Two years ago, I traveled to Nigeria to do a short documentary on my friend Dena’s organization The Nigerian School Project.
With Dena, I visited the public schools she built on an island of 350,000 people that is not labeled on maps. It has no running water or electricity.
Now, we are growing the film, “From Jersey, With Love” into a full length doc.
In order to complete it, we plan to bring a crew to film the island’s first high school graduation in June.
Last summer, I stayed on the island to get to know the students, teachers and the community better. And, I had the privilege to co-teach the students with a young Nigerian woman who Dena had sponsored through college.
The community embraced us. And, the relationships I built In Nigeria are a source of joy for me and an inspiration for the film.
In a couple of months we are going to start a Kickstarter (crowdfunding) campaign to fund the upcoming filming in Nigeria for the graduation and to capture stronger interview footage.
Please share our project, “From Jersey, With Love.”
Protomartyr on Friday at Underground Arts in Philadelphia
Text and Photos by K. Cecchini
I just saw Protomartyr on Friday at Underground Arts, which is (I say) Philly version of Brooklyn’s Rough Trade where we saw them in October. I wrote a piece after that show and never posted it, so I will do it now.
Protomartyr vocalist Joe Casey took to the stage October at Brooklyn’s Rough Trade in his standard business casual attire. Throughout the set, he alternated between nonchalantly standing with one hand in his pocket, suit jacket pushed back and the other holding the mike to his face and intensely stretching up to nearly wrap his mouth around the mike on the stand. And then, with his hand still on the microphone, he will often hang his head down until the next verse.
With Casey’s vocals, drummer Alex Leonard, Guitarist Greg Ahee and Bass Guitarist Scott Davidson brought their richly textured sound to life in Rough Trade’s intimate space. Not letting up on the music, Davidson played right through a bloody nose. It was also really fantastic to already hear their brand new album The Agent Intellect live. On its own, the track, “Why Does it Shake?,” was worth the midnight trip into Brooklyn.
Protomartyr appears to have gathered a slew of attention in the past year and I would love to interview them before they get too big.
This post was originally published on MissCareerLess; an awesomely honest online magazine featuring ‘Women Who Change, Dare to Change and Dare the Change.’ Because everybody has a story to share!
Photos and Interview by Kimberly Cecchini
Bettina Peets is changing her life – one adventure at a time. And, with her new business Adventure Goddess Retreats and Events, she is also doing this for other women. In Bettina’s words,
“Adventure Goddess was created to bring women together to bond, to help women step out of their box, to give women adventurous experiences that help them reclaim themselves and help them dream again. I do all this by creating these amazing retreats that have physical activity, has bonding experiences, workshops. So it can be a five-day retreat, it can be a one-day excursion, but all of it is designed to help women connect with women and help women connect with themselves.”
As her friend, I have had the joy of witnessing and being a part of Bettina’s transformation because adventure has truly become her pride and joy. She has made it her life. (And – I admit – I sometimes think of Bettina as my Adventure Goddess…so what are we doing next, my friend?)
Although, Bettina and I often share our stories and support and share each other, I was excited for the opportunity to have a more formal conversation on Adventure Goddess, embracing change and living the adventure. On a Sunday night, I went over to Bettina’s home, and we have talked about inspiration for her business, representations of African-American women in adventurous activities and valuing ourselves as women.
Kimberly Cecchini on behalf MissCareer/Less: Why did you start an adventure business for just women?
Bettina Peets: Because I think men do (adventure) so easily, from Little League to going to sports bars to sports. And once women start having children and families, it doesn’t happen so easily for us. We have to remind ourselves to have fun and support each other.
MCL: I know that you have received both positive and negative reactions to the concept. Can you please give examples of both?
BP: It’s so funny, once women come to an experience, and they’ve done it, afterward, it’s all positive. All positive. The hesitation I get from some women is that they think they should not go on trips or excursions without their husbands. And sometimes the price is an issue. Sometimes women easily spend money on their hair and their nails or spend money on their children and their husband, but won’t so readily give themselves an experience.
The hesitation I get from some women is that they think they should not go on trips or excursions without their husbands.
MCL: What do you say to (these women) then?
BP: I just put a question out there on Facebook: if women would (go on trips without their husbands) and I just kind of let the answers speak for themselves to those doubters. They were able to read other women’s responses and reflected on their own thoughts as far as alone time, and it’s value. And not just alone time, but time with other women.
MCL: Can you name one of those Facebook responses?
BP: One (response) was ‘We deserve it. We need it because we give our time to our husbands and our children. We need to recharge.’ And one woman even said ‘it makes me a better wife when I spend time away from my husband.’
Adventure Goddess Participant with Aerial Dance Instructor
MCL: Since creating Adventure Goddess, you have been very inspired to include more adventure in your life as part of your self-care. How do you make this happen for yourself within the constraints of having a full-time job and other obligations?
BP: Just like how we schedule our doctor’s appointments, our hair appointments, nail appointments. I just really started to manually schedule (adventures) and now it’s automatic. Like my car, the minute I turn it on, it goes to the beach. (Bettina laughed)
MCL: How has this changed you?
BP: Oh my god. I feel more content with myself. I’m happier. I enjoy my time alone, and I enjoy my time with other women. I think they enjoy me more because I’m happier with myself. I’m excited about life every day. And I don’t even have to be doing anything. I can be sitting still, and I’m freaking excited.
“I just really started to manually schedule (adventures) and now it’s automatic.
MCL: What are the primary elements you want to integrate into your retreats and what’re their purposes?
BP: I was actually working on something (today), in my retreat. I was trying to give it a name, and I thought about my favorite song, ‘Dream On’ (Aerosmith). I was thinking about the song and the name of the retreat is going to be ‘Reclaim Your Dreams Retreat.’
I want to create experiences that will help women realize all of their potential, the possibility of creating the best life possible. Realizing their own ability to create their own fun, realizing their ability to create excitement in their own lives and not waiting for anyone to do it for them – not waiting for a man to do it for them, not waiting for a job to do it for them. I’m hoping that out of these experiences; they realize that need for fun. I hope they realize the value of fun. And some of the experiences I’m creating are physically strenuous, and I’m hoping that they can push themselves past what they think their own limits are, and that will help them in their own lives.
MCL: Please give me examples.
BP: Like (one woman) showed up for rock climbing after just having hip surgery and she didn’t think she would be able to do it. And she – after having hip surgery 60 days prior – she was able to go all the way to the top, and she was so happy with herself. So a better answer would be creating activities that help women reach their full potential.
Adventure Goddess Retreats and Events Founder Bettina Peets Conquering a Treetop Course
MCL: As an African-American women you have identified that such activities as hiking and boating are uncommon for many people of your ethnicity. Why do you think that is?
BP: I think, not so much, that it is uncommon, but people think it’s uncommon. Or maybe a little of both. I think because it could be simply economics; the way some people grew up. Because if you grew up in an urban inner city environment, no you’re not going sailing. You may not go hiking. Your parents might be too busy working to think even about those excursions. So some people need to be exposed to it, but some people of color are doing all of these amazing things; we just need to connect more and bring along our friends who aren’t doing it.
MCL: Although Adventure Goddess is for all women, you have purposely highlighted African-Americans engaged in activities that they tend to be poorly represented in. How do you envision this change?
BP: I’m hoping to have a bigger presence in social media, eventually have a bigger presence in some of the bigger hiking groups and maybe combine with bigger organizations who can collaborate.
MCL: Based on the pictures you have posted (in which) you’ve highlighted some of these activities with women of color, have you received any reactions to them?
BP: Yes. I’ve received a lot of positive reactions and feedback to my pictures. It gets people excited; more people want to go. I get responses like ‘Oh, my God, I can’t believe you did that; I’ve always wanted to try it.’ And that’s another goal of this business; there’re so many things that people want to do, but they don’t have anybody to do with it and they always wanted to try it, so the biggest response is ‘Oh, my God, I’ve always wanted to do that! When are you doing it again?’.
“…creating activities that help women reach their full potential.
MCL: Do you see Adventure Goddess within a larger social movement or connection?
BP: I do see (Adventure Goddess) connected to the bigger movement of women living their best lives. And women valuing themselves outside of their children, outside of their marriage, outside of their career.
MCL: Can you name other examples you’ve seen this in?
Bettina Peets at the Adventure Goddess Launch Party with Participants and Rock Climbing Instructors
MCL: Do you think extend we use technology is supporting all these in some ways; you know, because we can see ourselves in other women?
BP: That could be. But take technology away – spiritually, women are evolving, and we have a desire to connect more. Maybe because of technology and because of the work- force; we’ve become so disconnected that today spiritually, we just want to connect with each other.
MCL: Do you feel like you’re valuing yourself more through these experiences?
BP: I do! Every time I climb to the top of a mountain, I feel so freaking awesome. Every time I just sit still in the mountains, I feel awesome. Every time I give myself permission just to drive to the beach by myself, I validate myself. Every time I create an event and I see women bonding, and women pushing themselves, it’s the most awesome feeling in the world. So the more I create experiences for myself, the more I have the energy to create experiences for other women. And it feeds my soul that I can feed others’ souls.
MCL: And how does that carry throughout your day – not just the moments that you’re having adventures – but other moments?
BP: It carries through my day because I know that I’m bringing meaning to my life and I’m bringing meaning to other people’s lives, and that gives me a sense of this deep fulfillment and a sense of contentment that I know what my mission in life is.
Eric Carle’s illustrations are easy to identify. My husband did not recognize his name, but recognized his artwork as soon as he saw it at the Montclair Art Museum (MAM).
A kid-painted blue horse in at the Montclair Art Museum for the Eric Carle exhibition.
Carle’s books are well-known staples in the world of children’s books. His writing is simple and he created his colorful illustrations by hand-painting tissue paper collages. Among the original collages on display at the MAM exhibit, are his sketches and book dummies/mock ups.
And, appropriately, there is a space in the exhibit that has been dedicated as a child-friendly book nook with carpeted steps, bean bag chairs and, of course, Eric Carle favorites such as his 1969 title, “The Very Hungry Catepillar.”
The exhibit will be open until January 3, 2016. Click here for museum and event information.
My husband and I were excited we were able to take our six-year-old niece to the MAM Lawn Party on Saturday. I think we enjoyed it as much as she did. (But, admittedly, I was disappointed our niece did not want to paint the almost life-sized horse – blue – in Eric Carle fashion.) In addition to being able to check out Carle’s exhibit, Parents Who Rock featured a great line-up of local bands including Thee Volatiles.
If you missed the festivities on Saturday, the MAM’s Eric Carle Family Day for more hungry caterpillars and blue horse celebrations on November 15, 2015.
I happened upon singer and pianist Lydia René during my first visit at a more unusual venue. Hosted by Ghana Hylton, the Adinkra House in Montclair, NJ is an invite-only, intimate performance space nestled in Hylton’s home.
Although, I am sure René’s voice can fill a much larger venue, she connected with the thirty or so people in the audience by sharing personal stories that have informed her songwriting.
Tonight at Dawn was grateful for the opportunity to speak with Ms. René at this moment in her burgeoning career. She said that a high school friend, Makeda Mutema Newton, connected her to her husband and co-producer of “The Miseducation of Lauryn Hill,” Tejumold Newton. René now works with Tejumold and his partner and twin brother Johari Newton. Since then, she has released her first studio album, “Vintage Heart” and her voice is featured in a Hollywood movie trailer for “The Perfect Guy.”
Cecchini (KC): You said you write love songs because you “love love” and that you are a positive person despite the ups and downs of life – which I did perceive through your performance and interaction with the audience at Adinkra House – why do you “love love”?
Lydia René (LR): Love is a beautiful thing and I’ve always been a romantic person. But I really believe that Love is such a powerful thing. It changes us and shapes us, and we need it. I’m also someone who thrives on relationships. All of my relationships are extremely important to me-especially romantic ones. Those relationships inspired me to begin writing songs in the first place.
KC: Your parents not only shaped your musical background, but they also seem to be a great influence in many aspects of your life. Can you explain?
LR: I’m an only child so I’m very close to both of my parents. They were essentially my first mentors in the music industry and my father taught me how to play the piano. Also, my mom helped me get better at writing my songs and lyrics. They have always been very supportive of my choice to be a singer and always encourage me. I’m blessed to have that because not everyone has supportive parents.
KC: Are your parents full-time musicians?
My Father is, yes; he’s a music teacher, professor and music pastor. My mother isn’t a full time musician.
KC: You said your message to your fans is: “Real love exists and they can have it.” You also said real love does not always mean romantic love. Can you please tell us about different ways that “real love” exists in your life?
LR: I’m constantly on a journey to love myself more. I think next to God and your spouse, it’s one of the most important relationships to have. I think that when we love ourselves we are able to love others better. I love my parents and my family very much and that means a lot to me. Also I’m blessed to have found my amazing fiancé (Brian) who has shown me nothing but real love since the first day we met.
Lydia René: “Vintage Heart” (Track Listings)
KC: Please tell us about one song that was inspired by circumstances in your own life.
LR: Well, every song is inspired by circumstances in my own life, lol! One song that I wrote called “Feels So Nice (Wasting Time)” is specifically about Brian. So many times we are both so busy, we have been since we first met, so when we finally have time to chill and relax by ourselves, it’s an extremely valued and precious time. When we have time to do what we want to do even if its stay in our Pjs and watch cartoons all day or binge watch Netflix all day we really enjoy that because we don’t get a chance to do it often. He’s the type of person that I can “waste time” with and its not a waste of time at all.
KC: Which of your songs is on the movie, “The Perfect Man”? What is it like to hear your music in a major film?
LR: Just to clarify: the song I’m singing for “The Perfect Guy” is “I Put A Spell On You”. I was originally hired to sing just a 30-second clip of the song for the TV trailer which is on TV now. The editors and movie production company liked the 30 seconds so much they asked me to sing a full version of the entire song for a very special Movie Trailer. That trailer has been showing in movie theaters before the movie “Straight Outta Compton.” “I Put A Spell on you” is a cover song originally performed by Screamin’ Jay Hawkins and later Nina Simone. I was asked to re-create Annie Lennox’s version.
When I finally saw the trailer in the movie theater it was really a surreal moment for me. The whole experience happened so suddenly i never really had a chance to process it. Honestly, it really is a dream come true and I’m truly blessed and also excited for what’s next.
KC: What’s on the horizon for Lydia René?
LR: Right now, I’m working on concepts for a future Christmas album. I’m also writing for my second studio album. I’d love to work on more Movie Trailers and I plan to, as well as have my original material licensed for TV, Commercials, Movies etc. I’m always performing and trying to branch out to different states for my next tour.
KC: Anything you want to add about yourself-quirky, interesting, fun?
LR: Hmm, lol. I like to laugh a lot in general but especially when I’m nervous. I laugh so much people usually can’t tell the difference! I’ve been performing for 5 or 6 years and i still get nervous before every single performance no matter how big or small.
Text by K. Cecchini/Production Stills and Series Image Courtesy of Think Ten Media Group
After spending a total of 18 months in solitary confinement during multiple prison stays, William Brown – who has been a free man for five years – willingly reentered the ‘hole’ last summer.
This time, though, he went in with cameras.
Brown plays the fictional role of prisoner Marcus Williams in the scripted web series “The wHOLE.” Think Ten Media Group filmed the first episode in the inactive Wapato Jail in Portland, Oregon during August 2014 and released it in March. The 15-minute pilot episode focuses entirely on Brown’s character contendng with solitary confinement.
In order to provoke the intense emotions of being trapped in solitary, Brown said Director Ramon Hamilton asked him to “go to a dark place.” Brown went there; he said he recalled the day he was last released for parole on June 24, 2010 and his aunt told him his good friend had been murdered a couple of weeks prior on June 9 when he was sitting in solitary.
“It really tore” at him when he originally heard the news, Brown said. And when he recounted the story to Hamilton, he said he cried.
For Brown it was healing. For Hamilton, the effect was authentic. Hamilton said from that exercise, Brown improvised something “nobody can write.”
PELICAN BAY
Hamilton, co-founder of Think Ten Media Group with partner Jennifer Fischer, was on tour for their 2012 film “Smuggled” when he heard about the 2013 Pelican Bay Prison hunger strikes in California. He wanted to understand the conditions that the inmates were protesting.
However, Hamilton’s research on prisons quickly led him down a “proverbial rabbit hole,” he said. Therefore he said he and Fischer felt that a single movie could not adequately address the issues. Hamilton said they decided to create a web series and pattern it after HBO’s “The Wire” (2002-8) by dividing it into “parts of the machine” or focusing on different aspects of the prison setting.
William Brown, Lead Actor in “The wHOLE”
IMMERSION
Brown inadvertently started to prepare for his role in “The wHOLE” less than two months after his 18th birthday when he was sent to a federal penitentiary for bank robbery in 1995.
For the next 15 years, Brown was in and out of prison -and the Solitary Housing Unit (SHU).
“You’re in jail, but you’re in jail again,” Brown said about his time in solitary. With only one hour a day outside of the cell to shower and exercise, “You lose your mind; it’s like a 23-hour-hell-hold.”
Brown said, “you got to stay real sharp” because with little other stimulation, the soundtrack of the SHU can get to you. The guards’ keys jingling and prisoners screaming and banging are part of the incessant noise.
Sometimes, Brown said, the library would come around with a book. But once you returned it, he said, “you were left alone.”
William Brown, Lead Actor in “The wHOLE”
To stay sane in the SHU, Brown said he would play songs in his head and mentally write beats. The other thing that kept him lucid he said is “knowing that someone on the other side of that wall loves you.”
His time in the real SHU informed Brown’s performance in “The wHOLE.” As Marcus Williams, Brown contends with social isolation within the space. For example, he improvises ‘playing’ piano at the edge of the bed. But he eventually starts to bang on the walls and the commode in response to the guard ignoring his plea and sounds like a persistent faucet drip and buzzing lights.
“How perverse is it that we put people deeper into prison?” Glenn Martin, founder of the justice advocacy organization JustLeadershipUSA, asked.
Martin reflected on his own experiences in the SHU with Tonight at Dawn; he said, “The first day you start reading every scratch on the wall, and by the second day you start talking to yourself” because you are so isolated.
And by the third day? Martin said you can’t tell the difference between ”which voice is yours and which is the one in your head.”
Martin, who will be a co-producer on the second episode of “The wHOLE,” feels like the series compliments his organization’s model because it “amplifies (the) voices” of people who have been in the criminal justice system.
ON THE OTHER SIDE OF THE BARS
From Brown’s perspective, “The guards don’t look at (prison) as rehab, they look at it as ‘fuck you,’” because, to them, “you’re just a number on the door”.
Brown said, it’s “eight (hours) and the gate” for the officers.
Dasha Lisitsina wrote about the experiences of correctional officers for The Guardian. The article, published on May 20, has a telling title; “‘Prison guards can never be weak’: the hidden PTSD crisis in America’s jails”.
In the article, Lisitsina writes about how Correctional Officers handle the stress of their job, “Corrections wisdom dictates that you deal with trauma by not dealing with it at all.” According to Lisitsina’s reporting, “‘Eight and the gate’ is the unofficial motto.”
Lisitsina also wrote about the results of an anonymous 2011 survey of correctional officers conducted by Caterina Spinaris founder of Desert Waters Correctional Outreach, a nonprofit based in Colorado, “Corrections officers suffer from post-traumatic stress disorder at more than double the rate of military veterans in the US.”
Reflecting on this study, Hamilton told Tonight at Dawn, “Our prison systems are no good to anyone involved.” He said future episodes of “The wHOLE” will explore perspectives of other people involved in prisons such as the guards.
‘I GET TO BE WILLIAM’
Sometimes, though, there is something positive to be found in prison.
During Brown’s last prison sentence at the California’s Men’s Colony San Luis Obispo, he learned of the Arts in Correction program and approached the prison’s facilitator Deborah Tobola in 2007 about creating music.
At the time, Tobola needed to replace one of the actors and she had Brown read for the role in a play written by inmates, “Yesterday’s New Arrival.”
Brown was not an actor, but Tobola said she insisted that he had significant talent.
Happy he took the role, Brown still works with Tobola who has since resigned from her government job in 2007 and developed “Poetic Justice Project” in 2008 in Santa Maria for formerly incarcerated youth and adults.
If it weren’t for Tobola, Brown said, “I would not be acting, she saw something in me I did not see.” In fact, it was also Tobola that recommended Hamilton audition him for “The wHOLE” in 2014.
And now, thanks to acting and fatherhood, Brown said he is focused on doing the right thing. He said, “I won’t even jaywalk.”
Since his early teens, William Brown has been called by a lot of names: he was nicknamed Day Day on the street in his early teens and in prison he was called by just his last name or his inmate number. But as an actor today, he is called to stage by his full name.
“The difference for me now,” Brown said, “is I get to be William.”
Music virtuoso Jason Achilles Mezilis has every right to consider himself lucky, ‘fore over the span of his decade plus career, not only has he played with some of the greatest musicians of the modern era, but he has also run and operated his own boutique analog recording studio in L.A., which has hosted several prominent musicians. When he is not behind the board twisting and turning the knobs, he can be seen touring with vocalist/bassist Chris Wyse and drummer Dan Dinsmore as the LA/NYC-based rock band OWL, whose third album, Things You Can’t See, is set for release July 28th via Overit Records.
The band re-emerged in early 2014 and began laying the foundation for what would be “Things You Can’t See,” a bold, experimental, and even more musically ambitious album than their previous two. Parting from tradition, the trio did not work off of completed songs – instead they jammed in the studio, honing and cultivating the music in the moment, a process that Mezilis found to be both challenging and beneficial. He said, “The bonus of course is you get wild ideas, new flavors, and moments derived purely from a flash of inspiration, that may have not been able to develop otherwise”.
This six track collection’s first single, the exceptional “Who’s Gonna Save You Now,” showcases Wyse’s raw lyrics encased in tightly structured hooks and overall top shelf musicianship at a level that only decades of experience can bring. Elsewhere, the band does a tremendous job of diversifying their sound; title track “Thing’s You Can’t See” is both heavy and melodic, “Witch’s Familiar” is progressive and heavy through a haze of psychedelia, and “Lake Ego” possesses an eerily irresistible groove. Said Mezilis of the new album, “It’s an exciting new offering with a lot of familiar elements they recognize, but it’s further developed than perhaps they’ve heard previous”.
Owl guitarist Jason Achilles Mezilis recently interviewed with Tonight At Dawn about the new album, touring life, as well as some other topics:
Jason Achilles Mezilis
KralTunes: What can fans expect to hear on this new album? Is it a natural progression from the previous albums? Are you venturing into new unfamiliar territories?
Jason Mezilis: Things You Can’t See is something that fans of our previous work will really enjoy. It’s an exciting new offering with a lot of familiar elements they recognize, but it’s further developed than perhaps they’ve heard previous. I think you could fairly say it encompasses all the different facets of what Owl does best, from one extreme to another, but pushed to a farther degree than before. And in that regard yes it is a natural progression, although perhaps we didn’t realize that at the time we were creating it. A great example of that is the lead (title) track “Things You Can’t See”, wherein about halfway through the song you’re thinking you’ve digested everything this opening track has to offer, you’re feeling pretty comfortable with it…and then there’s a major gear change and it gets into some seriously crushing musical territory. I love that tune.
KT: The incorporation of various alien encounter footage in your album teaser video, along with the album cover, are certainly intriguing. Are those images a sign of things to come thematically on this record, or was it just cool shit to use?
JM: Hahah, well it certainly was visually fun, yeah. The concept behind the title of the record “Things You Can’t See”, the idea that just because things are obscured / out of your field of view or recognition, that doesn’t mean they are outside a sphere of influence, either towards you or perhaps others. It speaks a bit of an awareness of influence beyond the surface cause-and-effect, both on a personal accountability level (which I am a big fan of) and perhaps further, and certainly you can have some fun by extrapolating that into those areas you mentioned. I’m a big fan of Coast-to-Coast AM talk radio, and those out there that know what I’m talking about are nodding their heads right now. Regardless of what you ascribe to or personally believe, in those areas, you can’t deny it’s some cool entertaining shit.
KT: According to Owl’s bio: “For the first time, the band didn’t work off of completed songs – instead they jammed in the studio, honing and cultivating the music in the moment.” Personally, which method of songwriting do you prefer?
JM: It really depends on the situation, or in this case the progression of what project or band you’re involved in. For Owl it was the right decision for this record, based on the work and methodology we’ve applied previously. It was tough, sometimes that’s a manner of songwriting that can lead down a dead-end, and you have to find your way back. That can be a discouraging period, but we’ve got a level of trust that’s developed in this band where it just takes one voice to raise the alarm and steer the ship back on course. Our drummer Dan is really good at that. The bonus of course is you get wild ideas, new flavors, and moments derived purely from a flash of inspiration, that may have not been able to develop otherwise. But of course it takes a good producer to make sense of it all, and our frontman Chris did a great job of pulling it all home.
Things You Can’t See album artwork
KT: Tracks ‘Things You Can’t See’ and ‘Witch’s Familiar’ are early standouts for me. While they are both great heavy rock songs, they are two different styles; one is a straight rocker with groove, while the other relies more on mood and atmosphere. When it comes to writing new music, which style do you feel you gravitate to more often?
JM: Thank you, that’s very kind. I think that’s part our signature, that ability to gel those seemingly disparate elements. Both Chris and myself are big fans of The Doors, and they did a fantastic job of the same. Dan is basically a rhythmic beast waiting to be unleashed at any moment, being in the room with his energy is shocking if you’re not prepared for it. So there’s always that energy seething underneath, even if you’re not hearing it a the moment and I think that’s the continuity that really allows it all to work. There may be atmospheric passages and moments, but you always can feel that energy lurking there, ready to cut loose.
KT: You band has played with several prominent musicians throughout your careers (Ace Frehley, Ozzy, etc.). What, if any, is some advice any of these people have passed onto you that you found valuable?
JM: Well of course I can’t speak directly for Chris, but I think he would agree that probably the best thing you can do is watch, take private notes, study the methods of those around you that you are fortunate to be in rather intimate company with, and observe all the little clues as to how they maintain that level of prominence and respectability. And to that end, on a personal note, the best thing you can possibly do in any of those situations is be prepared. Do your homework. It’s an assumed given that if you are in the room, you deserve to be there, and that can be a tall order, so you need to be ready to deliver. It’s expected.
KT: What is some of the gear you use to create the OWL sound?
JM: My consistent gear throughout all three records we’ve done together is my lefty mid-70’s Antoria “Les Paul” semi-hollow body guitar, to which I added a newer, more high output pickup in the bridge position and had some fantastic overall setup work done on by Greg Coates over at Future Music in Los Angeles. I also used my trusted old Ibanez Flanger which has this really crazy resonant sweep to it, and your typical Boss delay pedal. That’s the foundation of my sound – and as far as amps, on this album I had the good fortune of having an amazing studio backline of top-shelf amps provided to me by Pete Vroman, which was just a real pleasure in terms of being able to get creative and precise with all the different tones and attack. It was like a hi-end boutique tonal buffet!
KT: I’m sure you’ve been asked about your favorite spots to play…whats the worst venue you have ever played in? Was the experience so vile that no amount of $$$ would convince you to return?
JM: It really all comes down to the audience. I recently played an after-show party in an attic at a house party out in the sticks in Nebraska through the most low-rent craptastic gear you could imagine, that was way more pleasurable than some of the best back line and stage setup that you could hope for. Because the kids were into it, there were smiles all around, and it wasn’t just a “performance”, it was a party. When it comes to rock n’ roll…that’s the ultimate goal, the music of course is the focal point but at the end of the day it’s all about leaving folks with an experience, something to tell their friends about. And the best way to do that is to show them a good time. If they’re smiling, I’m happy.
KT: Follow up: Are there areas of the country/world that you are super excited to get back to on future tours, and why?
JM: I am personally most excited every time we reach into a new market, either domestically or overseas. Of course NY and LA are our two homes, and it’s great to see friends and familiar faces…and believe me those fans are SUPER supportive, it’s amazing. But what really gets me charged more than anything are the new audiences, the new faces. The new converts 🙂
KT: You run your own digital recording studio (Organic Audio Recorders). What can you tell us about your business? Who are some of the artists that have used your facilities?
JM: Well, actually it’s primarily an analog recording studio, or you could perhaps say analog / digital hybrid…there’s not a lot of folks still using tape, and for me it really is a special part of the process. I even love the way it smells (seriously), and taking a razor blade to a performance edit is certainly not something that gets old. To me it feels palpable, real.
As far as artists I’m working with, I believe this might actually be the first formal announcement of this, but over the past year or so I have been mixing a solo record for Dizzy Reed (of Guns N Roses). It’s his first solo release in 20+ years since he first joined those guys, and I quite literally just mailed off the final mix for the final tune tonight. Pretty cool thing to be entrusted with, for a guy on a level that’s basically seen and done everything you can imagine in the world of rock n’ roll. He’s got a crazy amount of musicians on the record, and in some cases I didn’t even know until after the fact that I was mixing performances by some friends of mine, on drums or bass or what have you. In fact one of those was Greg Coates, whom I mentioned earlier and also happens to be one of the best bass players around, a real monster. And I say this as a guy in a band [and very close friends] with Chris Wyse, one of the best bass players you’ve ever heard, anywhere. Sometimes I’m a pretty lucky dude.
KT: You have worn many hats throughout your music career (producer, musician, etc. I’m sure you didn’t need me to remind you of this). Which role do you find the most satisfying?
JM: Ha yeah…well, If I had to give up everything for one role, it would be that of artist / producer. There’s nothing to me more satisfying than cultivating a sound in my head and seeing that realized to satisfaction. I do certainly love working with other people, and I’m good at it, particularly the production role – getting the best out of people. I’ve always been fascinated with sound, and I’ve got a good ear…that was the blessing, if you will. But it was something I sort of fell into as a result of slowly cultivating my own recording studio over the years. At some point I realized I had a pretty good thing going, and certainly it’s good work if you can get it. But yeah, taking something from a flash of inspiration, through the writing & recording process and ultimately to the stage, and have it reflected back at you by the audience with the energy you felt the whole time…that’s really something, man.
7/17 New York, NY @ Lucille’s Bar & Grill in BB King’s Blues Club
7/18 Saratoga Springs, NY @Putnam Den
7/19 Providence, RI @Aurora Providence
7/21 Los Angeles, CA @Whiskey A Go Go (with Philm featuring Dave Lombardo of Slayer)
7/23 San Jose, CA @Rockbar (with Philm featuring Dave Lombardo of Slayer)
While the notion of forming a band, cranking out some songs, touring the world, and making millions has invaded the dreams of literally every teenager in existence, seeing those dreams come to fruition can be quite the oddity (you could say it about as rare as cool songs about mythological Krakens and high school graduating werewolves).***listen to the album to get those two references***
Julian Maltais is one of those millions, only he took his vision about fifteen steps further. As the brains behind the cult punk of SURFIN’ MUTANTS PIZZA PARTY (SMPP), Julien not only writes all the songs, he plays every instrument on the album, and even designs the albums’ artwork, all from the comfort of is bedroom. At only 22, he has already amassed an impressive collection of material over the course of his burgeoning career. His first full length album, ‘The Death Of Cool’, was released this past May, and has garnered some international press praising his energetic performances, as well as his do-it-yourself attitude.
SMPP’s music is a punchy collection of lo-fi, indie surf rock that incorporates a variety of imagery, ranging from sci-fi flicks, comics, video games, and skateboarding. Julien’s vocals vaguely resemble a Mike Ness or a younger Billy Joe Armstrong on several tracks such as ‘Can’t See Straight’ or ‘Cocaine Lipstick’. Not only can Julien bash the listener over the head with his brand of power punk, but he shows his range by crafting some wonderful slow jams, such as the ’50’s sounding ‘I Need A Cigarette’. This album will warrant repeat listens throughout the summer.
Julian was more than gracious to answer some of my nonsensical rambling. So without further ado, here is the One Man Music Making Machine, Julien Maltais:
Julien Maltais
KralTunes: Lets get it out of the way..the name..WTF?! First thought that comes to my mind is Teenage Mutant Ninja Turtles, but that seems too obvious. Where does the name come from?
Julien Maltais: Haha! Well, there really isn’t much of an interesting story behind the name other than wanting something that looks and sounds cool to me. Typical reactions to the name are “Dude! The name’s awesome, but I forget it on my way home” or “That’s stupid”. The TMNT connection was not something I was aiming for, but I did realize it was similar at one point. Kinda similar to CHUD too.
KT: Tell us a little about yourself?
JM: I was born and raised by vampire werewolves in Russia (well not really). I don’t know, I’m 22, I enjoy video games, horror movies, skateboarding and comic books. Lately I’ve been reading these UFO books my dad had for a really long time, it’s pretty neat. I also have a college diploma in Social Science that is completely useless.
KT: Surfin’ Mutants Pizza Party appears to be a one man outfit…is this true?
JM: It is true, I record in my bedroom (vocals are recorded in the closet, ‘cause of better acoustics) and I also do the artworks. It’s practical, I don’t need a schedule to record or having to wait on someone and it’s also a lot of fun to create something from scratch and shaping it up to what you want it to sound like.
KT: Your latest release, aside from digital, is available on cassette. Is there really a contingent of people out there listening to music on crappy walkman’s? Vinyl I can buy into, but cassette, I don’t know. What do you feel about this current cassette craze?
JM: I like ‘em, and when they’re blasted through a sweet ghetto blaster they can sound pretty awesome. As far as I’m concerned, I think it’s more about owning something physical the band or artist put out to show support. Who knows, maybe 8-tracks will make a comeback or laserdisc for movies haha!
KT: To these uneducated ears, your music appears to be rooted in punk with a dash of horror and dreampop for good measure. Am i off with this assumption? How would you describe your sound?
JM: That’s a great way to describe it I’d say! There’s a whole bunch of influences from different subgenres of Punk and I always aim for catchiness. As far as Horror goes, it’s surely inspiring the visual aspect and some lyrics.
KT: You seem to have garnered a decent amount of international press lately with your music. Is this something you set out for accomplish, or did this catch you totally off guard? What do you think is the driving force that is getting your name out there in these distant lands?
JM: Caught me off guard, and it was a pleasant surprise, I’m very proud of the album and was kind of hoping to get some press for it, but I got way more than I thought and that’s sick, now I don’t want it to stop. Maybe the weird name I chose is kind of driving force, I have no clue haha!
KT: Any plans for live shows in the near future?
JM: I did a show last Saturday as a two piece (my best bud was drumming) with an awesome band from Québec called Ponctuation. I do plan on playing more shows.
KT: Typical music interview question…What are some of your biggest influences?
JM: Misfits, FIDLAR, Jay Reatard, Wire, Wipers, Descendents, Weezer, The Replacements. I’d say those are my biggest influences.
KT: What can we expect from the band in the upcoming year? (Yes, I know that you just released a new album of material this past month, but us greedy American f***s always want more).
JM: Haha, well I’ll definitely start recording some new stuff, I’d like to shoot a music video, play more shows, all that fun stuff. I’m pretty active on my Facebook page, so if people want to stay up to date that’s the place to go.
