Michael Beach’s fourth studio album Dream Violence carries a touch of the sublime throughout, with moments of naked expressionism and dramatic arcs he explores the duality of the human condition and the struggle of finding and maintaining hope in times that are not so hopeful. A beautiful album from an interesting artist. Gimmie recently got a little insight from Beach.
You first started playing music while at the University of Southern California, but didn’t fully dive into it until you spent your first year here in Melbourne. Previously you’ve mentioned that “my first meaningful connections with other musicians came from my initial year in Australia”; how were the relationships different here than what you’d already experienced in California?
MICHAEL BEACH: I guess it’s just timing. I met amazing people in Southern California, but when I met my first bandmates and friends in Melbourne, it was life changing. Those early friendships were the ones that gave me the confidence to pursue music.
In March you released your fourth album, Dream Violence. The title comes from a song on the release; where did the title-track’s name come from?
MB: I like the dichotomy of the two words. Dreams aren’t often associated with violence, but can quite often be. Violence seems to be just behind the veil of society and certainly seemed to be seething when I was writing this record.
Dream Violence was recorded with multiple line-ups in multiple locations in Australia and the US; how do you feel the energy of the varying line-ups and locations helped shape the LP?
MB: Everybody brings something different to the table, and I like bringing people together and seeing what happens. The record has a lot of different moods that reflect all of those different people and places.
What’s one of your fondest memories from recording?
MB: Etep, Matt and Innez (of Thigh Master fame) and I recorded a few of the tracks from the record at my place. It was one of those really relaxed sessions where all the mistakes sounded right—there were a lot of happy accidents—it was a really fun way to record.
I understand that you have a pretty laborious process of writing, editing, and arranging your music; can you tell us about your artistic process please?
MB: Yeah—I take my time, and probably over scrutinize things. Not always the most enjoyable process, but I’m working on that. I don’t really have any one process, but I do try to play at the same times every day, so I have a routine built around that.
What’s a really special moment for you on the album?
MB; I love that got to improvise the title track with Chris Smith. It was a first take. I’m a big fan of his records, so to have him play on mine is really special. But really that’s the same with all the folks on the record as well.
One of the overarching themes on the record is of the struggle to maintain hope during challenging times; what are some things that has helped you with your personal experience of this?
MB: Off the top of my head—friends, music, art, books, nature, seeing a psychologist, exercise, and my partner’s eternally optimistic outlook on life.
We really love the album cover art painting by Charlotte Ivey; can you tell us the story behind the cover please?
I’m glad you love it, I do as well. Charlotte did a bunch of eye studies of friends’ eyes. That’s her eye, and I love the intensity and hyperrealism of it.
During the lockdown as well as continuing your day job you worked on the completion of your studio; tell us a little bit about your studio? What were some important considerations in regards to creating a conducive space for your work?
MB: It’s an 8-track analogue tape setup with a nice mixing desk, outboard gear, and a bunch of synths and amps, and my piano in my living room/live room. I’ve got digital recording gear if I need more than 8 tracks, but I like working within those limitations when I can. I like having good light in my studio, and I have a favourite kind of tea that I keep stocked. As long as all the equipment is working and not getting in my way, I’m happy.
I know you also had the opportunity to read a lot more during lockdown; what were a couple of the reads that had you engaged and what did you appreciate most about them?
MB: I recently read Shots by Don Walker—that dude can write! Such gorgeous prose and a very visually immersive book. Utopia for Realists by Rutger Bregman was pretty great as well—it was inspiring to read a hopeful book amidst a lot of rough news last year.
Who is an artist that makes you think outside of yourself or your surroundings? What particular work of theirs first had you feeling this way?
MB: I’m listening to Fennesz while I’m writing this. His music is totally transportive and dreamlike. I love it. My bandmate Etep played me his record Endless Summer on a long highway drive in America, and I’ve been a massive fan ever since.
Why is music important to you?
MB: Most of the good things in my life have happened because of music. It was and still is transformative for me.It brings me together with my closest friends.
We adore NOLA-based musician, artist, puppeteer, zine creator and all-round creative Miss Pussycat! She’s a true original, one of the most individual, loveliest and happiest people you’ll ever meet. She creates her own world full of colour and magic and brings a whole lot of that, as well as joy, to ours. Along with her equally amazing creative partner Quintron (read our conversation with Q here) they’ve released a banger of a new record Goblin Alert. Gimmie got an insight into her wonderful world.
MISS PUSSYCAT: Hi Bianca! How’s it going?
Really great! It’s wonderful to speak with you again, we first chatted in 2012!
MISS P: Yeah, it’s been a little while! [Laughs].
I’m excited there’s a new Quintron and Miss P record! How have you been?
MISS P: I’ve been good, all things considered. I’ve had a lot of projects to work on through the whole pandemic, I’m pretty good at entertaining myself. I guess Quintron told you we’re in Mississippi, it’s so beautiful here now. We’re on a little trip.
What did you do today?
MISS P: Today we just walked around, it’s soooo beautiful! As you know, everyone’s been cramped up in their houses, us too. We met our friends Julie and Bruce Webb from Waxahachie, Texas. We’re just getting out of town.
Lovely. Why do you love to make things?
MISS P: I like making all kinds of things! Lately I’ve been doing a lot of painting, oil paintings of my puppets doing things like camping or playing in the snow. I’ve been making a lot of ceramic statues of my puppets too, it’s really fun to do. I can’t do live puppet shows right now.
I saw that you had some art shows happening.
MISS P: Yeaaaaaahhhhh!! One of them is at the Webb Gallery, that’s why we’re meeting our friends Bruce and Julie, so we can give them the art for the show, it’s their gallery. I just had another one open in Pensacola, Florida at the Pensacola Museum of Art. They’re different shows.
The one in Pensacola, I made maracas—I’ve always wanted to do that! I made maracas I shaped them out of brown paper and wood glue, it was very intense glue it turned my hands yellow! It looked kind of gross for a while. It was worth it! My favourite maracas I made are Mr & Mrs Circus Peanut. There’s one that’s a witch. I made nine maracas; I call them ‘maraculas’. I put aquarium rocks inside of them to make the rattling sound, I think they’re going to work really good but right now they’re in the museum for the art show. I made them all little satin pillows ‘cause they’re resting because they can’t do a rock show right now, they’re doing performance art, laying down on a little stage in a museum [laughs].
That’s so cool! I remember last time we spoke you were just making the covers for them, the little outfits. Now you’re actually making the maracas.
MISS P: Yeah, that’s new, I did that in the summer for the first time. I’ve made the covers, the little outfits for my maracas for years and years and years and I always thought it would be so fun to make the maracas, so I did it!
Where did you get the idea to use aquarium rocks for the insides?
MISS P: I was just like; I wonder what would sound good? I’d taken some of my maracas and cut them open last year to see what was inside and the best ones had little seeds inside, it looked like gravel, like an irregular shape. I looked around our house and I had these speckled aquarium rocks and they sounded good. I had to try things out.
You mentioned you’ve been doing a lot of painting; have you always painted?
MISS P: I haven’t painted much in the last few years but I used to paint a whole lot! My grandmother taught me how to paint, she didn’t start painting until she was a grandmother. She was a nice country lady; she liked to sew and cook and play piano. She took a painting class and started to paint pictures of barns, flower bouquets and meadows. When I was growing up, I’d go hang out with her and she’d show me how to paint. I think anybody can paint really, you just do it and then you’re doing it. But she showed me her tricks.
This year being home so much and having all this time I thought I’d paint, it’s really fun. I thought, ok, I’m going to paint pictures of my puppets doing all these funny things like having a campfire in the woods and roasting marshmallows or going to the beach. It got really hot in New Orleans this summer and we don’t have very good air-conditioning in our house so I thought I’d paint puppets in the woods and it’s snowed [laughs] they’re having snowball fights; it was a way to pretend that I had air-conditioning. It’s like a fantasy, I want to think of something that will make me really happy and paint that.
What’s one of the best tricks that your learned from your grandma about painting?
MISS P: That the sky changes colour the closer it gets to the horizon; you can make it go from light to dark or dark to light. Another one is that you can take a sponge and put a little paint on that and dab it on the canvas, that can make really good tree foliage or bushes [laughs].
Do you have any favourite colours that you like to work in?
MISS P: Well, one of the fun things about painting is that you can make any colour you want and colour combinations are really fun. In general, I like a combination of warm and cool colours. I have a whole thing about colours, I like pink and red together and I like pink and orange together but I don’t like orange and red together. Cambrian yellow is a good colour, straight out of the tube it’s an intense yellow.
You’ve been making things for so long and have lots of experience making all kinds of things; what’s one of the best things that you could tell someone about creativity?
MISS P: First of all, go have fun of course! The more fun you have the harder you’ll work. Always when I have something that I am working on I say: this is my secret project. I keep it a secret and that makes me feel like I’m getting away with something, like it’s a caper, that makes it a fun secret. I don’t talk about it much until kind of the end, I think that’s good advice.
I love your new record Goblin Alert, it’s super fun.
MISS P: Thank you! It was really fun to record with our friends and do the record in Florida. I always wanted to record in Florida.
Why is that?
MISS P: I just like Florida, it’s one of my favourite states. Different parts of Florida are different but I just thought it would be fun to record in Florida.
Like I told Quintron, one of my favourite songs on the album is ‘Block The Comet’.
MISS P: We were in Oklahoma – that’s where I’m from – in the summer and there was this big meteor shower called the Perseids meteor shower, we were laying in the backyard at one in the morning watching the shower. The song is inspired by that, it’s literally about comets/meteor shower [laughs].
All the songs on the new record are pretty fun and upbeat for the most part. You think about how people might react to it and I always want people to dance and have fun—I just want to make party music!
What was the inspiration for the album cover idea?
MISS P: In the picture Quintron is a chef and I’m a crawfish… [coughs] wait a moment let me have a drink…
MISS P: I’m outside and I think there must be a lot of pollen here. [Clears throat] We took that cover picture, our friend Tony Campbell did it, he’s also took the picture for the Organ Solo record cover. We took the photo on Easter Sunday in his backyard.
Before that on Madi Gras, Quintron and I had a show in the French Quarter and we pretended it was a crawfish boil. We dressed up like on the cover. A bunch of my friends played maracas with me and we had backup dancers and everyone dressed like crawfish or the ingredients that go in a crawfish boil like potatoes and celery; my friend was an ear of corn and her outfit was sooooo good! Quintron dressed as the chef. We made these pots out of aluminium foil and carboard and they had fake flames on the side, so it was like we were being boiled alive while we played the show!
We made a video, someone taped that show, we never have people tape our shows. You look at the footage now and it’s so great, people all close together at a show and they’re dancing and sweating and that’s something that can’t happen right now. The video is for the song ‘Goblin Alert’
Are there any ways that ideas come to you most often for your creative projects?
MISS P: I always carry around a notebook and some pens and pencils. I feel like I’m just waiting for the ideas. Sometimes they come to me in the middle of the night and sometimes in the morning, I feel like I’m there and I have a net, that’s my notebook, and I’m ready to catch them. I feel with really good ideas, you don’t have them, they have you. It’s like they’re a ghost that’s haunting you and you have to do what it says. I try to just make myself available [laughs].
I asked Quintron this next question too when I spoke to him because you have a song on the album called ‘Teenagers Don’t Know Shit’; what were you like as a teenager?
MISS P: I grew up in a really small town, in Antlers, Oklahoma. I was a pretty angry teenager because I was so weird and living in a small town, you had to act tough because you were different from everybody else. I was a real loner. I was a typical teenager in the angry-rebellious-teenager-type way.
What was the first creative things you started making?
MISS P: As a kid I painted with my grandma but I didn’t take it too seriously it was just something really fun we did. I liked to write, I always liked to write stories and plays. Growing up in a small town, I didn’t study art or go to shows because none of that was available. I was in marching band and played tuba [laughs], that’s how I learnt about music. I sewed because my grandma would sew some of my clothes, probably the best clothes I ever had was sewn by her and homemade. That’s how I learned to sew and crochet, that’s just what you did. So, I had a very dorky approach to the Arts [laughs], I guess it wasn’t very cool. I still sew, I still crochet, I still paint and I still play music!
I started doing puppet shows when I was a kid ‘cause I was in the Christian Puppet Youth Ministry through the church [laughs]. We told Bible stories with puppets. We’d go to other churches to do this too. I’m still doing puppet shows; I’m doing all the things I used to do.
I noticed you’re doing a zine called Camelot about puppeteers.
MISS P: Yeah, I’ve done one, I want to do another one! It was a kind of secret project [laughs], a caper, so I could interview and talk to some of my favourite puppeteers. I thought if I had a zine, I could interview them, and it worked! One of my favourites is Peter Allen, he lives in Missouri now in a small town and there’s not a whole lot written about him; his puppet shows are mostly in libraries and places like that. He’s such a good puppeteer! I thought if I interviewed him, I could ask him all of these questions and find out what his secrets are! [laughs]. That interview ended up being over 9,000 words long.
I also interviewed Nancy Smith. She has a puppet theatre in Arizona. I’ve known her a long time but more like, oh, she’s this great puppeteer, one I really, really respect but because of this project I got to sit down and ask her lots of questions. It was so great. A zine can really open doors! [laughs].
Totally! That’s why I’ve made zine for over two decades. I know that feeling of seeing people make really cool stuff and it gets you curious like; how did they even do that? How does that exist? They’re doing something you think is so cool and awesome and you just wanna know everything about it.
MISS P: Yeaaaaah! You totally get it. Transcribing interviews can be very hard work though.
It can be, but I’m one of those weird people that actually enjoy it. It’s part of the process and you learn lots while doing it, things that can’t be taught in a classroom or from a book. It can roughly take around three hours to transcribe and edit a one-hour interview. I like transcribing interviews and putting them out there in that format because I love to encourage people to read, I think reading is important.
MISS P: Oh my god! [laughs]. I bet you’re really good at it now and faster than most.
Yeah, this year alone I’ve interviewed over 100 people already and like I said I’ve been doing it for over two decades, since I was a teenager.
MISS P: Who’s the craziest person you’ve interviewed this year?
I would have to say maybe Damo Suzuki from Can.
MISS P: Oh whoa! Cool!
I did the interview without any pre-planned questions and we spoke for a couple of hours about creativity, freedom and of discovering yourself through doing all these creative things and the importance of not taking on other people’s information and of tapping into your own and the things that spring from within yourself.
MISS P: That sounds like such a great interview to do.
Out of all the people you’ve interviewed for your zine, was there anything cool or interesting that you learned?
MISS P: There was! I don’t know much about Punch and Judy. Peter Allen is this Punch professor, that’s what they call it when you’re good at doing Punch and Judy shows. Do you know what a swazzle is?
MISS P: A swazzle is like this little reed that you put into your mouth and that’s the voice of the puppet Punch. It sounds crazy! It’s amazing. You have to learn how to do that and he showed me how to make a swazzle. You put it in the back of your throat and you have to learn how to talk through it, and not swallow it [laughs]. The joke is, if you swallow two then you’re a professor [laughs]. You’re supposed to tie a piece of dental floss to the swazzle and tie it to a button on your shirt, so that if you’re choking or swallowing it you can pull it back out. I’ve never swallowed one but I can see how you could, they make such a crazy sound that just makes me laugh, then it would be very easy to swallow it.
How did you get into making ceramics?
MISS P: Ceramics is soooo fun! When I was in college, I did a lot of ceramics, then you get out of college and you don’t have a kiln or all of the space to do it. Two years ago, I woke up in the middle of the night and I was like, I have to do ceramics again—an idea had me! I thought I want ceramic piggy banks that are shaped like my puppets, it would be so funny. I found a community ceramic studio and have been making ceramics of my puppets, I haven’t figured out the piggy bank thing yet though. I will though. I made one and it wasn’t very good. It’s such an intuitive and earthy thing to do, I think it’s really healthy.
I love the mugs you made with the lion on it.
MISS P: Oh, you saw Mr Lion! They’re fun. Mr Lion is a stuffed toy that was Quintron’s mother’s and now we have it. It’s this big stuffed lion that’s at the foot of our bed.
What are the things that make you really, really happy?
MISS P: A whole lot of things make me happy. Things like working on a secret project and the feeling of working on that project, of it being so fun, that’s one of my favourite things, just being inspired.
My cat Coco Puff makes me really happy. She’s a Siamese and loves to wear hats.
Quintron makes me happy, he makes the best things like The Bath Buddy. He’s just so funny and so good! Seeing what he does makes me very happy.
Live shows are really fun but it’s the building up to the live shows too that’s really fun for me.
What is it about the build up?
MISS P: It’s exciting! It’s terrifying! It’s an adrenaline rush. It’s like an adventure movie and things come up and you have to overcome those things.
That’s a fun way of looking at it. You seem like such a happy, positive person; do you have days when you’re feeling down too?
MISS P: Sure. I’ve had times when I was really sad. I try to avoid being sad because I can get soooo sad, so depressed. I try to ward that off by always having bright colours, like every room in our house is painted a pretty colour. I try to be really careful not to go down that dark road [laughs] because it’s a looong dark road that just never ends. The best way is to just always be happy… of course though, I’ve been sad.
Is there anything in particular that helped you in those times?
MISS P: Getting busy. I think I’m the saddest when I’m not busy or not working on a project. Having secret projects to work on makes me not sad.
I won’t ask you about your secret projects your currently working on then because if you told me they wouldn’t be secret anymore but, is there anything you’re really excited about right now?
MISS P: A lot! The things that I feel like I’m at the harvest fest point of, all these secret projects all at once. The art show in Texas, I’m excited to show things to people. It’s a weird time though because people aren’t really going out. When my friends have come over, I shut the door to where I’m working so they can’t see it, so I haven’t showed anybody yet.
Anything else to tell me?
MISS P: I’m really excited to do puppet shows again, for the longest time ever I haven’t really been working on one. I have some idea for one I want to work on for sometime next year.
The songs on your new record are each like little stories; do you have a favourite story?
MISS P: One of them is ‘Weaver Wear’ and it’s the theme song for a puppet show that I’ve been working on for years but I really haven’t done the show or not in the way that I thought I would, I thought it would be a puppet movie. I made all these little shows for it; it’s about puppets that are fashion designers.
MISS P: They are multi-generational fashion house, they’re The Weavers. They’ve been fashion designers since the middle ages, they started out during the plague and made these capes that could either be a cape or if there was a dead body you could through it over that so you don’t have to look at it [laughs]. They had their own sheep that they grew and they made wool from the sheep called ‘Weaver Wool’ which is patented. In the ‘60s they come up with these really high fashion designer jeans. There’s a grandfather names William and the grandmother Betsy was a model but now she’s really elderly, she only models for charity events [laughs]. Their grandchildren live with them but are in their twenties and there’s one being groomed to take over. Mindy is the youngest child but doesn’t look anything else like anyone else, she might be illegitimate, she does all the work and she’s going to go blind because she sews all the time. The grandfather goes missing but they find his finger in a letter and they think he’s been kidnapped by their rivals, who make everything in China and they want to get Home Economics out of school so nobody knows how to sew… Betsy and Mindy and the family need to come up with a new Fall line, so they come up with shoes ‘The Weaver Walker’. Shoes for dancing. For some reason I haven’t made the movie yet though; Hollywood didn’t come knocking at my door yet for that one! [laughs].
I did the live puppet show just about Mindy. It’s about Mindy and a moth, the moth wants to eat all of her clothes she’s making. They make a deal that the moth will help her sew and then she’ll give it all the wool scraps after the fashion show. I wrote a theme song, that’s ‘Weaver Wear’! That’s on the album. There’s a lot behind that song [laughs].
I really love how you completely create your own world! It’s amazing.
MISS P: It’s all just so fun! That’s the most important thing.
Here at Gimmie we’re big fans of Quintron and Miss Pussycat! The New Orleans-based creatives have recently released new album Goblin Alert, a rollicking good time of organ-driven electronic rock n roll done as only they can do. For this record they ditched the drum machine in favor of including musicians Sam Yoger (Babes, AJ Davilla) on drum kit and Danny Clifton (Room 13, Jane Jane Pollock) on hollow body guitar. Gimmie interviewed both Quintron and Miss Pussycat; today we share our chat with Quintron, with Miss P’s chat coming next week.
QUINTRON: I released a new product of this invention I’ve been working on all through the Covid times called ‘The Bath Buddy’ it’s a water conservation device. I just put an infomercial out for that.
What inspired you to create The Bath Buddy?
Q: Check out the informercial. There’s a website for it bathbuddy.space. I don’t know what that ‘space’ is all about but it’s the cheapest website I could buy.
In our house we have three or four people and no showers, only bath tubs ‘cause it’s New Orleans and everybody has those big clawfoot tubs. They take a while to fill up, you turn the water on and you go check your email or do something and you forget about it then the water goes into the overflow drain and you start wasting tons of water; we’ve left them on for way to long sometimes and flooded the house downstairs a couple of times. I was like, why isn’t there this thing that alerts you to when your water is at just the right level that you want it? I invented this thing for us and our roommates, I made us put them on all of the tubs and it totally worked. Our water bill started going down, a lot! I thought it would probably be something that other people would be interested in so I built some, letting people check ‘em out. Farmers and people who have livestock, horses especially, where you’re filling up these giant metal tubs of water, hundreds of gallons. You put the hose in it and leave it for a while. I was talking to people that would forget overnight and they’d really waste thousands of gallons of water; those people are into what I made too.
What is it that interests you about making things?
Q: That one was to solve a problem. As long as mankind has ever and shall ever exist there will always be gaps between problems and solutions, there’ll be voids there and that’s usually what interests me in making something. Usually, it’s that there’s a thing I want to do or problem I want to solve and there’s nothing that I know of that’s available to solve it or do that thing.
In the case of the Drum Buddy, it was a musical thing where I mostly play by myself one-man band style and I wanted to do something with my right hand that made a certain type of sounds like cylinders, like scratching a record but playing an analogue synth at the same time, where I could still play with my left hand with the organ, that’s how that project got started.
You’ve been making things your whole life; what’s something valuable that you’ve come to know about creativity that you could share with us?
Q: It’s something that everybody kind of knows but it’s that nothing is ever done, at no point will civilization be able to kick up their feet and say, ‘Alright, we got it licked’ and read magazines and play video games for the rest of eternity. There’s always going to be whatever you’ve built to solve whatever problems is going to become obsolete in that it’s not sustainable anymore; it is suddenly in the world wasteful or too expensive to operate or too big or heavy or whatever. The main thing that occurs to me over and over is that everything is a prototype, everything is just getting ready for the next, for Mach 20.
The first track on your new album Goblin Alert is called ‘Teenagers Don’t Know Shit’; what were you like as a teenager?
Q: I didn’t know shit! [laughs]. I was a pretty lonely, insecure, confused teenager, that probably describes most teenagers but some hide it better than others. I was super-duper insular, brooding, moody and private; not confident, not good in school, not a good relationship with my parents, pretty unhappy honestly. The song is by no means a diss on teenagers either or some political statement at all, it’s something else though, I hope it doesn’t come off like that.
No, I don’t think it does. How did you first discover music?
Q: Everybody discovers music by living in a musical world, it’s all around us, especially growing up in the South. I think people are surrounded by music, no matter what culture or no matter where you are.
Who were the first bands or artists that really spoke to you?
Q: There’s like your childhood musical curiosities. Children’s music is really special in its own thing. Then music turns into this thing where it represents the type of person that you’d like to become or the dream that you would like to dream or the fantasy that you want to perpetually have or the escape pod that you want to get into. A lot of the music I liked when I was really little were these dramatic… I was really into story songs like ‘Dark Lady’ by Cher and ‘Half Breed’; songs that were little mini-movies. Then the energy and the excitement of punk rock, like every other person that got into that [laughs].
You started making your own music when you were a teenager?
Q: Yeah. I started building instruments. I started out as a drummer. I built trashcan woodblock kits in the garage. I was always fooling around with tools, my dad’s an engineer so I always had toolkits and wood to build stuff and I had a garage because I was a suburban nobody kid. I was building big junky homemade trashcan drumkits in the garage.
What drew you to making your own music?
Q: I sort of did right away as a pretty young teenager started having bands and playing covers of songs that we could learn and stuff. It was something to do that I was kind of good at.
Do you think making music and inventions helped you with your confidence?
Q: Yeah, for sure, fooor sure. If you’re a creative kid or an artsy kind you might try a bunch of different things and I did. I tried Art class because I liked the art teachers and I liked the other kids who were into art. I liked Drama because I liked the drama teacher and the other kids that were into drama. I thought I liked them but then they were just so outgoing and something else that wasn’t my thing and then I found the brooding, angry behind-the-dumpster music kids and was like, okay! I’m good at this thing and I like those kids better [laughs].
Why did you feel it was time to make a new Quintron and Miss Pussycat album?
Q: Well, to be perfectly honest, we had the songs, a good batch that were mostly, except for a couple, that were road-tested. We hadn’t made an album for a while where… a lot of bands get stuck in a rut where the first album is really great because it’s road-tested and the lyrics, it’s your life on the page, then you make another one and you start recording it and maybe it’s half-baked. We didn’t make one for a really long time because we wanted the next one to be baked fully. We spent a real long time baking it and it was time to put it out and we had a great opportunity to go into this new recording studio in Gainesville, Florida; one street from Tom Petty’s boyhood home! We were the guinea pig band for this very fancy new tape studio called Pulp Arts. They let us have almost free recording and the engineers got to learn their way around a tape machine, the new equipment and the room. It was a great situation.
How do you capture your energy on record?
Q: I think most of the time we’ve failed to be honest [laughs]. This album gets pretty close. We had a live drummer and live bass player; we’ve never had that before, that makes a living breathing human musical experience a lot easier to capture. Being a first-time thing for us, it was really exciting. We’ve never toured with a live drummer, so it was all new and the excitement of the new keeps everything popping for everybody. For the most part though, I would say that we’ve always been better live than anything we’ve put out on record, with the exception of the more abstract experimental records that are made to be on record, those stand on their own. As far as capturing the Q & P live experience, I’d say it’s more misses than hits.
I know that you like to invent your own sounds and that your music often comes from hundreds of hours of experimenting; what experimenting did you try with this batch of songs?
Q: I had a new Mellotron at my disposal, so there was lots of messing around with that. I just made a solo Mellotron record and I’ve really been getting into that instrument, I’ve been exploring what it can do, playing it through other things and using it with a Talkbox. It’s usually finding new pathways through new sounds and new instruments and the fun of going into a big fancy recording studio and they’ll have amps and weird stuff laying around, your ideas come from the things around you, also the people you’re with.
Do you and Miss Pussycat work on the lyrics together?
Q: Sometimes yes and sometimes no. There’s definitely songs where it’s all me written, I have all the lyrics and I’ll present them to Miss P and she’ll be like “I don’t like that word, why don’t you change it to this” and it will explode my head in a whole new direction! I’ll change a word here and there; she’s like a final look editor sometimes.
Then there’s songs that she writes completely. I’ve pretty much been the one that writes all the music but sometimes she comes with a set of lyrics and it always has to do with puppetry or some crazy story that she has. With ‘Goblin Alert’ we sat down at the kitchen table while we were in the studio and wrote the lyrics together.
Were any songs a challenge to write?
Q: ‘Goblin Alert’ was the biggest challenge because it was so last minute. I’m not the fastest draw in the west when it comes to organ, I’m more of a slow, nod-your-head- jamming kind of guy; that song was really fast! Getting the riffs down the way I wanted to, I had to do a lot of takes, it was really hard. We were stuck on the lyrics almost to the last day of recording and we had some brainstorm epiphany between the producer Greg Cartwright and me and Miss P sitting down to write the lyrics. That was a tough one.
There’s a song on the album called ‘Where’s Karen?’ that was written about a girl the went missing at Mardi Gras.
Q: It was actually a friend of ours. It was a friend who… it was Mardi Gras day and he was off in his own world, if you know what I mean being Mardi Gras and everything, and he kept talking about this girl named Karen that he was worried abut and where she was. We didn’t know what or who he was talking about and we had to go out. It’s how the song describes it; it was freezing rain. We went out into the day and we locked him in this apartment so he wouldn’t hurt himself but I left the tape recorder in there recording to see if he was going to spill the beans on who this Karen was. That inspired the fantasy of the song, it’s not a direct from life narrative telling.
So, you kind of made a field recording of him?
Q: Yeah, and the whole day walking around Mardi Gras I was thinking this is going to be a song. When we get back, he’s going to tell us what he is talking about and we’ll find out who this is. It’s such a great line for a song, this was way before the stupid meme, it was way before that was a thing that this was going to be the name of the song.
One of my favourites on the album is ‘Block The Comet’.
Q: That’s a collaboration on lyrics between me and Miss P.
What’s something that you’ve learnt from Miss P? Last time I spoke with her she told me that one of the best things you’ve taught her was to make a marshmallow casserole.
Q: A marshmallow peanut casserole!
What I’ve learnt from her is how to be happy, honestly, that’s the god’s honest truth. How to ignore other people’s negativity and to be happy, to walk through life in a dream of your own making, how to make that purposeful and helpful. That’s kind of oblique but that’s the biggest thing I’ve learnt from her. Miss P is just one of those people that… it’s scary sometimes when the world kind of cracks through the shell, sometimes it does for everyone and it’s like, hey, the devil is out here and sometimes the sky is falling and sometimes people die. When you’re so intent on just being happy and spreading joy, sometimes those are the people that get hurt the most when that bubble gets cracked a little bit, which can worry me but I have seen it’s a better way to be than to be constantly aware of that and ultimately playing to it, it’s more cynical.
What drives you to create so much? You have the Weather Warlock invention, you put out a book, lots of different kinds of records. You always seem to be making things.
Q: I don’t know. Anything I could say would sound corny. It’s just to keep from going crazy, I suppose. I get ideas and I become obsessed with them becoming reality.
Is it satisfying once you make it reality?
Q: It is! I’m not one of those people that are depressed when a record come out. I like results. I like finishing things. I like putting the stamp on it and putting it in the mail, saying that is done, that is ready for primetime! Then moving on to the next thing. Really the joy is in the creation. I’m proud of having records out and it’s nice when people say they like them, but the real joy in life and the most time that you spend as a living organism is in doing the actual things, that’s just fun, right?
Q: It’s not saying thank you very much and taking a bow—it’s doing stuff.
Yeah, it’s the process, those moments and it’s the connections you make with yourself or with someone else you’re working with, it’s an experience you’ve had together.
Q: Yeah, that’s the essence of friendship and relationships. In order for me to become intimate with somebody or become friends even with somebody, we have to work together or we are just not on the same page, it’s not going to happen. Everybody that I really end up spending a lot of time with or becoming friends with or having relationships with, it’s only through work. That’s when your facade is gone, that’s when your ego is gone, that’s when you’re chipping away at something that is not you. It’s the only way to produce a really truthful communication between people.
Do you learn things about yourself when making songs?
Q: I can’t say I’ve ever stopped and said, hey, Quintron, that’s not your real name is it? No. Did you learn something about yourself today? [laughs].
I read an interview with you in Popular Science magazine and it said your name was David.
Q: Ah-ha. I’m named after my father. I’m a III. Even my dad calls me Quintron. It’s been a nickname for so long. It just sort of happened because the first album is under that name, it’s something that people just started doing and journalist started doing because they thought that’s what I wanted to be called or that it was my real name or something. It’s been so long and I think it amuses my family enough that they have adopted that.
Q: Yeah, when your parents participate in your rejection of reality! [laughs].