Chasing the Dreaming California: An Interview With Friday Nights

The Ken Andrews and Matt Mahaffey (Self) influences are obvious on the debut record from Los Angeles-based Friday Nights. With sonic guitar work and infectious pop hooks, Friday Nights put their own spin on the alt/pop formula perfected by their contemporaries. The result is a collaboration between two veteran musicians, Mike Castillo and Shon Kornfeld, about to burst onto the scene with their latest musical incarnation. Fishpork got a chance to talk to Mike about the band’s musical tastes, having Ken Andrews mix their record, and what else can be expected this year.

Fishpork: How did you guys meet up and form Friday Nights?

Mike Castillo: Shon and I met ten years ago at a little hole in the wall called Cafe Tara. I was 17 and played bass in a band called “Burning Owen”. Shon played guitar in an awesome melodic hardcore band called “Helen 55″. I fell in love with his band…I even roadied for ‘em for a while. We kept in touch over the years. We both were doing solo stuff and in ‘05 Shon offered to record my “best song” for free at his home studio, Moai Sounds, which he had just put together. We recorded  demos for the four songs that I had written. Shon also had a bunch of cool songs that he was working on. We both really dug each other’s material so we decided to combine it and form “Friday Nights”.

FP: What was the song writing process like on the album?

MC: The main bulk of the material had already been written before Shon and I started working together. For the most part, Shon’s stuff had didn’t have lyrics or melodies written yet and my stuff needed to be “produced” and arranged. For my songs, I’d basically show Shon how to play the basic song on acoustic and then let him run with it…a few days later he’d send me something back with full guitars, harmonies, bass and a basic drum machine track and I’d be like, “Fuck Yes!”. For Shon’s songs, he’d give me the demos to write lyrics and melodies to. Most of the time they had no vox but if he had an idea where he wanted to go with something, he’d lay down a scat track or a keyboard playing the melody.

FP: What bands did you guys grow up on? Who served as inspiration for Friday Nights?

MC: Everything from pop to obscure indie rock. Hum, Failure, Swervedriver, My Bloody Valentine, Autolux, Self, Fountains of Wayne, The Police. We like the spacey rock a lot but we’re also suckers for a good pop hook. We’re huge fans of Steely Dan. They served as a big influence for how we do business as a band. 2 guys writing everything…any other musicians are hired or invited as needed. Fewer egos to deal with and it’s nice to have options. Sometimes one drummer sounds better on one track and another sounds better on a different track, ya know? My favorite band as a kid was Soundgarden and I’m pretty sure Shon’s was Jane’s Addiction.

FP: In an age when digital distribution is king and CD packaging is usually minimalistic, your new album’s packaging looks great. What made you guys go with that presentation?

MC: We’re still stuck in the 90s, I guess….hahahaha! We found a picture that a guy named John Watson took of the 91 freeway and we really liked it. Shon met a guy named Brad Chancellor who does killer design stuff and it just kinda came together. It was originally going to be a simpler thee panel layout but we couldn’t fit all of the lyrics and credits. The weird thing is we’ve sold about five times as many CDs as we have of the digital version. It’s had us kinda scratching our heads. We released the digital copy first and we kept getting responses from people saying “Cool! I’m waitin’ for the CD, though!”

FP: Getting recognition for a new band can also be a struggle in a saturated market. What are you guys doing to promote yourselves?

MC: Since we’re really just two guys and we have to pay other musicians to play live, we’ve had to go about things a little bit differently. We’re just now about to start to play shows. Originally the band was going to be more of a recording project than anything. We mainly use sites like MySpace, Last.FM and thesixtyone.com to find our audience. We look for people who we think might be feeling the material and just send them a message asking them to take a listen

FP: How do you think MySpace, Facebook, Twitter and other social networking tools play a role in promotion these days?

MC: Well for one, free music hosting! When MySpace first came out, I remember being STOKED that you could put your music up for free! They also help you find your audience, which is important.

FP: One of our all-time favorite artists, Ken Andrews, mixed your debut record. How did you guys meet up with Ken and what was that process like?

MC: We just kind of sent his management the songs and asked if he’d be into it and crossed our fingers. We were pretty thrilled when he said yes. We never actually met up with Ken in person, even though he lives really close. He’s a really busy guy, so we’d just send the songs over with kind of an idea of what we wanted and he nailed it for the most part. Anything that he didn’t nail he’d revise for us.

FP: Were you guys fans of Ken’s former bands (Failure, On, Year of the Rabbit)?

MC: Oh yea, definitely. We’re bigger Failure fans, though.

FP: What can we expect to see in the live incarnation of these songs? When do you guys plan to tour?

MC: We’re playing our first 2 shows in June. We’ve got a great lineup of musicians, right now. We don’t have any solid plans to tour, yet. If there’s enough of a demand, we will. Otherwise, we’re just havin’ fun.

FP: What bands are you guys currently listening to? Favorite album of 2009 so far?

MC: We’re listening to a lot of And You Will Know Us by the Trail of Dead. Their newest album Century of Self is disgustingly good. We’re also in love with the new The Life and Time record Tragic Boogie.

FP: What can we expect from Friday Nights for the rest of 2009?

MC: MORE MUSIC! We’re already starting the demo process for our next EP Saturday Mournings. All of the material’s done. We’re really stoked on that. After that, we’ll probably go right into the next LP.

http://fridaynightsmusic.com
http://myspace.com/fridaynightsmusic

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New Autolux Song; Album Delayed (Again)

Good news! Autolux posted a new song on their MySpace page. Bad news! Apparently, the new track will not appear on their anticipated new album, Transit Transit, which has now been delayed until after the new year. The new album, which Autolux is co-producing, is set to show off more vocals from ex-Failure/Lusk guitarist, Greg Edwards, and drummer, Carla Azar. Some tracks may even feature vocal harmonizing from all three members (including lead singer and bassist, Eugene Goreshter).

If Greg Edwards wasn’t my favorite guitarist on the planet, I’d probably have given up hope of another album release by the amazing Autolux. This is no surprise for Autolux, however, whose first album, Future Perfect, was severely delayed as well. Apparent battles wtith record labels seem to be the culprit this time around. The new record was supposed to be out over a year ago. A new MySpace post has explained that “Autolux is dealing with getting the business end of the music squared away” and promises a new web site as well. Haven’t we heard this before? In the meantime, the new instrumental track is called “Fat Kid” and explores the electronica genre. Autolux swears that the tuba/tympani sound is from Greg’s guitar. OK, I’ll wait a few more months … but that’s it!

You can stream the track on Autolux’s MySpace page here.

Jacob Turnbloom: Embracing Failure

First Wave Hello was a San Diego, CA based band that I first saw during their 2007 tour with former Failure frontman Ken Andrews. Not only did the band open up but also backed Andrews during his headlining set. I immediately picked up their debut LP, The Lord & Its Penguin, and was instantly blown away by the sonic energy and songwriting ability of the band.  Jacob Turnbloom was the force behind that songwriting. Fishpork had a chance to ask him a few questions about his approach to songwriting, how First Wave Hello hooked up with Ken Andrews, as well as what is up next for one of the most talented songwriters around today.

Can you tell me how you formed First Wave Hello?

I was fiddling with audio engineering in late 2003 early 2004. I basically had to record a bunch of demo’s for my classes. So songs like “Portable People” and “Our Best Policy” I had recorded as demos for school. It took some time to find an initial line up. The recordings I had made ended up in local record stores, and in the hands of friends here in San Diego. Our first drummer Dave heard those early recordings and wanted to start a band that was actually serious. Sarah was very encouraging with my song writing at the time and I asked her if she wanted to play synthesizers along side my good friend Eric. We recorded our first EP as a four-piece band. Coner eventually heard our record while he was on tour with Counterfit and joined the band as second guitar as soon as he returned home. After a year, Sarah left the band and was replaced with a good friend of ours, Dan Reed. That was the line up that recorded on our first full-length record. The band kept changing over the years, with our good friend Ryan Flach replacing Dave on the drums when we would go on tour. And eventually our long time friend/producer/engineer Christian Cummings would replace Ryan on the Ken Andrews tour. It was always changing.

“I think failing is a huge influence on me, if everyone embraced failing and embraced the flaws that we all possess, then we’d live in a more honest society. You can’t learn anything if you’re right all the time. How would you progress?”

What were your early musical influences?

Sonic Youth was always a band that I could listen to and hear new things every time. That band changed the way people looked at guitar solo’s and song structure in mainstream alternative music, whether they intended on that or not. That band inspired me from an early age to play what feels right, not what’s gonna work for everyone.

What are your influences outside of music?

It’s hard to say. It’s such a huge part of my life, that it’s really all that ever goes through my mind. But, I think failing is a huge influence on me, if everyone embraced failing and embraced the flaws that we all possess, then we’d live in a more honest society. You can’t learn anything if you’re right all the time. How would you progress?

What was the song-writing process with FWH?

In the beginning, it was a challenge to get everyone to write together. So, I would usually bring in song ideas, like the basic structure and key melodies, usually chorus melodies, and the band would fill in the blanks. It wasn’t until we started writing The Lord and Its Penguin where people stopped holding back so much and started coming up with cool ideas and themes. Like the long ending to “Submarine Decibels” was an idea Coner came up with, and in the studio I thought it was such a good idea I had our drummer add on another measure even though it felt too long. When everything feels right in a song that’s usually when I start to feel like it’s wrong. I liked when the other guys in the band would bring in an idea that I hated, because that usually meant it was going to fit in the song somehow and work well.

When I listen to your work with First Wave Hello, sincerity seems to be a theme. How would you describe your work?

Everyone in FWH came from other bands. And after so long of playing shows in San Diego and touring, you get to a point where you realize you’re never going to be happy doing this if your trying to be the next “big thing” or trying to “make a living”. We’ve all been through the ringer with sleazy managers and slimy handshakes. Dealing with those kind of distorted views of how music works from record industry professionals, who incidentally are almost all out of a job anyway, kind of puts everything into perspective. There is a strong network of DIY bands in San Diego and will be forever, so I think that kind of attitude and honesty slips into the music a little.

How did you initially hook up with Ken Andrews?

We were looking for someone to mix the record that understood what we were trying to accomplish with it. I love the way that guy mixes drums and heavy guitars, but I was really interested in the way he mixed synthesizers. The first ON record is really colorful. The old analog synth sound that reminded me of Gary Numan or Dick Hyman. I wanted all of the synthesizer work to be prominent but also tasteful. There’s a fine line and, believe me, we pulled back a lot on that first record. We took a shot in the dark and just asked him if he would want to work with us. He sent us a quote which was waaaaaay out of our price range. We then politely declined and started looking elsewhere. A few days later, Ken called us saying that he would be willing to mix the record with what we had, which was not a lot. We stayed in contact with him after the record was finished. And by the time his solo record was coming to fruition, he was looking for a band to tour with.

“Kurt Cobain once said, ‘the dinosaurs in the industry will die.’ I believe we’re almost there, but it really doesn’t matter. The young industry yuppies are far more despicable.”

Your records with FWH have such a fine clarity for the multifaceted layers of your music. How long did it take to record The Lord and Its Penguin and what can you tell me about the recording process for this record?

The whole recording process took about two months. We recorded a lot of synth on that record, most of which you can’t even tell is there. Synth bass is such a pain in the ass to mix in contrast with the other instruments. We recorded half of the record with our friend Bill Nephew at his home studio in an isolated area of San Diego and the other half at Capricorn Studios with Christian Cummings in a busy downtown area of San Diego. We first tracked the drums at Capricorn and headed up to Bill’s studio to finish up the rest of the instruments. After we finished tracking with Bill, Capricorn was booked by the time we needed to record vocals, so we created a vocal booth in Eric’s apartment bathroom. It actually worked out pretty well, with the natural slap back from the linoleum tile. I wish i had pictures. We had to silence the wall because of the over abundant echo so half of the bathroom was covered in pillows, blankets, shirts, socks, papers towels . . . whatever we had.

Can you tell me about the decision to release the record on your own?

We set up a tour with our friends Hot Like a Robot, and we didn’t want to tour solely on the EP that we put out in 2004. So we decided to press the full length in hopes an indie would pick it up later.

What are you currently listening to?

Isao Tomita’s Firebird, The Residents’ Commercial Album, and Neurosis’ Pain of Mind are in rotation at the moment. The new Mogwai is pretty incredible as well.

What are your thoughts on the musical industry today?

Kurt Cobain once said, “the dinosaurs in the industry will die.” I believe we’re almost there, but it really doesn’t matter. The young industry yuppies are far more despicable. Every label will screw you. It’s just who is gonna be more upfront about screwing you. It’s a business no matter what major or indie is telling you it’s not. There are rad labels out there like Dischord, Desoto, Suicide Squeeze,Three One G, who all have integrity, but so many labels today disguise themselves as being just as honest and dedicated to their bands as those kind of labels, when in fact they are being run by people who have no idea what they are doing. And sometimes sharks that were weeded out my mainstream labels pop up as the president of new indie labels. Honestly, I don’t think there’s anything wrong in being involved with major corporate monster labels, if that’s what you’re going for. Being an independent artist isn’t what it was 20 years ago or even 10. everything is totally different now, with new mediums and basically just a new and different overall agenda for mainstream pop culture and sub cultures. Everything is pretty gray. The black and white fine lines of “bad major label, saint indie label” have been forever blurred with today’s instant gratification, mind-numbing Internet generation. There seems to be less concern with where the music is coming from, just as long as it’s “right now!” and it fits nicely and neatly in your pocket. The term “sell out” is a joke, because no one knows what the hell it means anymore.

What brought an end to FWH?

I think everyone just wanted to do other things, play with other people, and focus on different types of music.

What accomplishment with FWH are you most proud of?

Touring with my best friends was an accomplishment.

What can you tell me about Jacob & the Forces?

It’s an ongoing solo thing. Maybe one day I will release something under it. A lot of the songs I wrote for it are going towards my new band though.

Is this going to be a complete solo effort? Do you plan to release a record or play any shows?

No, I’m actually not to into strictly doing solo stuff. I like playing in bands. I’ve recently started a band called “The Heavens” with some friends/ex members of Hot Like a Robot, Mr. Tube and the Flying Objects, and Manuok. We are definitely going to release a record and tour very soon, so that’s exciting.

How would you define the word “success”?

Putting in good solid honest hard work into whatever you’re doing and being proud of it despite the outcome.

What are you currently reading?

Family Outing by Troy Johnson

Any thought provoking reflections looking at your career so far?

When I first started that band, I had zero confidence in my song writing abilities, simply for the fact that, in previous bands i had been in, my songs were always shot down. But the people I was lucky enough to play with in First Wave Hello made me feel like I could write a symphony. I know that sounds lame, but I guess that’s why I would never want to do a “solo” thing. It seems arrogant and egotystical. I do need others to help write and create. That’s what excites me about playing music . . . is taking the best ideas from everyone and trying to make something powerful. And I think we did that in FWH.

http://www.myspace.com/firstwavehello
http://www.myspace.com/jacobturnbloom

First Wave Hello Says Goodbye

San Diego’s First Wave Hello has called it quits before even getting a chance to speak.   The band announced they were taking a “break” to focus on side-projects after four years of extensive touring and recording.  The band calls it quits shortly after releasing what is now their final record “God Bless, Devil You” earlier this year.   

When Ken Andrews (Failure, On, Year of Rabbit) played the World Cafe Live in Philadelphia a year and a half ago, I was introduced and captivated by the solid performance of openers First Wave Hello.   The band remained on stage as the backing band for Andrews and played songs from his new release, as well as former bands.  Andrews mixed their full length and was impressed enough to bring them out with him on tour.  The upstairs venue at World Cafe Live fits about 150 people and left me feeling lucky to watch such an intimate show from both bands.  

Armed with numerous catchy tracks in my head, I did a google search the following day for FWH to find out where I could find their records (after an intial search on Demonoid, of course).  Surprisingly, all I found was their MySpace page and a basic website, which listed the band as unsigned.  I couldn’t believe a band of this caliber was still without a label.  I searched Amazon and still could not find any releases. I was, however, able to find its 2006 full release “The Lord & It’s Penguin.”  This record was a sonic boom to my ears and took me on a 54-plus-minute space trip though their experimental space-pop sound.  Stand out tracks Suitable, Healthy Amount of Self-Loathing and Lay Down create a bullet of sound that penetrates the ears with melodic keyboards under heavy guitars and tight instrumental arrangements.  The record made every iPod playlist of mine for the next six months and flew up my Last.fm charts. 

After announcing what would be their last EP, they toured again in last fall with Andrews. Again, they played the World Cafe Live but were downstairs.  This part of the venue is larger than the upstairs and features a strange dinner table seating arrangement.  They posted a new track Two Propellers from their upcoming EP on MySpace, and I was stoked to see them perform new songs.   Front man Jacob Turnbloom returned with a slightly different lineup and perhaps this was a sign of things to come.  They played a tight set and left me excited to hear the finished EP.  That same excitement was equaled by disappointment to hear that FWH had taken an indefinite hiatus earlier this year, and the ominous “2004-2008 RIP” headline message on MySpace cements the speculation that their run is over.  Jacob has a MySpace site for his new project called “Jacob and The Forces” with a headline announcing that an LP will be released in the Fall.  First Wave Hello leaves us with two solid EPs and a brilliant full-length to remember them by. One can only hope that, perhaps, they will wave again someday.     

 

Failure Gets “Undone”

Pop Up Records is releasing a Failure tribute album, which sees the light of day on September 9, 2008.  The only source of information is a random MySpace page that popped up recently providing all the details (don’t worry — it’s also listed on the record company’s official release schedule). The album will be titled The Nurse Who Loved Me and will feature covers of well-known and obscure tracks from Failure by bands who cite an influence. Notable contributors include Paramore (”Stuck on You”) and ORION (”Another Space Song”).

An additional note: the drummer from ORION did the artwork for the album, as well as t-shirts that will be available upon release.

Here’s the full tracklisting (minus Paramore):

ORION “Another Space Song”
Stemage “Undone”
Evangelos “Saturday Savior”
B.L. Barakus “Pro-Catastrophe”
Tablets Of Orion “Petting The Carpet”
30 Fathom Grave “Wet Gravity”
Solare “Daylight”
The Revolution Smile “Wake Up”
Ambulance Shotgun “The Nurse Who Loved Me”
Planet ID “Muffled Snaps”
Exeter “Smoking Umbrellas”
Catch The Sun “Blank”
Offender “Heliotropic”
Sex Club Reject “Solaris”
Beta Lyrae “Pillowhead”
Cave In “Magnified”

http://www.myspace.com/failuretribute