5 Questions: Pen Palindrome

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Fear. Anxiety. Uncertainty. The coronavirus has transformed our world with all three.

It’s vital, of course, that all of us play our part — practice social distancing, donate to nonprofits helping to respond, look for ways to volunteer and offer support to loved ones, friends and strangers alike. But just as vital is keeping ourselves psychologically and emotionally healthy. One of the best ways to do this is listen to more music — specifically, the music of DC singer-songwriter Pen Palindrome.

Pen Palindrome has become something of a crutch for me these past few weeks. The talented singer-songwriter, aka Ava Mirzadegan, specializes in crafting delicate songs of introspection, wistfulness and longing. There is a sadness that pervades her music, and yet I find her songs to be strangely uplifting.

In these scary and strange times, Pen Palindrome has helped me find my center.

When I was faced with the dilemma of how to move forward with WE FOUGHT THE BIG ONE’s 16-year anniversary celebration, I knew exactly the right artist to play for us. Thankfully, Ava was up for it. She will be our first livestream performer via our now monthly Zoom music showcases.

The Marx Cafe, like most bars and restaurants, has lost its main source of income and is struggling to pay its bills. A GoFundMe campaign has been launched, and a big focus of the 16-year anniversary showcase — and the next few — will be supporting the Marx Cafe to keep it running.

I had an opportunity to speak with Ava about her journey as a songwriter, and how this new phase of social distancing has affected her and her ability to make art (and a living). Read on…

1) Can you tell us a little about your journey as a music maker? When did you start writing songs?

Ava: My musical journey began when I was a kid, starting piano around age 6 and constantly singing with my older sister in the house and then eventually in school choirs. We used to write songs halfheartedly, and throughout my youth I wrote to process emotions. In high school I started to take writing a bit more seriously, writing songs on both guitar and piano. But it wasn’t until college that I actually felt good enough about my writing to share it with anyone. I spent a long time wishing I could write better or trying to figure out my style.

2) I love that you once described your music as “ambient rock that you can take home to meet you family.” How important is it to you to make music that connects with listeners outside the DIY underground music community?

Ava: I love that description too! Honestly it’s extremely important to me because although I’m deeply invested in the DIY community now, I was a little late to it. I have loved non-commercial music for a long time but the first time I attended a house show was in college. It just goes to show that it can be a little scary to engage with even the things you love if you’re not feeling like you fit into that space.

3) This might sound strange, but as melancholic and introspective as your songs are, I find them to be very comforting, especially during the scary and uncertain times we’re in. Listening to “Anna I’m Sorry” is like wrapping myself in a warm sonic blanket. Do you find comfort in your own music?

Ava: Sometimes! I generally find the most comfort in the process of making them, but I’d be lying or a bad musician if I said my own music wasn’t comforting to me. The whole point for me is to create the thing I’ve been searching for sonically, so I always try to write what would feel good to listen back to. (Also, thanks for saying you find comfort in it! That’s so sweet and I’m so glad to provide even a sliver of solace.)

4) Can you share with us how the COVID-19 crisis has affected you? And importantly, how people can support you?

Ava: I’m lucky enough to have a supportive family, and while I’ve been working more on music-related things, I’ve been able to work part-time and live at home while writing, recording, playing, and hosting shows. However, all of my music gigs, including a tour that I booked myself, have been cancelled. And my supplementary gigs have also been cancelled due to the virus.

I was planning to move back out on my own this summer, but now that I am without any income, I’ll be looking at an even longer time getting back on my feet. Supporting me could be through listening/buying my music on bandcamp, supporting the record label I just started with a friend called Oof Records (we have our first comp tape out now!), telling your friends about my music, or booking me to play virtual shows. The more I am able to keep myself involved in music while I’m holed up in my house, the better I will personally fare through all of this.

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5) Lastly, it looks like we may be in this livestreaming phase for several months if not longer. How do you feel that our connections with others are now taking place in the virtual world? Do you see any upside?

Ava: I’ve spent quite a bit of time having long-distance friendships with all of my dearest friends in NY and also with my family abroad. But while I’m used to the digital correspondences, what I’m not used to is the additional emotional weight hanging over all of us. Everyone I know is having a hard time, and it shows.

While it’s lovely to spend time with friends, and even to watch my favorite musicians live-stream, I think it’s also important to prioritize time spent outside. I try to go on a walk every day and spend even a short amount of time away from my electronics, because I tend to feel dissociative when i live through a screen.

The upside is definitely that I’m finally talking with people I’ve always wanted to spend time or collaborate with and we may actually have room in our schedules now to do it. But I’m doing my best to not put too much on my plate just because I’m unable to socialize. It’s important that we recognize and honor that this is a heavy time. It’s not vacation or an artist retreat… people are dying and losing their jobs constantly.

There is hope, however, and joy to found in all of it. So I’m grateful for everyone still making art and choosing the light.

Thank you very much Ava!

Support Ava by purchasing her music through the Pen Palindrome Bandcamp page, and don’t forget to “Like” her on Facebook and follow her and her label on Instagram.

Don’t forget to check out Pen Palindrome’s live set tonight via the WFTBO Sweet 16 livestream party. For more details, including the Zoom code, visit the FB event page.







YouTube Mix: March 2020


Japanese electronic pop weirdness? Check. Parisian pop pleasures? Yup. Dark and moody RnB electro dripping with thick analogue synths? We got you covered. And then there’s the more avant-garde stuff like Henry Cow and Thinking Fellers Union Local 282. Plus, we’ve got rampaging lo-fi punk rock in the form of Erase Errata. Something for everyone then. Or nothing for someone.

We proudly present this month’s WE FOUGHT THE BIG ONE 10-track YouTube Playlist with commentary courtesy of Rick Taylor and guest dj Richard P. Happy listening!

5 tracks from WFTBO DJ Rick Taylor…

Yellow Magic Orchestra — “Behind the Mask” (1979, Alfa)

Rick: “Japan’s answer to Kraftwerk!” is usually how Yellow Magic Orchestra is described. And to be fair, there’s more than an smidgen of everyone’s favorite German robots in the YMO sound. Regardless, this is hugely compelling stuff.

Miharu Koshi — “L’amour Toujours” (1983, Yen Records)

Rick: A rare example of a cover that’s better than the original. French synth pop iconoclasts Telex may have written “L’amour Toujours” but Japan’s Miharu Koshi perfected it.  The more I hear Miharu Koshi’s work in the 80s, the more I want to keep listening.

Clio — “T’as vu” (2019, Un Plan Simple)

Rick: A delectable slice of French indie pop that glides with an effortless cool that only the French can do. Addictive and wonderful.

Psychic Mirrors — “Midnight Special” (2013, Peoples Potential Unlimited)

Rick: Haunting and moody RnB for late-night listening. Psychic Mirrors is a fantastic 10 piece band from Miami that somehow ended up making a record for a boutique DC-based label called Peoples Potential Unlimited.

Nite Jewel — “What Did He Say” (2008, Gloriette Records)

Rick: It’s hard to believe this record is already 12 years old! Rather than offer my own comment, I will simply point to something one YouTube user said: “this sounds like something you’d hear on some forgotten radio station driving through the middle of nowhere at 3am.”

5 Tracks from WFTBO Guest DJ Richard P…

As our favorite British comedians once said, “and now for something completely different…”

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Henry Cow — “War” (1975, Virgin)

Richard: Henry Cow was one of the first bands that worked towards eradicating my conception of musical genres, combining modern classical, free jazz and rock into anti-capitalist prog noise. This song includes some of my favorite vocals by periodic collaborator Dagmar Krause.

Thinking Fellers Union Local 282 — “A Lamb’s Lullaby” (1996, Communion Label)

Richard: This poppy and hypnotic song is good choice for adding noise to one’s next Christmas mix.

Wild Billy Childish And The Musicians Of The British Empire – “Snack Crack” (2007, Damaged Goods)

Richard: Astonishingly prolific multidisciplinary artist Billy Childish has produced similar lo-fi garage punk in a wide array of projects, but this anti-consumer culture pop song is continually relevant.

Cerberus Shoal – “Rain” (1995, Stella White)

Richard: Melodic and driving post-punk from before this band became folkified, teamed up with Alan Bishop, or evolved into the Gira-produced Fire on Fire.

Erase Errata – “Giant Hans” (2006, Kill Rock Stars)

Like what you’re listening to and want more? Check out WE FOUGHT THE BIG ONE every first Friday at the Marx Cafe (3203 Mt. Pleasant St. NW, Washington DC 20009)





5 Questions: Coven Tree

Coven Tree pic by Claire

(photo credit: Claire Packer)

There is something deeply unsettling, yet strangely soothing about the music of DC duo Coven Tree.

Local musicians Hannah Burris and Alexia Kauffman may play classical instruments (viola and cello, respectively) but the duo make music together that is anything but traditional.

The combination of Hannah’s melancholic viola and Alexia’s stately cello cast a gorgeous spell of somber melodiousness. Add to this some genuinely odd electronic elements and the end result is like the soundtrack to a surreal yet highly emotional scene in a David Lynch film.

But as moody and unsettling as the music is, I find it somehow strangely comforting. This is especially the case in a live context. Every time I have seen Coven Tree perform, I find myself completely immersed in the duo’s strange sonic world. Coven Tree make “strange” a wonderful place to be.

If you are looking to check out the band for the first time, allow me to recommend the duo’s split EP release with Tadzio on Blight Records. The two tracks on offer are arresting, beautiful and odd in a way that is rare for music these days.

With the band set to play the March 2020 edition of WE FOUGHT THE BIG ONE, I got in touch with Hannah and Alexia to learn more about their remarkable project.

1) How did Coven Tree form? What can you tell us about the name?

Coven Tree: We have played together in various forms for years – we started playing together in Teething Veils, and have worked together as a classical duo, and on various recordings of other DC bands. In 2018 we decided to try writing our own music together and see how it would go. We started with the goal of trying to play our first show at Rhizome that year, and we did, at the Sonic Circuits festival.

As far as the name – we threw around a lot of ideas, but the first song we actually started playing around with when we were beginning this project was the Coventry Carol – an old English traditional song that we really love and had played as a classical duet. We really liked how it morphed and changed when we added our drones and electronic elements and our sound developed through playing around with that song. Coven Tree comes from that song title, but also we like the witchy aspect of splitting the word Coventry into Coven Tree.

2) Your compositions are unconventional to say the least, particularly with the blending together of experimental viola and cello with electronic elements. What is your process for writing music like? Has it evolved since you’ve been working together?

Coven Tree: It has been a pretty natural process – very experimental for us. Where previously we played together with just our classical instruments – viola and cello, in Coven Tree we have added (and continue to add) pedals to manipulate our instruments, as well as electronic synthesizer sounds. Writing involves improvisation and experimentation, figuring out what sounds interesting and good to us. One of us might bring a seed of a song to practice, and then we just play with it, maybe over many rehearsals, to land on what sounds good to us, but often songs can sound different in subtle ways from performance to performance as there’s still an element of improvisation with some of our music live.

3) When do you feel most creative? Or do you find there is no rhyme or reason to feeling creative or not?

Hannah: I do not find there is any consistent trigger for my creative output, but having pockets of time is necessary, whether by myself or while tossing around ideas with Alexia. However, I am often inspired by hearing unusual music, whether it is similar to what I might play or not.

Coven Tree Tadzio split EP cover

4) Last fall Coven Tree released a split EP with Tadzio on Blight Records. How did that come about and what was it like recording the tracks “No Land” and “Coventry Carol.”

Coven Tree: We recorded “No Land” and “Coventry Carol” with no concrete plans of a release. We recorded with our friend Ben Schurr (Blight Records) who we had both previously collaborated with, and really clicked with him. He made the recording process so smooth for us and he really “got” and supported what we were trying to do. After the tracks were mixed he said he would like to release them on Blight as a split tape with Tadzio, and we were thrilled with the idea.

5) As dark and foreboding as much of Coven Tree’s music is, I always come away seeing your live show with a sense of calm. Your music has a healing affect on me that I greatly appreciate. What moods/feelings/emotions do you want to convey with a Coven Tree live show?

Alexia: Thank you so much, Rick! I really just go into a show with the intent of being as present and in the moment of creating as possible, and trying to be as in sync with Hannah as possible. Some songs do have a power greater than me or us though, I think. When I’m playing some of our songs I kind of feel waves of energy and feelings wash over me from the music, which then goes back into the music, kind of an amazing flow. I can feel physically tired at the end of playing but also internally energized from the music and the energy in the room. It makes me happy to know the music has a calming and healing affect on you.

Be sure to check out Coven Tree’s split EP with Tadzio on Blight Records. You can listen to and purchase their music on Bandcamp, follow them on Twitter and “Like” them on Facebook.

And check out Coven Tree’s live show at WE FOUGHT THE BIG ONE on Friday, March 6th!



5 Questions: Katie McD (Bacchae)

(photo credit: Megyn Elyse)

There’s a good reason why DC punk quartet Bacchae has garnered a lot of attention in our nation’s capitol over the past few years. Even when Bacchae is at its most spastic and aggressive, the band never loses sight of what’s most important: the quality of the songs.

The band’s love for a well-constructed song owes a great deal to the talents of vocalist and multi-instrumentalist Katie McD, who writes the bulk of Bacchae’s material. Katie’s songs remind us that punk can be far more varied and quirky than the monochromatic, pure aggression style of yore. Punk can even be — dare I say it — fun.

And yet — McD’s lyrics sting with a power and purpose that is as undeniable as her Dischord forbearers. Take the track, “Read,” for example, which is about an all-too familiar experience for women: being chatted up by someone who just won’t leave you alone. “Read my lips, I’ll tell you now,” McD declares, “your words are sick; your face is foul/I think it’s time this asshole knew/I do not exist for you!”

When Katie McD played a rare solo show at WE FOUGHT THE BIG ONE in Fall 2018, I was struck by how powerful and compelling her songwriting is. Stripped away from other instruments, her songs shimmered with a sparkle and flourish that caught me by surprise. The audience was enraptured. Katie was clearly enjoying the experience.

Naturally, Katie was asked back to play another solo show at WFTBO. To our delight, she said yes. Katie doesn’t do many solo shows. So when they happen, you don’t want to miss out.

To mark this special occasion, I reached out to Katie via e-mail to learn more about her approach to songwriting, her attitudes toward “punk,” and what it’s like to play solo versus a full band…

1) When did you discover you had a knack for writing songs? Were you making your own music before Bacchae?

Katie: I’ve been writing songs since the age of 13. I started recording some of this stuff on cassette tape and later on the computer. Most of these songs are objectively bad. I kept writing for years, but rarely played in front of people because I had horrible anxiety. I think I’m only truly getting a handle on songwriting at this very moment!

2) In what way has working with your fellow band mates in Bacchae shaped your approach to writing music?

Katie: Writing songs with a band is so much better than writing alone because you feel more accountable to finish the songs. It’s easier and faster that going at it alone. I would have never written songs with screaming if I wasn’t in Bacchae; I really love writing dirges and songs that are like, less than 120 in tempo and Bacchae have pushed me to GO FASTER. All of us have very eclectic tastes in music and we share new music discoveries with each other all the time’ listening to music together in the car and discussing it on the way to gigs is one of my favorite band activities.

Bacchae – “Dig”

3) We may have reached a point where the term “punk” is meaningless because it’s been applied to so many things, but what’s your reaction to Bacchae’s music and your own being labelled as “punk?”

Katie: Punk is more driven by ethos that many other genres, and we definitely relish the do-it-yourself part of making music together. Some of our songs are political in subject matter and some sound very hard and heavy. Personally, I’m just trying be genuine and write catchy melodies with interesting lyrics.

4) I know you don’t play live solo shows very often, but what’s it like for you to play without a band compared to playing with Bacchae? Is it something you would like to do more of when you get the chance?

Katie: Playing alone can be very scary; I prefer playing in a band. I’m currently writing a bunch of music alone right now, but I plan on keeping the solo performances pretty sporadic for the time being.

Bacchae with J Robbins

5) You are keeping very busy with Bacchae — I am especially excited about your LP, “Pleasure Vision,” which comes out in March. You worked on the album with J. Robbins. How do you feel about it? At some point in the future, would you consider putting out a solo record?

Katie: Everyone in the band is very excited about Pleasure Vision! We spent a lot of time working on the songs and it feels really good to have accomplished this complex creative project with my friends. I’d like to record some solo music in the future, but I’m moving very slowly!

Be sure to check out Bacchae’s new LP “Pleasure Vision,” which will be released on March 6 on Get Better Records. The first single, “Leave Town,” is now available to stream. You can listen to and purchase Bacchae’s music on Bandcamp, follow them on Twitter and “Like” them on Facebook.

And don’t miss Katie McD’s rare solo set on Friday, Feb. 7th at WE FOUGHT THE BIG ONE in Mt. Pleasant, NW DC!



YouTube Mix: Jan 2020

The way we see it, 2020 isn’t just the start of a new year, it’s a new decade. A new decade with wide-eyed optimism and perfect vision (get it?). So fittingly, our first WE FOUGHT THE BIG ONE YouTube mix of the year is BIG in scope.

Consider all the countries represented. We’ve got Brazil. Germany. France. Japan. Great Britain (of course) and the old reliable U.S. of A. We’ve got dubbed out covers of 60s pop favorites, gleaming synth soundtracks from your favorite gay porno, French punk, German punk and British punk, and then something unbelievably wonderfully delectable from Japan.

As this mix illustrates, it’s a great big wide world out there of off-kilter music, and we’re just skimming the very tippy top. It goes without saying that WE FOUGHT THE BIG ONE DJ Rick Taylor and guest DJ Ahmad Zaghal want you to start this new bold era with an equally bold 10-track YouTube soundtrack. Happy listening!

Five selections from WFTBO DJ Rick Taylor…


Anika — “Terry” (2010, Stones Throw Records)

Rick: When Anika’s self-titled debut album was released in 2010, it seemed to come out of nowhere. How did a Berlin-based political journalist/chanteuse end up working with Portishead’s Geoff Barrow and his Beak> bandmates to make a record of dub-infected, post-punky covers of 60s pop and folk tunes? When the results are as stunning as “Terry,” ours is not to reason why, but simply revel in its afterglow.

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Patrick Crowley — “Somebody to Love Tonight” (1979/2015, Dark Entries)

Rick: Sadly underappreciated during his heyday, the late and truly great Patrick Cowley produced gleaming, left-of-center synth soundtracks for gay porn films, which have thankfully been collected and released all these years later by Dark Entries. Patrick Cowley was equally enamored with experimental classical composers like Christian Wolff as he was with early Moog masters Wendy Carlos and Tangerine Dream, and disco goddess Donna Summer. “Somebody to Love Tonight” captures all these disparate influences and yet somehow feels like something larger.


Lizzy Mercier Descloux – “Fire” (1979, ZE Records)

Rick: Lizzy Mercier Descloux was a FORCE OF NATURE. Lizzy lived to make art — she not only wrote music and sang, but acted, painted and was a writer. She was instrumental in lighting the punk “fire” in France, but her connections with the NYC late ’70s no wave scene were undeniable (her partner was Michael Esteban, who co-founded the legendary ZE Records label). “Fire” electrifies with its perfect frisson of discordant DIY restlessness and driving dance grooves. Do yourself a favor and check out her reissues via Light in the Attic.

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Saada Bonaire — “More Women” (1984/2013, EMI Electrola)

Rick: Saâda Bonaire has a fascinating story. This German band was the concept of Ralph “Von” Richtoven, a Bremen club DJ who seemed to fancy himself Germany’s answer to Malcolm McLaren. He brought together two female vocalists — his fiance Stefanie Lange, and her friend Claudia Hossfeld — both non-musicians, a German reggae band he managed, along with some Kurdish folk musicians he invited to play along. Somehow, the band managed to get signed to EMI and release a single in 1984 that was produced by Dennis Bovell in Kraftwerk’s Cologne Studios. Pretty amazing, huh? Thanks to a valiant reissue courtesy of Captured Tracks, we now know the group recorded over an album’s worth of material with Bovell that was never released, including the amazing “More Women.”


Haruomi Hosono — “Sports Men” (1982, Yen Records)

Rick: Thanks to my friend Alex Glendening of Deadbeat Beat, I have a new obsession: 80s Japanese electro pop. But not just any Japanese electro pop, mind you. I’m talking about the arty oddball creations and colorful production work of Yellow Magic Orchestra co-founder Haruomi Hosono. “Sports Men” is taken from his 1982 album, “Philharmony,” which has been described as his most boundary-pushing effort. High praise given that Hosono is regarded as one of Japan’s most influential pop musicians and producers. I love how insanely catchy and weird this is!

Five selections from WFTBO guest DJ Ahmad Zaghal…


Can — “Spray” (1973, United Artists Records)

Ahmad: The classic Can line-up doing what they do best!


Life Without Buildings — “Young Offenders” (2001, Tugboat Records)

Ahmad: I could have gone with any track on this perfect record and can’t help but wonder what more they could have given us if they stuck around for more than just this one and the live album.

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Rakta – “Flor Da Pele” (2019, Iron Lung Records)

Ahmad: One of my favs of last year. A goth/psych hybrid from Brazil that I’m honestly finding hard to describe precisely.


Oppenheimer Analysis – “The Devil’s Dancers” (1982/2005, Minimal Wave)

Ahmad: There are tracks I think encapsulate the We Fought the Big One sound and would say that this is one of them.


Scabs – “Leave Me Alone” (1979, Clubland Records)

Ahmad: One of the hundreds of gems brought to us by the Messthetics comps.

Like what you’re hearing? Head over to the Marx Cafe (3203 Mt. Pleasant NW, Washington DC) every first Friday of the month for WE FOUGHT THE BIG ONE, DC’s longest-running monthly DJ night. And be on the lookout for a new YouTube mix of oddball favorites every month!






5 Questions: Clear Channel

Clear Channel

On first listen, it’s tempting to peg DC quartet Clear Channel as some kind of bastard love child that resulted from a three-way between Ian Curtis, Poly Styrene and King Tubby. Keep listening, though, and it’s apparent the band has a love for something those artists tended to lack: groove.

And do they ever groove. Here’s the thing — it is IMPOSSIBLE to listen to the title track of the band’s debut EP, “Hot Fruit,” and NOT move. Impossible. The track boasts an irresistible rhythm, off-kilter electronics, a killer vocal performance and hilarious lyrics (but more on that later).

That brings me to something Clear Channel specializes in which is an all-too rare quality for DC punk bands: piss takes.

If you’re looking for your next favorite po-faced goth band, look elsewhere. Clear Channel are dark, yes, but they’re also cheeky. Frankly, I find the absence of heavy-handedness on offer refreshing. As their “Hot Fruit” EP can attest, this is a band that revels in fun as much as edgy atmospherics.

But just who are Clear Channel? Perhaps not surprisingly, Awad, MJ, Carson and Don are all involved in other bands and creative projects. But based on how consistently impressive the band’s “Hot Fruit” EP is, there’s a strong argument to be made that prolific artists are more in touch with their muse.

With Clear Channel set to play the first WE FOUGHT THE BIG ONE of 2020, I got in touch with the band to learn more about this unusual and intriguing band…

1) What can you tell us about how Clear Channel formed?

First God created weed, then God created bass – and of the bass, God created Mary. Mary was lonely, and so she asked God to sculpt Carson and Awad out of a kick drum and a pair of bongos, and then Don joined and all was right with the world.

2) All of the band members are involved in different bands and creative projects. To what extent does that help or hinder what you do as Clear Channel?

It’s chill. It’s harder because you have less time to jam but it’s also better, because we make more music. Diversifying your bonds, etc.

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3) One of the things I love most about Clear Channel is the band’s playfulness. The title track of your EP “Hot Fruit” features a hilarious line “I’m looking for bananas, show me your bananas, I wanna see bananas, two big black bananas!” Would it be fair to say that Clear Channel is an outlet to let loose and do things you maybe couldn’t get away with in your other bands?

“I pretty much sing about dick in every band I’m in, but this particular line just clicked. We get to just do whatever feels right in the moment and roll with it.” – Awad

4) Speaking of other bands, it really does seem like you eat, breathe and sleep music! What drives you to be as involved as you are?

Our drive to create is pretty natural, and it’s very much who we are. There is no other way and it kind of just is what it is. This is our priority.

5) Clear Channel has played with some incredible bands — from Guerilla Toss and Sneaks and even Ex Hex. What is your idea of an ultimate Clear Channel live show? Have you played your ultimate show yet?

We’ve been so incredibly fortunate to play with some great bands and friends, but in terms of ULTIMATE SHOW, I really want us to do a Clear Channel Cruise one day, but playing the National Mall would be pretty amazing or the sculpture garden at the Hirshhorn.

Catch Clear Channel at WE FOUGHT THE BIG ONE on Jan. 3, 2020 at the Marx Cafe (3203 Mt. Pleasant St NW DC).

Listen and purchase Clear Channel’s music at their bandcamp page.



YouTube Playlist: Dec 2019

When it comes to finding the perfect stocking stuffers that surprise and delight, we at the Big One blog will always opt for the gift of new (old) tunes.

But not just any tunes. The 15 track YouTube playlist below has been lovingly curated by WE FOUGHT THE BIG ONE DJ Rick Taylor and this month’s guest djs dv8godd (aka Radd Berkheiser) and WronG (aka Ron Getts) to get you through the doldrums of another holiday season rife with seasonal sounds that grate. We’ve even provided commentary for each track.

As you will discover, this month’s playlist has got everything from yuletide-themed oddities (did you know Suicide and Can recorded Christmas songs?), undisputed classics (Talking Heads, Eno, Gary Numan and Prince) and deep cuts from John Peel’s favorite post-punk crates (UV Pop, Crash Course in Science, Clock DVA and more).

Whether you’ve been naughty or nice, there’s no coal for you. Only sparkling sonic gems that will cure even the harshest of Christmas music blues…

Let’s get started then…

5 tracks from WE FOUGHT THE BIG ONE DJ Rick Taylor:


Brian Eno — “Third Uncle” (1974, Island Records)

Rick: Two years before punk was born — never mind what came after — and Eno delivered what still stands nearly 50 years later as arguably post-punk’s most enduring track. It would be impossible to calculate the enormity of Eno’s influence on Joy Division, Bauhaus, Wire and countless others, and I’m not going to attempt to do so here. Instead, I’m just going to smile from ear to ear as I listen to this for the hundredth time and celebrate bassist Brian Turrington’s “accident” of playing in the wrong key (“honor thy mistake as a hidden intention.”)

Miharu Koshi — “Scandal Night” (1983, Yen Records)

Rick: Some of the most interesting oddball pop music came out of Japan in the 80s when singer and keyboardist Miharu Koshi collaborated with producer and Yellow Magic Orchestra founder Haruomi Hosono. The delightfully quirky “Scandal Night” is from 1983’s “Tutu,” their first album collaboration. I love the wide-eyed creativity and imagination on display here, especially the use of a telephone ring as a percussive instrument. The albums these two made together are tops on my list of most wanted reissues.

Crash Course in Science — “Cardboard Lamb” (1981, Press Records)

Rick: The official music video for “Cardboard Lamb” by Philadelphia’s Crash Course in Science. Filmed in New York in 1981, the video was distributed in rock and dance clubs, like Danceteria in the 80’s through ‘Rock America’ video. The song became a club favorite during the early 80s, and it pointed the way forward to much of the harder-edged techno and industrial sounds that were to come. The band is still active, and wildly popular in certain parts of Europe.

Suicide — “Hey Lord” (1981, Ze Records)

Rick: Suicide vocalist Alan Vegan (RIP) and electronic sound wizard Martin Rev were always full of surprises, but arguably their biggest surprise came with this yuletide tune. Suicide’s “Hey Lord” was recorded in 1981 for the ZE Records Christmas album, “A Christmas Record,” which also included holiday themed tunes from the likes of Was (Not Was), Material, Cristina and The Waitresses. Never mind “Silent Night Deadly Night.” Christmas doesn’t get any scarier than Alan Vegas crooning, “Hey Lord, I want to thank you.”

Can — “Silent Night” (1976, Harvest)

Rick: When it comes to Christmas novelty tunes, it’s hard to beat Can’s take on “Silent Night,” which was released as a single (!) in 1976. John Peel didn’t play many Christmas tunes, but this one got some love. And for good reason. Merry Krautrockmas.



5 tracks from Guest DJ dv8godd, aka Radd Berkheiser:


UV Pøp – “No Songs Tomorrow” (1983, Flowmotion)

Radd: This is the first single by John White’s early 80s one-man post-punk band from Sheffield, which was actually produced by fellow Sheffield natives, Cabaret Voltaire. White has recently reformed the band and is currently active after a 25 year hiatus, recording new material, re-recording a few older ones, and occasionally performing live.

Clock DVA – “Sound Mirror” (1989, Wax Trax!)

Radd: Another Sheffield act, Clock DVA is Adi Newton, who formed then left The Future (who then went on to become The Human League). While earlier recordings ran from experimental and avant garde to post-punk influenced, Clock DVA eventually found their niche in 1989’s “Buried Dreams,” fully infusing synthesizers and digital production in the creation of science fiction soundscapes like this one.

Minimal Compact – “Next One Is Read” (1984, Crammed Discs)

Radd: Just before Wax Trax! Records fully focused their attention on the Chicago scene and cherry picking like-minded EBM and Industrial that Europe had to offer, the label released a few early standouts from the pack like this track from the Israeli Post-Punk band, Minimal Compact.

Rheingold – “Dreiklangsdimensionen” (1980, Welt-Rekord, EMI Elektrola)

Radd: An early 80s New Wave group from Düsseldorf, following on the heels of an earlier electronic export from the same city, Kraftwerk (though a bit more post-punk and a bit less synthetic than their inspiration) After disbanding due to a lack of success outside Germany, vocalist Bodo Staiger would go on to join up with ex-Kraftwerk drummer Karl Bartos to form “Electric Music.”

Gary Numan – “Metal” (1979, Beggars Banquet)

Radd: Within one year from November 1978 to September 1979, Gary Numan produced a sold-out run of his limited pressing debut album “Tubeway Army”, a number 1 UK charting sophomore release with “Replicas”, and yet another number 1 UK charting third release “Pleasure Principle”, each evolving further from his original punk roots to his newfound love of the MiniMoog.

5 tracks from Guest DJ WronG, aka Ron Getts:

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Talking Heads — “Once in a Lifetime” (1980, Sire)

Ron: They’d already had a few minor hits by the time this started to get play on MTV but this video was the beginning of something else. We kinda knew that David Byrne was weird but it wasn’t until we saw him in this video, dressed like an accountant, dancing like he was having a cocaine-induced seizure, that we really began to appreciate how weird.

Prince — “1999” (1982, Warner Bros.)

Ron: I remember 1983 when MTV used to play music videos and they played this one quite a bit. I also remember New Years Day 1999 when MTV2 played this, literally (literally literally), non-stop, all day. We must’ve watched it 50 times. The video got funnier every time but the song never stopped being awesome.

Killing Joke — “Eighties” (1985, EG)

Ron: This video was my first exposure to Killing Joke. I hadn’t yet heard much “punk” music at that time and the sound and attitude of this lead me down a hundred other paths. It is also worth noting that they’ve continued to make some fantastic music into the twenty-teens.

The Replacements — “Bastards of Young” (1985, Sire)

Ron: This is the greatest music video of all time. From the little band that wouldn’t. The ultimate underachievers. A band that was bound and determined, against all odds, to fail.

Curve — “Missing Link” (1993, Anxious)

Ron: The Eurythmics by way of Ministry. Beauty and noise, perfectly combined. This blend was eventually reduced to a formula that made some other band a lot of money but Curve never really got their due. Or their royalties. In another 10 years, this will be played in grocery stores, just like Love Will Tear Us Apart.

Like what you’re listening to? Check out WE FOUGHT THE BIG ONE on the first Friday of every month at the Marx Cafe (3203 Mt. Pleasant St. NW, Washington DC 20009)


5 Questions: Replicant Eyes


DC musicians Dan Gonzalez and Alejandro Castano are under no illusions about the world we live in. It’s a frightening, harrowing place. And things are only getting worse.

Replicant Eyes, the duo’s post-industrial dark wave project, seems almost tailor-made to reflect today’s increasingly bleak times.

As the band’s self-titled debut album on Exte Records demonstrates, Replicant Eyes weave horrifying soundscapes from Alejandro’s spidery guitar lines and brooding synth pulses, capped by Dan’s vampiric croon. It’s a devastating collage of sounds that reminds me what I love so much about bands like Fields of the Nephilim, Sisters of Mercy and obscure 12 inches from Wax Trax Records — this is music that drips with atmosphere and nervy energy. It gives you a feeling of dread and yet, seems strangely cathartic.

Goth is often dismissed as faux fashion — a contrived subculture of despair and decay to make angst-ridden teens feel better about themselves. But given that the leader of the free world tears immigrant children from parents and locks them in cages and abuses power on a daily basis, the question becomes who is really contrived? The “goths” or the so-called “normals” who continue to pretend all is well?

It’s reassuring to know that Replicant Eyes are not ignoring real world horrors, but reflecting them in its music. With the band set to play a special live show at Friday’s WE FOUGHT THE BIG ONE at the Marx Cafe (3203 Mt. Pleasant St. NW), I took the opportunity to get in touch with Dan and Alejandro to find out more about this shadowy band…

1) How did Replicant Eyes form?

Dan: Alejandro and I met and became friends through our current office job. It was then I was introduced to and became a fan of his project, The Red Fetish. I told him if I ever gathered the courage to be involved in a music project, he was the person I wanted to work with. A few years later, over drinks, my lowered inhibitions led me to finally say ‘fuck it, let’s do this.’ Thankfully, he agreed.

Alejandro: Dan took me out for drink about a year after Non Sequitur, when The Red Fetish quartet was winding down. He let me know that he really loved Temporal Joke, Vol. I and wanted to sing over stuff like it.

A couple of months later we started writing songs together and something immediately became clear to me: Dan is a force of nature. I decided that I need to do everything to get him in front of an audience.

2) How did you arrive at the Replicant Eyes sound?

Dan: Replicant Eyes is unabashedly influenced by a bevy of various artists. Alejandro will certainly have his own to discuss, but mine range from Nine Inch Nails, Suicide, Siouxsie and The Banshees, to Laurie Anderson and all things Mike Patton. Through our mutual love of goth and industrial things, we immediately decided we’d incorporate synths, drum machine, and guitar into our sound.

Alejandro: We decided pretty early on to embrace the synthetic nature of our project: that the computer is a fully fledged member that carries and constrains what we can / should do. The goal is to have the human elements be as human as possible to balance out the computer, which is as inhuman as possible, rather than try to make the human elements robotic or the computer elements humanized.

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3) What is your process like for writing music? Does it vary from track to track?

Dan: Alejandro can talk more about the creation of these musical compositions. He is the brilliant mind that birthed these fantastic electronic soundscapes. We collaborate once he has created original sketches. We then talk about different sounds we want to incorporate or tweaks to make. After which, Alejandro improvises guitar parts, while I vocalize stream of consciousness until something catches. From there the lyric writing process begins for me.

Alejandro: We’ve tried a couple of different approaches. The one that works best for us is the following: we talk about music we like and then improvise the bones of a song together, in a practice room. Songs evolve from this, sometimes arduously and significantly, but sometimes not. We wrote and recorded “The Truth” from the first album in a single sitting, for example.

4) You released a self-titled record last year. What was that experience like for you and are you pleased with how it turned out?

Dan: Album one had a very DIY approach. We got a great boost on the mastering side from Jake Reid (Screen Vinyl Image, Alcian Blue, Secret Wilderness) while the songs were all recorded by us in our practice space and mixed by Alejandro at home. We incorporated the found sounds of opening/closing tape decks, CD disc trays, and dropping a needle on a dusty vinyl record. We wanted those machine-like sounds to create cohesion to the overall mood conveyed from track to track. We were pleasantly surprised how quickly and easily the album fell into place.

Alejandro: It was a pretty effortless album to make. The songs came together quickly. Considering how carelessly we made it, Dan’s found sounds of outdated music machines (like turntables, tape decks, and CD players) make the album feel cohesive and whole.

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5) Let’s talk about your live show. Is there a certain feeling or atmosphere that you seek to capture live that’s different when recording?

Dan: The live show is more of a visceral experience. We can crank up the volume and turn out a barrage of sound. I’m a big fan of David Lynch, and the Black Lodge he created within the Twin Peaks universe. Performance art begins with setting a mood, so the use of accent lighting, strobe, and fog lends itself to that. I have trouble standing still when I perform and like to jump off stage when possible. I enjoy getting right in the crowd and disrupting the otherwise shoegaze sensibility displayed by most in attendance. I derive no pleasure from simply standing still and watching you watch me. I really want to connect with the audience in an emotional and frenetic way.

Alejandro: When I said, earlier, that Dan is a force of nature, I meant that he is a madman. Part of the reason that we decided to lean into the artificial nature of the drum machine is because Dan cannot be contained. When I said that we try to make the human elements of the music as human as possible, it is not to balance out the robotic elements of the computer – we need to make the computer robotic to balance out the madman on the microphone.

I’ve seen things you people wouldn’t believe. Dan jumping through walls, and biting microphones in half. I’ve watched him leap over burning buildings, and glitter in the dark near the Tanhauser Gate.

I have learned, over the years, how to fake these moments on recordings, but they can only be believed in the flesh.

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Check out Replicant Eyes on bandcamp.

And don’t miss the band’s show at WFTBO!

YouTube Playlist: Nov 2019

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Iconoclasts. We love them. No matter what particular time period they come from or new sound they devise, they all start their journey with the same question: “What if?”

For the November 2019 edition of the WE FOUGHT THE BIG ONE YouTube playlist, we bring you a striking collection of tracks with some of our favorite iconoclastic music makers. From Joe Meek and Silver Apples to Fela Kuti, Herb Albert and The Monks, these visionary artists ripped it up and started again, chartering new sonic territory and inspiring others to follow suit.

Guest DJ Michael Kentoff from DC’s purveyors of avant-psych pop The Caribbean teamed up with WE FOUGHT THE BIG ONE DJs Rick Taylor and Brandon Grover to curate a 15 track mix reminding us that innovation and abstract thinking knows no (genre) boundaries. Happy listening!

5 selections from WFTBO DJ Rick Taylor…

Silver Apples “Seagreen Serenade” (1969)

Rick: Even if you don’t have any context, Silver Apples are mind-blowing. The fact that you had a two man drums n’ oscillation team making such innovative music in the 60s — a time when electronic pop wasn’t even a gleam in the eye of the underground music storm — speaks to how boundless their collective imagination was. “Seagreen Serenade” is a breathtaking example of what this duo could create. By the way, the oscillator-synth contraption that you’re listening to was HOMEMADE.

Joe Meek “The Bub Light” (1959)

Rick: Has an out-of-tune piano ever sounded so glorious? “The Bub Light” was recorded in 1959 (!) for Joe Meek’s legendary “I Hear A New World” album. It pointed the way forward to much of the psychedelic sounds to come, but also pointed the way forward to more abstract ways of thinking about music. This is bold, beautiful and gloriously, wonderfully weird.

Joe Moks “Boys and Girls” (1979)

Rick: Joe Moks was the nom de plume of Nigerian music professor Josephine Mokwunyei. As “Boys and Girls” can attest, Joe had a knack for a wonky and brash Nigerian boogie style that pointed the way forward to bands like ESG. Joe Moks was recently the focus of a re-issue campaign and now her forward-thinking music can be discovered by many more discerning listeners.

Pasteur Lappe “Na Real Sekele Fo Ya” (1979)

Rick: Now this is MY kind of disco! Nicolas “Pasteur” Lappe grew up in Cameroon and became friends with Fela Kuti and other African music stars, then moved to Paris and recorded three dazzling albums with a French backing band. “Na Real Sekele Fo Ya” encapsulates what Lappe did best — this is disco at its tightest and most muscular, while still retaining the sweep that adds some emotive drama to the dance floor.

Harmonia “Watussi” (1974)

Rick: Harmonia were one of Germany’s finest “komische” acts and one of the most innovative. They were also a true super group, with Neu!’s Michael Rother teaming up with avant-electronic pioneers Moebius and Roedilius from Cluster. I have a sweet spot for the kind of rhythmic pulsing, gyrating tones and ping pong abstraction that was Harmonia’s stock in trade. Brian Eno once called them “the world’s most important rock band” and that was BEFORE he joined them as a member.

Five tracks from Guest DJ Michael Kentoff…


Fela Kuti & Africa 70 “Pansa Pansa” (1978)

Michael: Not only does this song reveal the warped genius of Fela Kuti, the video demonstrates his swagger, sense of humor, and absolute Miles Davis-like control as a bandleader. I love everything about this performance, especially @3:00 where the percussionist fiddles with the guitar controls and Fela looks back like, “You guys got this or what?” Take about Charles In Charge! And Tony Allen is a motherfucker! Wow.

The City “Snow Queen” (1968)

Michael: Anyone who knows me knows I love my Carole King. For The Caribbean, she’s definitely a guiding light. In 1968, right after she split from Gerry Goffin and before she embarked on her solo career, she formed this group with Charles Larkey (soon to be Husband #2) and Danny Kortchmar. They made one album and this sparkly Goffin-King trinket is the airy, seductive opener. A wonderful record that sheds some light on what’s to come.

Letta Mbulu “Pula Yetla” (1967)

Michael: I discovered this from the David Axelrod comp that came out in 2005. Letta’s voice is uncommonly beautiful and the song just drapes over the mind and heart like a silk . . . drape. The marriage of Mbulu’s voice and Axelrod’s production is a delight. The entire record Letta Mbulu Sings (1967) is well worth your time.

Tengger – “Luft” (2019)

Michael: Krautrock via Seoul, South Korea. I don’t know a ton about Tengger except that they are characterized as a “Pan-Asian musical family . . . composed of couple Itta and Marquido” and, sometimes, their 7-year old son Raai. I do know I like pretty much everything I’ve heard by them.

Robert Calvert – “All the Machines Are Quiet” (1985)

Michael: I’ve heard of this guy, who was in Hawkwind for a while, for years. And he did some cool stuff with Hawkwind, but I never researched beyond that. I had no idea he was capable of something like this. This song is from the record Freq (released in 1985) – a great album recorded around the time of the UK miners’ strike (1984-1985). It contains field recordings of miners on the picket line. I don’t really have a reference point for this record I can report that it’s lovely, dark, spare synth-pop and that Calvert’s vocals are little like a cross between Peter Gabriel and Richard Butler. Unique, intimate, and strangely hooky. Where have you been hiding, O lavender-covered album?

Five tracks from WFTBO DJ Brandon Grover…

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Chrisma (Krisma) — “Lola” (Disco Inferno) (1978)

Brandon: This is Chrisma being as overtly offensive to as many traditional Italian Catholics in under 2 minutes as they possibly can. I love it.

Herb Albert — “Rotation” (1979)

Brandon: If you told me this was Tuxedomoon…

The Monks — “I Hate You” (1966)

Brandon: Covered by Mark E Smith and co. As much as I worship The Fall, the original cannot be touched.

Pere Ubu — “Heart of Darkness” (cassette version, 1976)

Brandon: No conversation about U.S. punk iconoclasts is complete without Pere Ubu. This is an early cassette version of the classic track that later appeared on the 1978 EP, “Datapanik in the Year Zero.”

Roxy Music — “The Bogus Man” (1973)

Brandon: Truly groundbreaking stuff from Roxy’s most forward-looking album.

Like what you’re hearing? Be sure to join us at the Marx Cafe in Mt. Pleasant every first Friday of the month for DC’s monthly celebration of left-of-center sounds, WE FOUGHT THE BIG ONE!




5 Questions: Jon Camp

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(Photo credit: Andras Fekete)

DC finger-picking guitarist and composer Jon Camp is part of a great lineage of American Primitive Guitar players that specialize in transforming small moments into something grander.

Like his musical hero John Fahey, Camp makes music that is both intricate and subtle, with his finger-playing guitar serving as a springboard to weave in disparate sounds and influences — from drone and psychedelia to country and beyond.

Listening to the repeating circular guitar pattern on “Headwinds and Tailwinds,” the title track of Camp’s new album, I am reminded of a scene from Martin Scorsese’s film “Taxi Driver” where Robert DeNiro’s character Travis Bickle drops an alka-seltzer into a cup of water. While the camera initially “notices” the cup of water, it’s focus becomes more sustained as Bickel’s gaze at the fizzing mixture becomes all consuming. The effect is that the audience refocuses its attention on the cup and sees new things in it. Similarly, Camp uses sustained repetition to refocus the listener’s ear on a motif, adding new textures that gradually alter the original effect, while drawing the listener in closer.

Camp’s music is filled with small moments that gradually reveal a hidden power as you continue to listen.

With Jon Camp and his band set to perform a special live set on Friday, Nov. 1st at WE FOUGHT THE BIG ONE at Marx Cafe in Mt. Pleasant, I took the opportunity to ask him five questions via e-mail. As you can see below, Jon has some interesting things to say about playing solo versus a full band, and the virtues of making music that requires more than passive listening…

1) There is a great tradition of finger picking guitar players in the States from John Fahey to Jack Rose to name just two legendary performers. When did you discover you had an affinity for American Primitive Guitar and wanted to offer your own unique take on it?

Jon: One night, about 25 years ago, in Lindenhurst, IL (near where I grew up), I was hanging out with a couple high school friends, and one of them, Mark Davidson, was selecting the tunes. That evening, he not only introduced me to John Fahey but to Leo Kottke, Nick Drake, and Tortoise as well. A big night for me! Mark is currently the Archives Director at the Bob Dylan Archive in Tulsa, so the guy knows his stuff.

I was drawn to the depth of feeling I heard in Fahey’s music, the diversity from one composition to the next, and the wide range of influences that he channeled, from Charley Patton to Bartok to Indian classical music.

My guitar teacher at the time, Doug Anderson, was a fan of this style, so he taught me a Kottke song, and I got the basic mechanics of the syncopated fingerstyle guitar approach of Kottke and Fahey and started experimenting with it from there.

I certainly have a lot of influences beyond Fahey, and I don’t explicitly say, “I’m going to play American Primitive Guitar.” But by virtue of being so heavily influenced by Fahey and choosing a fingerstyle approach to guitar, the influence is easily heard. 

Being such a fan of this style of music, it certainly is a joy to feel that I’m adding my small part to this lineage, especially in the region where Fahey grew up.

2) You’ve established yourself both as a solo performer and someone who enjoys the interplay with other musicians in a full band. How do you see these different approaches to making and performing music? Do you gravitate toward one more than the other?

Jon: They both have their merits, and I need both in my life. Most of my songs can be played solo, though not all of them can be played in a band setting. So playing solo allows me to have a wider choice of tunes to play on any given night, and there’s also an uncluttered simplicity and directness that comes through when playing solo.

That said, having others add their unique voices to some of these pieces allows them to bloom far beyond what would have been possible if just left for solo guitar. And it’s also fun playing with others. Logistically, there are pros and cons to each approach.

Headwinds Vinyl Bandcamp

3) One of the things I enjoy most about “Headwinds and Tailwinds” is its unhurried, patient approach. This is music that celebrates the beauty and majesty of small moments, with its full splendor revealed gradually. Is it fair to say you’re a musician who eschews obvious bombast in favor of the slow boil?

Jon: I appreciate you saying that. There’s more than enough bombast and inflated sense of self in the world, and it’s responsible for a lot of our problems. And I don’t find musical chest-beating to be interesting or inspiring.

I like music that reveals something new with each listen, and I hope that my music does that for others. I do care about the hook, but the subtle stuff is also gold I mine for. 

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(Photo credit: Michael Rogers)

4) What can you tell us about making Headwinds & Tailwinds? How long did it take to write, record and mix? Are you pleased with the end result? I think it sounds fantastic.

Thanks for the kind words. I’ve got a decent backlog of songs I’ve written, and for each new album, I select tunes that would fit into some coherent whole. For Headwinds & Tailwinds, I chose pieces that would be a good fit for electric fingerstyle guitar accompanied by a band. I envisioned this album being a bit more country-tinged than normal, too.

We recorded sporadically over the course of a few months with Kevin Bernsten at Developing Nations in Baltimore. All of the pieces were originally recorded live as a trio (Nick Arrivo on bass, Ryan Peterson on drums, and me on guitar). And then others added color to it (Jamie LInder on pedal steel, Kaitlin Grady on cello, Stephen Ruotsi on keys, Harvey Droke on accordion). I also overdubbed a few guitar parts and then went to DC musician Greg Svitil’s studio to overdub some hand percussion, organ, and glockenspiel.

After this, it was sent to Brad Boatright of Audioseige in Portland for mastering. Both Kevin and Brad have produced a lot of metal albums, so it’s been interesting filtering my quite non-metal music through them. It definitely works, though. Both are super-skilled, easy to work with, and have an attention to sonic detail that works well for what I do.

As a whole, I’m proud of this album. The songs have grown live since putting the album out, and there are a few tracks that I’d assemble differently if I were to do this again. But I feel I brought a solid batch of tunes to the studio, and I love what my talented musician friends brought to the sound.

5) Let’s talk about the Jon Camp live show. Do you have a certain philosophy of what you want to achieve as a live performer that’s different than say…recording in the studio?

Jon: Producer David Briggs told Neil Young when recording, “You think, you stink.” I keep that in mind especially for live shows — I do what I can to stay out of my head and to be in the moment, to really feel it. 

After a recent show, Dave Jones (the other guitarist in my band) said that we as a band were both “disciplined and free.” That perfectly summed up what I’m going for with the live stuff. There are clear compositions that we play, but there’s subtle improvisation going on within them so that they feel alive within the context they’re played and evolve from show to show.

For albums, I put a bit more polish on it in an attempt to make a proper studio album. Though for future albums, I want to find more of a happy medium between the immediacy of the live show and the polish of the albums.

Listen to and purchase Jon Camp’s music on Bandcamp, follow him on Twitter and “Like” him on Facebook.

And don’t miss Jon Camp performing with Jamie Linder at the Nov. 1, 2019 edition of WE FOUGHT THE BIG ONE at the Marx Cafe!