Archiv der Kategorie: Interviews

L7 (USA) Interview

Punk rockers L7 from Los Angeles, USA, achieved commercial and critical success in the early 1990s with albums like Smell the Magic and Bricks Are Heavy. Band Members (f.l.t.r.) Donita Sparks (vocals/guitar), Dee Plakas (drums), Jennifer Finch (vocals/bass) and Suzi Gardner (vocals/guitar) reunited in late 2014 and have since toured extensively. Ahead of L7’s show at Dynamo Saal on June 27th, Milo Schärer of Radio Radius spoke to Donita Sparks about L7’s origins, the band’s new singles and more.

Milo Schärer: Hi, thank you so much for doing this with Radio Radius, it’s really great to have a band like L7 do an interview with us!

Donita Sparks: Thank you very much for having me!

I believe this is your third European tour since your Reunion, so how has it been for you so far?

It’s been amazing, but this tour has been a challenge because our drummer Dee broke her arm right before the flight coming over to Europe, so there’s been a crazy trip this time trying to break in a new drummer. It’s been kind of stressful, so it was really nice to jump into the water here in Zurich.

Well, I hope Dee feels better soon. Is different playing without her?

Dee has a very unique style, which is very straight ahead and she just fits us. She’s very in the pocket with us, and we miss her a lot. The other drummers we’ve played with are great, but they’re not Dee’s style completely, they’ve got their own style. They’re playing their style with L7, so it’s been kind of challenging.

Ok, you’ve played a lot of festivals this year. Which one of those has been your favorite and why?

Oh god. We played a couple of festivals in Scandinavia that were really great. One was called Copenhell and the other was called… I can’t remember. But we’ve been playing a lot of metal festivals, which is kind of strange for us, but we like it. We don’t really consider ourselves a metal band. We have metal influences, but at heart we’re punk rockers.

Alright, if you don’t consider yourselves a metal band, then how would you describe your band in five words?

Heavy, catchy, humorous, angry and melodic.

Alright. You’re from Los Angeles, could you tell us a bit about what kind of music scenes there were in LA when you started out as band and how you personally experienced them?

L7 started in 1985 and there wasn’t a whole lot going on in Los Angeles at the time. Punk rock was kind of fizzling out, and it was sort of in between punk and grunge when we started. So, it was all different kinds of scenes: there was rockabilly, there was new wave, there was roots rock, punk rockers were doing country all of a sudden. It was just a strange scene in LA. Suzi and I were from the art punk underground and we thought it would be interesting to do a band that was heavy, and that’s what we did.

How did you meet Suzi and the others and decide to form L7 together?

Suzi and I met through mutual friends in the art punk underground. We had both worked at the LA Weekly at different times, we had both worked at the same restaurant as waitresses at different times, so we just had a lot of similar friends. We both played guitar, and that was kind of rare, for women to be playing guitar, back then. So, our friends were like: “Why don’t you two get together and see if you like each other’s music?” Suzi played me a tape of hers, and I really liked it a lot, so that’s how we started the band.

And how did Jennifer and Dee get on board?

Jennifer was coming to L7 shows, we had a different bass player and a different drummer. Jennifer is from LA, but she had lived in San Francisco for a while, so she was recently back in LA. She was going to our shows and said: “I want to be your bass player.” And I said: “Do you play bass?”, then she said: “Kind of.” I was like: “Well, you can’t be our bass player.” Then finally, she convinced me to be our bass player. So, she did with pure determination, she got into our band. We weren’t a big band or anything, she was a nuisance who finally talked her way into the band and she worked out to be fucking fabulous. It worked out well. And then Dee we found a year after we got Jennifer in the band, that also came through a mutual friend.

And why the name L7?

I did not want a name that had any gender identification to it, like the something Girls or whatever. I wanted our name to be non-gender-specific and I wanted our music to be also kind of androgynous, so if you listened to us you wouldn’t really be able to tell if we were guys or girls, and I think we kind of achieved that too.

Yes. As you mentioned before, you came from the underground art punk scene originally, so did your commercial success in the early 90s come as a surprise to you, coming from there? How did you feel about commercial success at the time?

We wanted more of it, because we always felt that infiltrating the masses with our message and showing young people that you can be a freak and make it, was… We liked that. We liked getting on TV, we liked getting on the radio. I know that we influenced a younger generation because they were exposed to us. So, we had no problem, and I don’t think any of our peers did either. Some were maybe a little jealous, but we also had peers that were Nirvana, that were huge. I think most of our art punk friends from the 80s were happy for us, because it was just so unbelievable, that we, Suzi and Donita, of all people, were getting success. It was just kind of mind blowing, you know?

Alright, now that you mention your peers, you did tour with a lot of other bands that were successful at the same time, from different scenes. You mentioned Nirvana, but also Bad Religion or Faith No More. Who was your favorite band to tour with and why?

God, we loved all those bands. We also toured with the Beastie Boys, The Breeders and Nick Cave. Touring with Nick Cave and the Bad Seeds on Lollapalooza was really fun, because they were so miserable on Lollapalooza and we just did a lot of drinking and dancing with them. Nirvana was great, because they were kind of exploding, they were getting huge, and we bore witness to that right up front. We saw them getting bigger, and bigger, and bigger. It was like witnessing Beatlemania or something, in real time. It was just really super exciting. That was cool.

During the course of your initial career, you moved from a punk sound on your earlier albums to a bit more of a metallic sound on your later albums. What led to that transition?

I would say that that’s not accurate, I think as time went on we actually incorporated more pop as well as heaviness. We got more poppy too. I think early on, because of our level of musicianship, we were only able to do one thing. We also had to prove ourselves to be a tough band and withheld melody a lot. I listen to our early stuff and I’m like: “Wow, where are the hooks?” Not on Smell the Magic so much, but on our first album. We got better as time went on, and freer to do whatever the hell we wanted. We had pretty vulnerable songs towards the end of our career, in addition to heavy songs, in addition to introducing some whacky instruments, like a Casio. We just kind of felt the freedom to write about whatever we wanted to, but early on we felt we had to be tough all the time and we kind of were, to prove ourselves, you know?

In retrospect, which of the albums you’ve released is your favorite and why?

Ugh. I can’t really answer that, that’s like asking someone to pick their favorite child. I like all of our albums.

I do too. You decided to reunite in 2014, is that correct?

Yes.

What changes have you noticed in the time between your initial run as band and your reunion?

Are you talking about the environment that we’re in or are you talking about the band personally? Because the band personally, I would say we’re all a lot more responsible. We are on time for rehearsals, we don’t keep each other waiting. We’re not messing around, you know? We’re older, we’re more mature, we’re more professional. I think we’re more courteous to each other. I think, years ago, we were less considerate of each other, and I think we’re also more tolerant, now, of each other’s idiosyncrasies and personality types. I think, early on, we sometimes couldn’t understand when we didn’t get along, and I think now we understand that we all have different personality types. That takes a long time to get in your head, you know? And as far as the music scene goes, I will say the only thing I’ve really noticed is that, at these festivals, the backstage is very tame and nobody is partying, nobody is getting loud. It’s very well run, it’s very organized and it’s a little boring backstage. Everybody’s separated, the bands are not hanging out together. I think that’s maybe because the bands are older or something, but I remember when we would play festivals 25 years ago, all the bands we’re hanging out together and drinking, laughing and having fun, you know? So, things have changed in that way.

How do you feel about the response you’ve had from fans or other people since your reunion?

The fan response has been amazing. Our old fans are coming out, they’re actually making it out on a Tuesday night to go see a band that they used to love in their teenage years. And then we have a whole bunch of new fans that discovered us due to YouTube and online stuff. The internet, even though we were absent from it for many years, when they finally started to rediscover us, the internet was really helpful. Facebook, and all the social media platforms, have been really helpful in building the L7 army.

In September, you released Dispatch from Mar-a-Lago, which was your first new music in 18 years. Why did you choose to come back with a song like that, which very specifically references current events?

Well, that song is about a fantasy of a riot happening at Donald Trump’s vacation home called Mar-a-Lago, and he spends a lot of time there. We were just thinking about what the Secret Service thinks about his tweeting and how ridiculous his tweeting is. And we were like: “God, how would those guys respond to a riot going on in real time and Donald Trump is tweeting about it?” We had that song idea, and we thought we had to get it out immediately, because we thought Trump was going to be impeached, right away, and he hasn’t been impeached. It’s still topical, and we felt we had to get it out. So, we did that, and we wanted to take a fun look at it, instead of a very angry look at Trump. I don’t know if you’re familiar with the song Springtime for Hitler, which is a song from the Broadway musical The Producers. So, it’s our Springtime for Hitler.

You also released a second Single recently, I Came Back to Bitch. About what?

We have everything to bitch about. That song is mainly against greed and Wall Street people, who are really just about money. So, we came back to bitch about that. We came back to bitch about greed and money ruling the world, you know? Because it fucks up everything.

Ok. I’m guessing you’re going to play these new songs tonight, but how do you select songs for your setlist in general?

Well, interestingly, when we play festivals, we have to cut our set. At a club, we’ll play an hour and a half, but at these festivals we have to play from 40 minutes to maybe an hour. And it kind of depends on what the festival is. If we’re playing a punk rock festival, we play more fast songs. If we’re playing a metal festival, we’ll throw in some slow, heavy ones. At our club dates, we’re playing a good mixture of stuff. But we are playing both of our new songs in our set.

I do have a few questions about some older songs. The first one is about Andres off of Hungry for Stink. Who is this Andres and where did the idea for that cool music video come from?

Oh god. Well, first of all, I’ll have you know that all the songs that we write are from personal experience. So, there is a guy named Andres, there is a guy named Scrap, we have a song called Scrap off Bricks Are Heavy. All of these people actually exist, and Andres is a friend of ours who ran our rehearsal studio in North Hollywood and we had a friend who stole from him. We felt responsible, so that’s why we’re saying “I’m sorry”, because we brought this friend around and he ended up ripping off Andres, which we were furious about and humiliated by, and so that’s where “Andres, I’m sorry” came from. The video… I co-directed the video, we just wanted to do something kind of guerrilla and out on the street and do something very quickly with no crew. Our crew was a camera guy, my co-director, a PA and that was it. So, it was really fun to shoot, we did it really quickly. It was cool.

Now that you bring up Scrap, could you tell us the story behind that as well?

When we were recording our first album for Epitaph Records, Brett Gurewitz of Epitaph Records was producing it and had this guy living in his garage named Scrap. That’s where we also recorded the record, and this guy, Scrap, was always huffing paint to get high in his garage, and Brett didn’t know how to get rid of him. Brett let him stay for a couple days and this guy just was not leaving and he was getting high in his garage every day, so that’s who Scrap is.

Alright, cool story. There’s a song on The Beauty Process: Triple Platinum called Off the Wagon. So, my question is: do you have any really good stories where you were on tour and completely off the wagon?

Oh, there are many stories of being on tour and being off the wagon. You know, what’s funny, what most people don’t know, is that Suzi and Jennifer have been sober for many, many years, I think Suzi got sober in ’87. L7’s reputation of being big partiers is only because of me and Dee. Suzi and Jennifer are innocent, they got sober really early because they were fucking up. Dee and I kept the partying going, so that’s always been a weird dynamic with the band, two of us are sober and two of us are not. There’s friction sometimes over that. Yeah, I can’t think of any specific stories but there have been plenty, and I don’t want to incriminate any other artists in telling these stories.

Ok, well then, last question: who’s on your Shitlist right now?

Oh god, so many people. You know, all the people in Washington, Trump and all of his creeps, just all the creeps. I can’t even mention all of them. My old landlord is on my shit list for sure.

Is this the same landlord mentioned in Shove?

No, different landlord. But that landlord was an asshole too, because he truly did not like my dog. Yeah, it’s tough to find a good landlord.

Ok, thank you so much! I’m looking forward to seeing you play tonight.

Right on! Glad you could be here.

L7 Links:

Website

Spotify

Facebook

Twitter

Interview: Milo Schärer / Photo: Maria Chavez

Bad Cop / Bad Cop (USA) Interview

Bad Cop/Bad Cop are a melodic punk band from Los Angeles, USA consisting of (f.l.t.r.) Stacey Dee (vocals/guitar), Linh Le (vocals/bass), Jennie Cotterill (vocals/guitar) and Myra Gallarza (drums). Ahead of their show with Pennywise and Mad Caddies at Dynamo Saal on June 26th, Milo Schärer of Radio Radius spoke to Jennie Cotterill about the band’s summer tour, their 2017 album Warriors and Fat Wreck Chords.

Milo Schärer: Hi, thank you so much for doing this interview with Radio Radius!

Jennie Cotterill: Thanks for having me!

How has this European tour been for you so far? I believe you’re playing some dates at Punk In Drublic Festivals as well, so how has that been?

This has been amazing! We were joking that this is the best summer ever, and it really is. Every day has been super fun and the shows have been great. We’ve been playing these big festivals with bands that we love and we grew up listening to and we get to be friends with, and we get to headline smaller shows. And it’s always this wonderful surprise when people show up, so it’s been wonderful!

What are some of the bands that you’ve played with this summer that you particularly like touring with?

The Mad Caddies are really fun, so I think they’re probably our best friends on this tour. NOFX are wonderful, we’re really good friends with them. Karina tours with them live now, and we all are obsessed with her, Karina Deniké from Dance Hall Crashers. It’s just really cool. Bad Religion, we’ve been playing these festivals with them and everybody was just too excited to talk to them for the first five or six shows, but I think we’re cracking in, we’re making friends, it’s great!

That’s cool, now let’s get to your band. For people who don’t know Bad Cop/Bad Cop yet, how would you describe your band in five words?

Positive, humanist, energetic, fun. I get one more, huh? Powerful.

You, Stacey and Linh all sing in the band. How do you split songwriting duties?

Well, when we first started, people just kind of brought stuff to band practice. Our earlier releases had a lot of songs where multiple people sang on one track, it’s kind of this fun trick when other people sing, you only have to write one verse and you bring it to your friend and say: “Do you want to write a verse?” That’s kind of how we started doing things and then on this record, on Warriors, it was a little different. We worked with our friend Davey Warsop, who’s in a great band called Sharp/Shock, I don’t know if you’ve heard them. He’s produced and recorded everything we’ve ever done, and he reached to everyone individually and asked: “Do you have any ideas? Let’s work on them.” And then once they were a little bit more formed, everyone got involved. So, it was a little more individual this album, but I think it worked out great.

Ok, let’s talk about your most recent album Warriors, which I really liked, like a lot of people, I think. It’s a lot more political than your debut album Not Sorry, so what inspired this change of lyrical direction?

Well, we were on tour around the US for two months with The Interrupters, one month before the US presidential election, and one month afterwards. It was just pretty depressing and serious, and we were supposed to come home from that and start recording. We had other songs in mind that we we’re going to do, but then everyone was just so distraught over the election that we were like: “If there’s one thing that we can do about that, it’s write music.” You know? So, we kind of rewrote everything when we got home.

What you mention is a reaction that a lot of musicians in a lot of different genres had to the US election. What do you think of punk’s response in general and how does your album Warriorsfit into that?

I think a voice of dissention is important and art has always offered that, censorship is really dangerous. One thing everyone was kind of patting themselves on the back about after the election was: “Well, there should be some pretty good music coming out of this, at least we can look forward to that.” I think it’s true, and I think with our record, we kind of lucked out because we recorded the second we got home, right after the election, so it was very in the front of our minds and was able to come out in a timely fashion, ahead of the curve. It’s not that we capitalized on it, we just really changed what we were going to do and I’m proud of what we did. My mom is really upset about the president and everything that he’s doing, so she’ll just be like: “I’m really proud of you for your album!” So, that makes me feel good.

Ok, well, let’s talk about one song that has very specific references to what is going on in US politics at the moment, Womanarchist. Why did you name-check Joan of Arc and Nancy Morgan Hart in the context of contemporary US politics?

Stacey wrote this song after years of interviews where people ask us about feminism and everyone in the band is like: “Yeah, we are feminists!” and Stacey refused to acknowledge that word as a way to describe herself because… I don’t know why. I think she didn’t understand it, and eventually in the election we kind of broke through and were like: “You are a feminist. You have been taught that’s not a good word by people that hate women.” You know what I mean? Feminism is not just for women, it’s for everybody. It’s not just to benefit women, it’s just about being fair. I think that was her breakthrough moment and that song came out of it. She would send me lyrics back and forth and be like: “Is this cool?” I don’t know, I feel like she doesn’t engage in conversations about feminism regularly and so it was like: “Can I say this? Is this offensive?”, and I was like: “No, you’re doing great, you killed it. You did a great job.” I was like: “You did some research, I’m really proud of you!” But I don’t know exactly why she chose to name-drop those women, maybe she just felt an affinity for them in her research. I’m really proud of her too, because I was so nervous. We would have these interviews where I would be like: “Stop the tape! That is not officially band representation.” Anyways, everything’s great now.

You have some other very overtly feminist songs on Warriors, such as I’m Done and Why Change a Thing. Could you tell us a bit about those songs?

Yeah, totally. Linh wrote I’m Done and that’s her. She’s very passionate and abreast of political things, and usually takes a pretty strong stance on the side of… I think she’s right. I trust her, she reads up on things and she’s just this powerful little person and I feel like that song is exactly that: it’s short, it’s powerful, it’s to the point, it’s direct, it’s Linh. You know? And then I wrote Why Change a Thing before the election, actually. I had this job where I kept getting just walked all over because it was this kind of machismo, ridiculous thing, and I just wrote that song. And it happens, unfortunately, to be relevant still, so we kept it.

Alright, I want to ask you about one more song off the album.  What’s the story behind Retrograde and why did you choose it to open the album?

Well, it rips, that’s why. Stacey had a very public bottoming out and then getting clean, which is kind of part of our band history, and this was her anthem of taking her life back and I think a lot of people can identify with it because everyone makes mistakes, that’s normal, but you should come back and embrace that. I love when she says “I’m choosing to be powerful”, I was like: “It is a choice.” And also, Erin Burkett, who runs the record label, Fat Mike’s ex-wife, was like: “This is my favorite song that anybody’s ever done, this is the best thing, I’m so proud of Stacey.” So, that probably had some influence on it being track one.

Now that you bring up Fat Wreck, what has it been like for you being signed there and working with Fat Mike?

It’s been great, they’re our family. I can’t imagine us on a different label or a more appropriate label. Stacey and Mike have worked on a musical together, everybody at the office is amazing and very supportive. Mike, he’s eccentric, but he’s brilliant, and it was challenging working with him. He produced this album very intensely. Previously, we had only worked with Davey and that was intense but it was not like Mike. You know Mike…

Well, you read and hear a lot of things about Fat Mike, so that’s why I’m asking.

Yeah, I mean, he’s very intelligent and he has a lot of really great ideas and he’s also powerful and works for himself, so he just really doesn’t have a lot of patience for somebody disagreeing with him. You know what I mean? He’s confident, he should be confident, it’s deserved, but he’s a strong flavour. I like it, but it was difficult.

Alright. You said before that Fat Wreck was a very good fit for you, and I certainly agree sound-wise, you sound like a typical Fat band to certain extent. What are some bands that influenced you?

Ooh. Well, it’s kind of interesting because the four of us all have separate influences, so this is just the stew that happens when you have those different ingredients. I really like garage and I liked a lot of Fat stuff when I was a teenager, it was like the most exciting and urgent thing I’d ever heard, you know? Politics, oh my god, so exciting! I also really like girl bands and any bands with women I will go see, check out and listen to. Myra, our drummer, is very rock’n’roll, she loves AC/DC, she sees more live shows than anyone I know, usually rock’n’roll. She’s a girl band encyclopaedia too, you could ask her about any band that’s ever had women and she’s like: “Oh, I saw them.” Linh has kind of a metal background, which you can kind of hear, she’s written some of the riffs for the guitars too. Stacey’s pretty much just into punk rock.

Are there are any other newer bands that you are particularly into at the moment?

Yeah. I’m obsessed with A Giant Dog. They’re not new, but I feel like they’re getting a lot of visibility. I think they may have changed record labels and they’re touring with Against Me!, so people that I know are seeing them and being like: “Oh my god! Is this the band?” That is amazing. I really like Sheer Mag, do you know them?

Yeah, I like Sheer Mag.

Oh my god, so good. Draculas is Zach Blair from Rise Against, the singer from The Riverboat Gamblers and a couple of other really cool dudes, I really like that Texas/Jeff Burke kind of a lot of hi-hat, really fast style. It’s good!

Thanks again, I’m looking forward to seeing you play very soon!

Bad Cop/Bad Cop Links:

Website

Bandcamp

Spotify

Facebook

Twitter

Instagram

Interview: Milo Schärer / Photo: Lindsey Byrnes

Joliette (MEX) Interview

Joliette are a Post-Hardcore band from Puebla, Mexico consisting of (f.l.t.r.) Azael Gonzales (drums), Fernando Obregòn (vocals/guitar), Juan Pablo Castillo (guitar) and Gastòn Prado (bass). Ahead of their show at Dynamo Werk 21 on June 25th, Milo Schärer of Radio Radius spoke with them about new releases, Mexico’s music scene and touring in Europe.

Milo Schärer: Hi guys, thank you so much for doing this interview with Radio Radius!

Fernando Obregòn: Thank you man!

Milo: If I’m not mistaken, this your third show on this tour, or…

Juan Pablo Castillo: No, it’s actually like…

Azael Gonzales: The third or fourth week.

Juan Pablo: We’ve been on tour since June 1st. We started in the UK, we were there for a week, and then we went to Sweden, Denmark and then down to Italy, and now we’re here this week for some shows in Switzerland, France and Germany. So yeah, we’re not even halfway through our tour, it’s two and a half months long. But so far, it’s been really good. It’s been cool to see how every place is different, you know? The UK is really different, and Sweden, Denmark, Italy… Every place has its own thing, things that we really enjoy. We’re really excited to do Switzerland.

Milo: Ok. For people who don’t know Joliette yet, how would you describe your band in five words?

Fernando: Five words, jeez…

Juan Pablo: Chaotic.

Fernando: Intense.

Gastòn Prado: Balanced.

Azael: How many do we have?

Fernando: Three.

Azael: Jazzy.

Fernando: Yeah, it’s kind of jazzy right now. And melodic.

Milo: You’ve also described your sound as “post-todo” in the past. What do you mean with this description?

Fernando: It’s a joke.

Juan Pablo: It started as a joke that went a little bit too far, I think.

Gastòn: The thing is, we were trying to avoid a certain label. To a certain extent, I think our music is kind of post-hardcore, but then again, it is not. If somebody asks us: “Hey, what type of music do you play?” and we say: “We play post-hardcore”, that might be a little misleading, you know what I mean? So, we just kind of came up with this post-todo term, to try to avoid the genre trap.

Azael: We listen, and we try to make our music based on what we like, for example Gastòn might really like The Dillinger Escape Plan or Converge, and Juan Pablo might really like Bon Iver. It’s two totally different genres, you know? I don’t know, we try to mix it, that’s why it’s post-everything.

Milo: What are some musical styles or bands that have influenced your music?

Fernando: We like Deftones a lot. Bands that we have in common, I guess that’s Deftones, Radiohead… We were listening to a lot of Radiohead yesterday.

Azael: The Mars Volta.

Fernando: At The Drive-In as well.

Gastòn: The Dillinger Escape Plan, for sure. Converge.

Fernando: What else? I think those are the ones that we have most in common. Maybe Glassjaw, a few other hardcore and screamo bands. It’s a long list, but I’d say all of our sound tries to incorporate some things that we’ve taken as influences from the bands we just mentioned.

Milo: Ok. You released the 7” El Alphabiotista recently. Could you tell us a bit about this song?

Fernando: Well, it’s part of an album that we already finished recording. It’s our third LP. This is the first song that we chose as a single from that album, and since the past couple times we were here in Europe, we were playing the same record, so we figured it was time to bring something new over here. We were lucky enough to meet Gab from Epidemic Records, he really liked our music and supported us by putting out El Alphabiotista on a 7”. About this song, I think it’s one of the heavier ones on the record, definitely. It’s a song that talks about fear of death and paranoia, all that stuff. I feel like from touring over and over again you gain some sense of awareness about everything that sometimes gets too loud in your head, you know? There’s a lot of things that resonate with me personally now that I’ve been able to tour over and over again in the same places, and you develop anxiety, so I just wanted to put that out there on that song. So, it’s a pretty emo song, probably.

Milo: You also released something else recently, a live split with Frameworks. How did that happen?

Juan Pablo: Frameworks went on tour in Mexico, in October of 2016. We love those guys, we really like Frameworks, we’ve known them for quite some time. When we’d visited the United States, we’d played with them a couple of times before, so we became friends. Then, at that time the opportunity for them to visit Mexico arose, and with it a two-week tour. Talking about music during these days, we found out that we liked the same kind of stuff, so at one point we we’re like: “We should do something!” The idea was to do a battle set, one band in front of the other, playing at the same time. And it happened, we found a studio, we found the time to do it, and the guys from light and noise records, which is a record label from Mexico, did it all. It was sitting there for almost a year, then we decided to put it out on video, and the tape release was just to have another release to give it its place and not just keep it on video.

Milo: You’ve released a lot of splits with other bands, such as Life in Vacuum, as well. What do you like about releasing music this way?

Gastòn: The thing is, we really like writing songs and playing new music, we’re very addicted to that feeling of having new ideas. Sometimes you don’t have the time to write a full-length album, but you have the desire and the drive to make songs. So, we just make a few songs together and look for any type of excuse to release it with other bands. And also, there’s a lot of bands that we’ve met and we really like their music, and it just happened, that we talked about a split. For example, with Life in Vacuum and ZagaZaga from Israel, it just clicked and we had the right songs for doing that. Actually, we’re looking forward to continue doing that, we really like releasing songs that way.

Azael: Well, I’m new in Joliette, I’m one year old in this band, but as an outsider, one year ago, I saw Joliette as the band that connected music from other parts of the world with Mexico. We’re used to listening to US bands, for example, a couple of European bands, but I noticed that Joliette was doing stuff with bands from other parts of the world, like Israel, Switzerland, Canada, it’s interesting. And now that I’m part of the band, I’m looking forward to what’s going to happen next. Maybe we can go to Australia or Japan.

Milo: You’ve been a band since 2011, if I’m not mistaken. Could you just briefly tell us the story of how you decided to form Joliette?

Fernando: Juan Pablo and I used to play together in another band in our hometown, Puebla, that was more than 10 years ago, like 12 years ago. We met sometime around 2004, and then two years later, we decided to form a band. After that band, we just kept on talking, and then we decided to try again and make it a bit more serious, to record stuff with decent quality and go on tour, try to make as much as we can out of the band. By that time, I already knew Gastòn, and Juan Pablo and Gaston were long-time friends, they’ve known each other since way, way back. In that sense, everything connected, we’ve had two drummers before Azael. Since we formed, I guess a lot of things have changed, not only lineup changes but also the sound and style, we’ve changed a couple things.

Milo: As you say, you’re from Puebla. Could you tell us a bit what the punk/hardcore scene is like there and in Mexico in general?

Juan Pablo: Well, in Puebla specifically the punk/hardcore scene is not that big, so that’s actually why we decided to move to Mexico City. In Mexico in general it comes and goes in waves. It also changes places, there’s sometimes an area where there are lot of bands for four or five years, and then they just kind of disappear, and then in another area of the country, bands start playing. So, it’s really interesting how the places where the bands are from affect the sound of the movement that’s going on at the moment. But in general, Mexico City is the place where everything happens. You have shows every week, you have every genre of music going on, you have festivals going on, and the interaction between bands is a big part of why we decided to move the band to Mexico City. I think Mexico has a lot of really good bands out there, bands doing really interesting stuff, but touring there is kind of hard. Sometimes it’s really hard to get out of that same area, that’s why a lot of bands stop playing, or they just go on hiatus for a while. So, it really depends what year your talking about, what bands sound like. So, I’d say the scene in Mexico is always moving.

Milo: Are there any bands in particular that you are into at the moment?

Fernando: Yeah, there’s one we all like called Cardiel. Actually, they’re from Venezuela but they’ve been living in Mexico for the past 10 years. They’re a duo…

Juan Pablo: A two piece. It’s skate punk, stoner rock and dub jams. It’s quite weird, but it’s a combination that works. Yeah, they’re definitely one of our favorite bands. I always say that Azael used to drum for a really cool band that I like, it’s called Annapura, they play power-violence. I don’t know, there’s quite some more that I really like that are not playing anymore. There was this band from Tijuana called Walle, really good.

Azael: Apocalipsis, from Mexico City. Their guitar player moved to the Czech Republic, but sometimes they play. Who else? Nazaremo el Violento…

Gastòn: Amber is a cool new band.

Azael: Amber is a math rock band, they really jam, their bass player is 15 or 16 years old and it’s just crazy…

Gastòn: Who else? Corporeal, they’re from a city called Tampico and they’re also really cool.

Azael: Point Dexter, that’s a new one. That’s one of my drum students, but that band play really well.

Gastòn: Also from Mexico City, El Shirota.

Azael: There’s a big scene over there, it’s a big city with many people in it, so yeah.

Juan Pablo: The thing is, all of these bands play with each other, so it’s easy if someone’s interested in getting to know that. I’m pretty sure if you listen to us, you’ll get to another one, it’s easy to connect them. Even though the scene is big, at the same time it’s really small and we all play with each other.

Milo: Thanks for all those band suggestions, I will definitely check those out.

Fernando: Yeah, we can give you a long list if you really want to check all those bands out, there’s good stuff there, definitely.

Milo: This isn’t your first European tour, you also played at Obenuse Fest II and III for example, how did opportunities for extensive tours here arise for you?

Gastòn: The first one was actually pretty weird, pretty unusual. It was thanks to the guys from ZagaZaga, they wrote to us because they saw one of our music videos and they liked it, and we just started talking about how it would be cool to do European tour and then it happened. That was in 2015 and thanks to people we got to meet, we were able to do it again. We can explain further…

Juan Pablo: It’s been four years of a lot of work put into coming here. For us, coming from Mexico, it’s always a big investment, getting a plane ticket and a band van. Here in Europe, people are really listening to us and they’re getting more and more into the band, so every time we come, we see a better response from people. For us, it’s been a good investment to come here every year. The kind of music that we play, there’s a lot of people in Europe who are more open to that. We’ve been playing wherever we can, getting to know bands. We also really like to invite bands from Europe to go to Mexico, so that exchange has been working really well for us.

Milo: What European bands have you toured with in Mexico?

Juan Pablo: We took Überyou from Zurich. Who else?

Fernando: Aren’t they the only ones? Oh yeah, Birds In Row, from France. The Prestige, also from France. We played a festival with Totoro from France but we didn’t bring them to Mexico, they were touring and we also played a show with them. I guess those are the only European bands we’ve taken to Mexico.

Milo: Are there any major differences between playing shows in Mexico and in Europe?

Juan Pablo: Yes.

Fernando: Well, the hospitality here is quite nice.

Azael: I think it’s just different, it’s not better or worse. I mean, it’s obvious that maybe in America, and Mexico specifically, we’re not that used to having bands from other parts of the world. Mexico is really big, so it’s Mexican bands. The hospitality is different, it’s not bad, I don’t know how to explain it.

Fernando: It’s more suitable for it’s own economy, the level of hospitality, in that case. But what I mean is that here, it’s a bit easier to get a good place to sleep and you get fed at almost every show. Everything runs way more strictly here, in a good sense. I also think that the crowd have a bigger relationship with this kind of heavy music. In Mexico, there’s quite a lot of people that listen to heavy music, but I think there’s more here.

Azael: People are more used to listening to hardcore music over here, or maybe not used to, but they know about how it works.

Juan Pablo: For me, a big difference is the venues. In Europe, you have a lot of youth centers or smaller venues for hardcore or punk. In Mexico, that’s probably the hardest thing to find, a proper venue.

Fernando: There are pretty much no good small venues. All venues are bigger and it’s practically impossible for an underground band to get a show there.

Juan Pablo: Also, what I really like in Europe is groups or collectives making shows. People getting together to bring in a band, someone makes food, someone takes care of the audio. That’s really cool, you don’t see that so often in Mexico. Of course, there are groups like that, but there’s always two in each city and here in Europe you have 10 or 12 making those things happen. That’s really important, because sometimes in Mexico the hardest thing is to find a place for a show.

Milo: I believe you’re also playing one other show in German-speaking Switzerland this summer. Do you want to tell our readers about that?

Juan Pablo: In July, we’re playing in Bern with Clowns.

Fernando: And the other one is Kreuzlingen.

Juan Pablo: We’ve been in Bern before, this is going to be our third show there. We love Bern, and in general, we like how people react to our music here in Switzerland. We’ve been lucky enough to visit a lot of cities here, maybe 10 or more, in the past years, and we love it. We like the people here, we’re really good friends with the Überyou guys, and they’re always sweethearts, they always treat us super well. We really love to be in Switzerland in general, people here are super warm and they really are into our music.

Joliette Links:

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Spanish Love Songs (USA) Interview

Spanish Love Songs are a melodic punk band from Los Angeles, USA consisting of (photo FLTR) Kyle McAulay (guitar), Meredith Van Woert (keyboard), Gabe Mayeshiro (bass), Ruben Duarte (drums) and Dylan Slocum (vocals/guitar). Milo from Radio Radius spoke to frontman Dylan Slocum after their performance in the Hafenkneipe at Obenuse Fest IV on May 5, 2018. In this interview, he talks about their new album Schmaltz and more.

Milo Schärer: Thank you so much for doing this interview with Radio Radius!

Dylan Slocum: Of course!

How has your European Tour been this far?

It’s been great! We are a week and a half in, we have three shows left. It’s been a blast, there’s been a lot of people at a lot of shows in places that we didn’t expect to necessarily have a ton. So, it’s been a lot of fun!

Alright. And what has your favorite venue been so far?

Hmm… In terms of the show, the one we just played for Obenuse Fest was great because that was insane. In terms of the venue itself, we played a farmhouse in Austria that was very cool. Basically, it was a barn that they had converted into a venue. So yeah, it was a lot of fun.

Alright. For people who aren’t familiar with Spanish Love Songs, which there will certainly be less of after Obenuse, how would you describe your band in five words?

In five words? Sad. I don’t need five words, I think one is enough. Sad and honest. That’s three words. We’ll give you that.

Fair Enough. A lot of other people, such as reviewers, have described your band as being similar to The Menzingers. How do you feel about that comparison?

I mean, it’s great to be compared to one of the biggest bands in our scene, so that doesn’t annoy us. We don’t hear the comparison anymore, but if it’s an easy way to get people to access the music, then by all means, you can compare us to whoever you want because at the end of the day it’s still our band and our songs. Some people feel that we’re rehashing what they did, and we don’t feel we are. I don’t think we are, so it’s fine. Really, we don’t care.

I think especially your lyrics are very different from those of The Menzingers. They’re very personal and detailed, and they often include specific references to places or family members. Why do you choose this kind of lyrical approach for your songs?

I think it’s the only way I really know how to do it. I tried to be metaphorical and vague before, and it just didn’t work. I like being specific, because I think by creating something so specific, it can actually lead more people to recognize and relate to it, even though it’s about me. I think everyone lives their lives in such specific terms that it becomes almost universal. Me writing about the death of my family member, even though it’s my experience, is the same as anybody’s, not the same, but it’s similar to anybody else’s loss of family members. I think people are able to find some comfort in that fact. I like to be so specific so nobody feels that they’re alone because as alone as I feel, I know I’m not the only one.

That makes a lot of sense. How did you get together as a band?

Our other bassist, Gabe, who’s at home right now, Ruben and I played in an old band, and that band broke up. We met Kyle on Craigslist because he had just moved to L.A. and was looking for people to go to shows with and he also mentioned that he played music, so we just started jamming together. Our other keyboardist Meredith is really good friends with my girlfriend so we hang out a lot and we knew that she played piano, so when it was time to add a piano player, I thought of her right away.

Why aren’t Gabe and Meredith on this tour right now?

Gabe was on the first half of this tour with us but he has a child on the way, so he went home to be with his wife and the child he already has. Meredith had some family obligations that unfortunately lined up exactly with our European tour.

Alright, so now let’s talk about your new album Schmaltz, which I really enjoyed. And it appeared to be a popular seller at the merch table…

I think so. We’re just about sold out of our first run, so that’s good. Yeah, it seems to be popular. We’re happy with it.

So yeah, about the album: you included a lot more layered and full-bodied instrumentation compared to your debut Giant Sings the Blues. Did you approach this album differently as a band?

Yeah. We’d been a band for a few more years and we were better musicians. We added the keyboards, which certainly helped. And I think we took a more methodical approach to recording it. The first one we just wanted to get done, so I came with these songs and we just kind of cranked them out and put them out. It was an organic process. With this one, we spent the time together writing and getting every part right. It’s still not perfect in our heads, but it’s as close as we could have hoped to getting it.

Now about the instrumentation: what inspired you to include an organ, not necessarily a typical punk instrument, in the album opener Nuevo?

There’s a Frank Ocean song called Forrest Gump. We love that song, and we already had the keyboards. That song was originally written on guitar, but we were in the studio, and I said: “What if we just switched it to organ?” Then we kind of referenced that song and did it. So, it wasn’t anything deeply thought out, we just thought it sounded cool.

Buffalo Buffalo is a very interesting song lyrically in my opinion. Could you tell us the story behind it?

Yeah. I was in Atlanta for work and I had to move away from my girlfriend, with whom I’d pretty much just fallen in love. I was really sad, so I wrote a love song. A lot of the stuff in that is very specific actually: she was visiting Portland to see her family and two days before she went there was a shooting in a mall there where three kids died. And I was literally lost in the south, wandering through these Civil War cemeteries. I just had this overwhelming feeling of wanting to run away from everything. I don’t know why I thought of “North of Buffalo”, but I did. I was thinking of Canada for some reason, and just wanting to get away from it all. I think as an American going to Canada is kind of a classical escape: going to the land of free healthcare, stuff like that. So, it just kind of happened and I wrote it in an afternoon. I was off from work, I wrote it on a Saturday and I sent it to the guys on a Sunday. It was the second song off the album that we wrote.

Alright. Now let’s talk aboutThe Boy Considers His Haircut. It’s kind of a meta song because you sing about your music and what other people think about it. So, my question is: do you think you’d have more fans if you sang about some happier shit or do you think the sad lyrics are part of the appeal of your band?

I think we’d have more fans if we were 10 years younger, more handsome and sang about very generic, fun things. That being said, I think that our lyrics fit our band. It’s kind of a running joke, but I don’t know, it’s hard to say, but I think we’ve found the place where we need to be. And I don’t know, people like sad lyrics, so we’ll deal with it and we won’t worry about the number of fans we have. Or we’ll try not to worry about it because I’m sure we will at the end of the day?

Now Beer & NyQuil (Hold It Together)is one such sad song. Could you tell us the story behind that?

Yeah. I was it Atlanta, still, and it was Thanksgiving in 2015. I was off of work, and I dropped my boss off at the airport so he could see his wife in L.A. I went back to my apartment and got bronchitis, so I was super sick, had a lot of dark thoughts and wanted to give up on everything because I didn’t know anybody and everyone else was home with their families and I wasn’t seeing my family or my girlfriend. I was super sick, so I took a bunch of NyQuil and didn’t leave the couch for three days. I would order Pizza in the morning and it would get delivered to me, I would order two so that I could eat one for lunch and one for dinner. It was a really sad time, so I wrote those lyrics down and decided to turn them into a song. I think the other have of that song is from when I was in the Dominican Republic for that same job, and I was literally stuck on an island. I was very sad and wanted to get away from everything I was doing, so it was very real.

Alright. Is it difficult for you to perform such personal and sad songs in front of an audience?

Not anymore, it was for a while. I’ve compartmentalized it enough; these things are all very old. Most of the songs on this album were written at the end of 2015 or the beginning of 2016, so we’re talking almost three years ago. So, it takes me back to that moment, but I’ve gotten pretty good about not living that moment because I don’t want to be sad like that forever and I’m also dealing with my current sadness and whatever is happening at the moment. It’s also really hard to be depressed about something when I’m onstage and people are having a good time. I’ve chosen to embrace the happiness of it all as opposed to focusing on the sadness.

Ok. Since we’re doing this interview at Fat Tony, my last question for you is: what is your favorite pizza topping?

I am a traditionalist. A pizza should be bread, tomato sauce, and cheese. It’s all it should be, that’s a pizza. None of that other bullshit matters. You can put whatever you want on it, if the cheese, the sauce, and the bread is bad it’s not a good pizza.

Thank you!

Thank you so much!

Spanish Love Songs Links:

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Interview: Milo Schärer / Foto: John Lafirira

Mobina Galore (CAN) Interview

Mobina Galore are a punk rock two piece from Winnipeg, Canada consisting (photo FLTR) of Jenna Priestner (vocals/guitar) and Marcia Hanson (drums/vocals). Milo from Radio Radius spoke to them after their performance in the Zukunft at Obenuse Fest IV on May 5, 2018. In this interview, they talk about their album Feeling Disconnected, Winnipeg’s music scene and more.

Milo Schärer: Hi, thank you so much for doing this interview with Radio Radius!

Marcia Hanson: Our Pleasure!

Jenna Priestner: You got it!

Milo: This is actually the third time I’ve seen you play. I saw you play at Hafenkneipe almost exactly a year ago and also opening for Against Me! at Dynamo. Which of your performances in Zurich, including today, has been your favorite?

Marcia: I had a blast today. It was one of the sweatiest shows and I was very cramped on that stage, but there was something about being so close the audience when it’s a smaller stage in a smaller room. Everybody was singing along, so I’m going to say tonight.

Jenna: I think I would have to agree. It was probably my worst performance of the whole tour, I fucked up so many things.

Marcia: You’re allowed to be sloppy in a small venue.

Jenna: I was getting hit by people, but it’s one of those things where you just roll with it, it felt like a basement show. So, tonight!

Milo: Well, it was literally in a basement. I’d briefly like to mention the other bands that are sharing the stage with you in that basement. Jenna, you sang a bit on the new Cancer Bats album The Spark That Moves and you’ve also played with Propagandhi many times before. Are we going to see you come on stage at all during their sets?

Jenna: I don’t know. This is our first time at this venue and I pictured the stage being a big stage. I was like: “There’s no way I’m going on this big stage because I don’t remember the words”. But now, this vibe, I think I could get into it. I don’t know, we’ll see.

Marcia: Are you just going to run up and grab the mic or have you been invited?

Jenna: I have not been invited. So, I do not think I will be gracing the stage.

Marcia: Let’s see what happens.

Jenna: Only time will tell.

Marcia: It was cool while it lasted. Whatever.

Milo: Almost all of the bands playing here are Canadian bands like yourselves. Could you tell us a bit about the music scene in your hometown of Winnipeg?

Jenna: I think Propagandhi kind of speaks for that. Everyone knows Winnipeg from Propagandhi if you’re in the punk rock scene. There’s a ton of punk rock bands there, just not a lot of them tour, so a lot of people in Europe wouldn’t know who they are, but there are so many good bands and there’s long cold winters so people just hang out inside writing music and creating art, so it’s a really good city to be in to be part of a music community and for some reason people love punk in Winnipeg, so we fit right in.

Milo: Since you said these bands aren’t really known in Europe, could you maybe give us some names of good bands in Winnipeg worth checking out?

Jenna: Yeah, definitely. One of faves are our buds in a band called Union Stockyards. There’s a band called Clipwing. I’m drawing a blank on other bands now.

Marcia: It’s like: “Who did we play with?”

Jenna: Check out those two.

Milo: For people who do not know Mobina Galore yet, how would you describe your band in five words?

Marcia: Hmm…

Jenna: Vocally aggressive power chord punk.

Marcia: Whoa! She nailed that!

Jenna: I already came up with the tagline. I didn’t know it was only five words though.

Marcia: This is you nailing it.

Milo: You’re a two piece, which is a slightly unusual constellation for a punk band. For instance, there’s only one other two piece besides yourselves playing here at Obenuse. How did you get together as a band in this formation?

Marcia: It just happened naturally. We met in Fernie, British Columbia, when we were both living there years ago. Jenna had a whole jam space set up in her house that she owned there, with drums, guitars, vocals and keyboards. I had never seen one person own all this stuff, so I was like: “This is so cool! Let’s jam!” So, then we had some beers and started jamming. And we kind of just never met someone that wanted to play with us.

Jenna: That sounds so bad.

Marcia: Someone that wanted to play music when we were open, you know, figuring it out? Nobody was playing music, and then we just kind of got into a groove and we were comfortable. It became very easy, to the point where we couldn’t imagine having a third person and taking a space in the band.

Milo: Alright. Which bands or artists have influenced your music?

Marcia: Lots.

Jenna: It’s a range. I always find that question kind of hard to answer. Blink-182 were my all-time favorite band in high school, but I don’t listen to them anymore, but I’m sure that has some type of influence from when I started playing. Now all we listen to are the bands we tour with, because it’s three or four bands every night. I don’t really search out music all that much anymore, so it’s kind of a weird question to be honest. Against Me! is huge in our lives right now because we toured with them a couple times. Now even Cancer Bats, I’m super stoked about being on that one track, so I’m repping their new album. It’s just kind of about the people that we meet on the road and those bands that inspire us in life in general, not so much as a band, you know?

Milo: This next question I’m going to ask you is mainly so that one of our very good friends who is not so into punk will read this interview as well. When preparing for this interview, I saw on your Facebook page that you also listed Taylor Swift as an artist that you like. So, what is your favorite Taylor Swift album?

Jenna: That’s a tricky one. I would probably say 1989, but the new one’s really good too. There’s just a couple tracks that I don’t like on there.

Marcia: I really like Red too.

Jenna: There’s a couple of gems on that one.

Marcia: There’s a lot of gems on Red. But she was just much younger then, so it’s a little harder to relate to what she’s singing about maybe. So, I’m going to go with 1989.

Jenna: 1989, yeah. And Ryan Adams’ version of 1989 is…

Marcia: Very cool! If you haven’t heard that, check it out.

Jenna: We listen to a lot of pop music when we’re driving, and folksy music because all we listen to when we’re playing shows is punk, hardcore and metal. In the van, it’s just: pop it up! Beyoncé, whatever, all the mainstream. The gold mainstream, not all of it. Just the Beyoncés and the Taylor Swifts.

Milo: Alright. In February of 2017 you released the album Feeling Disconnected.What are your thoughts on it a little more than a year on?

Jenna: That’s a good question, we’ve never been asked that question before. So, kudos to that.

Marcia: I’m still very happy with it. I like the way that we recorded it. We went into recording that album thinking that we wanted to have it be more like our live shows; just the two, drums, guitars, both vocals; instead of the way we recorded our first album, which was more layering vocals, more layering guitar kind of tracks. I still think it sounds great, I love the guy who did it, J.P. Peters, who produced and recorded both of our albums. I love it.

Jenna: I’m just excited to record a new album, really. You listen back to your old stuff and try figure out what you can do to make it better. For me, my guitar tones, even though we spent so much time on them for the last record, I’m excited to tweak my guitar tones for the new record.

Milo: Now that you mention a new album, you did play one new track today. Could you briefly comment on it?

Jenna: Yeah, it’s called Fade Away and it’s the only track that’s complete that will be on the new record, so we’ll be releasing it as a single on May 18. So, we’ll post a video and a digital release as something in between before the new record comes out. And we’re super stoked about it, it’s kind of a mix between our first and our second record, so we’re very happy with it.

Milo: Now going back to Feeling Disconnected, could you each just say what your favorite track off that album is and why?

Marcia: Yeah. I love Start All Over, I think it’s the first track off that album. Jenna started writing that song, and she was like: “Come on, let’s try to write a song together, because often we’ll write separately. I was reading her stuff, and I was like: “I don’t like it” and just left. Then she came back with this track and it became my favorite one. Now I’m upset that I wasn’t a part of writing it.

Jenna: Maybe that’s why it’s so good. No, I’m kidding. That’s a tough one, but just off the top of my head I’ll say Spend My Day, which is a song that Marcia wrote. People love it. It’s a fun song to play, tonight people were singing along to it, so I like it.

Milo: Feelings of detachment, including while on tour, were a big theme on Feeling Disconnected. Having toured extensively behind the album, do you feel more or less disconnected now than before the album’s release?

Jenna: I want to say less right now. I suppose you also got us at a good time; great show, great weather, great city; where I’m having a really good time on the road. It’s not as stressful and tiring as it can be. I think at this moment, anyways, I’m feeling pretty good. It’s our third time here now, and you feel more welcome and more at home every time you come back. We’re meeting more people and making more connections in all these cities and countries. It feels good.

Marcia: I agree.

Jenna: That’ll be the pull quote. “I agree”, says Marcia Hanson.

Milo: I’d like to ask a few questions about some specific tracks that we especially like. Could you tell us the story behind Vancouver?

Jenna: Yeah. That was a song where I wrote the verses and I just couldn’t come up with the chorus. Then Marcia wrote the chorus later. There almost opposite from each other, lyrically and the way they’re performed. I was having an anxious moment so I wrote all the verses in a very anxious state of mind. Then we wanted to make the chorus kind of big and happy, and sing-a-longy, Marcia ended up coming up with those lines when we went to Vancouver to work on the Feeling Disconnected Record. We spent quite a bit of time there throughout the year. We went there to finish up songs, and I think that’s when you came up with the chorus. The juxtaposition of the song just kind of worked. That’s what that song’s roughly about.

Milo: I’d also like to know about the song Fourth of July, the bonus track for Feeling Disconnected, because it seems like there’s a specific story behind it. So, could you tell us about that?

Jenna: Sure. Do you want to?

Marcia: Sure. We were on tour and we had a day off, and it happened to be the Fourth of July, which in the states is America’s birthday or something, so it’s a big party. Independence Day, I think? I’m not American, so it’s ok that I don’t know this. It’s a big deal over there and we had that day off and we were driving through Omaha, we were going to spend the night in Omaha. I happened to say to Jenna: “Hey, isn’t Conor Oberst from Omaha?” Conor Oberst [of Bright Eyes] is one of her favorite Songwriters. So, I started googling Conor Oberst, and it turns out he owns a bar in Omaha. I was like: “Jenna, I know what we’re doing tonight for the Fourth of July, we’re going to Conor Oberst’s bar. Maybe he’ll be there.” She’s like: “Yeah, right. He won’t be there, but let’s go.” We walk in and he’s there, but nobody else is. It’s just him with eight of his friends and the rest of the bar is empty. Jenna and I were both excited, so we both sat at the bar, had a couple of drinks, and watched him out of the corner of our eyes. We never got the courage to actually say hi or anything, but you know, he’d come up and ask the bartender for a glass of wine and I’d watch what bottle he’d pour from and be like: “I’ll have one of those.” So, I like to say that we shared a bottle of wine. Actually, we shared a few bottles of wine.

Jenna: We wrote the song while we were sitting in the bar. We knew there was something about that night that we had to commemorate. When we recorded it, it just didn’t quite fit with the vibe of the rest of the album, but we really liked it, so we wanted to put it on as a bonus track.

Milo: That’s a really cool story. I’d also like to ask about one song off your first album, Cities Away. What’s the story behind Skeletons?

Jenna: To be honest, I don’t even know if I can answer that question. There’s some songs where you almost just blink and somehow, you’ve written a song, and it’s gone from wherever the bare bones of it was to where it is now, but people love it. It’s a simple, kind of Ramones-y vibe, guitar riff. I don’t even know, we were living in Vancouver at the time as well, when I wrote that song, but I don’t think I even have an answer for that one.

Marcia: I think that is an answer, that you don’t really remember.

Jenna: Some songs just kind of happen.

Milo: We met your friend Joe Vickers, who opened for you last time you played in Zurich, when he played a show at Cartel Burrito recently, and I told him that I was going to do this interview and he suggested I ask this last question, so this is all thanks to him.

Jenna: Oh my god…

Milo: If I remember the story correctly, you adopted the practice of using a fanny pack from him. What items in your fanny pack are absolutely essential while on tour?

Marcia: Let’s go through it.

Jenna: Well, we don’t need to go totally through it.

Marcia: Oh, sorry. Maybe there’s some secret items.

Jenna: I always have a Sharpie. I have a miniature floss, which I don’t think I’ve ever used.

Marcia: But just in case.

Jenna: Just in case. You always need money. I’ve always got lip chap and GeloRevoice, which is a German throat lozenge specifically for singing. So, I usually have those in here. My keys? No, my keys aren’t even in here usually. My earplugs. I’d say earplugs, lip chap and a Sharpie are all essential in the fanny pack of Jenna from Mobina Galore. That is so funny. Joe Vickers…

Marcia: Great question. He’s also a hilarious guy.

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Interview: Milo Schärer / Foto: Dwayne Larson