Hollow Mountain interview with Steve Wichelecki and Esther Kim
I’ve been into Hollow Mountain for a while, and they may
have gotten a bit heavier and a bit louder since I first heard them, but
there’s something about the essence of the band that’s remained from the first
demos recorded in 2012, before the complete lineup was even assembled. There’s an essence of heavily toasted garage
rock, brewed in the deepest pits of minimalism that’s still there, like an
elephant in the room. Chicago has been
cranking out some killers lately, but there aren’t a lot of LPs that I’m
looking forward to more than Hollow Mountain.
I’m admittedly a guitar guy. I
love a good riff, or even better, a face melting solo, but Hollow Mountain are
in their own groove. They’ve little need
for the bells and whistles that it usually takes to sell people on a song. This is not a band of pitchmen, or women for
that matter. Instead, Hollow Mountain
simply rely on a tasty tune and capturing the amazing energy that makes the
band tick on tape. There are both equal
parts Shonen Knife and Black Sabbath, and Ramones and Sex Pistols going on at
most points. It’s an interesting
combination of minimalist punk and ballsy stoner garage rock all fronted by the
pleasantly strident, dissonant vocals of Esther Kim. Everything Hollow Mountain has to offer is packaged
inside a tight, simple package, with no needless frills or complications that
could result from them. Their Demo 2012
cassette recently sold out from Maximum Pelt, but thankfully, they’re prepping
for the release of a 7-inch EP on Tall Pat Records here before too long. Incorporating one of the two songs from the
digital Demo 2013 release, “Castle”, the Tall Pat single definitely breaks new
ground for the band with out betraying their roots in the slightest. They sound much more like a coherent unit as
a band in these recordings, allowing the guitar, drums, bass and vocals alike
to shine a bit brighter, while remaining perfectly in the vein of their earlier
self-released digital material. The Tall
Pat single is killer and there will be a review of it up here soon, but it
feels like a taste of things to come and I for one am stoked to hear what they
have planned for the future. Read on and
become anointed in the sound of Hollow Mountain and remember to keep it
Psychedelic Baby…
have gotten a bit heavier and a bit louder since I first heard them, but
there’s something about the essence of the band that’s remained from the first
demos recorded in 2012, before the complete lineup was even assembled. There’s an essence of heavily toasted garage
rock, brewed in the deepest pits of minimalism that’s still there, like an
elephant in the room. Chicago has been
cranking out some killers lately, but there aren’t a lot of LPs that I’m
looking forward to more than Hollow Mountain.
I’m admittedly a guitar guy. I
love a good riff, or even better, a face melting solo, but Hollow Mountain are
in their own groove. They’ve little need
for the bells and whistles that it usually takes to sell people on a song. This is not a band of pitchmen, or women for
that matter. Instead, Hollow Mountain
simply rely on a tasty tune and capturing the amazing energy that makes the
band tick on tape. There are both equal
parts Shonen Knife and Black Sabbath, and Ramones and Sex Pistols going on at
most points. It’s an interesting
combination of minimalist punk and ballsy stoner garage rock all fronted by the
pleasantly strident, dissonant vocals of Esther Kim. Everything Hollow Mountain has to offer is packaged
inside a tight, simple package, with no needless frills or complications that
could result from them. Their Demo 2012
cassette recently sold out from Maximum Pelt, but thankfully, they’re prepping
for the release of a 7-inch EP on Tall Pat Records here before too long. Incorporating one of the two songs from the
digital Demo 2013 release, “Castle”, the Tall Pat single definitely breaks new
ground for the band with out betraying their roots in the slightest. They sound much more like a coherent unit as
a band in these recordings, allowing the guitar, drums, bass and vocals alike
to shine a bit brighter, while remaining perfectly in the vein of their earlier
self-released digital material. The Tall
Pat single is killer and there will be a review of it up here soon, but it
feels like a taste of things to come and I for one am stoked to hear what they
have planned for the future. Read on and
become anointed in the sound of Hollow Mountain and remember to keep it
Psychedelic Baby…
What’s the current
lineup for Hollow Mountain at this point?
Have you all gone through any changes as far as that goes since you
started, or is this the original lineup?
lineup for Hollow Mountain at this point?
Have you all gone through any changes as far as that goes since you
started, or is this the original lineup?
Steve: Hollow
Mountain is Esther Kim (bass, vocals), Steve Wichelecki (guitar) and Ben
Simpson (drums). Our first drummer was
Brian from Big Colour and Raw Mcartney, but he had to quit the band in May
2013. Soon after that, Ben joined in the
summer of 2013.
Mountain is Esther Kim (bass, vocals), Steve Wichelecki (guitar) and Ben
Simpson (drums). Our first drummer was
Brian from Big Colour and Raw Mcartney, but he had to quit the band in May
2013. Soon after that, Ben joined in the
summer of 2013.
Are any of you in
any other active bands at this point or do you have any side projects gong on
right now? Have you ever released
anything with anyone else in the past?
If so, can you tell us a little bit about that?
any other active bands at this point or do you have any side projects gong on
right now? Have you ever released
anything with anyone else in the past?
If so, can you tell us a little bit about that?
Steve: Right now I’m
just in Hollow Mountain. I’ve been in
many bands over the years. Notably, I
was in Catburglars from 2005 to 2010, a band which released several
records. I was also in Pink Torpedo from
2010 to 2012.
just in Hollow Mountain. I’ve been in
many bands over the years. Notably, I
was in Catburglars from 2005 to 2010, a band which released several
records. I was also in Pink Torpedo from
2010 to 2012.
Esther: I also play
bass and sing in The Lemons. The Lemons
have a split 7″ on Gary Records, and most recently, Burger Records has
co-released a tape with Tripp Tapes and Gnar Tapes.
bass and sing in The Lemons. The Lemons
have a split 7″ on Gary Records, and most recently, Burger Records has
co-released a tape with Tripp Tapes and Gnar Tapes.
How old are you
and where are you originally from?
and where are you originally from?
Steve: I’m thirty two
and originally from the south west suburbs of Chicago, a place called New
Lenox.
and originally from the south west suburbs of Chicago, a place called New
Lenox.
Esther: I grew up
running through cornfields in the northwest suburbs of Chicago, and I’m old
enough to buy booze!
running through cornfields in the northwest suburbs of Chicago, and I’m old
enough to buy booze!
What was the local
music scene like where you grew up? Did
you see a lot of shows or anything when you were younger? Do you feel like that scene has played a
large part in shaping your musical tastes over the years or in the way that you
perform at this point?
music scene like where you grew up? Did
you see a lot of shows or anything when you were younger? Do you feel like that scene has played a
large part in shaping your musical tastes over the years or in the way that you
perform at this point?
Steve: My friends and
I were the “punks” of our high school and we all had bands and played
shows in our parents’ garages, basements and places like that. There was a place in Homewood, Illinois,
called Off the Alley that was an all-ages, alcohol-free spot where bands like
ours could play. A few famous bands got
their start there in fact; I know Alkaline Trio is one. At that time, that was the closest thing to a
music scene that I had been a part of. I
don’t feel this time was really too formative for me; it’s just something that
most musicians go through before moving off to the big city.
I were the “punks” of our high school and we all had bands and played
shows in our parents’ garages, basements and places like that. There was a place in Homewood, Illinois,
called Off the Alley that was an all-ages, alcohol-free spot where bands like
ours could play. A few famous bands got
their start there in fact; I know Alkaline Trio is one. At that time, that was the closest thing to a
music scene that I had been a part of. I
don’t feel this time was really too formative for me; it’s just something that
most musicians go through before moving off to the big city.
Esther: There was
virtually no music scene where I grew up; all the kids pretty much played
Blink-182 covers in their garages or at the school talent show. The way that this played a part in shaping my
musical tastes, was that it made me that much more eager and passionate about
discovering local music.
virtually no music scene where I grew up; all the kids pretty much played
Blink-182 covers in their garages or at the school talent show. The way that this played a part in shaping my
musical tastes, was that it made me that much more eager and passionate about
discovering local music.
What about your
home as a child? Were either of your
parents or any of your close relatives musicians or extremely
interested/involved in music?
home as a child? Were either of your
parents or any of your close relatives musicians or extremely
interested/involved in music?
Steve: My dad was a
guitar player. In fact, the Mesa Boogie
amp I use in Hollow Mountain is his. I
wasn’t particularly interested in music as a kid, I remember. I just kind of fell into it because my
friends in high school were learning how to play instruments and needed a
singer for their band. So I got my start
singing and then learned drums and guitar much later.
guitar player. In fact, the Mesa Boogie
amp I use in Hollow Mountain is his. I
wasn’t particularly interested in music as a kid, I remember. I just kind of fell into it because my
friends in high school were learning how to play instruments and needed a
singer for their band. So I got my start
singing and then learned drums and guitar much later.
Esther: There was a
lot of 70’s prog and psychedelic rock blasting in my home when I was a
kid. It was just always in the
background. My folks would tuck me in,
read me a story, and then put Dark Side Of The Moon on the record player. I had a lot of weird night terrors during the
ages of three and six.
lot of 70’s prog and psychedelic rock blasting in my home when I was a
kid. It was just always in the
background. My folks would tuck me in,
read me a story, and then put Dark Side Of The Moon on the record player. I had a lot of weird night terrors during the
ages of three and six.
What do you
consider your first real exposure to be?
consider your first real exposure to be?
Steve: I guess, I
would have to say my first “real” band. I played drums in a hardcore band called Def
Choice in the early 2000’s. We had a
record on a label and toured. At the
time though, I wasn’t interested in, or passionate about music. That came much later in life. I was just along for the ride. I was basically in the band because the guys
were my buddies and playing music was just what we did.
would have to say my first “real” band. I played drums in a hardcore band called Def
Choice in the early 2000’s. We had a
record on a label and toured. At the
time though, I wasn’t interested in, or passionate about music. That came much later in life. I was just along for the ride. I was basically in the band because the guys
were my buddies and playing music was just what we did.
Esther: Moving to the
city and going to art school was definitely my first real exposure. The art kids always seemed to know what was
cool, and the less known it was, the better.
I remember being dragged to shows, looking like a deer in headlights,
stars in my eyes, mind completely blown!
city and going to art school was definitely my first real exposure. The art kids always seemed to know what was
cool, and the less known it was, the better.
I remember being dragged to shows, looking like a deer in headlights,
stars in my eyes, mind completely blown!
If you were to
pick a single moment that seemed to open your eyes to the infinite
possibilities and changed everything for you, what would it be?
pick a single moment that seemed to open your eyes to the infinite
possibilities and changed everything for you, what would it be?
Steve: When I was in
high school my friend let me borrow his Dead Kennedys CD. It was Plastic Surgery Disasters. I clearly remember sitting on the bus with my
Discman, flipping through the amazingly cynical Winston Smith booklet and
hearing those songs for the first time.
I remember thinking, “This is it!
This is the sound I’ve been searching for but couldn’t find!”. The songs are so cynical and angry, and the
guitar riffs so dark and perfect. It
really got me thinking that music is a great medium for expression. That album, to me at the time, sounded like
the alienation, frustration and confusion I was feeling as an oddball teenager
living in the suburbs.
high school my friend let me borrow his Dead Kennedys CD. It was Plastic Surgery Disasters. I clearly remember sitting on the bus with my
Discman, flipping through the amazingly cynical Winston Smith booklet and
hearing those songs for the first time.
I remember thinking, “This is it!
This is the sound I’ve been searching for but couldn’t find!”. The songs are so cynical and angry, and the
guitar riffs so dark and perfect. It
really got me thinking that music is a great medium for expression. That album, to me at the time, sounded like
the alienation, frustration and confusion I was feeling as an oddball teenager
living in the suburbs.
Esther: Once again,
living in the city, you’re surrounded by weirdoes, talented weirdoes, mind
you. We all eventually end up in the
city for a time. As for me, it was my
first taste of something outside of the bubble.
Nothing was wrong, but nothing was exactly right, either. I saw people create amazing art and horrible
art, but it didn’t matter because that’s what they wanted to do, and I thought
that was just great.
living in the city, you’re surrounded by weirdoes, talented weirdoes, mind
you. We all eventually end up in the
city for a time. As for me, it was my
first taste of something outside of the bubble.
Nothing was wrong, but nothing was exactly right, either. I saw people create amazing art and horrible
art, but it didn’t matter because that’s what they wanted to do, and I thought
that was just great.
When did you
decide that you wanted to start writing and performing your own music and what
brought that about for you?
decide that you wanted to start writing and performing your own music and what
brought that about for you?
Steve: There’s no
real answer to this. Songwriting kind of
just happened. I bought a guitar as a
teenager and just started jamming. I
probably didn’t really realize I was writing songs, but before I knew it, I had
a bunch of material recorded on a 4-track.
After college, we started Catburglars with all those songs I had written
years earlier.
real answer to this. Songwriting kind of
just happened. I bought a guitar as a
teenager and just started jamming. I
probably didn’t really realize I was writing songs, but before I knew it, I had
a bunch of material recorded on a 4-track.
After college, we started Catburglars with all those songs I had written
years earlier.
Esther: Being
surrounded by friends who are musicians, it was just a natural thing that
happened. Combine that with boredom, a
feeling of having no direction, and a genuine love for music, and that pretty
much sums up why I wanted to start a band.
But, in all honesty, it started as an outlet, a way for me to just screw
around and be loud in Steve’s basement after a hard day’s work.
surrounded by friends who are musicians, it was just a natural thing that
happened. Combine that with boredom, a
feeling of having no direction, and a genuine love for music, and that pretty
much sums up why I wanted to start a band.
But, in all honesty, it started as an outlet, a way for me to just screw
around and be loud in Steve’s basement after a hard day’s work.
What was your
first instrument? When and how did you
get that?
first instrument? When and how did you
get that?
Steve: I first
learned drums. I remember my parents
wouldn’t let me have a drum kit in the house, so I had to buy an electronic kit
because it didn’t really make noise. I
took lessons and got pretty good. Then I
bought a real drum kit and kept it at friends’ parents’ houses. This is when we started Def Choice, in
probably 1999 or 2000. Why did I learn
drums? I remember listening to Minor
Threat as a kid and thinking that 16th notes played on high-hats and a ride
cymbal sounded really cool!
learned drums. I remember my parents
wouldn’t let me have a drum kit in the house, so I had to buy an electronic kit
because it didn’t really make noise. I
took lessons and got pretty good. Then I
bought a real drum kit and kept it at friends’ parents’ houses. This is when we started Def Choice, in
probably 1999 or 2000. Why did I learn
drums? I remember listening to Minor
Threat as a kid and thinking that 16th notes played on high-hats and a ride
cymbal sounded really cool!
Esther: My first
instrument was the piano. The local
church threw it out, so my mom dragged it into our tiny apartment at the
time. No one ever played it, or even
knew how. I never learned to play piano
the proper way, but I taught myself to play by ear. It’s still one of my favorite instruments.
instrument was the piano. The local
church threw it out, so my mom dragged it into our tiny apartment at the
time. No one ever played it, or even
knew how. I never learned to play piano
the proper way, but I taught myself to play by ear. It’s still one of my favorite instruments.
How did the
members of Hollow Mountain meet and when would that have been?
members of Hollow Mountain meet and when would that have been?
Steve: Esther and I
met in 2010, but we didn’t start the band until 2012. We actually met Ben at our practice
space. It’s a shared space, and one day
Esther and I were coming in and Ben was leaving. We told him that our drummer was probably
quitting the band and Ben said he’d be happy to drum for us if that happened. A few months later Ben joined the band, in
the summer of 2013.
met in 2010, but we didn’t start the band until 2012. We actually met Ben at our practice
space. It’s a shared space, and one day
Esther and I were coming in and Ben was leaving. We told him that our drummer was probably
quitting the band and Ben said he’d be happy to drum for us if that happened. A few months later Ben joined the band, in
the summer of 2013.
Esther: What Steve
said.
said.
When did Hollow
Mountain become a band and what brought about the formation of the band?
Mountain become a band and what brought about the formation of the band?
Steve: Esther wanted
to start a punk band. She’d never played
an instrument or sang before, but wanted to try it. I had a lot of experience, so I told her to
buy a bass and practice amp and I’d teach her some punk bass playing and we’d
start writing some songs.
to start a punk band. She’d never played
an instrument or sang before, but wanted to try it. I had a lot of experience, so I told her to
buy a bass and practice amp and I’d teach her some punk bass playing and we’d
start writing some songs.
Esther: Yeah, I never
really intended it to be a functioning band.
I just wanted to let off some steam and maybe learn to play some
songs. I remember telling Steve that I
never wanted to play shows, I just couldn’t do it. I had intense stage fright and it just wasn’t
a desire of mine.
really intended it to be a functioning band.
I just wanted to let off some steam and maybe learn to play some
songs. I remember telling Steve that I
never wanted to play shows, I just couldn’t do it. I had intense stage fright and it just wasn’t
a desire of mine.
Is there any sort
of creed, code, ideal or mantra that the band shares or lives by?
of creed, code, ideal or mantra that the band shares or lives by?
Steve: My philosophy
to Hollow Mountain is this: Be heavy without being heavy. Our sound, at least our newer music, is kind
of heavy, but not heavy, too. Like, I
love that we fit in with the garage scene, but aren’t really garage. No matter how heavy we get, we’ll never fit
in at a metal show, and I think that’s a unique place to be. Another tenet is minimalism. I write songs that are very simple and
straight forward. I want a good riff, a
good hook, something memorable and simple that sounds good. No frills, nothing that doesn’t have to be
there.
to Hollow Mountain is this: Be heavy without being heavy. Our sound, at least our newer music, is kind
of heavy, but not heavy, too. Like, I
love that we fit in with the garage scene, but aren’t really garage. No matter how heavy we get, we’ll never fit
in at a metal show, and I think that’s a unique place to be. Another tenet is minimalism. I write songs that are very simple and
straight forward. I want a good riff, a
good hook, something memorable and simple that sounds good. No frills, nothing that doesn’t have to be
there.
Esther: A few people
have told me that we really need a lead guitarist, and I always tell them that
that would completely change our sound.
Why do we need anything? Hollow
Mountain is just one big rhythm section, and I love that. You get hit with this wall of noise, and the
less layers there are to muddy it up, the more powerful it is. That’s not to say that I dislike leads, I
think they’re awesome, but for us it just doesn’t make sense.
have told me that we really need a lead guitarist, and I always tell them that
that would completely change our sound.
Why do we need anything? Hollow
Mountain is just one big rhythm section, and I love that. You get hit with this wall of noise, and the
less layers there are to muddy it up, the more powerful it is. That’s not to say that I dislike leads, I
think they’re awesome, but for us it just doesn’t make sense.
Your name fits the
band almost perfectly. Who came up with
it and how did you go about choosing it?
Were there any close seconds that you can remember you almost went with?
What does it mean in the context of your
band name?
band almost perfectly. Who came up with
it and how did you go about choosing it?
Were there any close seconds that you can remember you almost went with?
What does it mean in the context of your
band name?
Steve: We took it
from an old sci-fi film called The Beast From Hollow Mountain. Esther and I were going through a list of old
sci-fi films looking for a name and that one stuck out. I remember the runner up was another film
title, Tarantula! Also, thematically,
our lyrics have a lot to do with sci-fi and fantasy, and I think picking that
name helped shape the direction we’ve gone in lyrically.
from an old sci-fi film called The Beast From Hollow Mountain. Esther and I were going through a list of old
sci-fi films looking for a name and that one stuck out. I remember the runner up was another film
title, Tarantula! Also, thematically,
our lyrics have a lot to do with sci-fi and fantasy, and I think picking that
name helped shape the direction we’ve gone in lyrically.
Where’s the band
located at this point?
located at this point?
Steve: Logan Square
in Chicago, Illinois.
in Chicago, Illinois.
How would you
describe the local music scene where you’re at?
describe the local music scene where you’re at?
Steve: The Chicago
music scene’s great right now. Many
people describe a “golden age” or “renaissance” taking
place here, and I would have to agree. I’ve
been into music here for about a decade and things have never been so
exciting. There’re so many talented
bands, places to play, independent record labels, record stores, shows,
parties; everything. While you’ll always
have people saying any scene is cliquey or elitist, I don’t get that vibe at
all. I get the impression that most
people here welcome new people and bands.
And to be part of the scene all you have to do is go out to shows and
introduce yourself. The music scene here
is a motley group of beautiful weirdoes and I couldn’t be happier with it.
music scene’s great right now. Many
people describe a “golden age” or “renaissance” taking
place here, and I would have to agree. I’ve
been into music here for about a decade and things have never been so
exciting. There’re so many talented
bands, places to play, independent record labels, record stores, shows,
parties; everything. While you’ll always
have people saying any scene is cliquey or elitist, I don’t get that vibe at
all. I get the impression that most
people here welcome new people and bands.
And to be part of the scene all you have to do is go out to shows and
introduce yourself. The music scene here
is a motley group of beautiful weirdoes and I couldn’t be happier with it.
Esther: In the last
few years, there’s been this surge of energy and support. I’ve never seen anything like it. There’re more and more bands popping up and
you can find a good show every night of the week. It’s hard to keep up sometimes!
few years, there’s been this surge of energy and support. I’ve never seen anything like it. There’re more and more bands popping up and
you can find a good show every night of the week. It’s hard to keep up sometimes!
Has the local
scene played a large or integral role in the sound, history or evolution of
Hollow Mountain in your opinion? Or, do
you think you all would be doing what you’re doing and sound like you do regardless
of your location and stuff?
scene played a large or integral role in the sound, history or evolution of
Hollow Mountain in your opinion? Or, do
you think you all would be doing what you’re doing and sound like you do regardless
of your location and stuff?
Steve: As I said
above, we’re part of that nebulous thing called the “garage” scene,
which to me is basically like saying a “punk” scene. Our music, though, really deviates from what
other bands are doing. We support the
scene and the scene supports us, but I feel like we kind of came up with our
own style and, luckily, people have embraced it.
above, we’re part of that nebulous thing called the “garage” scene,
which to me is basically like saying a “punk” scene. Our music, though, really deviates from what
other bands are doing. We support the
scene and the scene supports us, but I feel like we kind of came up with our
own style and, luckily, people have embraced it.
Esther: And by
“our own style”, he means that we’re not real musicians, we just play
music; except for Ben, he’s an incredible drummer. But, I think the fact that I’m not a trained
musician or a technical wizard, but can still enjoy playing music is a
reflection of this wonderful scene. It’s
accessible and accepting, which only stimulates more and more creativity.
“our own style”, he means that we’re not real musicians, we just play
music; except for Ben, he’s an incredible drummer. But, I think the fact that I’m not a trained
musician or a technical wizard, but can still enjoy playing music is a
reflection of this wonderful scene. It’s
accessible and accepting, which only stimulates more and more creativity.
You all have an
awesome combination of sounds going on in your music. I’m curious who you all would cite as your
major musical influences? What about
influences on that band as a whole rather than individually?
awesome combination of sounds going on in your music. I’m curious who you all would cite as your
major musical influences? What about
influences on that band as a whole rather than individually?
Steve: As time went
on in the band, I got more and more interested in early heavy metal and stoner
rock type stuff, and that really shows in our newer music. Ryan from Flesh Panthers (Interview here)
once described us as the Ramones meets Black Sabbath, and I think that’s a
pretty accurate assessment.
on in the band, I got more and more interested in early heavy metal and stoner
rock type stuff, and that really shows in our newer music. Ryan from Flesh Panthers (Interview here)
once described us as the Ramones meets Black Sabbath, and I think that’s a
pretty accurate assessment.
Esther: Hmm… Maybe Black Sabbath, Ramones, and Shonen
Knife.
Knife.
Whenever I talk to
bands in these interviews I inevitably have to describe how a band sounds to
our readers who may never have heard them before. It’s a daunting task and sometimes it keeps
me up at night, wondering if I’ve put too much of my own perception of things
in there. How would you describe Hollow
Mountain’s sound to our readers who might not have heard you all before?
bands in these interviews I inevitably have to describe how a band sounds to
our readers who may never have heard them before. It’s a daunting task and sometimes it keeps
me up at night, wondering if I’ve put too much of my own perception of things
in there. How would you describe Hollow
Mountain’s sound to our readers who might not have heard you all before?
Steve: Yes, that’s
never a good question to have to think about.
I would say we’re a punk band that takes influence from old heavy
metal. I try not to describe our band to
people, because, like you said, your own perception creeps in and you may not
even actually sound the way you think you do.
I’d rather just show people our songs and let them decide what we sound
like.
never a good question to have to think about.
I would say we’re a punk band that takes influence from old heavy
metal. I try not to describe our band to
people, because, like you said, your own perception creeps in and you may not
even actually sound the way you think you do.
I’d rather just show people our songs and let them decide what we sound
like.
Esther: I think Steve
described it pretty well. It’s a strange
amalgam of light, poppy vocals with proto-metal inspired riffs that just go on
until you can’t help but bang your head in delight or displeasure. I think when I get on stage people kind of
already have their minds made up about how it’s going to sound. They think, “Oh jeez, is she going to
sing about rainbows and cats?”. One
time after a gig, someone came up to me and told me how surprised he was by our
set. I think he said something like,
“Wow, I never would have expected something like that from a little girl
like you!”. I used to be
self-conscious about this contrast, but I think it’s just become part of
us.
described it pretty well. It’s a strange
amalgam of light, poppy vocals with proto-metal inspired riffs that just go on
until you can’t help but bang your head in delight or displeasure. I think when I get on stage people kind of
already have their minds made up about how it’s going to sound. They think, “Oh jeez, is she going to
sing about rainbows and cats?”. One
time after a gig, someone came up to me and told me how surprised he was by our
set. I think he said something like,
“Wow, I never would have expected something like that from a little girl
like you!”. I used to be
self-conscious about this contrast, but I think it’s just become part of
us.
What’s the
songwriting process like for Hollow Mountain?
Is there someone who usually comes to the rest of the band with a riff
or more finished idea for a song to share with the rest of the band? Or, do you all just get together and kick
ideas back and forth until you work something out that you’re interested in
refining?
songwriting process like for Hollow Mountain?
Is there someone who usually comes to the rest of the band with a riff
or more finished idea for a song to share with the rest of the band? Or, do you all just get together and kick
ideas back and forth until you work something out that you’re interested in
refining?
Steve: Usually, I
come to practice with song parts and get a yes or no from Esther and Ben on
whether the riffs are cool. Then, we all
jam on an approved song idea and everyone voices their feedback, writes their
respective parts and works out the kinks until the song is finished. I do need to mention, though, that many of
the songs on Demo 2012 have music that Esther and I wrote together.
come to practice with song parts and get a yes or no from Esther and Ben on
whether the riffs are cool. Then, we all
jam on an approved song idea and everyone voices their feedback, writes their
respective parts and works out the kinks until the song is finished. I do need to mention, though, that many of
the songs on Demo 2012 have music that Esther and I wrote together.
Esther: I like to
think of the process as a group effort.
If any one of us has an idea, we can bring it to rehearsal, and we can
try to flesh it out and see what we get.
Sometimes we’ll get something good out of it, and sometimes we
won’t. It’s all part of the fun.
think of the process as a group effort.
If any one of us has an idea, we can bring it to rehearsal, and we can
try to flesh it out and see what we get.
Sometimes we’ll get something good out of it, and sometimes we
won’t. It’s all part of the fun.
What about
recording? I’m a musician myself and I
think that most of us can appreciate the end result of all the time and work
that goes into making an album when you’re holding that finished product in
your hands. But getting to that point,
getting stuff recorded and sounding the way that you want it to especially as a
band, can be extremely difficult on a band to say the very least. What’s it like recording for Hollow Mountain?
recording? I’m a musician myself and I
think that most of us can appreciate the end result of all the time and work
that goes into making an album when you’re holding that finished product in
your hands. But getting to that point,
getting stuff recorded and sounding the way that you want it to especially as a
band, can be extremely difficult on a band to say the very least. What’s it like recording for Hollow Mountain?
Steve: Yeah,
recording is exciting but also torturous and never fails to disappoint. No matter what, the end result is never
what’s in your head, but you learn you just have to live with that fact. Every time we’ve recorded, the circumstances
have been very different.
recording is exciting but also torturous and never fails to disappoint. No matter what, the end result is never
what’s in your head, but you learn you just have to live with that fact. Every time we’ve recorded, the circumstances
have been very different.
Esther: I would love
every recording to sound live, but of course, the magic of live shows is
something that can’t be easily fabricated.
I feel that Ben and I are a little more relaxed when it comes to
recording; we try to have fun. Steve, on
the other hand, can get pretty Phil Spector at times. I guess it’s good for us, though. Otherwise we’d get nothing done.
every recording to sound live, but of course, the magic of live shows is
something that can’t be easily fabricated.
I feel that Ben and I are a little more relaxed when it comes to
recording; we try to have fun. Steve, on
the other hand, can get pretty Phil Spector at times. I guess it’s good for us, though. Otherwise we’d get nothing done.
Do you all like to
take a more DIY approach to recording where you handle most aspects of things
yourselves so you don’t have to work with or compromise on the sound with
anyone else, or do you like to head in to the studio to record and let someone
else handle the technical aspects of things so you can concentrate on just
getting the best performance possible out of yourselves?
take a more DIY approach to recording where you handle most aspects of things
yourselves so you don’t have to work with or compromise on the sound with
anyone else, or do you like to head in to the studio to record and let someone
else handle the technical aspects of things so you can concentrate on just
getting the best performance possible out of yourselves?
Steve: I am very
concerned with how we sound recorded and will usually assert myself into the
mixing/EQ/mastering process. I recorded
the demos myself, so I had total control.
For the 7″ EP we worked with a friend and his sound engineer buddy
and recorded at the guy’s home studio. I
was super involved with getting the recording to sound the way I envisioned it
and worked very closely with the sound engineer. For the Loud Loop single, I was more hands
off because it’s really their project, not ours. I made some comments about the mix, but I
didn’t have to fight anyone on anything and just let their sound engineer do
what he felt was best. I personally like
working with a sound engineer, someone with the knowhow and equipment to make
us sound good. Not to mention that doing
it all yourself is incredibly hard and stressful. My perfect recording scenario is working with
a good sound engineer who takes my comments and ideas to heart, and understands
what kind of sound we’re going for.
concerned with how we sound recorded and will usually assert myself into the
mixing/EQ/mastering process. I recorded
the demos myself, so I had total control.
For the 7″ EP we worked with a friend and his sound engineer buddy
and recorded at the guy’s home studio. I
was super involved with getting the recording to sound the way I envisioned it
and worked very closely with the sound engineer. For the Loud Loop single, I was more hands
off because it’s really their project, not ours. I made some comments about the mix, but I
didn’t have to fight anyone on anything and just let their sound engineer do
what he felt was best. I personally like
working with a sound engineer, someone with the knowhow and equipment to make
us sound good. Not to mention that doing
it all yourself is incredibly hard and stressful. My perfect recording scenario is working with
a good sound engineer who takes my comments and ideas to heart, and understands
what kind of sound we’re going for.
Esther: Some of my
favorite songs were recorded with a DIY approach, meaning that they we just
recorded them at home. I personally
appreciate something like that because it captures that raw, no frills
sound. Of course, I also understand the
importance of having a quality recording, but if you can sound good out of your
room and out of the studio, you’re gold.
favorite songs were recorded with a DIY approach, meaning that they we just
recorded them at home. I personally
appreciate something like that because it captures that raw, no frills
sound. Of course, I also understand the
importance of having a quality recording, but if you can sound good out of your
room and out of the studio, you’re gold.
Is there a lot of
time and effort that goes into working out every single aspect of a song,
figuring out exactly what a song’s going to sound like? Or, do you all head in with a good skeletal
idea of what a song’s going to sound like while allowing for some change and
evolution during the recording process?
time and effort that goes into working out every single aspect of a song,
figuring out exactly what a song’s going to sound like? Or, do you all head in with a good skeletal
idea of what a song’s going to sound like while allowing for some change and
evolution during the recording process?
Steve: Yes, I spend a
great deal of time searching for the right riffs and melodies. The songwriting process can’t really be
defined. I never say, “I’m going to
write a song today”. A song just
happens. You’ll be jamming away on your
guitar, and suddenly the riff will appear and a melody will enter your mind. Then, I spend a great deal of time and effort
finessing it all with Ben and Esther until there’s a complete song.
great deal of time searching for the right riffs and melodies. The songwriting process can’t really be
defined. I never say, “I’m going to
write a song today”. A song just
happens. You’ll be jamming away on your
guitar, and suddenly the riff will appear and a melody will enter your mind. Then, I spend a great deal of time and effort
finessing it all with Ben and Esther until there’s a complete song.
Esther: I think the
main rule we stick to when determining how a song should sound, is making sure
it reflects how we play it live. If a
big, boomy kick drum is integral to one song, we’ll make sure it sounds just
right. Sometimes, happy accidents do
occur that surprise us all, and that’s the best part about recording.
main rule we stick to when determining how a song should sound, is making sure
it reflects how we play it live. If a
big, boomy kick drum is integral to one song, we’ll make sure it sounds just
right. Sometimes, happy accidents do
occur that surprise us all, and that’s the best part about recording.
People have been
tapping into the altered mind states that psychoactive and hallucinogenic drugs
create for thousands of years and harnessing it to make art. Do they play a large or important role in the
songwriting, recording or performance processes for Hollow Mountain?
tapping into the altered mind states that psychoactive and hallucinogenic drugs
create for thousands of years and harnessing it to make art. Do they play a large or important role in the
songwriting, recording or performance processes for Hollow Mountain?
Steve: I have never
experimented with psychedelics. In fact,
whenever I work on music or lyrics, I make sure I am totally sober. I want to be as focused as possible.
experimented with psychedelics. In fact,
whenever I work on music or lyrics, I make sure I am totally sober. I want to be as focused as possible.
Esther: Can I just
take this moment to say that I really love beer? Sometimes, a real good IPA gets me
going. Whiskey works, too.
take this moment to say that I really love beer? Sometimes, a real good IPA gets me
going. Whiskey works, too.
Now I know you are
just prepping for the release for your debut 7” from Tall Pat before too long,
but you’ve previously digitally released two collections of demos. The first, Demo 2012 was also released on
cassette by Maximum Pelt. Can you tell
us about the recording of the material for Demo 2012? Was that a fun, pleasurable experience for
you all, or more of a nerve wracking proposition? Who recorded that material? When and where was it recorded? What kind of equipment was used?
just prepping for the release for your debut 7” from Tall Pat before too long,
but you’ve previously digitally released two collections of demos. The first, Demo 2012 was also released on
cassette by Maximum Pelt. Can you tell
us about the recording of the material for Demo 2012? Was that a fun, pleasurable experience for
you all, or more of a nerve wracking proposition? Who recorded that material? When and where was it recorded? What kind of equipment was used?
Steve: Demo 2012 was
recorded during the fall of 2012, before the band really even existed. At the time, it was just me and Esther
writing songs. The idea was this: We’d
write a bunch of songs and record them with me playing drums and guitar, and
Esther playing bass and singing. Then,
we’d shop the demo around to drummers.
We were having trouble finding a drummer and this was going to be the
solution. Recording Demo 2012 was a fun,
yet arduous experience. I remember that
it took months and I was super stressed out. I had to learn about recording, while
recording it. So, every step of the way
I did a ton of research on how to do each individual aspect of the process; how
to properly tune drums, mic placement, Garageband plugins, etcetera, etcetera,
etcetera. I really knew nothing of
recording up to that point. Another
hardship was the limitations of our equipment.
I used Garageband on a laptop, the most inexpensive preamp I could find,
one SM57 for instruments and one condenser for vocals. There was a lot of trial and error, but in
the end, I think it came our pretty good.
In fact, it’s still my favorite Hollow Mountain recording. It has this inimitable sound that just
happened by accident because of all the limitations we had in terms of
recording equipment and knowhow.
recorded during the fall of 2012, before the band really even existed. At the time, it was just me and Esther
writing songs. The idea was this: We’d
write a bunch of songs and record them with me playing drums and guitar, and
Esther playing bass and singing. Then,
we’d shop the demo around to drummers.
We were having trouble finding a drummer and this was going to be the
solution. Recording Demo 2012 was a fun,
yet arduous experience. I remember that
it took months and I was super stressed out. I had to learn about recording, while
recording it. So, every step of the way
I did a ton of research on how to do each individual aspect of the process; how
to properly tune drums, mic placement, Garageband plugins, etcetera, etcetera,
etcetera. I really knew nothing of
recording up to that point. Another
hardship was the limitations of our equipment.
I used Garageband on a laptop, the most inexpensive preamp I could find,
one SM57 for instruments and one condenser for vocals. There was a lot of trial and error, but in
the end, I think it came our pretty good.
In fact, it’s still my favorite Hollow Mountain recording. It has this inimitable sound that just
happened by accident because of all the limitations we had in terms of
recording equipment and knowhow.
Esther: I think I
might have even cried a few times while recording that demo.
might have even cried a few times while recording that demo.
As I previously
mentioned you released two demo collections, the second was a year later and
Demo 2013 has only been released digitally at this point to my knowledge. Demo 2013 consisted of two songs, “Castle”
and “Strange World”. Can you tell us
about the recording of those two tracks?
Was it pretty similar to your earlier session(s) for Demo 2012? Who recorded the Demo 2013 material? Where was that? When was that? What kind of equipment was used this time
around?
mentioned you released two demo collections, the second was a year later and
Demo 2013 has only been released digitally at this point to my knowledge. Demo 2013 consisted of two songs, “Castle”
and “Strange World”. Can you tell us
about the recording of those two tracks?
Was it pretty similar to your earlier session(s) for Demo 2012? Who recorded the Demo 2013 material? Where was that? When was that? What kind of equipment was used this time
around?
Steve: The major
difference with Demo 2013 is that Ben was in the band by then and played the
drums. Also, while Demo 2012 was
recorded in basements, Demo 2013 was recorded in a practice space. All aspects regarding equipment and the
recording process were mostly the same, though.
Recording Demo 2013 was much easier because I had a working knowledge of
how to record a demo by then. The funny
thing is that it sounds so much different than the previous demo, even though
both were recorded pretty much the same way.
I think the different rooms affected the sound. I’m pretty sure we recorded this during the
fall of 2013.
difference with Demo 2013 is that Ben was in the band by then and played the
drums. Also, while Demo 2012 was
recorded in basements, Demo 2013 was recorded in a practice space. All aspects regarding equipment and the
recording process were mostly the same, though.
Recording Demo 2013 was much easier because I had a working knowledge of
how to record a demo by then. The funny
thing is that it sounds so much different than the previous demo, even though
both were recorded pretty much the same way.
I think the different rooms affected the sound. I’m pretty sure we recorded this during the
fall of 2013.
I talked a little
bit about it before, but you all have a 7” coming out on Tall Pat due for
release around October this year (2014).
Do you feel like you’ve learned a lot since your earlier demo
sessions? Did you all try anything
radically new or different when it came to the songwriting or recording of the
material for the upcoming single? What
can our listeners expect from the upcoming single?
bit about it before, but you all have a 7” coming out on Tall Pat due for
release around October this year (2014).
Do you feel like you’ve learned a lot since your earlier demo
sessions? Did you all try anything
radically new or different when it came to the songwriting or recording of the
material for the upcoming single? What
can our listeners expect from the upcoming single?
Steve: Our 7″ EP
is a heavier, tighter Hollow Mountain.
We’ve re-recorded the song “Castle” for the record, too, so
think of songs in that vein. I
personally feel we’ve come a long way since those demos and can’t wait for
people to hear our new recordings. The
most notable thing about the 7″ is that we partly recorded on tape, using
a Tascam 388 8-track machine. We
recorded the instruments to tape and then dumped that on to a computer. Then, the vocals were recorded digitally
because we ran out of inputs on the 8-track.
All mixing, EQ and mastering was done on the computer. Using the 388 gives the record a gritty,
mid-fi sound, which is what we intended.
is a heavier, tighter Hollow Mountain.
We’ve re-recorded the song “Castle” for the record, too, so
think of songs in that vein. I
personally feel we’ve come a long way since those demos and can’t wait for
people to hear our new recordings. The
most notable thing about the 7″ is that we partly recorded on tape, using
a Tascam 388 8-track machine. We
recorded the instruments to tape and then dumped that on to a computer. Then, the vocals were recorded digitally
because we ran out of inputs on the 8-track.
All mixing, EQ and mastering was done on the computer. Using the 388 gives the record a gritty,
mid-fi sound, which is what we intended.
Esther: As Steve mentioned,
the notable difference will be in the songs themselves. They’re a bit slower and heavier, often
falling into a groove of some kind.
Before this, our songs were shorter, faster, and a bit more juvenile in
the best way.
the notable difference will be in the songs themselves. They’re a bit slower and heavier, often
falling into a groove of some kind.
Before this, our songs were shorter, faster, and a bit more juvenile in
the best way.
Has Hollow
Mountain released any other material that I might not know about, maybe a song
on a compilation or another demo session that I’m not aware of, or anything?
Mountain released any other material that I might not know about, maybe a song
on a compilation or another demo session that I’m not aware of, or anything?
Steve: No, just the
demos, the upcoming Tall Pat 7″ and the upcoming Loud Loop Press
single. I should mention that Grabbing
Clouds Tapes & Records who released the Slushy LP earlier this year
(Interview here), are releasing the new EP on cassette, too.
demos, the upcoming Tall Pat 7″ and the upcoming Loud Loop Press
single. I should mention that Grabbing
Clouds Tapes & Records who released the Slushy LP earlier this year
(Interview here), are releasing the new EP on cassette, too.
With the release
of the Tall Pat single quickly approaching, do you all have any other releases
planned or in the works at this point?
of the Tall Pat single quickly approaching, do you all have any other releases
planned or in the works at this point?
Steve: My goal is to
do a full-length album, with new songs and probably some re-recorded material
from the 7″ and the Loud Loop single.
I’d like to have the ball really rolling on that by this time next year.
do a full-length album, with new songs and probably some re-recorded material
from the 7″ and the Loud Loop single.
I’d like to have the ball really rolling on that by this time next year.
Esther: Yeah, I like
going with the flow and taking it one step at a time. I’m just having a blast playing music with my
best friends.
going with the flow and taking it one step at a time. I’m just having a blast playing music with my
best friends.
Now I know the
single’s not out yet, but thinking ahead for people who dig your tunes and are
going to want to pick up your stuff, where’s the best place to score your music
going to be for our US readers?
single’s not out yet, but thinking ahead for people who dig your tunes and are
going to want to pick up your stuff, where’s the best place to score your music
going to be for our US readers?
Steve: People will be
able to buy it from Tall Pat Records. It
will also be on our Bandcamp page and Chicagoans will be able to find it at all
the record stores, like Bric-A-Brac and Reckless.
able to buy it from Tall Pat Records. It
will also be on our Bandcamp page and Chicagoans will be able to find it at all
the record stores, like Bric-A-Brac and Reckless.
What about our
international and overseas readers? With
the completely insane international postage rate increases that have just kept
going up and up, I try and provide our readers with as many possible options
for picking up import releases as I can!
international and overseas readers? With
the completely insane international postage rate increases that have just kept
going up and up, I try and provide our readers with as many possible options
for picking up import releases as I can!
Steve: I would
recommend downloading it from Bandcamp.
recommend downloading it from Bandcamp.
And where’s the
best place for our interested readers to keep up with the latest news from
Hollow Mountain like upcoming shows and album releases at?
best place for our interested readers to keep up with the latest news from
Hollow Mountain like upcoming shows and album releases at?
Steve: Our Facebook page.
Are there any
major plans or goals that Hollow Mountain’s looking to accomplish in the rest
of 2014 or 2015?
major plans or goals that Hollow Mountain’s looking to accomplish in the rest
of 2014 or 2015?
Steve: Besides
releasing a full-length album next year, we’d like to do a short tour in the
spring. We’d like to start booking that
some time this winter. From what I’ve
been hearing, Chicago bands have been making an impression around the country,
so it’s a great time to get out on the road.
releasing a full-length album next year, we’d like to do a short tour in the
spring. We’d like to start booking that
some time this winter. From what I’ve
been hearing, Chicago bands have been making an impression around the country,
so it’s a great time to get out on the road.
Esther: I would love
to get a proper band photo out there, ha-ha!
to get a proper band photo out there, ha-ha!
Do you all spend a
lot of time out on the road touring? Do
you enjoy being out on the road? What’s
life like no the road for Hollow Mountain?
lot of time out on the road touring? Do
you enjoy being out on the road? What’s
life like no the road for Hollow Mountain?
Steve: Hopefully
touring will be our next adventure. I’ve
toured in past bands, but it will be a new experience for Hollow Mountain if it
happens.
touring will be our next adventure. I’ve
toured in past bands, but it will be a new experience for Hollow Mountain if it
happens.
Esther: I’ve been
touring a lot this summer with my other band, The Lemons. It’s definitely been a good experience for
me, and I think it’s something every band needs to experience. There are definite highs and lows to life on
the road, but it just brings everyone closer.
I’m looking forward to touring with Hollow Mountain in the near future.
touring a lot this summer with my other band, The Lemons. It’s definitely been a good experience for
me, and I think it’s something every band needs to experience. There are definite highs and lows to life on
the road, but it just brings everyone closer.
I’m looking forward to touring with Hollow Mountain in the near future.
Do you remember
what the first song that Hollow Mountain ever played live was? Where and when would that have been?
what the first song that Hollow Mountain ever played live was? Where and when would that have been?
Steve: Our first show
was during May 2013 at the famous Cole’s Bar in Logan Square. We opened for The
Funs (Interview here) and Today’s Hits.
I’m pretty sure the first song we played must have been the first song
on Demo 2012, “Manhunt on the Moon”.
was during May 2013 at the famous Cole’s Bar in Logan Square. We opened for The
Funs (Interview here) and Today’s Hits.
I’m pretty sure the first song we played must have been the first song
on Demo 2012, “Manhunt on the Moon”.
Esther: Oh man, I was
so nervous that day. I could barely sing
because my voice was shaking so bad, and some guy kept flashing his
camera. I must have looked like a scared
kitten.
so nervous that day. I could barely sing
because my voice was shaking so bad, and some guy kept flashing his
camera. I must have looked like a scared
kitten.
Who are some of
your personal favorite bands that you all have had a chance to play with so
far?
your personal favorite bands that you all have had a chance to play with so
far?
Steve: This is a
question no one wants to answer for fear of leaving someone out, ha-ha! But,
I will say these Chicago bands are cool, however there are many, many others,
too: MAMA, Flesh Panthers (Interview here), The Yolks (Interview here), The
Sueves, The Rubs, Spike and the Sweet Spots, The Glyders, The Lemons, Slushy
(Interview here), Today’s Hits, Vamos, My Gold Mask, The Morons, Son of a Gun,
Gross Pointe, Negative Scanner, Uh Bones, MTVGhosts… I could go on and on ha-ha!
question no one wants to answer for fear of leaving someone out, ha-ha! But,
I will say these Chicago bands are cool, however there are many, many others,
too: MAMA, Flesh Panthers (Interview here), The Yolks (Interview here), The
Sueves, The Rubs, Spike and the Sweet Spots, The Glyders, The Lemons, Slushy
(Interview here), Today’s Hits, Vamos, My Gold Mask, The Morons, Son of a Gun,
Gross Pointe, Negative Scanner, Uh Bones, MTVGhosts… I could go on and on ha-ha!
Esther: I love
playing with Le Tour; they’re some of the nicest guys on the planet. The Peekaboos are incredible, too; some of
our wildest shows were with them. We’ve
only played with Today’s Hits once, but they’re a band everyone should see at least
once or twice, or thrice before they get too big!
playing with Le Tour; they’re some of the nicest guys on the planet. The Peekaboos are incredible, too; some of
our wildest shows were with them. We’ve
only played with Today’s Hits once, but they’re a band everyone should see at least
once or twice, or thrice before they get too big!
In your dreams,
who are you on tour with?
who are you on tour with?
Steve: People used to
compare us to Shonen Knife from Japan, and it’s true they did kind of inspire
us to start the band. I think it would
be cool to tour with them.
compare us to Shonen Knife from Japan, and it’s true they did kind of inspire
us to start the band. I think it would
be cool to tour with them.
Esther: Definitely
Shonen Knife!
Shonen Knife!
Do you have any
funny or interesting stories from live shows or performances that you’d like to
share here with our readers?
funny or interesting stories from live shows or performances that you’d like to
share here with our readers?
Steve: Not
really… But we did just have a show on
Labor Day, and while loading our gear I really hurt my back, so I had to play
the set sitting down, which was weird and a bit funny.
really… But we did just have a show on
Labor Day, and while loading our gear I really hurt my back, so I had to play
the set sitting down, which was weird and a bit funny.
Esther: Oh yeah,
Steve messed his back up, so he had to sit on this chair that had stuffed
animals on it. While he was playing, the
stuffed animals kept vibrating on the chair, it was so funny. I think people were just stunned… They didn’t know whether it was a joke or
not. Also, anytime the crowd gets wild
and starts knocking over microphones or throwing beer cans is the best. At least here in the Midwest, if you get a
beer can thrown at you, it’s a compliment…
It means people are having a good time.
If it’s a full can, well then, I guess they think you suck, but at least
you get a free beer to drink.
Steve messed his back up, so he had to sit on this chair that had stuffed
animals on it. While he was playing, the
stuffed animals kept vibrating on the chair, it was so funny. I think people were just stunned… They didn’t know whether it was a joke or
not. Also, anytime the crowd gets wild
and starts knocking over microphones or throwing beer cans is the best. At least here in the Midwest, if you get a
beer can thrown at you, it’s a compliment…
It means people are having a good time.
If it’s a full can, well then, I guess they think you suck, but at least
you get a free beer to drink.
Do you all give a
lot of thought to the visual aspects that represent the band to a large extent,
stuff like flyers, posters, shirt designs, album covers and that sort of
thing? Is there any kind of meaning or
message that you’re trying to convey? Is
there anyone that you usually turn to in your times of need when it comes to
that sort of thing? If so, who is that
and how did you originally get hooked up with them?
lot of thought to the visual aspects that represent the band to a large extent,
stuff like flyers, posters, shirt designs, album covers and that sort of
thing? Is there any kind of meaning or
message that you’re trying to convey? Is
there anyone that you usually turn to in your times of need when it comes to
that sort of thing? If so, who is that
and how did you originally get hooked up with them?
Steve: We’re lucky
enough to know a lot of talented visual artists that help us out. Esther, too, is a visual artist and did the
covers for both demos. Our friend Billy
Sour did the artwork for the 7-inch. He
also makes really cool flyers. Our very
talented friend Michael Conway designs some of our posters/flyers from time to
time. For the 7″ cover, I think the
psychedelic colors juxtaposed with the image of decay and destruction work well
together. I hope people think the cover
art looks the way the music sounds.
Honestly, the visual aspect of the band is an afterthought for me,
though, I do appreciate that we know so many talented artists who can help us
with those aspects.
enough to know a lot of talented visual artists that help us out. Esther, too, is a visual artist and did the
covers for both demos. Our friend Billy
Sour did the artwork for the 7-inch. He
also makes really cool flyers. Our very
talented friend Michael Conway designs some of our posters/flyers from time to
time. For the 7″ cover, I think the
psychedelic colors juxtaposed with the image of decay and destruction work well
together. I hope people think the cover
art looks the way the music sounds.
Honestly, the visual aspect of the band is an afterthought for me,
though, I do appreciate that we know so many talented artists who can help us
with those aspects.
With all of the
various methods of release that are available to musicians today I’m always
curious why they choose and prefer the various mediums that they do? What about when you’re purchasing music? If you do have a preference, can you tell us
a little bit about what it is and why that is?
various methods of release that are available to musicians today I’m always
curious why they choose and prefer the various mediums that they do? What about when you’re purchasing music? If you do have a preference, can you tell us
a little bit about what it is and why that is?
Steve: Basically you
take what you can get. To me, the goal
of any band is to release a vinyl record.
I think it legitimizes you. Vinyl
is such an expensive, inefficient way of releasing music, but it’s still the
coolest. A vinyl record is a big
undertaking and it’s a physical work of art, too. It takes months to prepare and thousands of
dollars. It’s not like with tapes where
you can dub a ton of them in an afternoon.
To be honest, I don’t get the tape craze. I think it has to do with the fact that most
people are poor now and tapes are so cheap and easy to make. I would like to add, that in 2014 all that
really matters is that you have your music on Bandcamp or someplace online for
people to easily find and listen to.
Having a vinyl record is a goal and a nice marketing tool and novelty,
but an online presence does so much for getting your name out there.
take what you can get. To me, the goal
of any band is to release a vinyl record.
I think it legitimizes you. Vinyl
is such an expensive, inefficient way of releasing music, but it’s still the
coolest. A vinyl record is a big
undertaking and it’s a physical work of art, too. It takes months to prepare and thousands of
dollars. It’s not like with tapes where
you can dub a ton of them in an afternoon.
To be honest, I don’t get the tape craze. I think it has to do with the fact that most
people are poor now and tapes are so cheap and easy to make. I would like to add, that in 2014 all that
really matters is that you have your music on Bandcamp or someplace online for
people to easily find and listen to.
Having a vinyl record is a goal and a nice marketing tool and novelty,
but an online presence does so much for getting your name out there.
Esther: I actually
like tapes a lot. They’re fast, compact
and affordable, and you don’t feel awkward carrying them around at a show. Although you can’t compare the sound quality
to vinyl, I buy a lot more tapes than I do records now. I like the idea that you can dub a ton of
tapes in an afternoon and hand them out later.
I like that carefree, here-I-made-you-this-tape-today aesthetic. There’s this romantic, unpretentious vibe
about them that’s really refreshing to me.
like tapes a lot. They’re fast, compact
and affordable, and you don’t feel awkward carrying them around at a show. Although you can’t compare the sound quality
to vinyl, I buy a lot more tapes than I do records now. I like the idea that you can dub a ton of
tapes in an afternoon and hand them out later.
I like that carefree, here-I-made-you-this-tape-today aesthetic. There’s this romantic, unpretentious vibe
about them that’s really refreshing to me.
Do you have a
music collection at all? If you do, can
you tell us a little bit about that?
music collection at all? If you do, can
you tell us a little bit about that?
Steve: I’m pretty
poor, but I buy vinyl when I can. I try
to get many of my favorite records on vinyl.
Ninety-five percent of my music is on my computer’s hard drive,
unfortunately.
poor, but I buy vinyl when I can. I try
to get many of my favorite records on vinyl.
Ninety-five percent of my music is on my computer’s hard drive,
unfortunately.
Esther: I inherited
almost all of my records from my parents, which were mostly blues, psychedelic
and progressive rock. I’ve since added
to that, so you’ll find a lot of punk, some no-wave, a lot of Velvet
Underground, Beatles, and the rest is probably local bands.
almost all of my records from my parents, which were mostly blues, psychedelic
and progressive rock. I’ve since added
to that, so you’ll find a lot of punk, some no-wave, a lot of Velvet
Underground, Beatles, and the rest is probably local bands.
Speaking of music
collections, I grew up around my dad’s enormous collection of killer psych,
garage, blues and just about anything rocking and heavy prior to 1980! He really encouraged me to dig in and enjoy
the collection, but beyond that he would take me out to the local shops and
pick me up random stuff I was interested in.
I would rush home with the music, kick back with a set of headphones,
read the liner notes, stare at the cover artwork and let the whole thing carry
me off on a trip. Having something
physical to hold and experience along with the music always made for a much
more complete listening experience for me.
Do you have any such connection with physically released music?
collections, I grew up around my dad’s enormous collection of killer psych,
garage, blues and just about anything rocking and heavy prior to 1980! He really encouraged me to dig in and enjoy
the collection, but beyond that he would take me out to the local shops and
pick me up random stuff I was interested in.
I would rush home with the music, kick back with a set of headphones,
read the liner notes, stare at the cover artwork and let the whole thing carry
me off on a trip. Having something
physical to hold and experience along with the music always made for a much
more complete listening experience for me.
Do you have any such connection with physically released music?
Steve: I do agree. I like the act of playing a vinyl record
while staring at the album art. It’s a
different and more intimate experience than just playing something on iTunes.
while staring at the album art. It’s a
different and more intimate experience than just playing something on iTunes.
Esther: Putting on a
record is a bit more involved than just hitting play. I hate to sound hippy-dippy, but the act of
taking it out of its sleeve, blowing off any stray particles, and carefully
positioning the needle is an act of consciousness. Even if you’re completely wasted, you’re
still in the moment of putting on a record.
Also, the fact that a record is meant to be listened in the order in
which it was pressed only supports that entire experience. No, you can’t skip around; you have to listen
to it in the way it was intended to be listened to.
record is a bit more involved than just hitting play. I hate to sound hippy-dippy, but the act of
taking it out of its sleeve, blowing off any stray particles, and carefully
positioning the needle is an act of consciousness. Even if you’re completely wasted, you’re
still in the moment of putting on a record.
Also, the fact that a record is meant to be listened in the order in
which it was pressed only supports that entire experience. No, you can’t skip around; you have to listen
to it in the way it was intended to be listened to.
Like it or not,
digital music is here in a big way. The
crazy thing is though digital music is just the tip of the iceberg in my
opinion. When you team digital music
with the internet, then you really have a game changer on your hands! Together, they’ve exposed people to the
literal world of music that they’re surrounded by, allowed for an absolutely
unparalleled level of communication between bands and their fan bases, and
eradicated geographic boundaries that would have crippled bands only a few
years ago. It’s not all peaches and cream
though, while people may be exposed to more and more music these day’s they’re
not necessarily interested in paying for it at this point, and while people’s
relationship and interaction with music is constantly changing, I’m not sure
that digital music has done anyone in favors in that regards. As an artist during the reign of the digital
era, what’s your opinion on digital music and distribution?
digital music is here in a big way. The
crazy thing is though digital music is just the tip of the iceberg in my
opinion. When you team digital music
with the internet, then you really have a game changer on your hands! Together, they’ve exposed people to the
literal world of music that they’re surrounded by, allowed for an absolutely
unparalleled level of communication between bands and their fan bases, and
eradicated geographic boundaries that would have crippled bands only a few
years ago. It’s not all peaches and cream
though, while people may be exposed to more and more music these day’s they’re
not necessarily interested in paying for it at this point, and while people’s
relationship and interaction with music is constantly changing, I’m not sure
that digital music has done anyone in favors in that regards. As an artist during the reign of the digital
era, what’s your opinion on digital music and distribution?
Steve: In 2014 all
that really matters is you have your music on Bandcamp or someplace online for
people to easily find and listen to. I
said it before, but having a vinyl record is a goal and a nice marketing tool
and novelty, however an online presence does so much for getting your name out
there. There are of course many concerns
with digital music/the Internet that revolve around money. The way I see it, if you’re in a band to make
money, you’re in the wrong line of work.
There’s no money in music. It’s a
very expensive hobby, actually. I write,
record, and perform music because I have to; I have a need to do something
creative with myself, and music is that outlet at this time.
that really matters is you have your music on Bandcamp or someplace online for
people to easily find and listen to. I
said it before, but having a vinyl record is a goal and a nice marketing tool
and novelty, however an online presence does so much for getting your name out
there. There are of course many concerns
with digital music/the Internet that revolve around money. The way I see it, if you’re in a band to make
money, you’re in the wrong line of work.
There’s no money in music. It’s a
very expensive hobby, actually. I write,
record, and perform music because I have to; I have a need to do something
creative with myself, and music is that outlet at this time.
Esther: As I said
above, the digital era has indeed made music that much more available for the
masses, which, I agree, does not help in terms of reeling in the dough. Why pay for something you can just
steal? It’s also difficult to convince
folks to pay money for an intangible piece of music. That’s just the price of being able to reach
more people, which I don’t think is a big deal.
It’s tough out there, and we don’t all have the luxury to spend money as
we please. It also makes it that much
more meaningful when someone does eventually send some cash your way; it means
they truly enjoy and support your work.
above, the digital era has indeed made music that much more available for the
masses, which, I agree, does not help in terms of reeling in the dough. Why pay for something you can just
steal? It’s also difficult to convince
folks to pay money for an intangible piece of music. That’s just the price of being able to reach
more people, which I don’t think is a big deal.
It’s tough out there, and we don’t all have the luxury to spend money as
we please. It also makes it that much
more meaningful when someone does eventually send some cash your way; it means
they truly enjoy and support your work.
I try to keep up
with as much good music as I possibly can but there’s just not enough time to
even listen to a percent of the sweet stuff out there right now. Is there anyone from your local scene or area
that I should be listening to I might not have heard of before?
with as much good music as I possibly can but there’s just not enough time to
even listen to a percent of the sweet stuff out there right now. Is there anyone from your local scene or area
that I should be listening to I might not have heard of before?
Steve: Check some of
those bands I listed above.
those bands I listed above.
Esther: Slushy
(Interview here) has just made a rad comeback with a full band; they used to be
a two-piece. I was recently in Japan,
and the local bar I was at was playing one of their songs. The Wet is now defunct, but their recent
7″ is great; real snarly and dirty.
(Interview here) has just made a rad comeback with a full band; they used to be
a two-piece. I was recently in Japan,
and the local bar I was at was playing one of their songs. The Wet is now defunct, but their recent
7″ is great; real snarly and dirty.
What about
nationally and internationally?
nationally and internationally?
Steve: Unfortunately,
my national and international knowledge is limited. Check out Tweens from Ohio and Native America,
who I think are from Memphis. I like the
European stoner bands Brutus and Electric Wizard, too.
my national and international knowledge is limited. Check out Tweens from Ohio and Native America,
who I think are from Memphis. I like the
European stoner bands Brutus and Electric Wizard, too.
Esther: I really like
Slutever; they’re a grunge-punk two-piece from Los Angeles, solid stuff.
Slutever; they’re a grunge-punk two-piece from Los Angeles, solid stuff.
Thanks so much for
taking the time to talk to me and share so much about the band, it was awesome
talking to you and I hope you all got a kick out of it. Before we call it a day, is there anything
that I could have possibly missed or that you’d maybe just like to take this
opportunity to talk to me or the readers about?
taking the time to talk to me and share so much about the band, it was awesome
talking to you and I hope you all got a kick out of it. Before we call it a day, is there anything
that I could have possibly missed or that you’d maybe just like to take this
opportunity to talk to me or the readers about?
Steve: Nope and
thanks! This was really fun.
thanks! This was really fun.
Esther: Thank you so
much for this opportunity!
much for this opportunity!
DISCOGRAPHY
(2012) Hollow
Mountain – Demo 2012 – Digital – Self-Released
Mountain – Demo 2012 – Digital – Self-Released
(2013) Hollow
Mountain – Demo 2013 – Digital, Cassette Tape – Self-Released/Maximum Pelt
(Cassette Tape limited to ? copies)
Mountain – Demo 2013 – Digital, Cassette Tape – Self-Released/Maximum Pelt
(Cassette Tape limited to ? copies)
Interview made by Roman Rathert/2014
© Copyright http://psychedelicbaby.blogspot.com/2014
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