I’ll be talking with Keith Jeffery on Monday! Do you all have any questions for him?
I’ll be talking with Keith Jeffery on Monday! Do you all have any questions for him?
I’ll be chatting with Sam Martin next week! Are there any questions you’d like me to ask?
Thanks for the heads up!!
This is Q&A I did with Joey Ryan of The Milk Carton Kids for Seattle Weekly’s music blog, “Reverb.” You can also read this post here.
The Milk Carton Kids’ Joey Ryan on Airport Gorillas and L.A. Traffic
By Azaria Podplesky
Though they only formed two years ago, Los Angeles-based folk duo The Milk Carton Kids have already made quite a name for themselves. They released their third album in March and are currently on tour, with more touring and festival appearances scheduled for the coming months. We chatted with Joey Ryan, one-half of TMCK, about traveling as a musician, performing on Conan and the bright side of criticism before the band plays the Tractor Tavern on Thursday, May 16.
I know you have a flight to catch so I’ll make this quick.
Oh, they’ll hold it. American Airlines is very accommodating. They’re so good about bringing guitars on board. One time I put my guitar in the cockpit.
Did they make you perform?
They threatened to, but they never cashed in.
Have you had any travel mishaps with instruments or equipment?
One time, we had a really tough road case with audio gear in it. It came down the carousel with the buckle ripped off … It looked like they had left it in a room with an angry gorilla. I don’t know how it’s humanly, physically possible to have done this kind of damage.
Where are you flying?
We’re playing Salt Lake City tonight. We had the weekend off. We try to take every third weekend off to remind ourselves that being at home is real life and tour is the anomaly. To get a couple of days, it makes a big difference.
Tell me about performing on Conan.
It was a real sense of accomplishment when that came through … I was so nervous that it was just a big blur [laughs] … Everyone was like, “Conan loved it. The audience loved it.” I was like, “Really?” I had no awareness of what was going on other than trying to get through the song.
I’ve always been intrigued by videos that show something that in real life takes [the length of the song]. This brainstorming session drifted to driving because driving around listening to music is such a big part of your life [in L.A.]. Kenneth said, “It should just be somebody driving, listening to the songs, doing whatever they would naturally do.” I thought it was brilliant because I had so many very powerful, emotional experiences … while listening to music, driving in the car.
People’s reactions to it are wildly different because it’s so devoid of any message that is very forthcoming. People have been putting their own meanings on it. To me, it functions like a blank canvas.
Another highlight is somebody said to us how disappointed they were in the videos. I was really thrilled to hear that. Obviously not that they were disappointed, but we had never had the experience before of being in a position to disappoint anybody, the idea that there were people out there that were awaiting our music videos with high hopes … It was a big responsibility, but also quite a flattering thing.
I’m glad you could flip that into something positive.
It means that they care so much as to be disappointed. I took it as a good sign. I wish their expectations would’ve been fulfilled, but it’s better than them just not caring.
I’ll be talking with Ted Malmros tomorrow! Do you all have any questions for him?
I wrote this brief to preview Kate Nash’s show for Seattle Weekly. You can also read this post, and briefs about other shows we recommend, here.
Wednesday, May 15
Kate Nash is not afraid of change. After releasing a very indie-pop debut album, Made of Bricks, followed by 2010’s doo-wop-tinged My Best Friend Is You, Nash has added yet another genre to her repertoire with the garage-punk Girl Talk. Released in March on the British singer/songwriter’s own Have 10p Records, Girl Talk resembles her previous releases in that each song is just as honest and intimate as before. Nash gets a lot of frustration off her chest on this album, while simultaneously keeping the overall vibe upbeat. It’s the perfect soundtrack for just bouncing around the house or ripping the head off a teddy bear because you’re upset at your ex—a la Nash in the video for lead single “3AM.” Those of you who were able to get tickets to Nash’s sold-out show should prepare for a ton of fun, a touch of moodiness, and a lot of, well, girl talk. With Peach Kelli Pop. Crocodile, 2200 Second Ave., 441-4618. 8 p.m. SOLD OUT. All ages/bar with ID.
I’ll be sending Trevor a few interview questions tomorrow! Do you all have any questions for him?
I’ll be chatting with Wayne Sermon tomorrow morning! Do you all have any questions for him?
This is the Q&A I did with Kate Nash for Seattle Weekly’s music blog, “Reverb.” You can also read this post here. Note: I added the italicized paragraph at the end myself.
Girl Talk with Kate Nash
By Azaria Podplesky
When we called British singer-songwriter Kate Nash, she was preparing for a flight to Argentina for a festival and club show. Before boarding, she talked about her latest album and keeping busy before she plays The Crocodile on Wednesday, May 15, as part of her Because I am a Girl tour.
What was the Girl Talk writing process like? It was quite like purging everything that I was going through. It was quite thoughtless, in a way, because it was very guttural and instinctual. I feel like I had so much experience playing live and thinking about music that I really know how to create the songs that I want to create now.
Do you usually write so thoughtlessly? It’s been totally different than how I’ve ever written, and I think it has to do with age and experience…I think when you go through a difficult time sometimes, you lose a lot of stuff and you have that nothing-to-lose attitude. Even though there’s all that pain and anger in it, I still think it’s a fun album.
You’re in a couple of upcoming movies ( Greetings From Tim Buckley , Powder Room ). How did those roles come about? I studied theater in college and always wanted to do it again. An acting manager in L.A. started representing me, and I auditioned and got the parts.
Was it difficult to step into each role? It was definitely scary, but that’s good because it keeps my creative brain fresh. I like having new things to dive into that I’m not sure about because I find it thrilling and inspiring.
A fan asked why it’s important for you to respond to fans on Twitter. I want to be approachable, and I love my fans so much because they really support and understand me. These people are the reason that I’m here and especially not having a record label to support me now…I want to make them feel as appreciated as I possibly can.
Is it intimidating to be an independent artist?I think intimidating is the wrong word; it can be difficult. A label is a cohesive machine, and I don’t have a cohesive machine. I have lots of little things going on, and I’m still trying to pull a string around everything. It’s liberating and empowering because I’m making it happen on my own terms. You have to go with the flow and see what happens. I think it’s going to be alright.
What does the rest of 2013 look like?I like to have a lot of different things to delve into, almost take on too much so I’m constantly busy. I don’t like relaxing; I’m not very good at it. I function better as a human when I’m busy, almost a bit stressed…
Any creative job is quite anxiety-inducing. You need to keep busy so you don’t worry about what you’re not doing. I find myself thinking forward quite a lot so having something to focus on each day is quite nice. It’s relaxing in some weird way. Even responding to fans, it’s like “I’ve achieved something today!”
Kate Nash created the Rock n Roll for Girls After-School Music Club, which encourages girls to express themselves through music and creative writing. She also works with Plan USA on their Protect a Girl campaign. To learn more about Protect a Girl, visit protectagirl.org.
I wrote these album reviews for Seattle Weekly last month. You can read these, and other, reviews on “Reverb” by clicking on the date before each group of reviews.
Antoine Martel, Coughdrops in Autumn (out now, self-released, antoinemartel.bandcamp.com): It’s hard to tell that singer/songwriter Martel had sinus issues before recording this album; throughout his voice maintains a strong, smooth tone that matches perfectly the breezy, acoustic backing band.
*Mikey and Matty, Harbor Island (out now, self-released, soundcloud.com/mikey-and-matty): The Gervais brothers (of piano-pop outfit Curtains for You) break out on their own with this collection of lush, homegrown indie-rock melodies, complete with improvised percussion from household objects. (Sat., May 4, Fremont Abbey)
*Dylan Jakobsen, Statelines EP (out now, self-released, dylanjakobsen.com): Even folks who listen to “anything but country” can get into Jakobsen’s brand of upbeat Americana on this four-track EP, especially the sing-along “na-na-na-na” chorus in “All Night Long.” (Tues., April 30, El Corazon)
Jeremy Serwer, Down With People (out now, self-released, jeremyserwer.bandcamp.com): Serwer touched up several previously released songs and added two new tunes, the title track and “Woodland Bark,” to round out a solid Americana/folk album. (Wed., May 8, Nectar Lounge)
Arrington de Dionyso’s Malaikat dan Singa, Open the Crown (out now, K Records, krecs.com): Hearing de Dionyso’s throat singing for the first time can be a bit jarring, but added to the yelps and chants over this trancy world music, the whole album starts to make sense.
Fox and the Law, Sleep With the Lights On (out now, self-released, foxandthelaw.bandcamp.com): Distorted vocals and big, bluesy riffs reign supreme on this three-song EP as garage-rockers FATL somehow make Sleep With the Lights On as energetic as their live show.
Magnetic Circus, “Evil” (out now, self-released, magneticcircus.bandcamp.com): If “Evil” is any indication of how Magnetic Circus’ soon-to-be-released EP will sound, then listeners can expect a ton of psychedelic guitar, thumping percussion, and plenty of melodic garage-rock vocals. (Sat., May 4, White Rabbit)
The Shivas, Whiteout (out now, K Records, krecs.com): The members of this Portland-based quartet are so spot-on with their pretty harmonies and undeniably catchy, psychedelic beats, you’d swear they still have their ticket stubs from Woodstock. In reality, these four can’t yet grab a beer after a show.