’t need a vocalist anyway. The music speaks for itself. We use the music so we don’t have to say I Love You” – Adam Olsson (TGTB)
Few bands the past few years have reached out and grabbed me by the neck like The Good The Bad. I was fortunate enough to see them by chance at a Strummerville showcase at SXSW a few years back, and have been a fan ever since. The premise is simple, a three piece surf rock/flamenco group from Denmark, Adam Olsson on lead guitar, Manoj Ramdas on baritone guiar, and Johan Lei Gellett on drums, but the end result is anything but simple. They don’t mince words, because they don’t use any, the closest thing to lyrics in any given song may be some background audio of a woman bringing a little orgasm to the audio mix. Sex is at the heart of the band, from the driving rhythms and gyrating bridges to the in your face album art. I mean seriously, that header image is one of the most memorable album covers you’ll see in your life.
Each of their songs is named sequentially, starting with 001, their first album is of course called, From 001 to 017, with the two later albums bringing in 18 to 33 and 34 to 50 respectively. The first 17 tracks lay down a very impressive debut onto the scene, from out right rockers to much slower subdued numbers. 008 (directly above) is the stand out here for me, with its very subversive, prowling feel, and teasing little moments of calm in between barrages.
From the second set, there are three stand outs, 019 (top of the page), 026 above, and 033 below. 019, has a little bit of everything that makes this band. A simple yet effective opening that lets you know what the score is, a dash of sexiness, and a song that just screams to be played with the windows down. 026, prances in with its playful opening hook progression, then the drums drop in letting you know it’s about to take off, then the moaning starts. What follows is a very fun play between the band and a very happy lady. The shifting gears of the song keep things spry, and the sputtering of the drums really sells the exchange between the band and their recipient of such joy. 033 plays more to some of their other sounds, with a very imposing organ introduction, giving way to a Spanish horn, and a their most majestic track yet. It’s almost as if all of the trials and tribulations of the rest of the album were building to this epic spaghetti western finale.
Their third album however is my favorite, and I’ll be really honest, it’s because a lot of it sounds like the best fucking Mega Man soundtrack never made. Seriously, listen to 034 right below here, and tell me that it doesn’t scream Mega Man, ok, well a horny Mega Man who gave zero fucks about saving humans, and just wanted to blow Dr. Wiley’s head off his shoulders while looking cool at the same time, so maybe these tracks are more about Zero? I digress.
Yes, the video is a very corny, but you’re not here for the video, you’re here for the music. If that one didn’t convince you, how about 035 below here. Everything from the repeating rhythm to the drum fueled bridge screams side scrolling 8-bit mayhem. Beyond that though, the song stands on it’s own as an amazingly solid bit of auditory bliss.
I have to give The Good The Bad credit for giving zero fucks. They excel in their very particular sound in a way that few bands ever do, and they do it with such a balls out flair. At times it seems like their sole intention is to get all people’s juices flowing in the pursuit of a good time, be it with the one you love, the one you just met, or a guitar. That kind of dirty honesty is sorely lacking these days. They are who they are, they play what they play, if you don’t like it, then get out of the fucking way. If you are looking for something to spice up your playlist, you should sincerely look at picking up some The Good The Bad, your mojo will thank you.
Quick update here, among other things, I’m currently playing, and loving, the new King’s Quest game. I’ve captured a few of my favorite little moments so far and am housing them here in the playlist below. I’ll write something up about the first chapter later on once finished.
I’ve been a Xoc fan ever since SMW (Super Mario World). That album rocked my world like the Tunguska blast, and my musical tastes haven’t quite been the same since. Seriously, as far as major musical influences go, Xoc is right up there with Joe Strummer to me. So, with the power of the interwebs I wanted to find out a little more about the man who created such great tracks. Xoc, or known mortally as Jason Cox, consented to my inquisition, and here we are, so let’s get into it!
Jason: I am extremely flattered, thanks so much!
SMW (Super Mario World) was your first album that I found and the attention to detail just blew me away. All of the little moments from the game were lovingly recreated or even emphasized. I’d heard a few other bands that were doing covers of Nintendo songs at the time, but they were mostly just trying to do a ‘punk’ version, which ultimately just sounded like shit. SMW felt like a love letter to my own childhood, and for the first time made me realize that these games really had created a kind of hive-mind effect on a large portion of our generation. Why did you decide to record SMW, specifically why this game, what did (does) it mean to you, or was it a random choice? Describe some of the lengths you went through in the recording process? About how many different instruments/layers went into the tracks? How did you plan out your versions, or did they spring from improvisation?
Jason: I started learning videogame music sometime in 2000, maybe 2001 – it all started with learning about emulators. The first one I ever used was NESTER, and the ability to single out the separate audio channels was the key, just because I’d never been much good at figuring things out by ear. I could pick out the main melody, but the concept of harmonies had always eluded me. So NESTER opened up a whole universe of possibilities for me.
When I started using an SNES emulator and listening to even MORE bits of songs, I was amazed at how much went into those songs, especially harmonies and countermelodies that I never would’ve noticed before. The very first Xoc song was Lower Maridia from Super Metroid. That’s also how I got stuck with the name Xoc, actually – the first place I posted it was on the metroid2002.com forum, where my user name was just Cox backwards.
By then I had figured out the other system emulators and was finally able to do music from Sega, Game Boy, and with MAME, arcade games. This was the point where I started going berserk, covering everything I could think of. I tried to form a band, but very few people would take it seriously; or at least serious enough to learn the sometimes difficult parts.
Which brings us to SMW, which was my first full album. I was originally planning on doing a variety of games, in medley form, for the albums. But after reacquainting myself with Super Mario World, there were more and more tracks from it that I wanted to include, so I eventually decided I would do it all.
By the time of SMW I was living in Noah Nelson’s house, and so had an entire room to myself; not to mention access to all of the instruments of the bands I was in. (SMW might not have turned out as good without banjo or melodica!) I was so excited by FINALLY being able to play this stuff – I wasn’t good enough to figure it out when I was a kid – that I really threw myself into it. I confined myself to “Optical Pies Recorders” (my room) for many hours… and after a really long time, when your mind gets a little screwy, things like using the fridge as a bass drum or recording a 20-voice Muppet-style choir seem perfectly reasonable. And, of course, “asscheeks”, which is the penultimate entry on the list of “instruments.” I swear, that was probably the most-asked question: “…you played ‘ASSCHEEKS’?” Yes, I did. For songs requiring handclaps, I set up a microphone pointed at my ass and slapped it with both hands. My reasoning, during what was likely one of those fevered, work-exhausted mental states, was that I was doubling my output; I was getting two handclaps for the price of one. For the price of one red ass, I guess.
The first time I heard ghosthouse, I remember thinking, wouldn’t it be great if he took the secret exit, and holy shit you did! It was one of the first times I remember just throwing up my hands and going FUCK YEAH at a song. Sorry if I keep gushing over this album, but you know when you hear a cover version of like a Creedence track, it’s simple and straightforward on a technical standpoint, but it always sounds off, like it’s from an alternate dimension, none of these songs ever felt like that, they just worked, and they worked oh so well. What were some of the things that you were attached to and went out of your way to preserve in SMW? Was there a song that stood out to you as a favorite, or one that you thought THIS is it, this is the one?
Jason: Ghost House was something I wasn’t sure was going to work. It seemed like it was, I dunno, too similar to the SNES version. But the secret exit was absolutely – pardon me – the “way out” of that song. It’s like a punchline; the main figure repeats just a little too long just before it hits.
A big part of it for me was drawing attention to the harmonies and other “buried” parts of the music; sort of flipping the standard focus, so that the most recognizable parts are more in the background, and the supporting parts up front. Because those parts are always there, but they’re sometimes harder to pick out and whistle, y’know?
The entire ending of the album is completely amazing. Castle Medley, perfectly lays out a soundscape for the epic, no holds barred vision of Bowsers castles that I had in my head as a kid, and throwing in the end level medley too just was icing on the cake. Valley of Bowser Medley captures the frenetic energy rush that you got while trying to clear the boss of any of the castles, but specifically the epic final fight, and Vacation just nails the sense of relief, much deserved after the fight. I’m not afraid to admit, that under the right conditions, End Credits still makes this ‘grown’ man tear up. Damnit man, why’d you cover it so well?! Part of it is that wonderful accordion, then the sound of all the Yoshi eggs hatching, the constant build up and chorus line ending, it’s all there. How was the reaction to SMW from your friends and family once it was finished? What kind of response did you get from the internet at the time? Did you feel that you got everything you wanted out of SMW, or was there any kind of reservations or things you wanted to do better?
Jason: My favorite part is the ending, for sure – when it speeds up towards the end. That was a specific attempt to invoke the Mr. Bungle album Disco Volante (kind of a mashup, stylistically, of “Merry Go Bye Bye” and “Ma Meeshka Mow Skwoz“). One of the best reactions I’ve heard about that particular track was an angry one: something along the lines of, “that song is so good, but it never resolves at the end? Why did you cut the last two notes off???” I have to admit, that was on purpose (haha). I wanted it to ALMOST make it to the end, but at the last second the “death jingle” interrupts it. But I think the Game Over piece does the job of ending everything on an “up” note, pretty much.
My family has always supported everything I do, creatively, So I’ve been very lucky. Back in high school, my parents allowed my band to practice, at full volume, INSIDE a bedroom in our little 3 bedroom suburban home. We were very loud, very obnoxious, and some things we did really stretched the definition of “musical” to the breaking point – noise saxophone battles, circus metal, funk versions of Paganini’s 5th Caprice, etc. – but my folks let it happen, and I’ll be eternally grateful for that freedom.
But the response from the internet has been something else entirely. I remember getting positive reactions from the first stuff I did (except for an ill-advised Eninem/Metroid mashup I thought was funny, but nevermind). But once I put SMW on Archive.org, it just exploded. I would check the number of downloads every day, and it just kept GROWING. I had never been a part of anything that popular. It was strange. But also extremely gratifying, and encouraging, and convinced me to continue – ASAFP.
What’s Pink and Sucks? This one was very different for me since I did not have any real experience with Kirby growing up. I knew of the weird little pink mouth breather, but I’d never played one of his games for more than 5 minutes at a friend’s house. So, when this one came out, first off, I loved it, second it drove me to find recordings to compare your version with, and then of course, to track down a copy of the game to enjoy properly. Starting off with the telephone always seemed like genius to me, don’t know why, it just fit the sound and tone for the rest of the album so well. This album has been in constant rotation at work for years since it’s so cheery and upbeat, it’s the perfect thing to keep you from gouging out your eyeballs during the daily grind. Vegetable Valley 1 and Ice Cream Island 1 just sound like marshmallow pop, in the best way. I have to admit, every other time I hear Butter Building stage select, the chanting in the background, I’d think ‘Hook! Hook! Give’m the Hook!’ from Hook, but that may be because I have my own deep seeded issues. Holy shit is Grape Garden stage select a great track, you almost feel like you are floating through space. Forest Theme sets the pace like a sack of cement, gradually layering in the rest of the elements for a terrifically solid one minute and fifty seven second jam with an appropriate breakdown at the end. Orange Ocean 2 seriously is a Parisian trip, you can smell the croissants and shit. What made you choose Kirby as the focus of an entire album? Anything you want to share from recording/releasing this one?
Jason: I didn’t play Kirby when I was a kid either! It just never appeared on my radar. It wasn’t until the emulator age that I was able to enjoy it (and probably a hundred other games I never had the money for back then). I really made up for lost time, game-wise.
There’s a quote – I can’t remember by who – that describes hearing Steely Dan for the first time as, “like hearing the Beatles with jazz chords.” And that’s how I felt hearing Kirby for the first time: Super Mario and other early Nintendo music was simple, elegant, and catchy as hell. But the Kirby music, while still catchy, is so much more intricate and elaborately crafted. Every second is so full of music. Unfortunately, I found this out when learning to play it; particularly the bass parts. So quite a lot of it was recorded at half-speed. I know a lot of artists might not admit to studio trickery like that, but it’s never bothered me. Mainly because I’ve never claimed to be an astonishing player – I couldn’t get up on a stage right now start shredding through metal versions of Final Fantasy or anything. My goal is to create studio recordings of game covers that sound interesting. Accuracy is a close second to that, haha. And anyway, I really like the way pitch-effected music sounds; the timbre of double-speed guitars is such a unique sound. I’d point to Ween and, of course, Frank Zappa as influencing me there.
I really don’t know why the “telephone intro” seemed like a good idea. Because the melody is very simple, and it’s the first thing you hear when you turn the game on, I probably thought that was one way to make it more interesting. I did discover that the lowest note is not available as a touch tone, so that’s why I “played” it with a quick click over to a dial tone in the same key.
The chanting in Butter Building stage select is, alas, pure gibberish. If I had to transcribe it, I’d maybe say WOO HAH HUGGIDDI HO or something. 🙂
Emulator, holy shit, again with your interpretations of not only the game music, but of the other bands that you are cross-breeding them with. Zelda 2 (Beach Boys) blew my mind, and Sonic the Hedgehog – Marble Zone (The Ventures) fits just perfectly!
Jason: Thanks! The whole thing started with Zelda II, I think; it was entered in a Dwelling of Duels competition. I had also done a Melvins-style cover of Kung Fu (NES), and it sort of snowballed from there. Matching VG music to other artists became a short-lived pastime. I have something like 100 more combinations I want to do. Let’s see… Butthole Surfers doing the title screen from Madden ’93; Fishbone does Mario Party; Sunn0))) does Rygar; Hank Williams Sr. doing Bubble Bobble (I’m not sure what I was thinking with that one, but I’m sure it made sense at the time).
The Beginning of the End is such an epic themed experiment, “100 Songs from 80 games from 10 systems.” Where did the idea for this project come from? How hard was it to choose which bits to use, or was it more difficult to find material you wanted to work with? Were you already familiar with all of these games or did you have to go out of your way to find more material? My son LOVES this album, despite only knowing a very small selection of games presented. He specifically loves the medley version where it all plays as one rapid fire track full of seemingly random bits of awesome, so he wanted me to pass along his compliments to you. What is it about short, almost Wario Ware-like micro songs that you seem to enjoy so much? Your use of them throughout the XOC albums really influenced me in my mix making, showing how useful a short kind of pallet cleanser can be. On top of that, it really makes those tracks more endearing because they don’t go on for 3-4 minutes too long.
Jason: I think Beginning of the End came from a few different directions. First of all was my love of … I guess it’s called blipcore? 3-second hardcore/grindcore songs? Like the pre-S.O.D. cassette “Crab Society North” was one of the earliest. I’m a John Zorn fanatic, and Naked City’s “Torture Garden” has always been in my top 5 albums of all time.
The other factor was (and is) that other VG artists rarely cover the brief fanfares and jingles. Sometimes as an intro/outro, but almost never as a standalone track, on its own merit. So that was a part of it too, just wanting to “fill in” the list of musical pieces that have been covered in the VGM community.
There weren’t a whole lot of games represented that I wasn’t already familiar with; Donkey Kong Country was one I didn’t know, and Military Madness was suggested to me by a friend. I was really happy to do all of the music from arcade games.
If You Don’t Listen To My Music I’ll Kill This Dog, this one has some brilliant arrangements. The Metroid tracks on here are all phenomenal. Lower Maridia is so damn creepy, as it should be, and it just keeps building, and getting better. Phendrana Drifts gave you some room to be more atmospheric and spacey, like some dark, unused, Doctor Who themes. Kraid (country version), hell, yes. Almost without exception, everyone I’ve played this for has fallen in love with this version. Holy shit, what drove you to cut this version, tell me, I must know the story/inspiration behind this track.
Jason: After the first 5 years of doing Xoc, I was honestly surprised at how much material I’d collected. Most of the
tunes in the “Earlier Years” section were simply posted on my website, or perhaps MySpace, directly after completing them; I wasn’t thinking in terms of “albums” then. The country version of Kraid’s Lair… well, that really only happened because I was unsatisfied with my own “straight” cover. I could never quite get it to sound right, and my playing just wasn’t up to Minibosses or Advantage standards. So this might have been the point where I thought, okay, lots of others can do just straight covers with distorted guitars a lot better than I can, so I’ll do a totally different style – that would at least stand out. I also happened to have a banjo handy.
Metroid doesn’t steal all the spotlight here, Adventure Island’s Overworld #1 is probably the funest track on the album, and that Misc. Mario Medley that just swaggers in like some dark magic, bell bottom wearing mother fucker. Finally, Sonic the Hedgehog – Green Hill Zone, sigh, I cannot tell you how many times that song has made my day. That seriously is one of the most chill video game related tracks ever. The whole arrangement is spot on as a cover, and again, adds so much depth and character to the track that it becomes a whole new meal to enjoy. Do you have any favorites from this release, or any other production related anecdotes about it?
Jason: Sonic Green Hill Zone was one of the earliest covers, maybe directly after Super Metroid’s Lower Maridia. It might be my favorite from the early years (although the Donkey Kong Jr. Medley is much closer to my childhood nostalgia). Besides not playing as much Sega growing up as Nintendo, at the time it was much harder for me to figure out the music from Sega Genesis games – simply because I didn’t know of an emulator that could isolate the various melodies. So now I have to admit to relying on fan-made MIDI covers to pick apart the music. I wish I had kept track of who made those.
Let’s change gears a bit. You’ve been particularly prolific over the years with your own video game related solo projects as well as a lot collaborative albums and even a few groups you were a supporting member of. In no particular order; XOC, Recreational Episiotomy, The Buttfuxtables, Hemostat, Heavy Friends, The Soundry Courter Project, Theophagus, Las Pesadillas, and I’m sure I’m missing some too.
Jason: I’ve played drums for Las Pesadillas since 1995 or 96. There have been some hiatuses and lineup
changes over the years, but the core group is still together: Noah Nelson (guitar, vocals), Glenn Newport (bass), Damian Sol (violin, keyboards) and me on drums. The four of us have been part of many other projects
along the way; one that’s still together is Radio Orangevale, which is Noah, Glenn, Kevin Coughlin (an outstanding drummer, from Sacramento’s best surf band Hypnotic IV), and me on guitar. I also played guitar for the punk-metal-sex-grind performance spectacle KnifeThruHead for 10 years; KnifeThruHead grew out of Old Man Homo (with me, Damian and Noah), etc. etc. I could go on and on – a diagram of all the bands and bandmates I’m connected with (and all the bands THEY’RE connected with) would be overwhelming.
For my solo projects, I’ve always found it easier to get stuff done when I’m working within specific parameters, or within a “box.” Xoc is videogame covers; Recreational Episiotomy is a mix of jokey grind (but with disconcerting lyrics) and jump-cut weirdness in a sort of Naked City vein; Hemostat is a mix of dark ambient and harsh noise. There’s a specific goal, and the limitations are what defines the method. (If that makes any sense.)
You are in process of re-releasing the Theophagus recordings, which you started when you were about 16. What drove you to start recording these tracks? Did you come from any kind of music background or family?
Jason: In the beginning, Theophagus* was just about me learning about music and recording simultaneously, by experimenting. All that stuff I was saying about working within parameters? The big exception has been Theophagus, because it’s really just me without any filters. It’s the only project with traditional “songs”, that’s for sure. At the time, my main songwriting influences were the Pixies/Frank Black, Steely Dan, They Might Be Giants, and probably Beck.
My mom taught me piano, and later got me started on guitar. But my main instrument has always been drums – my uncle, a real multi-instrumentalist, helped my folks get me a real drum set, and I took lessons for years. As I say, my family has always been completely supportive!
* “Theophagus”, the name, was something I thought I created; I took what I thought was the prefix for “god”, and the suffix for “eater”, and decided that it meant “GOD EATER.” (It was years later that I found out that “Theophagy” was a real thing, with the Eucharist, etc.) Originally it was a joke name for a metal band. Y’know, like, how far can you go with violence, size-wise? “Megadeth” is just killing a bunch of humans, and something like PLANET KILLER – well, shit, there are LOTS of planets. How about something so big and so evil that it eats GODS? I think the furthest you could go would be, I dunno, how about “EXISTENCE PUNCHER”?
You can hear a lot of things that would go on to be staples of your later works, such as the use of many improvised instruments, extensive voice sampling, and other forms of distortion. Some of the stand outs to me, from the collection I had when you first released some of them years ago are Coffin Conga (remake), Elephantine, Friscoids, Gwambesque, Motel Window, Oasis=Mirage, Ping Pong, Rigor Mortis Song, The Cold Shoulder, and World War Zero. Theophagus covers such a WIDE array of emotions more than anything else. How do these tracks feel, and what do they mean to you now after all these years?
Jason: I’m a much better singer than I was then, and I’m STILL horrible at it. And I never could get the hang of tuning guitars. So for at least those two reasons, a lot of it is hard to listen to. But even at the time, I was thinking of most of it as being “demos” – a way to try out ideas and get them recorded, and hopefully re-record the best of it all later in a proper studio. That thought never really went away – ONE of these days, I can do these songs the right way!
The Soundry Courter Project was your way of keeping sanity at your day job. Did anyone ever realize what you were doing, or care? How were you getting the music to and from the work computer, stacks of CDs, zip disks, work computers aren’t known for having large hard drives.
Jason: Wow, that’s amazing you ask that – I’d forgotten how I did do that stuff. Because that project started in around 2000, and a thumb drive larger than 500 MB was probably a science fiction fantasy back then. Everything done in Windows Sound Recorder was done as WAV files, which are notoriously large. I had a few methods to get those files home: one was to bring in a portable MiniDisc recorder, plug it into the headphone jack, and record the finished songs in real time. This worked okay, except for the EQ sounding a bit bass-heavy. A better method was to split the song into a bunch of fragments and e-mail each one somewhere. My work e-mail would only send attachments smaller than 3 MB, so a 2-minute song would require around 7 or 8 e-mails. But believe it or not, the best method I found was to use AOL Instant Messenger. I would sign on at home, go to work, sign on as my “work self”, and transfer files. It took forever, but… I was at work, so I had other stuff to do. (hahaha)
No one has yet found out about what I did – I don’t think they’d understand even if I told them.
XOC & Heavy Friends actually introduced me to Stemage, and then Metroid Metal, so many thanks for that. That series was interesting to me because of the collaboration between all of these distant people, you didn’t see a whole lot of that back then. How did the first one come about and what was the experience like working with all these different artists remotely like?
Jason: I had tried something similar on the metroid2002.com forum (I solicited musicians to record themselves playing a portion of a specific Metroid tune, that I would then add into a single mix; it was never really finished), but I didn’t think of it again until joining THE SHIZZ. (Theshizz.org is a forum dedicated to the Minibosses, and has since grown into a substantial hub of the VGM online community.) So one day I just asked the forum if they would mind sending me… “something.” It had to be an original recording, and it had to be unaccompanied (a solo instrument, voice, or any other sound). The first volume (actually an EP) had a handful of participants, so I filled in quite a bit in terms of arrangements. But as the project grew, there are plenty of songs where I don’t play at all – I only wrangle and mix everyone together. I think the big appeal to Heavy Friends is that anyone who has contributed hears the albums differently; hopefully I’ve been able to surprise people with HOW I used their sounds.
I only just recently discovered Las Pesadillas, and was eternally grateful their catalogue is on Bandcamp. This lovely band is described as ‘punk-gypsy-spaghetti-surf-rock’, and that is an entertainingly appropriate description. You play drums, additional percussion, misc. instruments and provide backing vocals. How did you get involved with the band, did you know the other people, or was it the style, or both? How involved were you in the songwriting process?
Jason: I joined the original founding members Noah Nelson and Steve Sullivan to form a trio, first called Teenage Superstars, and then Ed Special and the Nightmares. It was originally going to be a one-off thing: they had a gig coming up, they were without a drummer, and so I would learn the songs, play the show, and that’d be it. Well, y’know, that was twenty years and three bassists ago, and we’re still together. The majority of songs are Noah’s; he is an incredibly talented and prolific singer-songwriter in his own right, so that has mostly informed the style of the music. As time goes on, and with various line-up changes, it has become more of a democracy. …Though there is one Theophagus song that we still play exactly as I wrote it – “Desert Flower”, a song about the movie Raising Arizona.
Looking forward, what do you have lined up? More collaborative albums, playing with local bands, or is there some new solo material on the horizon? It’s obvious that music has meant a lot to you throughout the years, and has been a natural outlet for expression and creative freedom. Is there anything you’d like to say or add?
Jason: Trash Can Eagle Records, my new Bandcamp label, is my new favorite hobby. It’s an easy way to share all of my music with the world – for someone who grew up writing song lyrics on a state-of-the-art Apple IIc, it’s practically a dream come true.
There are two long-overdue Xoc albums in the works – one is a collaboration with Damian Sol – and Las Pesadillas and Radio Orangevale are both playing shows, writing new songs, planning new albums; I have thousands of ideas for Xoc and all my other projects, but I’m also supporting my bandmates in their own solo projects as well. (Just wait until you hear Noah Nelson’s new solo record…)
I’m as excited as I have ever been to play music. I’m lucky enough to play and create with my best friends, and I don’t think we’re going to stop any time soon. And I’m just as lucky to have my own projects on my own time. And you KNOW I’m not going to stop.
Big thanks go to Jason for agreeing, and providing some of these great pictures from over the years
(I’m looking at you Kraid the Kid)
All of Jason’s albums we talked about and much, much more can be found at his TrashCanEagle page below.
So Soon came about during a long weekend not long after finishing my first mix in a few months, just suddenly was listening to too many new albums to not work on a new one. Believe it or not, I really hadn’t listened to any Black Keys or White Stripes and the sort, so I finally broke down and started going through some of those albums at this point. I also found Toast of London, and being a big Matt Berry fan, quickly fell in love. Archie Powell and known vaguely about for years, but never actually stopped to listen, and wound up enjoying a lot of what I came across, Tattoo on my Brain is particularly fun. Carpenter Brut had been in and out of rotation for a bit, but only now did I actually sit down and go through the three main albums. Disco Zombi Italia is just too much fun, it’s hard to listen to it without sunglasses.
O Sapo seemed liked a good way to wind down from the neon lights of Disco Zombi, with that kind of Lo-Fi Katamari sound, its just fun. Apparition is off of the latest Stealing Sheep album, which is fantastic, and fit in perfect with this slower part of the mix, those claps during the choruses get stuck in my head WAY too easy. El Huervo is another band from the always amazing Hotline Miami soundtrack, and Hunger is off of their latest release, which also is highly recommended. This particular track sounds spookily close to some of the music for Nom Nom Galaxy, which is a good thing, here it really settles the mix into a low gear. Adolescence hits the gas a little bit, making a bit more noise and keeping things moving forward with a smile, though 9 Bit Blues slows it right back down to a crawl. Hey, it’s the summer time, I’m almost obligated to use some blues this time of year, this one being instrumental and fairly short, worked perfect as the last of the slower tracks, from here on things keep moving.
Dutchy, man I love his stuff, This Could Be Us is off of a collaborative album, and it takes that low point from 9 Bit Blues, then puts a suit and tie on it, dusts off the shoulders, and gets it moving down the road. Such a relaxing smooth beat, love it. Now that our feet are moving, we keep them moving, Quantic with Mi Swing es Tropical ensures that the juices are flowing and that you have a smile on your face, again, this track is just too much fun. Which translates well to Into The Light with a very Harry Nilsson-like piano heavy rhythm, this is off of the Heartless Bastards latest Restless Ones, which I’ve already praised somewhere else on here. Bignic takes the reigns from here and waltzes us right out the fucking door with Thump, a bumpin’ electronic piece from the Zombies (Corporate Lifestyle Simulator) Soundtrack. Dead Meadow was also new to me, and holy shit did I fall in love. It’s another low key song, to mellow out a bit after the electronic adventure of Thump, but it has a lot more momentum, and keeps us on schedule towards the end of the mix.
The Baddest didn’t have to be here, but these mixes are as much about what is going on at that time for me, and what I’m stuck on, and I had been on a Prince Buster kick for a few weeks. It’s fun, simple, and doesn’t detract much from the mood that Dead Meadow left us with, its a bit odd, but oh well. Hold Me by The Greenhornes, ok, now we are back on track and I’ll be honest, this one made it on primarily because the keyboard in the background reminded me WAY too much of a very familiar tune from Persona 4 :), plus, I mean its a good tune and sets up our last track just fine. Las Pesadillas are a crazy band I had just dug into thanks to Jason Cox (XOC), and we got along just fine right from the start. Seven Shades of Winter carries a great sense of finality to it for this particular mix. It evokes a late night in a bit of a dive bar, just perfectly low-key in all the right ways. And that is So Soon, a fun little summer mix for your auditory needs.
The Revenant, directed by Alejandro González Iñárritu based off the book of same name written by Michael Punke, is at it’s core, a tale of revenge, so much so that has been one of the books ‘taglines’ for years. The story follows Hugh Glass (Leonardo DiCaprio, a member of the Rocky Mountain Fur Company, who is wounded by a bear on an expedition. His wounds being sever, and having a schedule to keep, he is left behind with two attendants, John Fitzgerald (Tom Hardy) and Jim Bridger (Will Poulter), to watch over him until he passes. Not intent to wait, Fitzgerald convinces Bridger to abandon Glass, after they take Glass’ provisions, including his precious rifle, the Anstadt. Glass survives, and fueled with revenge, crawls his way first to medical attention, and then on a path to settle up with Fitzgerald.
This trailer succeeds in conveying the insanity of many of the situations Glass finds himself in throughout the story. The only clear dialogue is at the very start with Glass stating, “I aint afraid of die anymore. I’d done it already.” All other sound is either muted chaos, the desperate score, or the sound of Glass breathing, which is fitting because a good portion of his journey is him alone, starving, freezing, crawling to civilization, which you briefly see in the trailer. You also get a few shots of the Anstadt rifle that Glass treasures dearly, and you see he is protective of it. Glass is constantly in motion, because not moving, will sign his death sentence in this terrain, and so the trailer reflects that, going from one escape to another, illustrating how hostile not only the environment is, but it’s inhabitants, animal, and man. It makes me curious to see what artistic liberties Alejandro will take with the story, and how he deals with the inherent silence of this kind of film. The trailer doesn’t give much away, and leaves almost all of the story to your imagination at this point if you didn’t already know the source material. It is straight, and to the point, showing you the kind of tone, and atmosphere you have to look forward to. All in all, it’s one of the best trailers of the year, hands down, and succeeds in making the wait for the actual film all the more painful.
I had started a write up of one of my favorite hidden gems from a few years back, only to discover, it’s not fair if you can’t hear it for yourself, and apparently, this particular one just isn’t available digitally at the moment. So, I’ll spare you a full album run down, but I’ve uploaded three of my favorite tracks to YouTube as a life line and will talk about them below. Please note I only do this to share some beautiful music, I put no ads on that kind of material, and I always provide as many purchase links as possible (reasonable), and will not upload the entire album, you’ll just have to track the rest down yourself 🙂
In order we have track number 4, El Camino, which has the didgeridoo kicking the doors open right off the bat. It’s probably my favorite track of the album mostly because of how fun and upbeat it is. All of the instruments in the album play well together here, but this track is a bit tighter than some of the rest, it’s never too repetitive, and keeps the momentum going throughout. Percussion plays a large part of the album and here it pairs so well with the washboard and demented guitar. Everything builds to a great riot of the layers and ends with one more repetition of the main ‘chorus’ before giving you a moment to catch your breath and relax.
And relax is exactly what the next track, number 5 does to you. Blue Star feels the most like a kind of hybrid tribal/dub out of the rest of the album. The horns and guitar leading the way here, that horn does all the talking. Everyone kind of steps back for the first half of the song as the horn has it’s way with the soundscape, before that subtle didgeridoo sneaks back in and kind of mixes up the soup. At times this track makes me feel like I’m sitting alone in an old club on a Wednesday night. The groove is strong with this track, and is best played at night while driving, coffee and cigarettes are optional.
Lastly, track number 9, Day Light. Day Light, just has such a tangible feeling of finality to it. It still retains the dub DNA from earlier tracks, though things feel a bit more desolate at this point. Where Blue Star is the the thick of a lonely night, Day Light is the first rays of the sun punching you in the face after an all nighter in town with your mates. It also strangely highlights how cool the didgeridoo is as a backing instrument, even for this kind of music because it provides a different kind of acoustic foundation for the rest of the instruments. Instead of the rest of the sounds existing in the vacuum of a studio, the slow steady bass of the didgeridoo kind of provides a conical shelter for the rhythms to kind of play off of. It’s like the bits of rubber on the ground at playgrounds now, that didgeridoo sound just makes you want to fall on top of it and roll around..sonically speaking of course..
And that is a sampling of Night Jungle by Jungle Cruise, which, if you have the wherewithal, I highly suggest you track down a copy. It’s weird, it’s different, it’s fun, so enjoy it!
The Giraffes is a solo project from Chris Ballew of Presidents of the United States of America fame. Blinking into existence in 1998 with 13 Other Dimensions, followed by The Days are Filled with Years, which, I honestly didn’t know about until trying to write this up, so holy shit that makes two new albums to enjoy in one week, when it rains it pours, anyways. We Hear Music, their third album, just kind of appeared this week and has been made freely available with no intentions of selling it at cost which is a pretty cool treat in the middle of a summer such as this, it being a double album just makes it all the more fun. While 13 Other Dimensions is a very tight, connected experience of sonic bliss, the 33 track behemoth that is We Hear Music feels more like collection of material than an album, which is fine, it’s just a distinction that I like to make. Don’t take that as a derogatory statement, there isn’t a bad song in the bunch, the collection just doesn’t seem to have the same overall direction as 13 Other Dimensions.
For everyone’s sake I won’t dive into too much detail on the individual tracks, but here are some standouts from my first few listens. Grief is a strangely sobering track about a guy wanting out of a relationship he feels has run it’s course, the melody is very easy going with a soulful guitar guiding us through the story, “I knew the truth, the the power of your depression, could turn my heart to hamburger, turn my trust to dust, turn my calm to dynamite“. Tucked in Love has a fun lightly 60’s fuzz feel to it. I’ve played it several times trying to pay special attention to the lyrics, but I just can’t. That’s one of the things I love about Chris Ballew tunes, I can get lost in them without caring about the lyrics. I feel bad that there is some kind of fog of war between me and the meaning, but I’m happy just to be lost in the sound waves. Radio Control is an alternate version of a PUSA track of same title, though this version feels reminiscent of the dialed down first Clash album, specifically Remote Control and Janie Jones (the drums especially from this). Though the break halfway through really helps this version to stand out, and in many ways has made this my favorite version of the song, and I really liked the original.
Mister Microphone starts off like a cover of Harry Nilsson’s Driving Along, which hey, great choice 🙂 This song had some of the most fun lyrics out of the album for me, starting out with this great line “Hey Mr. microphone, your cardioid heart is bursting, your unidirectionaly thirstin’ for loving lips upon your head.” With this other great bit later on, “Hey Mr. Microphone your plug is overheated, condensed and Teflon treated, you’d like to fade her back, but your batteries dead.” It’s just a great song about a microphone, its very sweet and a fun listen. Ribby Rib has a great rhythm driving through it, very Jail Guitar Doors. It kind of deals with evolution, Jesus, volcanoes, and Darwin, all things that belong in a toe tapping Ballew track. I Groove Way Too Much On You and Hurt a Fly, are two fun tracks, again focusing on creating an inescapable sonic-pop singularity of head banging fun. Emergency Transmission sums it all up, an etheric, climactic track about what happens when you make a promise to your stomach about listening to your brain. It has this little nugget of a line in the middle, “dropped a load in the middle of the road, and never have I ever felt so damn free.” Despite that beautiful line, the overall idea is someone who feels out of place and is conflicted about everything, which is something most of us can relate to at some time or another. It’s a good foot to end on considering all of the ground covered in the album.
Chris Ballew’s The Giraffes, have always, and continue to be albums that are just fun. There may not be an overwhelming amount of nutritional value in them, but DAMN are they satisfying to have every so often. The fact that the still is recording and releasing these albums continues to give me hope for music out there in the audioverse. So, if you like treating yourself to some candy coated tunes, I highly recommend giving We Hear Music a listen below, and if you enjoy, follow the link and download it for yourself, free of charge, and spread the love.
This very well may be my favorite album from the past year, it certainly has been spun the most. With this LP you get a focus on quality over quantity with seven tracks to soothe you, seven tracks to hypnotize you, seven tight tracks to melt away your day. The arrangements are not bombastic or overbearing, they stand up straight and take care of business in a confident manner that arrests your attention. Rhythms slink into the mix right on queue, seemingly while holding a cocktail. It’s a fuzzy, psychedelic trip that you should really treat yourself with. Sunday Morning is the stand out track for me though. With a progressive hook, and sultry vocals that really compliment the entire atmosphere not only of the track, but the album as a whole. I seriously cannot recommend this album enough, but don’t take my word for it, give a listen below without having to leave the page.