Archives for category: Interviews

DD Somehow, I didn’t notice until very recently that you are from Ireland. I haven’t been there yet, what is it like? Does that environment shape your music?

BG It’s great here. I’m from a small town called Fethard, steeped in Medieval history and architecture. It absolutely shapes my music, I would say – especially the ambient tracks. A recent one I recorded called “The Green” from Ten Pearls is from an early memory of a street here of the same name. It’s where my grandparents lived. The often drab weather, and scenery set off ideas for sure!

DD And where does your artist name come from?

…the name Bart had me thinking of The Simpsons a bit.

BG The artist name is from a friend of mine who suggested it. I was looking for something that sounds kinda 80s, or retro, or whatever, and Bart Graft kinda stuck. 😂

Kinda rhymes with arts & and crafts haha.

DD I see:)) Your ambient tracks are some of my favorites so far. On the more energetic side, I especially love “Hello World” and “Computer Age”.

What are some of your earliest and most memorable experiences with music?

BG “Hello World” & “Computer Age” were heavily inspired by 80’s Library Music. Wanted to get that high-energy, sorta cheesy sound, and keep them somewhat technical also! I was a staunch metalhead when I was younger, listening to Metallica & Pantera etc…which slowly evolved into more melodic metal in Type O Negative.

I bought Zappa’s album “Cheap Thrills” one day because I kept seeing the cover art whenever I was browsing for music. Threw it on the stereo that evening and I couldn’t stop laughing. The absurdist humour with the ridiculously technical music just threw me… I remember specifically after hearing the “Hot Plate Heaven at the Green Hotel” guitar solo, I couldn’t make sense of it. It was my first time hearing modal playing. I loved it so much. That solo alone made me start playing guitar more than the bass I began with…

That same year I bought Jane’s Addiction’s “Ritual de lo habitual” and after hearing that, I knew I had to start making music. It was the perfect album and sound.

DD I see, rad:))

I’ve only recently gone all the way back and started listening from the beginning of your Bandcamp page. Did something really click or inspire you around 2015 when the first release came out? it seems like you’ve had a huge amount of releases in a short period.

BG For sure yeah, I just had a huge amount of ideas I wanted to explore musically. It was all a learning period as much as it was creatively prolific. I was learning the chops with production & songwriting, and the best way to document it was to release my work, I felt.

I remember the early releases were massively inspired by Scritti Politti and Prince. I was probably addicted to creating music. 😂 I just had an almost overwhelming amount of ideas and drive to create.

DD And are you more self taught and/or have you studied in more of a university way?

Also, when I listen to your music it often sounds like a band, but if I’m correct all of the music comes from you solely. Is their a purposeful aim for a larger kind of sound overall?

BG I’m fully self-taught on everything. I genuinely have very little theory knowledge. It’s all a result of years and years of intuitively learning music by ear. Yes! I record everything. The aim is definitely to get a huge sound. I tried to stylize the production quality on Pink Floyd’s “A Momentary Lapse of Reason” – Huge, spacious, reverb-drenched sounds. Almost like a sonic vista of sorts. I think having good drum tracks determines the quality of the song…Like the old saying “A band is only as good as its drummer.”

DD Have you ever and/or would you like to soundtrack films?

For me, your music is very visual. It’s very easy for me to listen to your music, and imagine some kind of scene playing out in my head.

BG Yep, I’ve worked on a few short films before. “Meat is Murder”, “Word of Mouth” with directors Ben Kavanagh and Luke Murphy. I’ve also worked with Bogus Films on their short “Softcore”.

All amazing experiences. I would absolutely love to write more music for film and would jump on any opportunity to do so. Vangelis, Angelo Badalamenti, and Thomas Newman are all huge musical influences on me.

That’s amazing to hear also, Jimi. Very glad it inspire visuals for you!

DD Sweet:))

Did you have a Bandcamp listening party recently, for ‘Jewel in the Crown‘? I was there!

Also curious how you first connected with the Business Casual label? They have a gigantic collection of releases.

BG Yeah man, Business Casual threw a listening party for ‘Jewel in the Crown’. I put one on for Ten Pearls also!

I was always a fan of Business Casual and what John does over there. Jerome over at the Become Eternal label actually suggested I should send in a demo, so I did and they approved it. Was really cool working with BC!

DD I just watched your music video for ‘Unending Desire‘ that came out recently. How did that come together, is this all original footage?

BG I’ve been spending more time lately developing my albums, and Unending Desire is the next release which I’ll hopefully get out early Summer. The music video is from a Hirokazu Kore-eda film called After Life (1998), he also directed Maborosi which I used clips from in the “Form on White” video!

DD Excellent, do you have any regular disciplines or routines that help you stay sharp creatively?

Also curious how many instruments you play, and if you sing as well?

BG I find just listening to new music sets off my creativity usually. I like to look at art also. Some paintings immediately spark ideas! It’s weird, but it works for me! I usually just browse Wikiart.

I play, bass, guitar, piano mainly. I don’t sing at all – probably have the worst singing voice of all time, not a note in my head. 😂

DD And what is your favorite thing about being an artist? and is there something that seems to be the most challenging?

BG I think creating art is the most rewarding thing I’ve ever experienced. I love the opportunity it grants us to share ideas with the rest of the world. I think creating art is almost meditative, in the sense that it improves your overall well-being as a person.

It can be challenging to articulate some ideas, but that’s the fun of it. It’s hard work, and it pays off when it comes together! The challenges help me grow as a musician and artist and I welcome them.

DD I love that, thank you for sharing. I’m also curious if you perform live? I can imagine some pretty wild shows..

BG I don’t perform live at the moment at all man! I reckon I’d need a band to get the sound right. 😂

Possibly someday though! I would like to!

Bart Graft

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– Jimi Jaxon

DD – When I first met you in august of this year (2024) you were in the middle of making a song every day that month. This was in addition to working another job amongst other things. How did you stay disciplined to accomplish all these songs in a daily routine?

WR – I’m not entirely sure how I stayed disciplined. I went into each day knowing that I had to make a song, and that I would make a song. I guess I just planned my days around it, and if I ended up not making a song on any given day, I would’ve been pretty disappointed, so that motivated me.

DD – What inspired you to go on this journey in august?

WR – I had just moved to Seattle and I was going through a breakup. Being in a new city, I was meeting a lot of new people, and working a new job, and things in my life were generally very different from how they had been for a long time.

I think making August was a way to bring some consistency into my life in a transitional period.

DD – Roughly, how many hours per day would you spend making a song?

WR – It varied a lot. Some days I sat down and wrote and recorded the song in one sitting, it took maybe an hour. Other days I started making the song in the morning and worked on it all day until it felt done. Most days I had work and other stuff going on so I had to start later and I would work on them until 4 or 5 am. I lost a lot of sleep.

DD – Are you surprised at any of what has been produced in this month long expression?

WR – I’m definitely surprised. I had no idea what to expect. I thought maybe some of these would be too embarrassing to release, but I’m actually really proud of how they all turned out. I wrote some of my favorite lyrics I’ve written- like the ones on “We Do Really Bad Things”, and I made certain choices in songwriting that I would’ve never made without the freedom that this project brought. The chanting/spoken word in August 27th comes to mind.

DD – What are some of your earliest and/or most significant musical or creative memories?

WR – At a really young age I remember figuring out that I could anticipate when certain things would happen in songs. My mom would play music in the car and I realized that I knew when certain sounds were going to happen because of the rhythm of the song. It’s a pretty distinct memory to me. I feel like it was kinda the moment I figured out what music was.

I also remember wanting to draw all the time.

DD – How did the environment of New Orleans affect your development? How does living in Seattle now affect your creativity?

WR – New Orleans is an extremely creative city. There is a strong and distinct energy there. Living in that is intense and inspiring. It’s also inspiring to be surrounded by so many other creative people who make awesome stuff. New Orleans was where I made my first real songs, and I think that environment fueled a lot of things I’ve created.

Seattle feels really similar though honestly. There are people making really cool art here and I’m inspired by them all the time. I also feel like Seattle has a lot of history with alternative music and the people of this city love that genre. This is good for me, since I love it too. I also feel like the rain and the trees are really inspiring to me.

DD – Who and/or what are your biggest influences and inspirations?

WR – I’m influenced by movies and photos a lot. I feel like I’m a really visual person so, things I see often translate into music I make. I often start my albums with the cover already decided. This album was no different. As for people, I’m really influenced by my friends who have been so supportive of me for so long. As for artists- Elliot Smith is a huge and obvious influence to me. He has influenced pretty much everything I’ve made. Adrienne Lenker’s songwriting has also been a large influence on me for years now. Alex G is a big one as well. Not just his music, but the way he makes it as well. For “August” specifically, I felt really inspired by Arthur Russel. He’s probably my favorite artist. There’s an intangible feeling that I get from his music that I haven’t found anywhere else.

DD – Do you have any formal music training, or more self taught? It sounds like you play a lot of different instruments.

WR – I took guitar lessons for a bit as a kid, but the rest of the instruments that I play are all through trial and error and exploration. Also in college I studied music theory and got to take vocal lessons which I really enjoyed!

DD – Do you remember your dreams? I’m curious if they consciously play a role in your creativity?

WR – I remember some dreams but they don’t really play a role in my creativity. I used to be into lucid dreaming, but I haven’t remembered much from my dreams in a while. They are pretty all over the place.

DD – How do you translate your productions into live performances? Do you perform solo and/or have some kind of a band play with you?

WR – I like playing with a band. We take the songs and make them louder and make them rock out more because it’s really really fun. I play solo on occasion, but I’m really into the idea of making the live versions of the songs a unique experience and different from the recorded versions. The live versions are really different.

DD – Does the artwork for your releases ever come after the music is made?

WR – This is a great question, I sort of answered it earlier. I think for my favorite stuff I’ve made, the artwork is a very early part of the process. For some things the art has came later, but I try to know what the artwork will be really earlier on, it’s a really important part of my process.

DD – How would you describe your music and/or sound?

WR – This is a hard one for me to answer. I think of my music as pop music. I’m mostly just trying to make things that give me “that” feeling. That’s all really.

DD – Do you have a message for someone who is interested in becoming an artist, and is not sure how and/or where to begin?

WR – I think making art is great. It’s something to do. My advice would be, do it, because then maybe you won’t be bored.

Also- like the stuff you like, and think about what it is that makes it special to you, and try to emulate that.

 

With an election in Seattle fast approaching, we are honored to share this conversation with Jon Grant, running for Seattle City Council Position 8. A big thank you to my friend Nigel Weiss, who assisted me with these questions.

DD Greetings Jon! Thanks for stopping by Disco Droppings for this conversation. How are you?

JG Doing well! We’re in the final two weeks of the primary campaign and feeling good heading into August 1.

DD Growing up, did you envision yourself on a path like the one you’re on now?

JG Not really no! I’ve always had a passion for housing justice though, so in a way it makes sense. When I was a teenager, I produced a zine called “Section 8” that was mostly about punk music with some political articles sprinkled in. As an adult, I’ve focused my career on housing justice. In 2015, I ran because we needed a progressive to replace Tim Burgess. Now, with the Democracy Voucher program, my campaign is even more focused on elevating the voices of Seattle’s most marginalized communities.

DD How has 2017 been so far in your eyes, in terms of Seattle and nationally?

JG It’s been a challenging year obviously, but yet, I think in the face of a despotic national government, we’re seeing an amazing resurgence of local activism. It’s clear to me and many others that we can’t count on the federal government to protect us. Instead, it’s going to be cities like Seattle that set the standard for progressive policy.

DD What and/or who are your main influences, inside and outside of political activism?

JG In Seattle, I was first inspired to run for office by Nick Licata. We talk now about having a progressive bloc on the council; for many years, it was just Nick holding it down. Locally, I’ve also always been impressed with Tim Harris, who founded Real Change. On housing issues, I’ve been influenced by Peter Marcuse, a political thinker and urban planner and Randy Shaw from the Tenderloin Housing Law Clinic. Outside of housing, my social justice values are influenced by writers like Michelle Alexander and Lindy West.

DD You have many views that would be substantially different in some ways from the current direction of Seattle City Council. What is your approach to engaging with that? What are your thoughts on working as a team in such an environment, versus staking out principled disagreements?

JG What I’m hoping to accomplish with my campaign is to build a progressive voting block on the city council. Right now, we’ve seen a number of votes that fall 6-3, with Kshama Sawant, Mike O’Brien and Lisa Herbold representing the minority. I believe that if I get elected, it will be a lot easier to find common ground to win that 5th vote on issues like immigration, housing affordability and tenants rights. My goal once elected is to pass bold legislation, not just taking protest votes. I’m confident that by partnering with community groups on specific issues, we can work with the council at large to pass policy.

DD I first met you DJ’ing one of your house party events. How have those been going?

JG Great! We’ve raised tens of thousands of dollars just from people getting their friends together in a living room and talking local politics. We’re a people powered campaign and house parties are one way we build that power. And thank you for DJing an awesome set!

DD You’ve mentioned being the first to qualify for the Democracy Voucher Program. Can you explain why the vouchers are important for Seattle?

JG The Democracy Vouchers are changing the game in local politics and I hope they eventually change the game for state and national politics too. Last time I ran, our campaign was outspent 8:1 by big money who backed our opponent. This time around, we’re actually leading in fundraising and 90% of our money comes from vouchers. The vouchers are hugely important in a city-wide race but I think we’re going to see them have a big impact in district elections and especially in the mayor’s race next cycle. Anybody who is organized, who can build support in the community will be competitive with the voucher program.

DD In a state like Washington, and city like Seattle, we are surrounded by and immersed in so much beautiful nature. How much importance do we put on protecting the environment around here, from your perspective? What is your campaign focused on in regards to climate justice? And, what can people do in their own personal worlds to make a positive impact?

JG Climate justice is a central part of my platform and it’s clear that it is at the forefront of many people in Seattle. Back in February, I wrote an op-ed in the South Seattle Emerald asking the City of Seattle to end business with Wells Fargo, because of their support of the Dakota Access Pipeline. Later, I met with local native organizers Matt Remle and Rachel Heaton and asked how our campaign could support the No DAPL movement. They invited our campaign to participate in a city-wide action against Chase Bank, to urge Chase to divest from DAPL and me and one of our volunteers got arrested in that action. I would encourage anyone who wants to protect our natural environment to get involved with local environmental organizations like 350 Seattle and Rising Tide who are working to keep Seattle beautiful and equitable.

DD Affordability is on people’s minds more every day in Seattle, and you’ve got some big plans to address that problem. Can you talk about some of your ideas to support people who are struggling to stay in the city, and what are your thoughts about a long-term solution to the high costs of everything in Seattle? Also, when a building has a certain percent affordable housing, how much cheaper is it?

JG I’m presenting the boldest housing platform of anyone in my race. Our campaign is calling for 25% of new development to be affordable to working people (up from the 2-7% the city has passed so far), giving renters the right to collectively bargain their rents, creating an Office of the Tenant Advocate and raising the top B&O tax rate (while raising the exemption for small businesses) to build thousands of new units of deeply subsidized and low-income housing. It’s critical that we add tens of thousands of new units of affordable housing, in addition to preserving what we have already from displacement, to keep costs down long-term. Buildings that are covered under the 25% mandatory housing affordability requirement usually have affordable units targeted to people making about $40,000-$50,000/year. That’s why my housing plan also calls for constructing new housing that will be affordable to people making less than $40,0000.

DD You’ve been a big supporter of alternatives to policing and incarceration so far, in particular you’ve been vocal in support of No New Youth Jail and the Block the Bunker movement to prevent the city from building a new police precinct in North Seattle. Overall, what do you think city has done well in terms of criminal justice and policing, and what would you like to see changed?

JG One program that I’d like to see kept and expanded is the Law Enforcement Assisted Diversion program. The LEAD program provides caseworkers to chronically homeless individuals, low-level drug dealers and users, and sex workers, instead of pushing those people into the criminal justice system. The LEAD program has reduced criminal recidivism rates by up to 60% among the population it serves. We should expand the LEAD program citywide to better serve our communities.

We should invest in rebuilding the Community Service Officer (CSO) program, which places unarmed Seattle Police Department employees in communities to respond to low-level calls like property crimes and landlord-tenant disputes. The CSO program was dismantled in 2004; it’s time to bring it back. CSOs could play an important role in working with houseless people and individuals dealing with drug addiction by connecting people to services instead of routing them into the criminal justice system. Instead of investing in 200 new police officers, the city should direct funding to expanding the CSO program.

I also support alternative forms of accountability for crimes of poverty like loitering/disturbing the peace and driving with a suspended license and crimes like DUIs, sex work, drug-related offenses and any offenses that take place in public schools or public educational facilities. Arrests for these types of offenses funnel vulnerable populations like undocumented immigrants, people of color, transgender and queer people, and the homeless into the criminal justice system. Identifying alternatives to arrests and incarceration is a crucial immigration, racial and social justice issue.

DD You’re running as a Democratic Socialist for this campaign and not a Democrat. What led to this, and how do the Democratic Socialists of America tie into your campaign?

JG I wanted to make it very clear to Seattle voters my views on the relationship between the market and public benefits. We’re in a housing crisis and yet our elected officials are focused on relying on the market to provide a basic good like a roof over your head. I believe we need more people in office who recognize that the government has a role to provide for people’s basic needs. I am a member of Seattle Democratic Socialists of America and have been endorsed by SDSA. I’m happy that SDSA has played an active role in recruiting volunteers for our campaign.

DD What problems in Seattle deserve more attention in your eyes, and how does your campaign address those areas?

JG Some big issues I believe we need to address are expanding municipal broadband, gender pay equity, stopping the sweeps of homeless people, and protecting immigrants in our community from ICE. These are all issues featured on my platform.

DD Who makes up your team, and how much time do you spend working on your campaign and areas connected to it? What’s the balance between how much work you do, and the assistance that you get from staff, volunteers etc?

JG We have three full-time staff (our campaign manager Kate, our field director Manya and our field organizer Shaun) and two part-time staff (Erin, who runs communications and Deyland, our field canvasser). Right now, I’m working full-time on the campaign. My focus is on talking directly to voters, whether that’s going to a community meeting, a candidate forum or hitting the doors.

DD How can people help you out, whether in Seattle or outside?

JG First, vote! You should have gotten a ballot last week. Please get it in as soon as possible. Second, donate your Democracy Vouchers to the campaign. You can mail them to People for Jon Grant, PO Box 21551, Seattle WA 98111. Finally, we’re up against some big money in this election. Big business has already spent almost $100,000 to back my opponent. We’re asking people to donate just $22 to help us stay competitive. You can donate at electjongrant.com/donate

– JJ

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It’s been a little over two years since Abby stopped by Disco Droppings for a conversation. I’m very grateful she has returned! I observe so many discussions on subjects like the ones below, and it can be a trip to say the least. When I think about a contribution I can make, a big part is building a space for these ideas and energies to be demonstrated. Where distinct individuals can share, and readers can take it in at their own pace, in a site that isn’t difficult to look at. I aim to keep things clean and minimal. So, in we go with this hard-hitting investigative journalist: Founder of Media Roots, Former host of Breaking The Set, Board of Directors for Project Censored, Founder of The Empire Files and quite the artist as well. I soundtracked this feature to The Prodigy album, The Fat of the Land (very fitting I’d say)..

DD Who and/or what moved you the most this past year of 2015, and what message did they bring?

AM My partner Mike, he made me follow my heart across the country. It took a leap to adventure to NYC with me to partner in our show The Empire Files. His support and intelligence has pushed my vision to a whole other level.

DD I want to go back to a past interview you did a few years ago that could use another look. I especially love your conversation with Alex & Allyson Grey, who are said to be “the most prolific psychedelic artists in the world..” There are discussions of “inner sight” and “turning within”. How does this translate to the lens through which you see the world?

AM They are truly beautiful people. I think the most important human component is empathy. Instead of speaking about the horrors of the world in the abstract, we need to start humanizing others and putting ourselves in their shoes. Whenever I report an issue, I try to report it from the peoples perspective, through the lens of the oppressed and suffering.

DD What internal human imbalances contribute most to the external dysfunctions you witness and report on, in your eyes?

AM I don’t know about internal imbalances so much as external ones that force internal strife. We are living in an economic system that institutionalizes inequality and barbarism. Poverty is deepening at an increasingly rapid rate. The extreme consequences of living under the shadow of militaristic imperialism are playing out all around us, driving desperate people to commit crime, violence and terrorism. The propaganda that maintains US Empire breeds division, hatred and discrimination. Unless people can work together to challenge the power structure in the heart of this country, I fear the dysfunction of the system will lead to its violent collapse.

DD I feel this problem with unification. What’s holding us back from coming together? What veils need to be lifted?

AM Behind the veil is the common humanity that unites us all. From nationalism to “otherism”, myths are the glue that hold society subservient. These myths also work to justify untold unjust and criminal policies. I think most division in America is bred from a manufactured fear of what we don’t know or understand. The propaganda behind the endless ‘War on Terror’ is more convoluted and effective now. Many people I related to ten years ago have since followed an extreme Islamophobic trajectory. It’s scary. In times of strife, people’s fears will take hold and fascists will rise–it’s up to those of us that are awake to support and build each other up.

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DD How is life with Telesur, the host of your new show Empire Files? And how would you describe the energy of this show vs. Breaking The Set?

AM Every episode of Breaking the Set was like a punch in the gut of hard truth. For three years I was like a steam engine, with a team of only two people to churn out a daily show. The energy output was insane, and I knew that I couldn’t keep it up. I also knew that I wanted to embark on investigative documentary work, and with The Empire Files, I’m able to invest an entire week’s worth of work to provide important and timeless context to the issues of the day. Although the budget for the show is much less than RT, it’s been an invaluable experience to learn what goes into creating a show from scratch.

DD My favorite art pieces from you are the collages. “Ganesha Nagarani”, “Business Man’s Trip” and “Earth Awakening” really draw me in. There’s this chaotic energy, and at the same time a cohesion and melding together of many elements. How has this outlet been moving for you recently? If you haven’t been focusing on this area recently, are there other visual artists you find especially striking at this time?

AM “Ganesha Nagarani” is my favorite piece! I love creating captivating, psychedelic webs of cultural expression. I still only have a staff of two helping to create the weekly production of The Empire Files, so having free time for art is limited. I’m trying to set up a show while I’m on the east coast, which will force me to produce more. Out of all the art I’ve seen in NYC so far, there is very little cutting political commentary and I hope to inject some before I move on to the next place.

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DD About the election and 2-party system. I’m remembering my high hopes for Obama, going with that “choose the lesser of two evils”, and questioning that mindset later. What’s your take on the election this year, Trump, Clinton and Sanders? What is your option for people who may think, “there’s no other way that has a serious chance”? My gut says, why project barriers and give into limitations? But I struggle with what to align myself with.

AM I think this election cycle is fascinating and promising for many reasons. The entire Republican establishment backed a candidate that its voter base totally rejected. Only good things can come from the corporate duopoly splintering like this. On the Democratic side, I think Bernie Sanders’ support is significant. It’s more than just symbolism. Unlike Obama, Sanders has a decades long record of policy votes to stand behind. Hillary’s upset so far is about a visceral rejection of the status quo and shows Americans are hungry for significant change. Unfortunately, Bernie already pledged to endorse corporate criminal Hillary Clinton as the democratic nominee and not run as an independent, which would be disastrous and demoralizing to his supporters. If he loses the nomination, I hope his base rallies behind Green Party candidate Jill Stein. I always advise people to vote with their heart, because any vote for a candidate that doesn’t represent them is a wasted vote, not the other way around. The more we marginalize third parties the more the two-party dictatorship maintains its stranglehold over the already rigged election system.

 

DD And finally, what is your mission for 2016?

AM To forgive and learn from my mistakes, and to constantly strive to be a better, stronger person.

Abby Martin – Twitter Facebook

The Empire Files – Twitter Facebook Youtube

 – Jimi Jaxon

 

Perfect time for reflection. In case you missed it, we had Disco Droppings first release a few months ago. “MMXV”, Free 7-track + mixed version from Sphyramid. Was able to get some of our friends behind the video, artwork and tunes to share their perspectives..

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Sphyramid, Producer

DD Knowing and working alongside you over the years, this seemed to be your most involved project so far. There were many elements coming together over what ended up being 6 months or so. Now that some time has past since the release in October, how do you reflect on it all?

SPH Well the whole thing is pretty coincidental, it started as a single track and video (Loud Enough). I didn’t have a computer at the time but my roommate was going to Mexico for a month which gave me the opportunity to use his computer to record the rest of the release.

This collection of tracks represents a huge release of negative energy. My father passed away in January of 2014, then I experienced an intense process of betrayal and forgiveness between a lover and a close friend the following October. then in April of 2015, I quit my food service job that I once loved but had become a personal hell. Somehow being driven to my most extreme state of overwhelming despair gave me the courage to look at my self and make that jump to being a creative professional. As soon as I left that mental and physical space of loathing to focusing on my art I received more and more opportunities. I started the video project with Tucker and put the call out for people to help. All of a sudden I realized that I had this huge crew of supportive, loving friends and fans.

I basically spent the remainder of this year fine tuning the tracks, getting them mastered, and corresponding with Alden for the artwork. Now that we are approaching the end of the year its fitting that we look back on “MMXV” because that is exactly what I named it (roman numerals for 2015). This might just be post rationalization, but this project was like some kind of offering to the gods, a sacrifice or something. It’s like saying, “Here take this darkness, I don’t need it anymore. But it has served me well.”

Next year I would like to re-release it as “MMXVI” (2016) with as many vocal edits and remixes as possible. But until I find all my vocalists and get that recorded I will continue my research and development for my next project. “MMXV” was like therapy, but it was also just a snapshot of a year in my life, a collection of ideas that happened to fit together. My next project will be a more cohesive concept album focusing on some more positive and playful feelgood vibes, I think I have earned it :]

 

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Alden Lee, Artwork

DD I was impressed with some of your previous pieces, and pleased to have you on board for artwork. How do you go about creating, and how was it being involved with this project?

AL I sift through magazines looking for anything that catches me eye and cut them out, and those cut-outs go in a bin. When I make something new I spread out all the paper pieces on the floor and see if any of them look good together. If they do, then I add more pieces and go from there.

It was a lot of fun contributing to the MMXV release. The design was inspired by some stills of the video shoot, and I wanted to make something that could key into those mystical and occult elements.

 

Tucker Grindstaff, Video Director

DD I remember being a small part of one of the shooting days for “Loud Enough” over in Everett earlier this year. You were noticeably apt at guiding a sizable group of people through the different scenes in a calm, upbeat way. What did you take from this whole process?

TG The “Loud Enough” video shoot was a party in a bedroom of Sphyramid’s house with all of his friends who were there to have fun, dress up, and get absolutely crazy. All I had to do was tell them when to party in the bedroom and when to eat tater tots to go with their champagne. I couldn’t have done it without my production team, especially Alexander Vincini and Adam Bagley who helped tremendously in wrangling the crowd; really my job was just ensuring that people knew there were tater tots to eat and where the tots were. The end product showed the fun and ‘maniacally smiling from the shadows’ vibe that drew me to Sphyramid’s music in the first place, and in the end I think it was a lesson in how to create an atmosphere that mirrored the artist’s intention. Really though, those tots took it to another level.

Sphyramid – Soundcloud Facebook

* Thanks to Lealia and anyone else that was a part of this project and was not mentioned.

– Jimi Jaxon