Little Eskimo Jesus - Could You Please Be Quiet, Please? free download
Wednesday, December 26, 2012
Little Eskimo Jesus - Could You Please Be Quiet, Please?
Little Eskimo Jesus - Could You Please Be Quiet, Please? free download
Monday, December 17, 2012
Brandon Brains - The End is Weird interview
Brandon Brains of Nashville, TN is a modern day renaissance man. College student, fiance, use to be in the navy, ex bouncer, all while still being a prolific relatively new face in the "DIY hip hop community"(as lame and pretentious as using the word community sounds). In a little less than a week his new release 'The End is Weird' drops. Get familiar, get weird, get with it.
TheThrowAwayDays: Brandon Brains, are you still a bouncer at a strip club, what were the
requirements to get this job? Did you have to arm wrestle a sexual
offender while naked women were dancing without getting a boner?
Brandon Brains: No, I quit that job to focus on school and music. Most gig opportunities are on weekends and I worked EVERY weekend. However, I got the job from a friend of a friend putting in a good word for me. I never arm wrestled anybody there and after a while of seeing it all the time, boners don't come to you at work.
Brandon Brains: No, I quit that job to focus on school and music. Most gig opportunities are on weekends and I worked EVERY weekend. However, I got the job from a friend of a friend putting in a good word for me. I never arm wrestled anybody there and after a while of seeing it all the time, boners don't come to you at work.
T-TAD: What is the craziest thing you ever saw at your job?
BB: My first night on the job, there was a dude who got wasted, pulled out
his dick and then passed out onto the floor. We are pretty sure he
thought he was in the bathroom, but you'd be surprised the amount of
dudes that I had to throw out for whipping out there junk in hopes of
getting laid during lapdances.
T-TAD: You ever think about having some of the girls strip to your songs? Or
maybe even doing it yourself? It would probably get more publicity than
this interview, HA!
BB: Funny
enough, the friend who got me the job is the DJ there, so my stuff got
played a lot. It's a weird feeling watching a woman get naked to songs
you wrote about strange times in your life.
T-TAD: Before you were a bouncer(and perhaps even before you were a rapper) you
were in the service, what was that like and has it influenced your
music at all?
BB: As
much as I'd like to deny it, my time in the navy really did influence
my music. Maybe not so much the service itself, but my personal life
during that time and the effect being in the navy had on that.
T-TAD: On your last release 'Ugly and Impatient" you had a feature by a some
what big name artist, but when I talked to you a while ago in Pittsburgh
you said he wouldn't plug the collab, because "it was all about image."
Do you care to elaborate on that?
BB:
I've never really understood the logic behind that. It was a dick move
on his part, but whatever, we live, learn, and die. Why continue to
care about what assholes won't do to help us?
T-TAD:Has that experience changed how you work and music and with who? I see
you have a lot of collabs on your upcoming release 'The End is Weird'.
BB: 10
of the 13 tracks have features on this mix tape, so that last
experience didn't shy me away from working with people. If anything, it
taught me to work more with friends who will support me, without being
paid. Maybe I'm biased because they're my friends, but some of the
artists on here are people I'm a big fan of their music (even if we
weren't friends).
T-TAD: You've been promoting this new release pretty hard, what are you plans for it? Are you going to tour it?
BB: Well,
I won't be touring this mixtape super hard due to my schedule, but I
will be doing some shows to support it. Aside from that, the next
project is in the works and that looks to be promising in the
opportunities it could provide. I'm just taking it one day at a time
though and focusing on making a name off of 'The End Is Weird' for now.
Hell, the CD has been playing in my car nonstop since we finished it.
I can't wait to see what the fans think.
T-TAD: You did the Hollow Grammar tour with B. Done(of Virginia I think), how did you two meet?
BB: He is originally from VA, but currently resides in North Carolina.
Funny enough, I was introduced to B.Done on Instagram about a year ago
when I was working with Ced Hughes on getting beats together for 'Ugly
& Impatient'. Ced told me I needed to follow him because he was a
fellow hip hop artist who was also into comics and action figures, like
myself. The rest is history.
T-TAD: What are some good stories from the road you guys got?
BB: We
fell asleep in the train station parking lot with my headlights on in
New Jersey. The cops came to the window thinking we'd died. Aside from
that, no crazy stories. Just met a lot of interesting people and got a
crash course in what to do and not do when on tour.
T-TAD: What are you plans after 'The End is Weird' both with rap and the rest
of your life. Aren't you married and going to school too? You're like
the renaissance man.
BB: I am getting married in the fall, but not married yet. I am going to
school for advertising, so that helps me more than it hurts me with my
music. As I mentioned earlier, I'm working on the next project, but it
will have a different feel due to being a live band set up as opposed to
the sampled beats I use now. I can't wait to see what happens from
here.
Saturday, December 1, 2012
ESH the Monolith interview and free download.
ESH the Monolith is an awesome rapper, and a cool dude I met a while ago when he toured through Pittsburgh. I decided to give his 10 inch, Invisible he did with DOX some shine for the millions upon millions of people that follow this blog, and to try and make the post slightly more interesting than a boring JPEG image I decided to email him a few questions that have little to do with his music, and nothing to do with this vinyl. Proofreading your blog is for total nerds, I'm just kind of a nerd, so here there interview complete with every grammar mistake, punctuation error, and type-o he or I have have mad.e
TheThrowAwayDays: I see you petting the cat pretty hard here, did you land this kick flip? (looks like it's gonna be a kick flip)
ESH the Monolith: This was an attempted kick flip and no I didn’t land it. I didn’t land a single trick that night on account of I suck at skateboarding and I am old. This was just me getting my Little Wayne on and trying to appeal to the kiddos. Drink Mountain Dew, kiddos.
T-TAD: When is the last time you really "skated" and why did you get out of it?
ESH: I think I quit skating when I was in high school. Around 1943 I believe. I wasn’t immediately good at it so I quit because I am lazy and I quit things that I am not immediately good at. I stick with the bike nowadays.
T-TAD: What kind of eccentric super hero sprains his ankle jumping off a car? You can't save anyone like that.
ESH: The worst super hero out, that’s who. I was so fucking drunk that night. I was drinking vodka out of pint glasses all night in Trenton, NJ. HW is a son of a bitch for posting such an un-superhero like video of the god.
T-TAD: How, when, and why did the super hero thing become a staple to go along side ESH?
ESH: It was around 1943 I think. I’ve always been into the idea of superheros who are really just fuck ups. Like, “Yeah I can fly and I’m really strong, but this blow habit is draining my pockets and my girlfriend is a bitch.”
Also, rappers have the tendency to elevate themselves to these untouchable super man like characters, so I decided to make myself the worst superhero out because that’s more accurate.
T-TAD: You got any good dirt on HW or Halo after touring with them? Or any rad stories from the road in general?
ESH: First of all, those dudes are great to tour with. I would tour with them again in a heartbeat.
That being said, here is some dirt on HW:
1. He has a Juggalo hatchet man tattoo on his shoulder.
2. That night I busted my shit jumping off Halo’s jeep, HW got beat up by Raymond Strife’s lady friend and cried and peed his pants and said he wanted to cancel tour and go home because of the bruises.
As for Halo, this isn’t really dirt, but dude was legally dead at one point and got brought back to life. He also has the uncanny ability to play a Gangstar song followed by a Misfits song followed by the I’m Barbie Girl in a Barbie World song and make it work. And has a stylish fur coat.
T-TAD: Why does it take you so long to put out music? According to your bandcamp you have a release in 2008 and 2011 and that's it, or do you have stuff out that's not on there?
ESH: In between those two projects I did a bunch of collaborations and produced joints for a bunch of people. I did a lot of work on my homie Romen Rok’s album “Absolutely” which came out in 2010.
I’m not making excuses. Most of it was due to being fucked up all the time and unfocused and messing with trashy birds. That isn’t the case any more. I’m much more motivated now. I have another project that’s coming out next month and a full length production album that’s almost done. I’ve mended my slacker ways.
T-TAD: What are your future rap plans?(tours, releases, publicity scandals, etc)
ESH: In December I’m releasing a new half an album over with my dude The Arcitype’s beats. It’s called Nightworks. Topics include: alcoholism in the werewolf community, LARPing, cubicles, being a small person, falling out of love with bridges, the episode of Punky Brewster where Cherry got locked in that refrigerator, and giving people dead arms. It’s a bunch of raps, mostly. It features Romen Rok, Fran-P, and Ceschi. My brother also plays guitar on it which I’m pretty hyped about. We are putting out a new video when it drops too.
Then sometime next year I’m releasing a project called Loop Minded Individuals, which is a compilation that is co-produced by me and Intrikit. We rap on it too, but not much. It features verses from too many people to mention (plus I’m still waiting on some people).
Hopefully I’ll be touring again in March, but I’m not sure yet. I’d like to get back out to Pittsburg soon and chill with your dog, who seems like a pretty chill dog.
After that I’m going to drive my car into the Grand Canyon.
If you give a fuck, we can be computer buddies here:
www.EcenticSuperHero.com
Twitter: @ESHtheMonolith
Facebook.com/ESHtheMonolith
Instagram: EshTakesPictures
free download
TheThrowAwayDays: I see you petting the cat pretty hard here, did you land this kick flip? (looks like it's gonna be a kick flip)
ESH the Monolith: This was an attempted kick flip and no I didn’t land it. I didn’t land a single trick that night on account of I suck at skateboarding and I am old. This was just me getting my Little Wayne on and trying to appeal to the kiddos. Drink Mountain Dew, kiddos.
T-TAD: When is the last time you really "skated" and why did you get out of it?
ESH: I think I quit skating when I was in high school. Around 1943 I believe. I wasn’t immediately good at it so I quit because I am lazy and I quit things that I am not immediately good at. I stick with the bike nowadays.
T-TAD: What kind of eccentric super hero sprains his ankle jumping off a car? You can't save anyone like that.
ESH: The worst super hero out, that’s who. I was so fucking drunk that night. I was drinking vodka out of pint glasses all night in Trenton, NJ. HW is a son of a bitch for posting such an un-superhero like video of the god.
T-TAD: How, when, and why did the super hero thing become a staple to go along side ESH?
ESH: It was around 1943 I think. I’ve always been into the idea of superheros who are really just fuck ups. Like, “Yeah I can fly and I’m really strong, but this blow habit is draining my pockets and my girlfriend is a bitch.”
Also, rappers have the tendency to elevate themselves to these untouchable super man like characters, so I decided to make myself the worst superhero out because that’s more accurate.
T-TAD: You got any good dirt on HW or Halo after touring with them? Or any rad stories from the road in general?
ESH: First of all, those dudes are great to tour with. I would tour with them again in a heartbeat.
That being said, here is some dirt on HW:
1. He has a Juggalo hatchet man tattoo on his shoulder.
2. That night I busted my shit jumping off Halo’s jeep, HW got beat up by Raymond Strife’s lady friend and cried and peed his pants and said he wanted to cancel tour and go home because of the bruises.
As for Halo, this isn’t really dirt, but dude was legally dead at one point and got brought back to life. He also has the uncanny ability to play a Gangstar song followed by a Misfits song followed by the I’m Barbie Girl in a Barbie World song and make it work. And has a stylish fur coat.
T-TAD: Why does it take you so long to put out music? According to your bandcamp you have a release in 2008 and 2011 and that's it, or do you have stuff out that's not on there?
ESH: In between those two projects I did a bunch of collaborations and produced joints for a bunch of people. I did a lot of work on my homie Romen Rok’s album “Absolutely” which came out in 2010.
I’m not making excuses. Most of it was due to being fucked up all the time and unfocused and messing with trashy birds. That isn’t the case any more. I’m much more motivated now. I have another project that’s coming out next month and a full length production album that’s almost done. I’ve mended my slacker ways.
T-TAD: What are your future rap plans?(tours, releases, publicity scandals, etc)
ESH: In December I’m releasing a new half an album over with my dude The Arcitype’s beats. It’s called Nightworks. Topics include: alcoholism in the werewolf community, LARPing, cubicles, being a small person, falling out of love with bridges, the episode of Punky Brewster where Cherry got locked in that refrigerator, and giving people dead arms. It’s a bunch of raps, mostly. It features Romen Rok, Fran-P, and Ceschi. My brother also plays guitar on it which I’m pretty hyped about. We are putting out a new video when it drops too.
Then sometime next year I’m releasing a project called Loop Minded Individuals, which is a compilation that is co-produced by me and Intrikit. We rap on it too, but not much. It features verses from too many people to mention (plus I’m still waiting on some people).
Hopefully I’ll be touring again in March, but I’m not sure yet. I’d like to get back out to Pittsburg soon and chill with your dog, who seems like a pretty chill dog.
After that I’m going to drive my car into the Grand Canyon.
If you give a fuck, we can be computer buddies here:
www.EcenticSuperHero.com
Twitter: @ESHtheMonolith
Facebook.com/ESHtheMonolith
Instagram: EshTakesPictures
Wednesday, November 14, 2012
Tuesday, October 23, 2012
Thursday, September 27, 2012
Political Animals. May 4th, 2012
Typically when this much time has passed after a show I consider writing about it a lost cause. However I liked Political Animals a lot and have been wanting to plug them on my blog for a while. Not that this blog has high traffic and it will benefit them at all, but it's the thought that counts, or so I think.
Less than two weeks before this show Connect( of Fortified PhonetX) hit me up about trying to help out a Connecticut hip hop band. Being the prematurely jaded 24 year old that I am, I offered little to no help with finding a venue. Booking is stressful, and without proper time to promote getting a decent amount of gas money for the touring act, above a rental fee is near impossible. Luckily Connect showed more chivalry than I did, and found a venue(The Smiling Moose) that was willing to do a free day show and give the acts a percentage of bar sales. This was good because it was low risk for us "promoters," but it was also going to be low reward for the touring act, unless I got in full lush mode and used my self destructive drinking habits to support Political Animals' tour.
Finally, I thought to myself, I'm drinking for a cause and not just because. I had the noble plans of drinking only high end beers, not only support the touring act, but also to trick everyone at the show that I was a baller. However when I showed up and there was a game day special I found myself double fisting dollar beers at the bar as quickly as possible to get my buzz going before the special was up and the sun was down. And I did so ef ficiently, buying beers upon beers in advance for myself to stock up for after the special. Completely disregarding my initial plan of using my alcoholism to financially support the touring band as much as possible.
Luckily I played first before my buzz completely settled in and I said too many embarrassing things on stage. Next was Proseed who always kills it, and subsequently is also always sober for his sets. Political Animals played third and brought to the table their live band and conventional boom bap style. Positive songs about elevating hip hop instead of getting diluted by mass media rappers, and also elevating and being positive about yourself. I dug it. I also dug how humbled they were, and how honored they were that Connect would help them out so last minute. Last was Fortified PhonetX who always kill it. All this before 9pm, it's pretty rad to see what can be done by artists when they respect each others music enough to help them out. Get drunk, play a show, get paid, all before turning into a pumpkin.
Stillborn Identity
Proseed
Political Animals(download their free ep)
Fortified PhonetX
@ The Smiling Moose. May 4th, 2012
Less than two weeks before this show Connect( of Fortified PhonetX) hit me up about trying to help out a Connecticut hip hop band. Being the prematurely jaded 24 year old that I am, I offered little to no help with finding a venue. Booking is stressful, and without proper time to promote getting a decent amount of gas money for the touring act, above a rental fee is near impossible. Luckily Connect showed more chivalry than I did, and found a venue(The Smiling Moose) that was willing to do a free day show and give the acts a percentage of bar sales. This was good because it was low risk for us "promoters," but it was also going to be low reward for the touring act, unless I got in full lush mode and used my self destructive drinking habits to support Political Animals' tour.
Finally, I thought to myself, I'm drinking for a cause and not just because. I had the noble plans of drinking only high end beers, not only support the touring act, but also to trick everyone at the show that I was a baller. However when I showed up and there was a game day special I found myself double fisting dollar beers at the bar as quickly as possible to get my buzz going before the special was up and the sun was down. And I did so ef ficiently, buying beers upon beers in advance for myself to stock up for after the special. Completely disregarding my initial plan of using my alcoholism to financially support the touring band as much as possible.
Luckily I played first before my buzz completely settled in and I said too many embarrassing things on stage. Next was Proseed who always kills it, and subsequently is also always sober for his sets. Political Animals played third and brought to the table their live band and conventional boom bap style. Positive songs about elevating hip hop instead of getting diluted by mass media rappers, and also elevating and being positive about yourself. I dug it. I also dug how humbled they were, and how honored they were that Connect would help them out so last minute. Last was Fortified PhonetX who always kill it. All this before 9pm, it's pretty rad to see what can be done by artists when they respect each others music enough to help them out. Get drunk, play a show, get paid, all before turning into a pumpkin.
Stillborn Identity
Proseed
Political Animals(download their free ep)
Fortified PhonetX
@ The Smiling Moose. May 4th, 2012
Thursday, September 13, 2012
Dinosaur Burps 9/7/12 Charleston, WV
Q-How do you know the tooth-brush was invented in West Virginia?
A-Because if it was invented anywhere else it would be called the teeth-brush!
-As told by Baker.
People in Charlestown, West Virginia are mutant-ly huge. I'm kind of a tall guy myself, standing at 6"1', but there wasn't one person at the venue I would dare size up in my right mind. Baker(also over 6 foot tall) and I were of the smallest guys at the venue, even if you combined both of our mass together we wouldn't stand a snow flakes chances in hell against these men, or even some of the women. Fortunately for us, once we got beyond the locals hardened shells, everyone was pretty jolly and not quite what we expected out of the people at a hip hop show in Wild and wonderful West Virginia.
B. Rude, of Dinosaur Burps(and formerly of Rabble Rousers) had been someone whose name traveled further than he did. All along the East Coast and Mid-West I had been hearing his name for years now. Even in Pittsburgh he dared to challenge my fan-base of degenerate skateboarders with Thrasher tattoos who occasionally listen to hip hop, all without often leaving his humble home of West Virginia. B. Rude seemingly sticks to mostly shows in Charlestown and Huntington these days. So we knew we had to play with him at his home turf to get the full effect.
Neither Baker or I had played anywhere in West Virginia, or even knew many people that had. On top of that, of the few people we knew(who mostly played in Morgantown) most had bad experiences. When I asked JT(Greenlander) how his first WV show with PT Burnem and MC Homeless went the only advice he left me with was, "Don't let some guy named 'Sketch' who lives in a van in the Wal-Mart parking lot book you a show." So needless to say my tour mate and I were not only a little skeptic about the show beforehand, we became even more so stressed when we showed up to a metal venue speckled in attendance with grizzly men who had a very hard pressed, unconventional hip hop attendee, appearance.
The night ran smoother than we could have predicted. The venue was stocked with a receptive crowd that kept growing in size and morale as the night progressed. And our stereotype of West Virginians was crushed as we rocked our songs to an audience with a full set of teeth and high school diplomas(not in hand necessarily, but after talking to them you could tell they were more educated than the embedded stereotype led us to believe).
We got hosted for the night by one of B. Rudes friends(I forget his name, sorry), who was by coincidence one of the only other person at the venue in our weight class. He offered us his bed to share, and looking around at the hardwood floor that resembled our sleeping arrangements of the prior night in Columbus we shamelessly accepted. Our host stood in the doorway of the room as a magpie would, half coning us to sleep half telling us not to worry about his flee infested cat whose asshole has a ring of flee eggs surrounding it because flees really weren't to big of a deal and that he had them all his life and wasn't bothered by it, he told us what drugs he has dabbled in, he told us of his three-piece band, his upcoming move to Thailand, and lastly he told us how to flush his makeshift toilet in case nature called, all while we drifted in and out of consciousness. In the morning I had to take a shit and accidentally left him with a floater because I couldn't recall his instructions. If we had stayed with any of the other behemoth men who could have crushed me like one of the peanuts in my crap you can bet your ass I would have done all I could not to leave any evidence in their bowl behind. But in this case, I liked my odds, and left some presents behind without much effort.
Poetic
Baker
Stillborn Identity
Dinosaur Burps
@ The Blue Parrot Friday September 7th, 2012
A-Because if it was invented anywhere else it would be called the teeth-brush!
-As told by Baker.
People in Charlestown, West Virginia are mutant-ly huge. I'm kind of a tall guy myself, standing at 6"1', but there wasn't one person at the venue I would dare size up in my right mind. Baker(also over 6 foot tall) and I were of the smallest guys at the venue, even if you combined both of our mass together we wouldn't stand a snow flakes chances in hell against these men, or even some of the women. Fortunately for us, once we got beyond the locals hardened shells, everyone was pretty jolly and not quite what we expected out of the people at a hip hop show in Wild and wonderful West Virginia.
B. Rude, of Dinosaur Burps(and formerly of Rabble Rousers) had been someone whose name traveled further than he did. All along the East Coast and Mid-West I had been hearing his name for years now. Even in Pittsburgh he dared to challenge my fan-base of degenerate skateboarders with Thrasher tattoos who occasionally listen to hip hop, all without often leaving his humble home of West Virginia. B. Rude seemingly sticks to mostly shows in Charlestown and Huntington these days. So we knew we had to play with him at his home turf to get the full effect.
Neither Baker or I had played anywhere in West Virginia, or even knew many people that had. On top of that, of the few people we knew(who mostly played in Morgantown) most had bad experiences. When I asked JT(Greenlander) how his first WV show with PT Burnem and MC Homeless went the only advice he left me with was, "Don't let some guy named 'Sketch' who lives in a van in the Wal-Mart parking lot book you a show." So needless to say my tour mate and I were not only a little skeptic about the show beforehand, we became even more so stressed when we showed up to a metal venue speckled in attendance with grizzly men who had a very hard pressed, unconventional hip hop attendee, appearance.
The night ran smoother than we could have predicted. The venue was stocked with a receptive crowd that kept growing in size and morale as the night progressed. And our stereotype of West Virginians was crushed as we rocked our songs to an audience with a full set of teeth and high school diplomas(not in hand necessarily, but after talking to them you could tell they were more educated than the embedded stereotype led us to believe).
We got hosted for the night by one of B. Rudes friends(I forget his name, sorry), who was by coincidence one of the only other person at the venue in our weight class. He offered us his bed to share, and looking around at the hardwood floor that resembled our sleeping arrangements of the prior night in Columbus we shamelessly accepted. Our host stood in the doorway of the room as a magpie would, half coning us to sleep half telling us not to worry about his flee infested cat whose asshole has a ring of flee eggs surrounding it because flees really weren't to big of a deal and that he had them all his life and wasn't bothered by it, he told us what drugs he has dabbled in, he told us of his three-piece band, his upcoming move to Thailand, and lastly he told us how to flush his makeshift toilet in case nature called, all while we drifted in and out of consciousness. In the morning I had to take a shit and accidentally left him with a floater because I couldn't recall his instructions. If we had stayed with any of the other behemoth men who could have crushed me like one of the peanuts in my crap you can bet your ass I would have done all I could not to leave any evidence in their bowl behind. But in this case, I liked my odds, and left some presents behind without much effort.
Poetic
Baker
Stillborn Identity
Dinosaur Burps
@ The Blue Parrot Friday September 7th, 2012
Tuesday, August 21, 2012
Shark Tank interview from May
Yet another interview I did months ago and never did anything with. I did this interview with Shark Tank when they played a Pittsburgh release show for their new release Fun Youngs. They're super nice, I got the chance to meet all these fools in the past. Even if you're not into what they're doing, you should still go see them to see their nonstop hilarious onstage banter. In this interview the group talked about how the members met, the unfortunate "death" of former member Mickey Free, and some future plans.
TheThrowAwayDays:Who is, and what is Shark Tank?
Shark Tank-Lord Grunge: Shark tanks is a conglomeration of independent rap artists. Independent emcees that met a long time ago, and have been boys for a long time. And it is myself, Lord Grunge from Grand Buffet, my man Height from Height with Friends, and my man B. Rich has a band called Slaves of Spanky in Ontario.
Shark Tank-B. Rich: Stand up
LG: Stand up.
T-TAD: How did you guys meet, and what happened to your fourth member, Mickey Free, who is apparently dead?
LG: Mickey Free didn't actually die, although it wouldn't be inaccurate to say he's basically dead to me. I'll always have love for him, but in my mind he's passed away. No I don't know, I don't meant to bogart this interview, but I feel like Mickey is an extremely talented dude. He's an emcee, he's a producer, he's ridiculously talented. He just wasn't in the right mind set to do another DIY project. He's all about trying to stack his paper, and get this record deal or some shit like that. Which is cool, which is cool. But like, Shark Tank, is kind of not about not giving a fuck. We're just trying to do our shit regardless weather anyone cares. And I don't think he was in the right mind state to do that, so he respectfully bowed out. There's no beef. Even though dude is dead to me, he's cool. He's like the coolest dead dude ever.
T-TAD: Alright, well how did everyone else in the group meet? Just through solo projects, or through Grand Buffet touring or what?
Shark Tank-Height: We met, Me and Grunge met, in 2000. I had a group called Wombs, it was our first and last tour. And it was on the last day of it we played Roboto Project(in Pittsburgh). And we played with Grand Buffet, and had never heard of them or heard them before. But I think it turned out to be a really awesome show. And as I went solo Grand Buffet has always helped me do my thing. You know what I mean, So we been doing various shit together for a long time, and then we met(pointing at B. Rich)well you two met before...
LG: Yeah, B. Rich was, no disrespect, on my dick a little bit.
BR: Little bit.
LG: Yeah.
BR: I mean, shit was tight.
LG: Grand Buffet fan,(smirking at the camera) who turned out to be very nice on the mic.
BR: Yeah I booked a show for GB, in my hometown, in the great white North, in 04. and Big Height and Mick Free were the opening acts, and I guess it jumped off from there a little more I guess…
LG: Yeah it wasn't till 2009 when we actually started making songs together and stuff. But I kinda feel like that trip, the tour, we had Mick and Height opening for Grand Buffet we met. Well I had met you before then, but like we kicked with Brendan, and it was like this dudes tight yanno, some day something is gonna go down with all these dudes.
BR: No homo.
LG: No homo.
T-TAD:(laughs) Hell yeah. Well what do you think it would take for Shark Tank to be your main focus, you all seem to have your solo projects you're pretty wrapped up in. Is there any chance of that happening?
LG: It's something we wanna do regardless, I mean if Shark Tank ever gets the jump off. I mean of Cock Fork, or whatever, yanno. if someone ever gets behind Shark Tank, I think we'd all rise to the occasion, But I kinda feel like the goal is to keep making records regardless of anyone giving a shit. We would love it go off big, I think we'd all be very amped. But the purpose is just to crank out these records no matter what.
T-TAD: What's different about Shark Tank than about any of your solo stuff? What are some different elements that people will recognize that's different about your solo shit?
Height: Well I know for me, my solo stuff is kind of getting away from just like rapping over beats, More like either I'm trying to start the song from scratch with instruments, then kinda make it into a beat. Or whatever, I have different concepts and shit. But I feel like for me Shark Tank is more where the beats rhymes and stuff goes.
T-TAD: More conventional rap?
Height: No, not even conventional. I think for all of us, that's always been a thing, just making beats and rapping over them. Keeping it straight to the point. For me at least that's where that kind of stuff goes now. That side of myself or whatever, I dedicate towards that, if that makes any sense.
LG: Yeah, I mean I think with Shark Tank, we're keeping it rappy. Where with other project we've explored different genres. Like the Grand Buffet shit was kind of like experimental rap. Yeah I think the rap shit is going down more so in Shark Tank.
BR: Yeah I think for me the difference is it's tight to be able to rap and hang out with dudes that don't say "ey" all the time. I guess from my end of it, it's way more like rap. I'm in like rap bands. I do this rap band shit at home, it's fire. But this is way more like straight up rap to me compared to other shit I've worked on.
T-TAD: Last question, what are the future plans for Shark Tank? It's kind of hard for you guys to get together, just the cost of getting all three of you in one place for a short weekend tour. Do you guys have anything longer tours in mind?
LG: The tentative plan, and this is definitely subject to change. When we're gonna drop another record next year, we drop that, the plan is to do a proper tour. Do like a month long north American tour. In the mean time we are hoping to do some gigs, probably late summer or fall, do another run supporting Fun Youngs. But again, card subject to change, that's the loose plan. The next album "Don't Fuck with Us" which we've already started grinding on, will come out in 2013, the plan is to do a bonefied tour for it. But we're gonna continue the sporadic gig bullshit for the rest of this year.
PS once I steal a faster internet connection I'll upload some videos to youtube to link I filmed at the show.
Shark Tank-Lord Grunge: Shark tanks is a conglomeration of independent rap artists. Independent emcees that met a long time ago, and have been boys for a long time. And it is myself, Lord Grunge from Grand Buffet, my man Height from Height with Friends, and my man B. Rich has a band called Slaves of Spanky in Ontario.
Shark Tank-B. Rich: Stand up
LG: Stand up.
T-TAD: How did you guys meet, and what happened to your fourth member, Mickey Free, who is apparently dead?
LG: Mickey Free didn't actually die, although it wouldn't be inaccurate to say he's basically dead to me. I'll always have love for him, but in my mind he's passed away. No I don't know, I don't meant to bogart this interview, but I feel like Mickey is an extremely talented dude. He's an emcee, he's a producer, he's ridiculously talented. He just wasn't in the right mind set to do another DIY project. He's all about trying to stack his paper, and get this record deal or some shit like that. Which is cool, which is cool. But like, Shark Tank, is kind of not about not giving a fuck. We're just trying to do our shit regardless weather anyone cares. And I don't think he was in the right mind state to do that, so he respectfully bowed out. There's no beef. Even though dude is dead to me, he's cool. He's like the coolest dead dude ever.
T-TAD: Alright, well how did everyone else in the group meet? Just through solo projects, or through Grand Buffet touring or what?
Shark Tank-Height: We met, Me and Grunge met, in 2000. I had a group called Wombs, it was our first and last tour. And it was on the last day of it we played Roboto Project(in Pittsburgh). And we played with Grand Buffet, and had never heard of them or heard them before. But I think it turned out to be a really awesome show. And as I went solo Grand Buffet has always helped me do my thing. You know what I mean, So we been doing various shit together for a long time, and then we met(pointing at B. Rich)well you two met before...
LG: Yeah, B. Rich was, no disrespect, on my dick a little bit.
BR: Little bit.
LG: Yeah.
BR: I mean, shit was tight.
LG: Grand Buffet fan,(smirking at the camera) who turned out to be very nice on the mic.
BR: Yeah I booked a show for GB, in my hometown, in the great white North, in 04. and Big Height and Mick Free were the opening acts, and I guess it jumped off from there a little more I guess…
LG: Yeah it wasn't till 2009 when we actually started making songs together and stuff. But I kinda feel like that trip, the tour, we had Mick and Height opening for Grand Buffet we met. Well I had met you before then, but like we kicked with Brendan, and it was like this dudes tight yanno, some day something is gonna go down with all these dudes.
BR: No homo.
LG: No homo.
T-TAD:(laughs) Hell yeah. Well what do you think it would take for Shark Tank to be your main focus, you all seem to have your solo projects you're pretty wrapped up in. Is there any chance of that happening?
LG: It's something we wanna do regardless, I mean if Shark Tank ever gets the jump off. I mean of Cock Fork, or whatever, yanno. if someone ever gets behind Shark Tank, I think we'd all rise to the occasion, But I kinda feel like the goal is to keep making records regardless of anyone giving a shit. We would love it go off big, I think we'd all be very amped. But the purpose is just to crank out these records no matter what.
T-TAD: What's different about Shark Tank than about any of your solo stuff? What are some different elements that people will recognize that's different about your solo shit?
Height: Well I know for me, my solo stuff is kind of getting away from just like rapping over beats, More like either I'm trying to start the song from scratch with instruments, then kinda make it into a beat. Or whatever, I have different concepts and shit. But I feel like for me Shark Tank is more where the beats rhymes and stuff goes.
T-TAD: More conventional rap?
Height: No, not even conventional. I think for all of us, that's always been a thing, just making beats and rapping over them. Keeping it straight to the point. For me at least that's where that kind of stuff goes now. That side of myself or whatever, I dedicate towards that, if that makes any sense.
LG: Yeah, I mean I think with Shark Tank, we're keeping it rappy. Where with other project we've explored different genres. Like the Grand Buffet shit was kind of like experimental rap. Yeah I think the rap shit is going down more so in Shark Tank.
BR: Yeah I think for me the difference is it's tight to be able to rap and hang out with dudes that don't say "ey" all the time. I guess from my end of it, it's way more like rap. I'm in like rap bands. I do this rap band shit at home, it's fire. But this is way more like straight up rap to me compared to other shit I've worked on.
T-TAD: Last question, what are the future plans for Shark Tank? It's kind of hard for you guys to get together, just the cost of getting all three of you in one place for a short weekend tour. Do you guys have anything longer tours in mind?
LG: The tentative plan, and this is definitely subject to change. When we're gonna drop another record next year, we drop that, the plan is to do a proper tour. Do like a month long north American tour. In the mean time we are hoping to do some gigs, probably late summer or fall, do another run supporting Fun Youngs. But again, card subject to change, that's the loose plan. The next album "Don't Fuck with Us" which we've already started grinding on, will come out in 2013, the plan is to do a bonefied tour for it. But we're gonna continue the sporadic gig bullshit for the rest of this year.
PS once I steal a faster internet connection I'll upload some videos to youtube to link I filmed at the show.
Thursday, August 16, 2012
JE Double F interview from May 19th 2012
JE Double F is a tour-monger. He's a multi-musically talented, incredibly smart, nonstop, touring machine. A few months ago when he was in Pittsburgh I interviewed him about his hip hop music, as well as his other music projects, tour plans, thoughts on "real" hip hop, and more. Unfortunately I sat around doing nothing with this interview until after the full US tour of his I was hoping to help promote making certain parts of this interview irrelevant. I suck, Jeff rules, check it out.
TheThrowAwayDays: JE double F, how did you go from being in a punk band to rapping?
JE Double F: I've always listened to hip hop, I've always been into the music itself. Just like anyone else you want to be like the people that you like. Listened to a lot of Aesop Rock and Wu Tang as a kid so i wanted to be like them, and rap. And that's why I tried it, and that's it.
T-TAD: What do you when you're not rapping? For work and for leisure?
JEFF: For work I have a degree in computer science and minor in mathematics, so I usually get a job in that field. Pays the bills and allows me to tour whenever I want for the most part.
Leisure, yanno I play a lot of chess, star craft 2, video games, yanno, read. That's it, I play in a couple bands, GraveYard State and Cut it out, that's it.
T-TAD: Is Grave Yard State the one for your solo stuff?
JEFF: Yeah, it's like a melodic rock band, probably more along the lines of Hot Rod Circuit or Archers of Loaf. Yeah bands like that.
T-TAD: And what does Cut It Out sound more like?
JEFF: Cut It Out is like a hardcore punk band, kind of like Black Flag meets Black Sabbath usually what people say. It's fast but with a lot of riffs.
T-TAD: What do you do in each of those bands?
JEFF: I play guitar and sing in Grave Yard State and I just play guitar in Cut It Out.
T-TAD: Back to your job, how do you balance a super serious sounding job with all your touring?
JEFF: I guess I kind of just use the degree to "fall back on" per-say in terms of I just quit jobs to go on tour, and when I'm gonna be home for a few months just get a new job and then just kind of grind it out to the point where I'm basically quitting jobs and getting new jobs pretty often. Like twice to three times a year. So it doesn't really balance out naturally, you just do whatever it takes to keep playing music. that's what I want to do, it's not paying the bills yet, so I gotta do something to do that.
T-TAD: What do you think it would take for you to make music full time and not sweat a job anymore?
JEFF: Umm, I'd probably have to touch into Europe a lot more. I'm doing my first European tour this year in a couple of months. but I'd probably have to go over there a lot more because i don't feel like the type of music i do is really ever going to be able to pick up n the United States. I don't feel like the mentality of people here is right to be able to make a living off playing. In Terms of getting enough people to come to every show in every city to make enough money for when I come home to be able to pay my rent for X amount of months or whatever. So I'd probably need to go to Europe more which I'm working on. and just more hard work I guess in general, so I'm working on it.
T-TAD: You got a full US tour coming up, what are you plans with that?
JEFF: Yeah, it's a full us tour with Greenlander and MC Homeless, the first 10 days of it, it's just gonna be me and Greenlander. we're doing the whole east coast, all the way from Jersey, we're doing Baltimore, Richmond, Greenville(North Carolina), etc, etc. just me and Greenlander. Then we're hitting New Orleans and meeting up with MC Homeless and going all the way to the west coast, pretty much playing every single day at this point, 35 days straight. Just full US, just a big loop around the whole country.
T-TAD: How do you feel about "real hip, hip hop"?
JEFF: Real hip hop? I hate it, I think it's disturbing.
T-TAD: Why, what about it?
JEFF: just people that think a genre of music has to be a certain way, and anything outside of that certain way isn't "real." It's s. stupid. the point of music is to take you somewhere right? You're here, we're suppose to go here, and we try to stay here with "real hip hop." First of all it's just boring for me, and second of all you're just holding back.
I feel like most people who say anything "real hip hop," just want every record to sound like Illmatic, or 36 Chambers, or something. and anything that sounds like that and doesn't break that mold.
T-TAD: Something that's already been done.
JEFF: Yeah basically, and I love those records and they're great and it's what got me into hip hop. When I make music I just make it. I don't try to sound like this, or try to sound like that. you just go make it and write the songs, and the way it comes out is the way it comes out. I feel like it's way more interesting that way, to see other people play, and yanno. It's way more interesting when it just happens organically, and not like "we gotta make this song like a real hip hop song" or something like that yanno.
T-TAD: What's your formula for making a song?
JEFF: Usually I'll just write a lot of lyrics. It's kind of two separate things since I make the beats, and write the lyrics. But usually making the beats and writing lyrics are totally separate. Then it just kind of like works out, cause i make a lot of beats, so eventually something I write is gonna work of to a beat, and I kind of just change it to make it into song that cohesive and makes sense to a point, usually I just write a lot of lines, in my notepad in my phone. Eventually it all comes together in a verse, and usually right around that time is when a beat will surface, and I'm like oh this works, and something like that.
Website
Facebook
Tumblr
Sound Cloud(with acoustic songs, Grave Yard State, and some remixes)
Cut it Out
JE Double F: I've always listened to hip hop, I've always been into the music itself. Just like anyone else you want to be like the people that you like. Listened to a lot of Aesop Rock and Wu Tang as a kid so i wanted to be like them, and rap. And that's why I tried it, and that's it.
T-TAD: What do you when you're not rapping? For work and for leisure?
JEFF: For work I have a degree in computer science and minor in mathematics, so I usually get a job in that field. Pays the bills and allows me to tour whenever I want for the most part.
Leisure, yanno I play a lot of chess, star craft 2, video games, yanno, read. That's it, I play in a couple bands, GraveYard State and Cut it out, that's it.
T-TAD: Is Grave Yard State the one for your solo stuff?
JEFF: Yeah, it's like a melodic rock band, probably more along the lines of Hot Rod Circuit or Archers of Loaf. Yeah bands like that.
T-TAD: And what does Cut It Out sound more like?
JEFF: Cut It Out is like a hardcore punk band, kind of like Black Flag meets Black Sabbath usually what people say. It's fast but with a lot of riffs.
T-TAD: What do you do in each of those bands?
JEFF: I play guitar and sing in Grave Yard State and I just play guitar in Cut It Out.
T-TAD: Back to your job, how do you balance a super serious sounding job with all your touring?
JEFF: I guess I kind of just use the degree to "fall back on" per-say in terms of I just quit jobs to go on tour, and when I'm gonna be home for a few months just get a new job and then just kind of grind it out to the point where I'm basically quitting jobs and getting new jobs pretty often. Like twice to three times a year. So it doesn't really balance out naturally, you just do whatever it takes to keep playing music. that's what I want to do, it's not paying the bills yet, so I gotta do something to do that.
T-TAD: What do you think it would take for you to make music full time and not sweat a job anymore?
JEFF: Umm, I'd probably have to touch into Europe a lot more. I'm doing my first European tour this year in a couple of months. but I'd probably have to go over there a lot more because i don't feel like the type of music i do is really ever going to be able to pick up n the United States. I don't feel like the mentality of people here is right to be able to make a living off playing. In Terms of getting enough people to come to every show in every city to make enough money for when I come home to be able to pay my rent for X amount of months or whatever. So I'd probably need to go to Europe more which I'm working on. and just more hard work I guess in general, so I'm working on it.
T-TAD: You got a full US tour coming up, what are you plans with that?
JEFF: Yeah, it's a full us tour with Greenlander and MC Homeless, the first 10 days of it, it's just gonna be me and Greenlander. we're doing the whole east coast, all the way from Jersey, we're doing Baltimore, Richmond, Greenville(North Carolina), etc, etc. just me and Greenlander. Then we're hitting New Orleans and meeting up with MC Homeless and going all the way to the west coast, pretty much playing every single day at this point, 35 days straight. Just full US, just a big loop around the whole country.
T-TAD: How do you feel about "real hip, hip hop"?
JEFF: Real hip hop? I hate it, I think it's disturbing.
T-TAD: Why, what about it?
JEFF: just people that think a genre of music has to be a certain way, and anything outside of that certain way isn't "real." It's s. stupid. the point of music is to take you somewhere right? You're here, we're suppose to go here, and we try to stay here with "real hip hop." First of all it's just boring for me, and second of all you're just holding back.
I feel like most people who say anything "real hip hop," just want every record to sound like Illmatic, or 36 Chambers, or something. and anything that sounds like that and doesn't break that mold.
T-TAD: Something that's already been done.
JEFF: Yeah basically, and I love those records and they're great and it's what got me into hip hop. When I make music I just make it. I don't try to sound like this, or try to sound like that. you just go make it and write the songs, and the way it comes out is the way it comes out. I feel like it's way more interesting that way, to see other people play, and yanno. It's way more interesting when it just happens organically, and not like "we gotta make this song like a real hip hop song" or something like that yanno.
T-TAD: What's your formula for making a song?
JEFF: Usually I'll just write a lot of lyrics. It's kind of two separate things since I make the beats, and write the lyrics. But usually making the beats and writing lyrics are totally separate. Then it just kind of like works out, cause i make a lot of beats, so eventually something I write is gonna work of to a beat, and I kind of just change it to make it into song that cohesive and makes sense to a point, usually I just write a lot of lines, in my notepad in my phone. Eventually it all comes together in a verse, and usually right around that time is when a beat will surface, and I'm like oh this works, and something like that.
Website
Tumblr
Sound Cloud(with acoustic songs, Grave Yard State, and some remixes)
Cut it Out
Wednesday, August 8, 2012
Bleubird interview from 4-26-2012
When I first did this interview with Bleubird four and a half months ago, I had the high hopes of publishing it in the first issue where I would turn this stupid, unread, online blog, into a stupid, unread, waste of paper, fanzine. Since then my zine dreams haven't manifested any, and I've realized I have more important things to waste my money on than a poorly distributed underground hip hop zine. I've recently had a streak of bad luck that drained my will to live and keep this blog updated. This streak of self induced misfortune left me, in jail, in court, unemployed, heart broken, at funerals, loosing friends, loosing cars, in a perpetual state of drunken haze, all the way back to swearing myself to staying sober and turning my life around.
So here's to a pending new hobby of mine that will hopefully keep me motivated, sober, and out of trouble. Here I'll be interviewing indie rap artists and posting them on this blog. And to Bleubird, I'm sorry for hassling you so much to do an interview for a blog with such low traffic, maybe that will change once I start posting more of the interviews I've been sitting on...
TheThrowAwayDays: For those who don't know, let 'em know!
Bleubird: Bleubird; Sloppy Doctor, Les Swashbuckling Napoleons, Grimm Image, Fake Four, Endemik Music, Freebird(laughs). I'm a rapper.
T-Tad:You just released Cannonball, but it seemed like you had a bit of a hiatus before that, what was the deal?
BB: Yeah that was my bad, I actually did have a lot of music. I released a record called Primsin Allaey with this produced named Jay Rope from Berlin. That was my bad not calling it Bleubird and Jay Rope because technically it was a solo record just all produced by one producer. But it was a side project I did that was more noise rock influenced. I also did Les Swashbuckling Napoleons which was produced by Edison out of San Francisco and it was with this rapper named Thesis Siheid out of Canada. And I also did a project called Triune Gods produced by Scott Daross of Endemik Music and with a Japanese rapper named Shabit from this group called Oragomy. So I was super involved with making a lot of music I just hadn't put the effort into a "Bleubird" record per-say.
But yeah, I just released Cannonball a couple months ago and have not stopped touring, at the end of this run, on Saturday, I'll have played 69 shows already this year.
T-TAD: Cannonball is sort of a new direction for you, between your process of making your beats on this one, and even your flow seems paced a bit more compared to your standard "rapid fire" delivery. How come, and are you going to keep going on that direction?
BB: umm, I mean there is still some rapid fire to it. But I've been recording for about 10 years, even more. I just wanted to try something different. I was taken out of my comfort zone on purpose on Cannonball. I wanted to see if I could do that, and I'm just getting more into song writing; melodies, harmonies, and tension. You know like I just use to like my writing song was like "badadada" and the whole thing was just tense. But like I love the idea of like kind of getting you excited, and then calming you down, and then chilling you out, and then making you be like "oh", and then dropping it on you again. You know like the whole roller coaster ride aspect of song writing, and pitch, and mood. But I'm probably about to record some trap shit, you know I'm always gonna be doing different shit. And that's what I love, I don't know what the next Bleubird record is going to sound like, but it probably won't sound anything like Cannonball.
T-TAD: How is the first US tour to promote Cannonball going thus far, and how was the reaction for it during your European tour with Astronautalis?
BB: Europe was fucking awesome. I've always been more successful touring in Europe, I don't know why it just always worked for me better out there. But I know that it's also important to grind it out in the US. I had been touring the Freebird project during the last year and a half of during the process of making Cannonball, so I was trying out those songs. As far as the record being out and me playing shows, it hasn't been an overwhelming response, but the people that have been responding to it are awesome. I'm really excited about gaining new fans, people that have never heard of me and are just getting turned onto me on through Cannonball, because it's my first US release. Then I'm like, "look man there's ten record behind it." Yanno like all these different project and it's cool you know cause it blows peoples mind and shows them all these different sides of me. But you know it's been great, just seeing people that know some of the new songs, it's cool, because in Europe the record hadn't really hit, I was touring already while the record hit. So I'm actually going back in June to Eastern Europe and playing a few festivals in Hungary and German with Astronautalis again and I'm excited to see how it's gonna take over there. because I did 34 shows in 36 days in January and February, just hit it real hard, so now I'm psyched to go back and see how it's going to affect it. I don't have any plans to stop touring this year. I don't think just putting out my record was gonna make this huge response, i have to tour on it I have to play the shows. Directly after this tour, I have 8 days off, then going back to Europe for a month, then get back and I have 3 days off, then I'm jumping on the Warp Tour for another month. Then I'm trying to go to Japan and Australia after that.
T-TAD:Got any good stories from the road?
BB: (laughs) One of my favorite stories is a couple years ago I got invited to the middle east, to play in Amman Jordan. I was the first American rapper to play in Amman. I played with a Palestine rap group called Ramallah underground, on July 4th which was fucking hilarious. I was totally frightened, I had never been to the middle East. My mother is Jewish, but I wasn't raised religious, but i didn't know how much that affected peoples opinions, and the dudes I was playing with were pretty radical Palestinians. I didn't know if they would get my sense of humor, I showed up by myself, stayed in this Best Western next to the fucking Egyptian Embassy, there was just troops all over the place. I just Wandered all over the city for days, went to the Dead Sea, the show ended up being amazing, there was 300 kids there. I got along so awesome with Ramallah underground kids.
But the best part is I was through the airport, back into america. but leaving jordan, and I was leaving with one of the Palestine kids who was flying to Dubai. he was trying to help me through customs and shit because I didn't speak and Arab and they didn't speak much english, the custom dudes. and I ran into a snag with some of my gear, because i had a lot noisier of a setup then. and I had theses pedals that were homemade, with just boxes with knobs, with batteries taped to them and shit. and they were just like, "whoa, what the fuck is this?" and I like turned it on and it started being "beepbeepbeep" and they were just like "nonono!" and I got separated from my buddy, and next thing I know I'm surrounded by military in the airport in jordan, asking me all these questions but like it's just not working so they start calling over higher ranks. So finally they call the like general comes over and the dude is so stone faced and hates me as he walking up. And he opens my bag and all these stickers fall out it's this picture a French artists did of me with this ghetto blaster, it's a drawing. and i'm like great, now these mother fuckers are gonna hit me with this graffiti rule, like vandalizing their city. and he picks it up and he's like is this you? I'm like yeah, and my heart stops, and he's just like, "it's beautiful!" And I'm was like "YEAH!" and he was like, "you make rock or rap?" and I'm like, "rap!" And he's like, "I like rap!" and I'm like, "y-y-you want one??" He's like "YEAH!" So i'm handing out stickers to all these military dudes and they don't even look at one more thing on my bag. They shove everything back one, they're like, "thank you, please come back again."
T-TAD: What else do you plan on doing to promote cannonball?
BB: I been doing another serious of videos, like I worked really hard on that kickstarter campaign to shoot the super 8 video for pimp hand. but that didn't really have the affect I hoped cause we worked so fucking hard on doing that. but i just shot another video with Ceschi for time for real, with this crazy directory in San Francisco named Allen Price, he's done some videos for sub pop. I'm really excited, he's like building sets, it's puppets, and stop motion. me and Ceschi are gonna be floating over this digital ocean. We had a lot of fun making that, and I got some plans for some other videos. And I'm putting out 150 vinyl on my own, with a Lazer Beak remix on it, which is being worked on right now. I'm gonna get them pressed and I'm gonna screen print them myself. So throughout this year, I'm gonna keep on touring and try to release the remix, and vinyl, and a couple more videos. Just trying to get it out. I'm really proud of the album, and I love it. We had no budget for publicity. So the best publicity I have to do is just going out and playing it everywhere I fucking can.
Bleubird
Bleubird on facebook
Bleubird on twitter
So here's to a pending new hobby of mine that will hopefully keep me motivated, sober, and out of trouble. Here I'll be interviewing indie rap artists and posting them on this blog. And to Bleubird, I'm sorry for hassling you so much to do an interview for a blog with such low traffic, maybe that will change once I start posting more of the interviews I've been sitting on...
TheThrowAwayDays: For those who don't know, let 'em know!
Bleubird: Bleubird; Sloppy Doctor, Les Swashbuckling Napoleons, Grimm Image, Fake Four, Endemik Music, Freebird(laughs). I'm a rapper.
T-Tad:You just released Cannonball, but it seemed like you had a bit of a hiatus before that, what was the deal?
BB: Yeah that was my bad, I actually did have a lot of music. I released a record called Primsin Allaey with this produced named Jay Rope from Berlin. That was my bad not calling it Bleubird and Jay Rope because technically it was a solo record just all produced by one producer. But it was a side project I did that was more noise rock influenced. I also did Les Swashbuckling Napoleons which was produced by Edison out of San Francisco and it was with this rapper named Thesis Siheid out of Canada. And I also did a project called Triune Gods produced by Scott Daross of Endemik Music and with a Japanese rapper named Shabit from this group called Oragomy. So I was super involved with making a lot of music I just hadn't put the effort into a "Bleubird" record per-say.
But yeah, I just released Cannonball a couple months ago and have not stopped touring, at the end of this run, on Saturday, I'll have played 69 shows already this year.
T-TAD: Cannonball is sort of a new direction for you, between your process of making your beats on this one, and even your flow seems paced a bit more compared to your standard "rapid fire" delivery. How come, and are you going to keep going on that direction?
BB: umm, I mean there is still some rapid fire to it. But I've been recording for about 10 years, even more. I just wanted to try something different. I was taken out of my comfort zone on purpose on Cannonball. I wanted to see if I could do that, and I'm just getting more into song writing; melodies, harmonies, and tension. You know like I just use to like my writing song was like "badadada" and the whole thing was just tense. But like I love the idea of like kind of getting you excited, and then calming you down, and then chilling you out, and then making you be like "oh", and then dropping it on you again. You know like the whole roller coaster ride aspect of song writing, and pitch, and mood. But I'm probably about to record some trap shit, you know I'm always gonna be doing different shit. And that's what I love, I don't know what the next Bleubird record is going to sound like, but it probably won't sound anything like Cannonball.
T-TAD: How is the first US tour to promote Cannonball going thus far, and how was the reaction for it during your European tour with Astronautalis?
BB: Europe was fucking awesome. I've always been more successful touring in Europe, I don't know why it just always worked for me better out there. But I know that it's also important to grind it out in the US. I had been touring the Freebird project during the last year and a half of during the process of making Cannonball, so I was trying out those songs. As far as the record being out and me playing shows, it hasn't been an overwhelming response, but the people that have been responding to it are awesome. I'm really excited about gaining new fans, people that have never heard of me and are just getting turned onto me on through Cannonball, because it's my first US release. Then I'm like, "look man there's ten record behind it." Yanno like all these different project and it's cool you know cause it blows peoples mind and shows them all these different sides of me. But you know it's been great, just seeing people that know some of the new songs, it's cool, because in Europe the record hadn't really hit, I was touring already while the record hit. So I'm actually going back in June to Eastern Europe and playing a few festivals in Hungary and German with Astronautalis again and I'm excited to see how it's gonna take over there. because I did 34 shows in 36 days in January and February, just hit it real hard, so now I'm psyched to go back and see how it's going to affect it. I don't have any plans to stop touring this year. I don't think just putting out my record was gonna make this huge response, i have to tour on it I have to play the shows. Directly after this tour, I have 8 days off, then going back to Europe for a month, then get back and I have 3 days off, then I'm jumping on the Warp Tour for another month. Then I'm trying to go to Japan and Australia after that.
T-TAD:Got any good stories from the road?
BB: (laughs) One of my favorite stories is a couple years ago I got invited to the middle east, to play in Amman Jordan. I was the first American rapper to play in Amman. I played with a Palestine rap group called Ramallah underground, on July 4th which was fucking hilarious. I was totally frightened, I had never been to the middle East. My mother is Jewish, but I wasn't raised religious, but i didn't know how much that affected peoples opinions, and the dudes I was playing with were pretty radical Palestinians. I didn't know if they would get my sense of humor, I showed up by myself, stayed in this Best Western next to the fucking Egyptian Embassy, there was just troops all over the place. I just Wandered all over the city for days, went to the Dead Sea, the show ended up being amazing, there was 300 kids there. I got along so awesome with Ramallah underground kids.
But the best part is I was through the airport, back into america. but leaving jordan, and I was leaving with one of the Palestine kids who was flying to Dubai. he was trying to help me through customs and shit because I didn't speak and Arab and they didn't speak much english, the custom dudes. and I ran into a snag with some of my gear, because i had a lot noisier of a setup then. and I had theses pedals that were homemade, with just boxes with knobs, with batteries taped to them and shit. and they were just like, "whoa, what the fuck is this?" and I like turned it on and it started being "beepbeepbeep" and they were just like "nonono!" and I got separated from my buddy, and next thing I know I'm surrounded by military in the airport in jordan, asking me all these questions but like it's just not working so they start calling over higher ranks. So finally they call the like general comes over and the dude is so stone faced and hates me as he walking up. And he opens my bag and all these stickers fall out it's this picture a French artists did of me with this ghetto blaster, it's a drawing. and i'm like great, now these mother fuckers are gonna hit me with this graffiti rule, like vandalizing their city. and he picks it up and he's like is this you? I'm like yeah, and my heart stops, and he's just like, "it's beautiful!" And I'm was like "YEAH!" and he was like, "you make rock or rap?" and I'm like, "rap!" And he's like, "I like rap!" and I'm like, "y-y-you want one??" He's like "YEAH!" So i'm handing out stickers to all these military dudes and they don't even look at one more thing on my bag. They shove everything back one, they're like, "thank you, please come back again."
T-TAD: What else do you plan on doing to promote cannonball?
BB: I been doing another serious of videos, like I worked really hard on that kickstarter campaign to shoot the super 8 video for pimp hand. but that didn't really have the affect I hoped cause we worked so fucking hard on doing that. but i just shot another video with Ceschi for time for real, with this crazy directory in San Francisco named Allen Price, he's done some videos for sub pop. I'm really excited, he's like building sets, it's puppets, and stop motion. me and Ceschi are gonna be floating over this digital ocean. We had a lot of fun making that, and I got some plans for some other videos. And I'm putting out 150 vinyl on my own, with a Lazer Beak remix on it, which is being worked on right now. I'm gonna get them pressed and I'm gonna screen print them myself. So throughout this year, I'm gonna keep on touring and try to release the remix, and vinyl, and a couple more videos. Just trying to get it out. I'm really proud of the album, and I love it. We had no budget for publicity. So the best publicity I have to do is just going out and playing it everywhere I fucking can.
Bleubird
Bleubird on facebook
Bleubird on twitter
Tuesday, July 3, 2012
Steddy P @ Shadow Lounge 7-2-2012
Live hip hop shows have always been, in my opinion, for getting boozed up. It's pretty rare that I can go to a live, hear someone for the first time, and be into anything more than their presence and beats. Leaving out the element most important to me, the lyrical content. However last night that outlook of going to shows just to get faded changed considering the fact that I'm broke and virtually unemployed.
So when I heard about Proseed and Fortified PhonetX throwing a show at Shadow Lounge I could think of every excuse not to go so I could stay home and save money. But when my brothers in arms were frantically sending out texts last minute to avoid a flopped show I couldn't help but go out and support them when I'd rather be sitting in my lonely apartment listening to rats shit in my silverware drawer. Not to mention one of the texts I got said the $5 cover was reduced to $3 for fellow artists, and I assumed I'd be able to get a little buzz up by stealing drinks off of rich girls while they weren't looking.
I arrived to the show two and a half sets in(missing Frigid Giant, Dos Noun, and part of Proseed), and to my dismay wasn't able to get in at the rumored reduced rate. No worries though, because I went out to try and salvage my friends potentially small show, one $5 cover charge at a time. Also to my dismay half the girls there were in some way related to Moemaw Naedon, making it a little uncomfortable to steal drinks from them in case I got caught.
Either way, I showed up just in time to catch my first show experience with Steddy P. And although I was crabby and sober, the dude from Kansas City killed it. Steddy P's set was super enthusiastic and you could tell he was more than happy to be in Pittsburgh for the first time. One of my favorite lines of his that really stuck with me was,"work hard, play hard, party hard, fuck hard... until we reach the graveyard." He ended his set by inviting everyone in the audience to go do shots with him. If only I could have...
He's got free shit online, and seems to be the touring type, check it out, then don't be a scrub like me and buy his shit when he rolls through your town and do some shots with him.
http://www.facebook.com/steddyp
http://steddyp.bandcamp.com/
So when I heard about Proseed and Fortified PhonetX throwing a show at Shadow Lounge I could think of every excuse not to go so I could stay home and save money. But when my brothers in arms were frantically sending out texts last minute to avoid a flopped show I couldn't help but go out and support them when I'd rather be sitting in my lonely apartment listening to rats shit in my silverware drawer. Not to mention one of the texts I got said the $5 cover was reduced to $3 for fellow artists, and I assumed I'd be able to get a little buzz up by stealing drinks off of rich girls while they weren't looking.
I arrived to the show two and a half sets in(missing Frigid Giant, Dos Noun, and part of Proseed), and to my dismay wasn't able to get in at the rumored reduced rate. No worries though, because I went out to try and salvage my friends potentially small show, one $5 cover charge at a time. Also to my dismay half the girls there were in some way related to Moemaw Naedon, making it a little uncomfortable to steal drinks from them in case I got caught.
Either way, I showed up just in time to catch my first show experience with Steddy P. And although I was crabby and sober, the dude from Kansas City killed it. Steddy P's set was super enthusiastic and you could tell he was more than happy to be in Pittsburgh for the first time. One of my favorite lines of his that really stuck with me was,"work hard, play hard, party hard, fuck hard... until we reach the graveyard." He ended his set by inviting everyone in the audience to go do shots with him. If only I could have...
He's got free shit online, and seems to be the touring type, check it out, then don't be a scrub like me and buy his shit when he rolls through your town and do some shots with him.
http://www.facebook.com/steddyp
http://steddyp.bandcamp.com/
Tuesday, May 15, 2012
Ceschi - Fake Flowers R.I.P. #2
Look at this, a free, legal download from Ceschi similar to the one I stumbled on that I thought was some rare gem in the last post, turns out I was wrong. When I saw Ceschi at Youngstown a few weeks ago I'm pretty certain he had none of these available. I don't know why, I get super pumped when I see an artists discography sprawled across a makeshift merch table.
Digital downloads only are so lame, keep print alive... but if it's free digital download only I'll take it.
Ceschi - Fake Flowers R.I.P. #2
Digital downloads only are so lame, keep print alive... but if it's free digital download only I'll take it.
Ceschi - Fake Flowers R.I.P. #2
Sunday, May 13, 2012
Ceschi and Bleubird in Youngstown, OH 4-24-2012
I had an old cd of Ceschi's I found on SoulSeek ages ago called, Fake Flowers RIP 3 CDR. I was going to share it, but with everything being taken off mediafire lately, and me not knowing any other way to share music, I think I'm going to pass. It's a shame because it's something that isn't in circulation anymore(if it ever was, I can't find much info about this release) but is still worth hearing. Given by the name I think it's some sort of prequel/sequel to Fake Flowers filled with rough recordings or songs that didn't make the cut, but are still good. Maybe I'll eventually find a way to share this legally, but until then I'm just going taunt the nonexistant readers of this blog with the fact that I had an obscure Ceschi Ramos release and YOU DON'T!
Bleubird killed it at the show. It was awesome to see how he stepped up after Greenlander and Stillborn Identity had to face a pretty stagnant crowd and then 'bird turned them inside out. His on stage banter made it hard for anyone in the crowd not to participate in his set. The video above was his first song of the night, and he immediatly grabs the crowds attention(even the crowd outside chain smoking) with a freestyle that involves everyone. Shit was rad. Go see Bleubird.
I also did an interview with Bleubird after the show for the upcoming first issue of my zine ironically enough titled, TheThrowAwayDays.
Free legal shit; Street Talk 5, Street Talk III, Street Talk 2
Free legal shit from Baker; From California
Free legal shit from Greenlander; Split, Self Titled
Free legal shit from Stillborn Identity; Half Nothing, Life vs. Art, Less is More, Nude Pictures
Tuesday, April 17, 2012
F. Stokes @ Shadow Lounge and OneUp 'Spring Training' @ Mckinley 4-22
I have no clue who Folkland is. I kind of doubt I'm going to find out at this show either. One Up is holding a game of skate the the McKinley skate park and I'm going to that for sure. Probably going to have some beers and be irresponsible to the point where I should ride my bike to the show so I don't get a DUI. Although you can get a BUI for riding drunk, but it's still called a DUI. So not only do you still get busted, you don't even get the novelty of framing a citation that says BUI. Bummer
Sunday, April 15, 2012
Dezmatic and Mr. Dibbs - Bigfoots Dick
In 2009 Dezmatic released this an album with Mr. Dibbs. At the time I had no idea who Dez was, I however was pretty into Mr. Dibbs(mostly because his brother was in the band Suffocate Faster). But Dez was about to go on tour with Seez Mics of the Educated Consumers, so I took it upon myself to get familiar with him and downloaded this for free off his myspace.
The show was poorly attended so I decided to pick up a hard copy of this cd to support touring artists. Ironically enough the cd didn't play. Whatever though, Dez gave me a skate video(Hood Rules Apply)from Albany featuring Curtis Rap, so I took it with a grain of salt that the cd didn't play. Dibbs had some rad samples from The Black Keys, and Sleep and there were killer sound bites from some awesome movies so I was immediately hyped on that. And I quickly found out that Dez is a pretty rad rapper too. Although I think he has some better work both before and after this, but either way this release is good and it's the only one I've bought.
More interesting than my boring opinion on Bigfoots Dick is the credits song in the video he gave me. Apparently in Albany there is a house called B-Block, where all the local skaters live on one floor, and on the other floor is where all the rappers live. Sounds like a dream come true to me. Dezmatic and Rick Whispers made the song for the end credits in Hood Rules Apply. I'm into it.
twitter
bandcamp
dez and nobs facebook
dahnload
The show was poorly attended so I decided to pick up a hard copy of this cd to support touring artists. Ironically enough the cd didn't play. Whatever though, Dez gave me a skate video(Hood Rules Apply)from Albany featuring Curtis Rap, so I took it with a grain of salt that the cd didn't play. Dibbs had some rad samples from The Black Keys, and Sleep and there were killer sound bites from some awesome movies so I was immediately hyped on that. And I quickly found out that Dez is a pretty rad rapper too. Although I think he has some better work both before and after this, but either way this release is good and it's the only one I've bought.
More interesting than my boring opinion on Bigfoots Dick is the credits song in the video he gave me. Apparently in Albany there is a house called B-Block, where all the local skaters live on one floor, and on the other floor is where all the rappers live. Sounds like a dream come true to me. Dezmatic and Rick Whispers made the song for the end credits in Hood Rules Apply. I'm into it.
bandcamp
dez and nobs facebook
dahnload
Tuesday, April 3, 2012
Sula - Blinding Embarrassment with Justification
I listen to this way more than I should. I'll admit I'm a bit of a lo-fi snob, but still that's no excuse for listening to this cd as much as I do.
Sula, is Justin Huock's brain child of a band. He is the founding, and only original member. I'm pretty certain Sula has had more band members than it has had shows, and there is no chance of that statistic changing around now that Justin is a 20 year old dad and productive working member of society. As a full time adult I hope Justin can still free space in his schedule to keep creating and sharing music after having such promising start and unique style. Especially considering that he was just some young buck that should have been worried about getting boozed up instead of orchestrating every instrument of a full band when this cd came out in 2010.
I was introduced to this band when I use to work with Justin at a shitty dead end restaurant. I honestly gave his first demo next no listen. It wasn't until he moved in with me and started working on this release that I started to take his band seriously. I did my best to corrupt Justin during the short year we lived together. I would sneak him into bars and tell him to hide in the bathroom while I order him a beer, and then vouch for him when the bartender came over demanding i.d. from the wide eyed, speechless barely legal teen. We talked about planning tours, and collaborating on songs that would never happen. On more than one occasion I would try and trick Justin into staying up all night listening to shitty East coast rap on my iPod, telling him to let "future Justin" worry about getting up early for work. All my efforts hardly worked though, considering Justin moved out and got a job as a welding apprentice while I was stuck at the shitty dead end restaurant we met at several years after, and hundreds of dissatisfied customers later.
I know this cd has it's flaws, but I think that's what adds authenticity to it. From the conviction in Justin's thick Pittsburgh accent voice piercing through the shitty computer monitors they recorded on by themselves, to being heavily influenced by Modest Mouse, to the overly busy bass lines(especially in Greg the Drunk), to winy teeny backing vocals, and more. Yet I still can't stop listening to one of the most honest attempts of making original music by a couple of bored teenagers I've ever heard.
Justin's unique vocals patterns are what reel me in, and on top of that his topic ranges beyond the standard realm of sad emo songs that most kids his age would be writing.
Sula - Blinding Embarrassment with Justification
Sula, is Justin Huock's brain child of a band. He is the founding, and only original member. I'm pretty certain Sula has had more band members than it has had shows, and there is no chance of that statistic changing around now that Justin is a 20 year old dad and productive working member of society. As a full time adult I hope Justin can still free space in his schedule to keep creating and sharing music after having such promising start and unique style. Especially considering that he was just some young buck that should have been worried about getting boozed up instead of orchestrating every instrument of a full band when this cd came out in 2010.
I know this cd has it's flaws, but I think that's what adds authenticity to it. From the conviction in Justin's thick Pittsburgh accent voice piercing through the shitty computer monitors they recorded on by themselves, to being heavily influenced by Modest Mouse, to the overly busy bass lines(especially in Greg the Drunk), to winy teeny backing vocals, and more. Yet I still can't stop listening to one of the most honest attempts of making original music by a couple of bored teenagers I've ever heard.
Justin's unique vocals patterns are what reel me in, and on top of that his topic ranges beyond the standard realm of sad emo songs that most kids his age would be writing.
Sula - Blinding Embarrassment with Justification
Saturday, March 24, 2012
Who Goes There? - Cooler Than Dinosaurs
Who Goes There? was rad, and if you didn't already know that you're fucking up because their last show was Saturday July 23rd 2011 with Step Dads, and Stillborn Identity(me).
I knew these guys through their drummer Eric, we grew up skating together and when he found out I "rapped" he was totally down to put me on house shows they had. I was horrible back then, waaaay worse than I am now. I would just get whiskey drunk, stop my songs halfway through because I was slurring so bad, then just tell embarrassing anecdotes for the remainder of my set. And yet for some reason these dudes kept asking me to come play.
Cooler Than Dinosaurs was their last release. One of the reasons this cd is so rad is because of the packaging, the insert was a comic book of dinosaurs who like to party by Ben Harkins. I didn't even get my hands on a copy until a few months after they broke up. After a show I played with one of Eric's new bands we went back to one of his band mates houses to eat free pizza and swap dumpster diving locations and stories. Eric went inside and found a back pack full of his Who Goes There? unsold cds and distributed a copies to those of us who didn't have one yet. Free food. Free cd. Full day.
All the members of this band were super hospitable to touring bands. Offering their couches, floors, stolen food from shitty restaurant jobs, and mason jars full of alcohol without hesitation. They're good dudes, I don't know where or how you could go about buying this cd anymore but you should support some of the new groups that have sprout from the demise of Who Goes There?.
In hind sight I probably should have scanned this in, but whatever.
Club Banger
Dub Skanky
Boyfriend Material
and more I don't know about
Who Goes There? - Cooler Than Dinosaurs review download
Not like you can read any of this but here's the last page...
I knew these guys through their drummer Eric, we grew up skating together and when he found out I "rapped" he was totally down to put me on house shows they had. I was horrible back then, waaaay worse than I am now. I would just get whiskey drunk, stop my songs halfway through because I was slurring so bad, then just tell embarrassing anecdotes for the remainder of my set. And yet for some reason these dudes kept asking me to come play.
Cooler Than Dinosaurs was their last release. One of the reasons this cd is so rad is because of the packaging, the insert was a comic book of dinosaurs who like to party by Ben Harkins. I didn't even get my hands on a copy until a few months after they broke up. After a show I played with one of Eric's new bands we went back to one of his band mates houses to eat free pizza and swap dumpster diving locations and stories. Eric went inside and found a back pack full of his Who Goes There? unsold cds and distributed a copies to those of us who didn't have one yet. Free food. Free cd. Full day.
Dub Skanky
Boyfriend Material
and more I don't know about
Who Goes There? - Cooler Than Dinosaurs review download
Wednesday, March 21, 2012
Proseed - Quintessential
Proseed played a show a few nights ago at The Shadow Lounge and I totally missed it because I'm a scrub and decided to stay home and play with my dog instead. Luckily a there is a footage of the show online so anything I missed in person I get to catch up with online and talk about the show like I was actually there. Right? Or is the internet only used for watching monkey piss on themselves and women masturbate... Either way here is some footage of Proseed killing it with DJ Blacklisted(of Fortified PhonetX)
It's awesome to see Proseed getting such a warm introduction by one of Pittsburgh's most reputable emcees, Real Deal. Proseed has been killing it for years and deserves every bit of respect he gets and much more. He's one of the few emcees I've seen in Pittsburgh whose draw transcends one genre of hip hop. He'll rip every show he's put on weather the audience be backpackers, thugs, punks, deaf dogs, hipster hop heads, drunk yinzers, nerd rappers, crabby pregnant women, or anything and anyone you put in front of his stage. It's inspiring to see great his great lyrical ability will go above and beyond his standard Solid Ground Entertainment(SGE) realm that he's been dominating ever since I saw him open for Louis Logic and Z Man in 2005/2006.
In spite of missing his show the other night I decided to listen to all I have of his discography today while miserably wrenching on withered old Mustangs at my dads auto body shop. And in doing so I came to find out(again) that his even his 2007 first full length, Quintessential, is so much better than what people are doing 5 years later, although he considers it to be "a little premature."
When this came out I use to go to shows on a straight solo mission, dead sober, sitting at the bar by myself, ordering water, nervously looking around and pretending to check my cell phone that didn't have texting... it was awkward. I had tried to work up the courage to ask Derek for a copy of his cd, with $10 in my hand to make the transaction as fast and painless as possible, but that water on the rocks I was sipping didn't give my any extra confidence. So needless to say when I saw the release a few weeks later at The Record Exchange for a mere $10.70 I did not hesitate to pay the extra 70 cents not to have to talk to an artist that I respected. It doesn't make sense I know, but what can I say, I have horrible social skills, which is probably why I blog.
Years later when I watching one of his sets at The Smiling Moose he grabbed a few long lasting copies of Quintessential and set them on the floor in front of the stage and said that anyone who wanted one could have one. After that he looked at me, knowing I had bought it years prior and apologized that I had to pay full price for it. Then he added some dry humored comment like, "no refunds," and went on with his set. I didn't mind paying money to support artists that I respect, talking to them(while sober) is the tough part.
try it for free
then when you like it buy a physical copy here or digital here
facebook
website
It's awesome to see Proseed getting such a warm introduction by one of Pittsburgh's most reputable emcees, Real Deal. Proseed has been killing it for years and deserves every bit of respect he gets and much more. He's one of the few emcees I've seen in Pittsburgh whose draw transcends one genre of hip hop. He'll rip every show he's put on weather the audience be backpackers, thugs, punks, deaf dogs, hipster hop heads, drunk yinzers, nerd rappers, crabby pregnant women, or anything and anyone you put in front of his stage. It's inspiring to see great his great lyrical ability will go above and beyond his standard Solid Ground Entertainment(SGE) realm that he's been dominating ever since I saw him open for Louis Logic and Z Man in 2005/2006.
In spite of missing his show the other night I decided to listen to all I have of his discography today while miserably wrenching on withered old Mustangs at my dads auto body shop. And in doing so I came to find out(again) that his even his 2007 first full length, Quintessential, is so much better than what people are doing 5 years later, although he considers it to be "a little premature."
Years later when I watching one of his sets at The Smiling Moose he grabbed a few long lasting copies of Quintessential and set them on the floor in front of the stage and said that anyone who wanted one could have one. After that he looked at me, knowing I had bought it years prior and apologized that I had to pay full price for it. Then he added some dry humored comment like, "no refunds," and went on with his set. I didn't mind paying money to support artists that I respect, talking to them(while sober) is the tough part.
try it for free
then when you like it buy a physical copy here or digital here
website
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