Meagan Grandall (Lemolo) – Interview

Hello friends! I am bursting with excitement today! And so should you, because the title of this post is entirely accurate – Meagan Grandall of Lemolo has very graciously agreed to answer a few questions from ZaRecords. I don’t believe Lemolo needs any further introduction to the faithful readers of this blog, but I will say this, for newcomers: I consider their music some of the best I’ve ever heard, and it is a tremendous honor for me to be able to talk so candidly with Meagan. Here goes!

Lemolo 1ZaRecords: From a composition perspective, where does Meagan end and Lemolo begin? Or, if you prefer, the other way around. Is there an edge anymore?

Lemolo: It’s funny you should ask this, because sometimes I wonder this myself. I formed the band in 2009 and for the first 6 months we played under the name “Meagan Grandall”. I didn’t think that sounded very cool and that was when I came up with the name Lemolo. All along I have written the songs by myself and they are always very personal songs about my life. So in that sense I feel like Lemolo is me and I am Lemolo. But on the other hand I love performing with other people, because I think other instruments and energies can contribute a lot to my music. For example, on my new record the drum beats that my drummer Emily wrote with me are bringing the songs to another level. So I think there is a blurred edge that at times can be hard to pinpoint.

ZaRecords: How’s the chemistry with Emily? Did you two “click” right away?

Lemolo: Emily is awesome. On our first meeting we had coffee and talked for 3 hours! And then during our first jam session I felt that she “got me” right away and was playing the kinds of drum beats I was looking for. I played her all of my new songs and had her jam along to them, and it felt right from that moment on.

Lemolo 2ZaRecords: I “discovered” your music on KEXP – like a lot of great music from the last few years. I have the vague but persistent feeling that there’s a “movement” of sorts developing in the Seattle area, something which reminds me of the coherent pop currents of yesteryear (hindsight is always 20/20, isn’t it?). Would you say there’s a storm brewing in Seattle, or is this stylistic coherence due to my bias as a very distant observer?

Lemolo: I think Seattle definitely has a wonderful music community. I have found that it has been essential in helping me start and maintain a career in music. I think there are so many talented musicians living and creating their art in Seattle, and everyone seems to be very accepted for being their authentic selves and creating their original music. I feel lucky to be based out of Seattle.

ZaRecords: “The Kaleidoscope” is one of those once in a decade albums which instantly enamored anyone I played it for. No exceptions. It’s hard for me and my readers to gauge the success it had from more “objective” perspectives. What’s your view, two years later? Were you expecting more? Less?

Lemolo: Thank you so very much. Just hearing you say that is success in my eyes. It was my first record to ever record and release. Before that I had never even worked in a professional recording studio. So needless to say I had no expectations and just made sure to do my best at every step of the way. So when I received such positive feedback from listeners around the world, it felt amazing. I am still an independent artist and feel that there is a long way for me to go before I have financial stability (I still live in my mother’s basement!), but I am grateful for all of the opportunities I have had so far and am looking forward to what comes next with my new record.

ZaRecords: What’s this I hear about a European tour?

Lemolo: It is true! I received a grant from the embassy of the Czech Republic to travel there and perform my music at Degeneration Next Festival in Brno, Czech Republic on September 23, 2014. I decided to plan a three week tour around that performance, and will be performing all around Central Europe. Performing internationally has been a dream of mine since the beginning, so it feels wonderful that it is finally coming true. I will be announcing more shows soon so you can vista my online show calendar for updates.

ZaRecords: Your music is so intricate and delicate it’s almost palpable. I was wondering what your relationship with your instruments is – do you see them as tools to craft these sonic filigrees, or partners, sources of inspiration? Please tell me the story of your guitar (it’s the only one of its kind I’ve seen) and other such tales, if you like.

Lemolo: Thank you! I’m glad to hear you like my guitar as much as I do. I found it hanging up in a vintage guitar store and felt an instant connection with it. At that point I had never even played an electric guitar, but I knew she had to be mine. I spent all of the money I had in my bank account to buy it and have been in love with it ever since. It is a Teisco and was made in 1962 in Japan.

I think you’re spot on when you say I use my instruments as tools to write my songs. When I get a new instrument or new effects pedal, it directly inspires my songwriting. Often I arrange my songs while I am writing them, so my instruments and effects play a major role in how my songs come together.

Lemolo 3

ZaRecords: I wonder what your non-musical inspirations are, if any. Books, paintings, films? Video games?

Lemolo: I think my biggest inspiration outside of music is nature. I feel the most at peace with myself when I am outside, and especially when I am on the water. I grew up doing a lot of sailing and boating, and doing that is somewhat similar to a religious experience for me. When I spend time outside I come home feeling the most creative and eager to write music. I also love watching movies, and really admire the work of filmmaker Brit Marling. She has a very inspirational story and she is one of my idols.

ZaRecords: Do you have a go-to album for when you want to center yourself? What’s your musical oasis?

Lemolo: I love your expression “musical oasis”. Mine is Radiohead. I have favorite songs from each Radiohead album, a handful of them are “Everything in it’s Right Place”, “Pyramid Song”, “Sail to the Moon”, “Videotape” and “Bullet Proof I Wish I Was”. I love so many other artists too, but I feel a very deep connection with these songs in particular.

ZaRecords: How has the studio work on the upcoming record differed from “The Kaleidoscope”? How far along are you in the process?

Lemolo: I am nearing the end of recording my new album, which is very exciting. I think it is probably 85% finished at this point. With my new songs I am trying to take them to another level with the drum beats and layers. On The Kaleidoscope I purposefully kept the songs very minimal and mellow, but the news songs are feeling a little more upbeat and lush. It has been fun to experiment with new sounds and textures. I can’t wait to share it with you!

ZaRecords: Tell me a story from one of your concerts, from tour, one of those tales to tell the grandkids.

Lemolo: My best tour memory was from the very first time I went on tour. I planned a video session with some videographers in San Diego, California who filmed a project called the Boat Sessions. They invited us onto their sailboat with our instruments, and filmed us as we performed an acoustic version of Whale Song while sailing around Mission Bay. It was glorious and such an adventure!

ZaRecords: I can’t thank you enough for taking the time to answer these questions!

Lemolo: I hope these answers are okay for you, and that we can meet up on my upcoming tour. Thank you so much!


Us, Today – Beneath The Floorboards (2012) & Interview

Hello again, dear friends! I’m sorry I was gone these past couple of weeks – I moved to another city, and it’s been hectic, but now ZaRecords is back for good! In honor of fresh beginnings, I figured it was about time to reboot the interview section of the site, and the wonderful people in Us, Today demonstrated as perfect a timing in their interaction with me as they do in their music.

Us TodayThey are a trio from Cincinnati, creating authentically challenging music, which is truly difficult to label. Oscillating somewhere between jazz, post-rock and film score music, their most recent LP, titled “Beneath the Floorboards”, feels both robustly experimental and thoroughly controlled and thought-out (which is a delightful paradox, I’m sure you’ll agree), and is one of the most intriguing records I’ve heard in quite a while. I’ll give you ample opportunity to hear it – and I mean really listen, it’s worth it – after the interview, and I hope you’ll enjoy it as much as I have. But for now, let me introduce you to Kristin, Joel and Jeff!

ZaRecords: Thank you so much for taking the time to have this dialogue with me, I feel honored. First, I’d like to ask you about something which instantly attracted my attention to your music on “Beneath the Floorboards” – its fantastic cinematic nature. I say cinematic, but by that I also mean theatrical – in short, depending on the song, it sounds like ideal music for theatre or film. Is this something you actively pursue, or is it just a sort-of side effect? Have you guys considered scoring anything for the performance arts or film?

Kristin – That is something that we’ve talked about, but have not pursued at this point.  Hopefully in the future someone will hear our music and want to use it in a film, or possibly tv commercial even.  We’ve only been together for 3 years, and it took us a while to develop the sound that we have now.  For the moment, we are more involved with writing for our albums and touring around the Northeast and Midwestern United States. Scoring a film has been a personal dream of mine.

Jeff – I would definitely say it is a side effect but something that all of us would be interested in. I am happy that our music conjures up images for some listeners. I think that means we are doing something that connects with people and that is often hard for music with no lyrics. Hopefully someone will want to use our music in film! I would love that!

ZaR: “Beneath the Floorboards” has it all – there’s slowly building tension, there’s a delightful urban groove, there’s dissonance delivered with utmost control and inspiration… all of these make me think of Universe Zero’s ‘70s albums, Terje Rypdal’s jazz-with-a-bite – the list of names goes on and on in my head, but your musical brew goes above and beyond the sum of its parts, so much so that I must ask: What are your roots? How deep do they go?

Kristin – Wow, thank you for the compliment!  I started on drum set playing folk rock at a young age.  My parents are both musicians and I was performing with them by the age of 12.  I decided to pursue classical percussion in college, which brought me to the vibraphone.  I was very much into “modern”, avant-garde percussion literature in college, which I think still influences my writing style with Us, Today.

Jeff – I started on viola which did not go very far and then I went right to drums in the school music program. I definitely felt like a late bloomer musically but I went to school for music education which exposed me to a variety of music topics. I focused on classical percussion but then turned my focus to drums and jazz music. I had some great mentors and finished my master degree in jazz studies. Kristin and I actually met in college.

ZaR: According to some reviews I could sample online about your recent work, there seems to be quite a fusion jazz scene developing in Cincinnati, and while your music definitely feels like it fits comfortably in that niche, I “discovered” you guys on the Post-Rock Facebook page. Those two realms rarely mix, so I have to ask – where do you guys feel most comfortable performing live? What kind of crowds do you rely on for your audience?

Kristin – I find it’s hard to put ourselves in to only one genre.  I don’t feel comfortable with the label “jazz fusion” because that makes me think of music that was happening in the early 70s like Tower of Power, or Weather Report.  I don’t think we sound like that at all.  I much more prefer the label of post-rock.  I think that’s a newer genre that is still open to interpretation and comes with some flexibility.  We’ve purposely tried to perform for a wide variety of audiences, to try to find who will respond well to what we do, and it’s really mixed.  We’ve performed at indie rock shows, jam festivals, hip hop festivals, jazz clubs, coffee shops.  And in each of those situations, we find that some people absolutely love what we do and become die-hard fans, and other people don’t care for it.

ZaR: Here’s sort-of a follow-up to the previous question – has the (more or less) sudden democratization of the music industry helped your music reach a broader audience? What’s your relationship with the more “traditional” music industry – record labels, agents and so on? I ask because I’ve heard jazz legends (Mike Stern and Trilok Gurtu for example) vehemently oppose digital distribution and self-promotion, as an opening of a sort of Pandora’s box. What’s your stand on this issue?

Kristin – We’ve never had representation, we’ve done everything ourselves. I feel like digital distribution and self-promotion is the reality of the musical world we live in these days. I want as many people to hear my music as possible, and I just hope that some of them will enjoy listening to it as much as I enjoy making it. The internet and social media are a part of our culture, so it would be silly for me not to use them to share my music.  Pandora’s box has already been opened.

1149404_518051454932964_1533917092_oAccording to your Facebook page and Bandcamp profile, Kristin – you play Vibraphone, Keys/electronic sounds, Joel, you’re on Guitar, Theremin and Drones and Jeff, you’re on Drums. But I hear a lot more than that on “Beneath the Floorboards” – brass, for one thing, and quite a prominent bass – are my ears being deceived? What gives?

Kristin – That’s our good friend Sam Lauristen on trumpet. An amazing player, who was kind enough to join us for a few tracks on that album. At the time, we had done a few shows with him, and we really loved what he was adding to our sound. We will often invite other musicians we know to join us on stage at our shows, often improvising with them over our tunes. Sam doesn’t play with us anymore, but it is a nice representation of the sound we were making live around the release of that album. We still perform all of those songs without Sam’s contribution. As for the bass, you’re either hearing Joel’s guitar (being run through an octave pedal), or Kristin’s left hand on her keyboard. No bass. Ever.

ZaR: You guys sound like you have quite a bit of musical training – there’s refinement and subtlety in your music that rarely, if ever, emerges from an untrained mind. Tell me a little bit about your background in this respect.

Kristin – We value the musical mentors we’ve had over the years, some of them in the form of private teachers and professors, and some of them in the form of other artists we look up to and admire. We have all dedicated many years of our lives to studying our crafts.

Jeff – Indeed! Deep listening and great teachers are the hugest part! I am always trying to get better!

ZaR: Kristin, this one is for you: there’s sometimes a truly menacing tone to your vibraphone – beyond the ethereal timbre of the instrument, you find a way to make it sound enormous, overwhelming and almost aggressive! I’ve never heard it being used in such a way – is there a special technique you use? How do you accomplish this effect?

Kristin – Burton grip, and Vic Firth Terry Gibb mallets. I like a fast vibrato to my motor, and I use it all of the time. Other than that, it’s just how I like to play the instrument. I come from the background of a drummer, not a piano player. I think that’s where I get my aggressive tendencies.

ZaR: And speaking of slightly menacing – what inspired the title of your latest LP?

Kristin – Joel actually came up with the title. We wrote all of the songs in our practice studio which was in a basement, and then we recorded them in a studio that was 3 floors below ground level. We felt like that may have had something to do with the sound we were developing. 557890_467508646653912_582968817_n

ZaR: What are your plans for the future? Would you consider touring Europe for example? There are quite a number of fascinating jazz festivals – even in Romania, where I’m from – which I’m sure would be delighted to have you. Basically, what I’m asking is – what are the odds I’ll get to see you guys performing live?

Kristin – We have just started touring in the United States and venturing out of our home town of Cincinnati, Ohio. I hope to one day be in a position where we are able to book a successful European tour. If we do, I’ll make sure we hit Romania! 🙂

Jeff – I would love to come to Europe. That has always been a big dream of mine. Music has usually been the catalyst to me traveling to new places.

ZaR: Let’s end on a high note – tell me a funny story, an adventure, a mishap from the studio or from a live venue that stuck with you guys, something that makes you smile – something to tell the grand kids.

Kristin – I find that in most of the places we play, rock clubs and festivals, a lot of people don’t know what a vibraphone is. I often have people come up to me after shows and tell me that they liked my xylophone playing. I actually had one guy ask me if it “gets any other sounds” once, as if it was a synthesizer or electric keyboard. I love the instrument, it’s such a beautiful sound, I’m glad a few more people know what it is after watching one of our shows.

Jeff – honestly it is hard to think of all the crazy stuff. I think one of the funniest moments was playing in a small coffee house in Madison WI. We were practically on top of each other. We made it work but it was hilarious!

Us, Today – Thanks for finding our music intriguing enough to get to know the people behind it! You’re the best!

ZaRecords – Thank you for giving me your time, and making this wonderful music!

There you have it! Listening to these guys and talking with them has been one of my highlights of 2014 so far, and I really hope they’ll give you the same thrill. I’ll leave you in the company of their music… enjoy!

Fiordmoss – Interview

ZaRecords has been silent for a long time now, I know, and I’m sorry about that. It’s only because I was really caught up in finishing up my studies – final exams, writing my BA thesis and all the bureaucracy that goes with it took up so much of my time and energy that I simply couldn’t focus on writing much of anything else. But all is well that ends well, and I’m happy to announce the triumphant return of ZaRecords, with an interview of Czech band Fiordmoss. I wrote about these guys before – I saw them live for the first time and they really left me breathless. I’m really happy they found the time to answer some of my questions and I hope you’ll like what you read and the accompanying music! Most if not all questions were answered by Petra. Welcome back!

FiordmossZaRecords: First of all, tell me what your name means, how and why did you choose it?

Fiordmoss: It is a long time since we made this up. It was supposed to describe contrasts of our musical backgrounds. We translated this into nature and landscapes that we liked which happened to be fjords, forests and moss at the time. Today we’re closer to tribes, churches and taiga.

ZR: There’s a burning question on my mind, so I’ll get right to it. Please don’t take this the wrong way but, having been lucky enough to hear you play live, I have to say your songs sound very different live than on the album – both versions are amazing, but your attitude towards the songs seems to be very different in the live environment… Which context do you prefer, which do you feel feeds your creativity more?

Fiordmoss: We treat them differently because you hear different things in both settings. Album production can take more details and other things that would not be strong or even audible live. Some things just have to go and they get replaced. It also isn’t fun to reproduce live exactly what you can hear on the album, the songs have their own life and sometimes change naturally according to what we currently feel is our sound. For example Tigermy, one of our first songs that we still play, changed more times than we can count.

ZR: Do you guys have other creative outlets alongside your music? You seem both very visually oriented and very poetic.

Fiordmoss: We’re very much into anything visual. The two founding members have an art school background so naturally there is also something to see. Through Facebook we’ll be soon publishing excerpts of Petra’s photographic series that we feel are somehow related to Fiordmoss.

ZR: How do you compose, how do your songs get born? Is it democratic, slow, painful?

Fiordmoss: It is everything and nothing. Sometimes it really is very slow and painful because we’re very strict in what goes and what doesn’t. There is a lot of waiting in between, waiting for the one moment from which it will all go very fast.

ZR: Do you feel part of a community, a musical “wave” coming together? I ask because I feel that, maybe for the first time since the ’90s, I feel there might be a powerful “movement” emerging in music.

Fiordmoss: We try to do our thing and often it doesn’t fit into trends that are currently around. This makes it harder for us to instantly reach large audience but at the same time the people that find our music rarely leave us. There is a lot of bands that come and go, change their names and genre every three years. Even though it means we’re not always cool, we’re staying away from this because it creates no permanent value. But I must admit it is a good feeling when we find ourselves in a setting where we belong.

ZR: You seem to find inspiration in numerous, sometimes quite random, sometimes quite macabre stories. Tell me a story from the road, something you took back with you from your travels.

Fiordmoss: For example driving through Romania was quite insane and sometimes macabre, too. What goes on tour stays on tour, though!

ZR: Are you planning a full-scale release in your future, or do you want to stick to the EP format? Do you feel that releasing fewer tracks at a time puts less pressure on you as a band, or are there other reasons? I ask out of pure curiosity, but also because I’m really hungry for more of your music.

Fiordmoss: We released EPs because the songs we had already created a unit and we didn’t feel like pushing it somewhere else. In fact releasing only EPs creates this pressure because you get asked all the time when the full-length finally comes. But we feel like it’s time now. It wasn’t before. In the summer, there will be a single from the album coming out with a video by Elvira Bukowski whom we met in Berlin, where we live now. The rest is in the stars.

ZR: I see you’re present on Bandcamp and so on. Are you self-released? What’s your relationship with the industry, record labels etc.?

Fiordmoss: So far yes, we are self-released. We do want to release on a label someday but as of now we’re more concerned with the music itself than with our relationship with the industry.

ZR: Your live performance was very theatrical, you move in a very expressive way, much like a dancing actress. Do you have a background in the dramatic arts?

Fiordmoss: No, nothing like that but I very much like to dance.

Fiordmoss Ink BittenZR: “Ink Bitten” is a great name for a record! How did you come up with it?

Fiordmoss: I was obviously obsessed with tattoo ladies at the time, which influenced the whole record. I was reading a lot about their personal stories and this came up while working on lyrics for Maud. Just how, I do not know.

ZR: Thank you so much for your time! I can hardly wait to hear new music from you guys!

Fiordmoss: Thank you for your questions and kind words!


Kermit – Interview + Concert

Today I have the pleasure of interviewing Mr. Paco Trujillo, bass player and general conceptual mastermind behind the Spanish band Kermit. Their music makes a very wide range of references and is a truly interesting proposition, able to shift the tempo and the dynamics quite substantially, although with a very deliberate, patient demeanor. There’s a full concert at very high quality to accompany these words, as well as plenty of visual and literary material, kindly provided by Paco. The text fragments are from the liner notes of the CD and LP versions of Kermit’s debut album – Autoficción. I hope you’ll enjoy reading this talk as much as we enjoyed having it!

Photographer: Gonzalo Perez Martos

ZaRecords: Hi Paco! Thank you so much for granting me this interview. Let’s start with the band name, and go from there. How come you decided on Kermit?

Paco Trujillo: Choosing a band name can be a really difficult task if you expect to find “the name that defines the band”, simply because it doesn’t exist. You may look for it for ages…

We wanted a proper name; that is, a name that meant nothing. We thought of some such as Marlowe, Kowalski, and others, yet I don’t know why Kermit made it to the end. Possibly because it is easily read in almost every language. The muppet was a nice and warm precedent, but it was by no means a defining factor in our decision.

ZR: So you didn’t start off with an overall view of how the band should be defined. Very interesting, very wise! Does that carry over to your compositional style? How do you work together?

PT: Miguel, Gonzalo and I formed the band in early 2011. We didn’t know we were forming a band at that time, because we met just to have fun writing and playing our own songs with two guitars and a bass; and then an analogue synthesizer.

The 12 tracks in “Autoficción” started with either a rhythmic guitar or a bass line brought from homework and developed in our rehearsal room. We met twice a week and joined to improvise on homework. This is how ideas appeared and were delivered. All tracks had been written when Alvaro joined Kermit in February 2012.

Alvaro fit Kermit like a glove, thus shaping our current line-up. It is then that we became aware of the fact that we had a band, and that we needed no singer, as songs worked extremely well without vocals. That is when Kermit was really born.

We don’t know how our writing procedure will be for our sophomore effort, but we’re very eager to see how it works with him behind the drums.

ZR: That sort of organic growth can be felt in the music, it really does feel like the songs grew along with the group. Do you guys still allow yourselves to improvise live? Do you like performing live? Lately I’ve met many bands who say they like the live scene more than actually sitting down and polishing their songs together. It just seems that Kermit works just as well in the rehearsal room as on stage. I was wondering which of the two aspects you prefer, if any.

PT:Yeah, we’re glad that the band’s growth can be noticed in Autoficción’s songs.

Since improvisation took part in the creation of the songs we play live, it also takes part in Kermit’s live concerts, though it’s not our main strategy. We’re now working on some new elements to introduce into our next live concerts; some of them are meant to involve some degree of live improvisation.

Kermit is basically a live band, because we’ve always enjoyed playing our songs. There’s a special intensity when we’re playing live that can’t be felt so easily on a stereo. However, no matter how tedious it might be at times, writing work in the rehearsal room is also very important to us. The results end up paying the effort back!

ZR: Tell me an “on the road” story, some funny, weird, strange thing that might have happened to you guys at a live venue somewhere. I find there are always plenty of those stories in a band’s repertoire.

PT: I think we don’t have many of those road stories, but we can say to have spent really good times while playing gigs with other bands. Kermit is still in baby stages but it’s growing very quickly, so I’ll tell you some road stories when we come back from a brief Andalusian tour.

However, we have already spent nice times with other bands such as Modo Bélica, Oh Trikelians, dUASsEMICOLCHEIASiNVERTIDAS (from Portugal), Mulakong, etc.

Bolaño promo picture which the band will wear on their t-shirts.

ZR: I see there’s quite a kinship between bands. Is there a post-rock “scene” in Spain? In Romania, certain genres, including post-rock and its derivatives, are really deep underground, there’s no real sense of community.

PT: For now we can’t talk about Spain or even Andalusia – only about Málaga. Now there are some interesting bands in Málaga playing these styles, and we share gigs now and then. It can be said there’s a sort of post-rock community, yet very informally.

However, all this stays underground, as it occurs almost everywhere.

ZR: How do you promote yourselves visually? I heard you handle the graphic aspects connected to Kermit, as well as a literary element.

Fragment from Catalonian writer Albert Sánchez Piñol’s “Cold Skin”

PT: Both the literary and the graphic parts are closely interconnected in Kermit. Autoficción mainly deals with the idea of life as a sea voyage that goes through different stages and changes both in sea conditions and crew moods. We’ve mainly based the work on this idea on the work by Bolaño titled The Savage Detectives. Indeed, the front cover of the album is the poem Zion by viscerrealist poet Cesárea Tinajero in The Savage Detectives.

The album also includes 13 literary passages that are meant to make music a vehicle to transport the listener in little trips around his/her everyday life. These passages are by different authors such as Bolaño himself, Cavafy, Henry Miller, Arthur Rimbaud, Antonio Orejudo, etc.

By the way, Autoficción is a literary genre fairly common in Spain nowadays, in which authors deal with their actual lives in their works, though they distort it, so readers cannot know whether details are real or not, yet they know that the overall structure is real… or may be not!

ZR: It seems you have a very strong concept behind the album, it’s wonderful when such a concept can grow as naturally as you’ve described… I’m not sure why, but your answers made me think of a relatively new trend in which old, silent films, get projected with live music being performed by experimental and/or post-rock musicians. Would you consider doing a project like that? Which movie would you choose to illustrate?

PT: Yeah, it’s a good question! We haven’t thought about playing the soundtrack for a silent film yet! For the moment, we’re supporting our live shows with graphic artist Omar Alonso‘s creations, although we would like to create or have specific graphic productions created for Kermit’s music.

Alvaro joined the band in February, Kermit played the debut gig in La Casa Invisible (a multidisciplinary space of independent creation in Málaga) in April, entered Dune v2.0 studios in late June, mastered, mixed and worked on album art in the summer, and finally will share a brief Andalusian tour with Madrid pos-trock act Autumn Comets soon. We’ve had no time for anything but working on all this. We need a bit of relax time, sort of a break, to start thinking of new ideas to introduce in our live shows.

We know some graphic artists that are very interested in these ideas, yet we have to find the way to match such busy working agendas.

Fragment from Henry Miller’s “Tropic of Cancer”

ZR: One more, very open question: Inspiration or Imagination?

PT: I think both fit Kermit’s songwriting. I think that it is inspiration which triggers imagination sometimes, while some others it’s imagination that looks for inspiration as an attempt to find some kind of support, though everybody knows that creative innovation is making our way through darkness and the unknown, where you expect to get where nobody has been before, so there is little chance of finding any kind of, let’s say, “confirmation”.

ZR: Thank you very much for taking the time to answer all of my questions, Paco. I hope to get the chance to see you guys live sometime, in my travels or yours.

PT: No problem! Indeed, it’s been a pleasure for me to answer your questions and would be a pleasure for all of us to have you in our gigs.