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].