INTERVIEW I, Earth Defense Force, 6/24/08
What follows is a conversation with Earth Defense Force, conducted on June 24th, 2008.
RICHARD GIN: We are here with Earth Defense Force, Ian Cory, Calamity Sam, whose Christian name I do not know, and Jon Betz. Would you guys like to introduce yourselves?
IAN CORY: I'm Ian Cory and I play drums.
CALAMITY SAM: I'm Calamity Sam. I play bass and sing.
JON BETZ: I'm Jon I play guitar.
RG: Thank you for coming on guys. So Ian, where are you from; how did you start?
IAN: I'm from Park Slope -- do you mean start with the band or start playing drums?
RG: In broad terms.
IAN: I started playing drums when I was in 8th grade and I'm graduating high school in two days.
RG: Congratulations.
IAN: Thank you. I started playing drums because of Jack Greenleaf and Henry Crawford from The Mighty Handful; the three of us are very good friends. The three of us were going to start a band and we did. We're no longer together.
RG: That was Cool and Unusual?
IAN: Yeah, and that was the main reason I started playing drums and I've always been into music. Back when I played video games a lot I would play levels over again to hear the music because I'm that much of a nerd.
SAM: What levels?
JON: Final Fantasy VII, right? That had the best music.
IAN: Yeah! Final Fantasy VII had the greatest music.
SAM: I like Zelda more.
JON: In terms of game play or music?
(Laughter)
IAN: I was more of a Playstation person. I never really had that Nintendo experience until recently.
RG: Sam, your turn.
SAM: I live down the street in Brooklyn Heights and I knew Jonathan through Alex Lowchy and we formed Tetsuwan Fireball [which existed] up until last year. Pretty much the way [Earth Defense Force] started was our old drummer, Alex Doyle, had to go to college so we got Ian to fill in on drums with Tetsuwan Fireball and for a second Jack [Greenleaf] and Hank Crawford were also in the band.
RG: That was the Cake Shop show, right?
SAM: Yeah and that didn't work out very well, so it was pretty much an aborted experiment and so we had a series of really horrible rehearsals that ended with me and Jonathan coming out [to Brooklyn] and just wanting to kill ourselves. After one of them I went to Jonathan and said, "That was the worst rehearsal! I can't do that again," and Jon was like, "YEAH!" and he pulled out a handle of Jack [Daniel's] and I was like, "If we stay in this band we're going to become alcoholics." So we're like, 'let's kick everyone out,' except for Ian and we did. And that's how Earth Defense Force came about.
RG: OK, Jon?
JON: I'm from around Brooklyn and I play guitar in Earth Defense Force. [We didn't know what to expect from] the first rehearsal and so I was like, "I'm going to take this song from a really long time ago." It was probably the most nutsy song you'll ever hear -- and then we just realized we just have to make music that doesn't make any sense.
IAN: That was "Number 41."
JON: Right. It's about Tetsuo Shima from Akira
RG: Sam, I know the old Tetsuwan Fireball best and that was a really "poppy" band, and those sensibilities show through with the two tracks from your single, "Kindergarten Gymnastics" and "Time & Time Again," but those two songs are definitely harder in terms of production and content.
SAM: Yeah, it's all about balancing the two out -- sometimes in rehearsal we'll just layer on parts and parts and parts and it just wont make sense after a while and I'm like, "Hey, shouldn't we have a verse and a chorus part?" and a lot of times these two will be like "NO! NO! We can't do that! It's selling out!" Not those words exactly -- but then it sort of falls into that because it's a matter of habit. You can't expect the listener to swallow everything. So you do it in short spurts.
IAN: And sometimes you just have to force it down their throats.
RG: Do you all come to rehearsal with a set of ideas or lyrics or melodies and bang around? Talk a bit about the process.
SAM: Yeah.
IAN: Somewhat.
JON: I think out writing process is really rhythmically heavy. With a lot of the songs Ian will have this rhythm figure in his head and then we'll simply throw guitar over it; add parts to it, but it's really rhythmically heavy because we're getting more into odd time signatures.
(The interview is interrupted by a laborer, who is working on construction next door. In the original audio file the sound is quite intense and bothersome.)
JON: The noise is because we're actually building our fortress next door.
SAM: For the sake of defense.
RG: So Earth needs defending then?
ALL: Yeah!
IAN: Very badly.
RG: What super powers do you bring to that battle?
SAM: We don't have any super powers, but our villains are several. They include "Uncle 5."
JON: He's a zombie pedophile uncle.
IAN: That's a new song in the works.
JON: There's a surgeon who cuts up his patients.
RG: From "Time & Time Again"?
ALL: Right.
SAM: There's the "Dada Destroyer" who...
JON: ...Eats children.
SAM: He's disguised as a teenager and runs amok destroying peoples' lives.
IAN: Through Dada.
RG: Was Earth Defense Force actually the first concept you came up with following the deaths of Cool & Unusual and Tetsuwan Fireball?
SAM: No. I was ready to keep doing Tetsuwan Fireball stuff and the stuff I write naturally is kind of, like, pussy and more like The Replacements and in the vein of, "Oh! I need to express my soul!" But then we just wrote the song "Number 41" and it became apparent that [Tetsuwan Fireball-style songs] would not do at all.
JON: With only three people in the band you don't have much room for guitarmonies and/or harmonies.
IAN: We make do with what we have though.
JON: We're not the prettiest motherfuckers in New York so we make up for it with anger and chaos.
SAM: Or like, we're the fat ugly girl at the prom who you end up sleeping with when you get too fucked up and at first it's not cool and you're like, 'my friends won’t like me,' but then it feels really good!
JON: And you can say, 'I had sex with the fat girl.' That's something I will say, I played in a nutty trio of people whose sole purpose is singing about pedophile uncles.
RG: You mentioned The Replacements as an influence on previous work. How did you find them?
IAN: I don't listen to them -- just Sam.
SAM: I found The Replacements in 8th grade through a friend of mine and I'd always tell people, "Yo, The Replacements!" and they're like, "The what?" And only recently there was this girl, Grace, and she kind of turned everyone on to The Replacements, but I was already there.
RG: Talk a bit about influences in that vein.
IAN: Well I bring most of the heavy stuff to the table. I'm a huge metalhead; that's mainly what I listen to -- although I'm fine with just about anything. When we started doing "Number 41" I was like, "Whoa this sounds like Botch!" and I started bringing these guys all the records of, like, Death, Dillinger Escape Plan, Botch, Converge, stuff like that. So those are mainly my influences: The tech-y, odd time signature, fast, aggressive stuff. It's not stupid heavy -- straight up death metal chugging stuff. There's a bit more art to it.
SAM: And Math.
IAN: Yeah.
SAM: I don't really listen to anything on my own that sounds like Earth Defense Force. I listen to Pavement and Television religiously. But Pterodactyl and Marnie Stern are two Brooklyn bands that I really got into this year and are the only things I can think of that sound vaguely like us.
IAN: Those are definitely influences.
SAM: Pterodactyl's guitarist was my physics teacher -- he feverently denied being in Pterodactyl for, like, two years and eventually [the truth] came out and I saw one of his shows. He's such a quiet person he's like, "Oh yes, physics. Today I'm gonna teach you about magnetism." Then I saw him on stage and he was, like, flipping out and going crazy and there's noise through the entire thing and I was like, "This is what we have to be like."
RG: What is your in relationship to the scene and other bands?
(Laughter)
RG: This is a serious question!
JON: None whatsoever! To put it bluntly...
SAM: We're probably the most anti-social band.
IAN: Well I still hang out with guys from other bands. Since I used to be in another band with the guys from The Mighty Handful and I'm friends with them I’d say I have the most contact out of the three of us. I like those guys. They're great people. I'm not a huge fan of their music because they're not really my thing. They know that about me. It's like, whatever, they do what they do well and I still go and support them when I get the chance. I used to be more connected to the other bands but lately I'm more focused on my own material and working on my own music and... getting... good.... I spent enough time socializing and being like, "Yay! Let's go party with the other bands!" It's not for me.
RG: The question wasn't directed so much towards The Mighty Handful as much as the scene in general and how dense it is.
All: (Various mutterings and laughing about "The Scene.")
IAN: We've got this joke rivalry with The Mighty Handful.
SAM: I thought with Tetsuwan Fireball we were really ingrained with "The Scene" and then we had kind of a falling out... well, I did... with most of those kids. So... I'm sorry. For the past few months I don't know it's like we've been asleep and all this stuff is happening without us. And now it's like, we're going to college...
JON: ...I should be in college.
SAM: So it's like, everything has this weird timetable and it feels like it's all ending so it doesn't really matter.
RG: The feeling that it's ending -- Does that weigh on the choices you make?
SAM: I think it gives us more freedom.
IAN: Yeah, a bit more.
JON: We can be as much of an asshole on stage as we want. We won't be seeing half the people I guess. Not that we want to be assholes, but that we aspire to be.
SAM: It was like, when I was in 9th grade my plan was to start a band and we'd play a bunch of shows and get a lot of hype and then when I was a senior I'd get signed so I didn't have to go to college. Obviously it didn't work out that way.
RG: It's a sound plan!
SAM: But now it's not happening that way and now it's like...
JON: Reputation is on the bottom of our priorities. Put it that way.
IAN: We do what we want.
JON: We do what we want and it doesn't affect the writing process at all.
SAM: I think it does. If I had another 4 years in Brooklyn I'd probably be in another band in addition to [Earth Defense Force] but this [band] is, like, [for] kicks...
RG: So then college plans take you far away from each other?
SAM: Yeah but we'll stay in touch. We'll do Postal Service stuff. We'll send 8 tracks and shit back and forth to each other.
IAN: I imagine we'll come back together during breaks and try to learn the material again. That's why we need to record.
RG: Talk about recording and access and technology and ultimately release and distribution. How did you put together your single?
SAM: In May I was interning at Newkirk Studios, which is where we recorded Tetsuwan Fireball's first album. It's a small studio and it's run by this guy Ben Rice who's in a band called Surefire . They're kind of a Led Zeppelin/70's rock thing. But he's like the chillest guy in the world he looks like a 20-something roadie for The Rolling Stones. So I interned there and he just gave us a really good deal. His thing is just that he'll record anything and he was very open to trying our kind of stuff, which he hadn't done before. One of his lessons to me as his protegee was, "Listen Sam, people are going to come up to you and ask you to record them and you're not going to know how the fuck to record a death metal band but, goddammit, you just got to give it the ol' college try and put yourself out there!"
IAN: and the recording process was really great. I mean, we got there, set up the drums, I had a lot of fun messing up on "Time & Time Again." It took me like, six tries to get that down...
SAM: He's being modest. He's a total pro.
JON: He played with the click [track], goddammit!
(Laughter)
JON: The only teenager in park slope to play with the fucking click!
IAN: We just jammed out the bass stuff and the guitars -- there are two guitars.
JON: Yeah I pretty much played the same parts with two guitars. And then I slightly changed one of the guitar tracks by playing something a little different... but not enough that you would notice up front so that it sounds like a mistake. But I thought that was kind of cool. I was listening to a lot of Blood Brothers when I was [recording] and they do the same thing -- kind of doubling, really. But then there'll be some moments where it's like, "oh that was really cool!"
SAM: Now he's being modest too. Jon's recording style -- I remember from Tetsuwan Fireball -- is that he would stay up the day before and think of fifty-million different parts to overdub and he'd be like, "I have one or two things," and we'd think, "Cool this'll be quick," and he'd be like, "Uh... no. 15 more guitar tracks."
IAN: It wasn't that bad this time.
JON: No, it wasn't.
IAN: He kept himself contained to some degree. The biggest thing we have in terms of guitar tracks is in "Kindergarten" where is breaks down into the slower post rock part of that lead with big reverb and that guitar part is, like 3 guitar parts.
SAM: And then the lyrics I just made up in he booth.
(Laughter)
RG: Your live show is quite similar to your recorded output.
JON: It was very different with Tetsuwan Fireball because our live shows were a lot heaver and also a lot more sloppy and our album was really...
IAN: ...Pretty...
JON: ...Clean cut, which is good, but if you can't really live up to the album your recording it's kind of a joke. Especially with a band like Earth Defense Force and the energy we have -- you got to keep it simple and put your balls to the wall and rock out.
RG: How do you go about finding shows? Finding all-ages venues seems to be kind of a trick.
SAM: I mean, yeah I'm kind of the one who does booking on this. I mean there are places. There's the Knitting Factory, Cake Shop.
IAN: Don Hills.
SAM: Yeah, Don Hills. We've kind of built a rapport with all these people because they know we can bring enough kids.
JON: This kid Kabir Kumar got us this gig on Saturday so props to him.
SAM: It's tough, but you just send emails like any other band.
IAN: Yeah, there's Southpaw and we were going to play Southpaw last weekend but things just really didn't work out. We were going to play it; we should probably try booking it for July actually.
SAM: The best places are the ones that don't treat you like kids. Whereas Southpaw has, like, all-ages matinees so you kind of feel like you're being used.
IAN: And you don't get paid.
SAM: You don't get paid which is a real drag.
JON: Well you get pizza. I enjoyed the pizza.
RG: You don't get a door cut at Southpaw?
IAN: That's the thing that Steve is kind of known for.
SAM: But pretty much the second you're in a band you realize you're never going to make money and every scent you get you're going to lose instantly.
IAN: Like, the money we got from the Knitting Factory show we spent two days later on recording.
SAM: Being in a kid band sucks -- the whole thing in general about promotion and shit. But you gotta pay your dues.
RG: You say, "Being in a kid band..." and I don't want to call you guys a kid band...
IAN: I've always found the term insulting.
RG: As someone who has a fine grasp on ethnic slurs and dirty jokes and what is and isn't offensive I can say I don't want to call anyone a "kid band."
SAM: You can call us "cunts" too.
RG: It's a good mic check. Is there anything besides "kid band" that you think you'd rather be called? Or are you just a "band" at this point?
SAM: Ian doesn't like it but I personally like it. I think it's good because kids play rock 'n' roll better than adults. Period. Just because you get jaded really quickly. I mean, Jonathan and I had this discussion a few days ago I asked him, "Are you gonna go to college for music?" and he said, "No," and I was like, "Why? All you do is practice all you do is music shit," and he's all, "Musicians are, like, the most unhappy people in the world."
JON: I actually play in a few other bands who are like, "professional musicians" and I'm kind of hip to, like, playing clubs at midnight and they're NOT that great. It's glorified -- I mean you, pretty much have to pay for your car back because I play upright bass; if you have equipment; you gotta pay for a 5 dollar beer. And there's no after party! Because everyone wants to pack up their stuff and all these guys got to go teach the next day. It's not that great.
SAM: Nope. Kids are better. They play like they're going to die the next day.
JON: And then they party like they're going to die the next day.
IAN: Sometimes they play like they don't give a shit. That's my experience. I mean, in Cool & Unusual -- ask any of us -- we could not get our shit together. It was like, "I don't even care anymore." And we got sick of that really fast. I understand where they're coming from. I just don't like being referred to as a kid band. Nowadays I don't like being referred to as a "kid band" because now I'm about to graduate high school.
21:57 RG: Right, at this point you can say you ain't kids.
JON: Look at this moustache, man!
JON: I don't look at us like a "kid band," I look at us as people... trying to save the Earth. I mean come on. You can't be a kid. You gotta have your stuff together. You gotta be organized. You gotta come to rehearsal on time and I mean that's the most important part... so I don't know, man.
RG: Where can we get the single?
IAN: You can get it for free.
SAM: Yeah you can get it for free on Myspace, http://myspace.com/defendthisplanet, and if you come to our show on Saturday -- North Bergen -- we're going to hand it out for free. And we're playing with The Mighty Handful, Radiates and Tinselfish.
IAN: There's some other band too.
SAM: I think it's "Every Bunny's Invited."
JON: Right, some stupid fucking name.
IAN: If they turn out to be cool people, we're sorry.
SAM: I mean, if they have "bunny" in their name then maybe they like Echo and the Bunnymen so that'd be cool.
JON: Or maybe they just like pink bunnies and shit.
SAM: Band names. Band names are tough. You can tell someone's first band by their band name. "Every Bunny's Welcome" -- definitely their first band. Tetsuwan Fireball was our first band name and that is a shit name.
JON: I wanted to change it so many times.
IAN: Nothing is as bad as Cool & Unusual Punishment. That is the worst band name ever.
RG: It's... young.
IAN: Yeah, see? That's a kid band. Cool & Unusual was a kid band. I'll admit to that. We treated ourselves like kids, y'know... and it worked out.
SAM: Like, everybody's done with their first string of bands. And I felt like that was the elementary school phase. Where you just learn the dynamics and stuff.
IAN: Now we're all in middle school and hate each other.
SAM: Yeah we hate each other. But we have a better idea of how a band works.
RG: The one thing I remember about High School graduation was the urge to escape. Is that feeling inside you guys even though you live in New York?
IAN: Yeah.
JON: Well I'm going to college in NY.
IAN: I am very, very hyped on getting out of here, personally. I'm going to Chicago for college. It's still a city environment. I want a break, from these people and the scene – I mean, these guys are cool.
SAM: I kid of feel the same way; I'm kind of sick of everyone just doing the same shit all the time. On the other hand I feel like this is just when things are going to break and I feel like something good's on the horizon for everyone in Brooklyn right now. And I just went to a show at Death By Audio and I hadn't been there before and I was like, "Shit! why haven't we been playing these places? What the fuck have we been doing the last 6 months?"
JON: Rehearsing.
RG: Is there anything you want to take back?
JON: Like, what we said or...?
RG: Basically.
IAN: We regret nothing.
SAM: I regret everything.
RG: What are your upcoming dates?
IAN: Saturday June 28th in North Bergen, NJ and Saturday, July 26th at the Knitting Factory Old Office. Hopefully this time if we do well we'll get moved up to the second stage.
SAM: They never let us... we played the main stage and we brought 100 people and they still didn't let us move up.
RICHARD GIN: We are here with Earth Defense Force, Ian Cory, Calamity Sam, whose Christian name I do not know, and Jon Betz. Would you guys like to introduce yourselves?
IAN CORY: I'm Ian Cory and I play drums.
CALAMITY SAM: I'm Calamity Sam. I play bass and sing.
JON BETZ: I'm Jon I play guitar.
RG: Thank you for coming on guys. So Ian, where are you from; how did you start?
IAN: I'm from Park Slope -- do you mean start with the band or start playing drums?
RG: In broad terms.
IAN: I started playing drums when I was in 8th grade and I'm graduating high school in two days.
RG: Congratulations.
IAN: Thank you. I started playing drums because of Jack Greenleaf and Henry Crawford from The Mighty Handful; the three of us are very good friends. The three of us were going to start a band and we did. We're no longer together.
RG: That was Cool and Unusual?
IAN: Yeah, and that was the main reason I started playing drums and I've always been into music. Back when I played video games a lot I would play levels over again to hear the music because I'm that much of a nerd.
SAM: What levels?
JON: Final Fantasy VII, right? That had the best music.
IAN: Yeah! Final Fantasy VII had the greatest music.
SAM: I like Zelda more.
JON: In terms of game play or music?
(Laughter)
IAN: I was more of a Playstation person. I never really had that Nintendo experience until recently.
RG: Sam, your turn.
SAM: I live down the street in Brooklyn Heights and I knew Jonathan through Alex Lowchy and we formed Tetsuwan Fireball [which existed] up until last year. Pretty much the way [Earth Defense Force] started was our old drummer, Alex Doyle, had to go to college so we got Ian to fill in on drums with Tetsuwan Fireball and for a second Jack [Greenleaf] and Hank Crawford were also in the band.
RG: That was the Cake Shop show, right?
SAM: Yeah and that didn't work out very well, so it was pretty much an aborted experiment and so we had a series of really horrible rehearsals that ended with me and Jonathan coming out [to Brooklyn] and just wanting to kill ourselves. After one of them I went to Jonathan and said, "That was the worst rehearsal! I can't do that again," and Jon was like, "YEAH!" and he pulled out a handle of Jack [Daniel's] and I was like, "If we stay in this band we're going to become alcoholics." So we're like, 'let's kick everyone out,' except for Ian and we did. And that's how Earth Defense Force came about.
RG: OK, Jon?
JON: I'm from around Brooklyn and I play guitar in Earth Defense Force. [We didn't know what to expect from] the first rehearsal and so I was like, "I'm going to take this song from a really long time ago." It was probably the most nutsy song you'll ever hear -- and then we just realized we just have to make music that doesn't make any sense.
IAN: That was "Number 41."
JON: Right. It's about Tetsuo Shima from Akira
RG: Sam, I know the old Tetsuwan Fireball best and that was a really "poppy" band, and those sensibilities show through with the two tracks from your single, "Kindergarten Gymnastics" and "Time & Time Again," but those two songs are definitely harder in terms of production and content.
SAM: Yeah, it's all about balancing the two out -- sometimes in rehearsal we'll just layer on parts and parts and parts and it just wont make sense after a while and I'm like, "Hey, shouldn't we have a verse and a chorus part?" and a lot of times these two will be like "NO! NO! We can't do that! It's selling out!" Not those words exactly -- but then it sort of falls into that because it's a matter of habit. You can't expect the listener to swallow everything. So you do it in short spurts.
IAN: And sometimes you just have to force it down their throats.
RG: Do you all come to rehearsal with a set of ideas or lyrics or melodies and bang around? Talk a bit about the process.
SAM: Yeah.
IAN: Somewhat.
JON: I think out writing process is really rhythmically heavy. With a lot of the songs Ian will have this rhythm figure in his head and then we'll simply throw guitar over it; add parts to it, but it's really rhythmically heavy because we're getting more into odd time signatures.
(The interview is interrupted by a laborer, who is working on construction next door. In the original audio file the sound is quite intense and bothersome.)
JON: The noise is because we're actually building our fortress next door.
SAM: For the sake of defense.
RG: So Earth needs defending then?
ALL: Yeah!
IAN: Very badly.
RG: What super powers do you bring to that battle?
SAM: We don't have any super powers, but our villains are several. They include "Uncle 5."
JON: He's a zombie pedophile uncle.
IAN: That's a new song in the works.
JON: There's a surgeon who cuts up his patients.
RG: From "Time & Time Again"?
ALL: Right.
SAM: There's the "Dada Destroyer" who...
JON: ...Eats children.
SAM: He's disguised as a teenager and runs amok destroying peoples' lives.
IAN: Through Dada.
RG: Was Earth Defense Force actually the first concept you came up with following the deaths of Cool & Unusual and Tetsuwan Fireball?
SAM: No. I was ready to keep doing Tetsuwan Fireball stuff and the stuff I write naturally is kind of, like, pussy and more like The Replacements and in the vein of, "Oh! I need to express my soul!" But then we just wrote the song "Number 41" and it became apparent that [Tetsuwan Fireball-style songs] would not do at all.
JON: With only three people in the band you don't have much room for guitarmonies and/or harmonies.
IAN: We make do with what we have though.
JON: We're not the prettiest motherfuckers in New York so we make up for it with anger and chaos.
SAM: Or like, we're the fat ugly girl at the prom who you end up sleeping with when you get too fucked up and at first it's not cool and you're like, 'my friends won’t like me,' but then it feels really good!
JON: And you can say, 'I had sex with the fat girl.' That's something I will say, I played in a nutty trio of people whose sole purpose is singing about pedophile uncles.
RG: You mentioned The Replacements as an influence on previous work. How did you find them?
IAN: I don't listen to them -- just Sam.
SAM: I found The Replacements in 8th grade through a friend of mine and I'd always tell people, "Yo, The Replacements!" and they're like, "The what?" And only recently there was this girl, Grace, and she kind of turned everyone on to The Replacements, but I was already there.
RG: Talk a bit about influences in that vein.
IAN: Well I bring most of the heavy stuff to the table. I'm a huge metalhead; that's mainly what I listen to -- although I'm fine with just about anything. When we started doing "Number 41" I was like, "Whoa this sounds like Botch!" and I started bringing these guys all the records of, like, Death, Dillinger Escape Plan, Botch, Converge, stuff like that. So those are mainly my influences: The tech-y, odd time signature, fast, aggressive stuff. It's not stupid heavy -- straight up death metal chugging stuff. There's a bit more art to it.
SAM: And Math.
IAN: Yeah.
SAM: I don't really listen to anything on my own that sounds like Earth Defense Force. I listen to Pavement and Television religiously. But Pterodactyl and Marnie Stern are two Brooklyn bands that I really got into this year and are the only things I can think of that sound vaguely like us.
IAN: Those are definitely influences.
SAM: Pterodactyl's guitarist was my physics teacher -- he feverently denied being in Pterodactyl for, like, two years and eventually [the truth] came out and I saw one of his shows. He's such a quiet person he's like, "Oh yes, physics. Today I'm gonna teach you about magnetism." Then I saw him on stage and he was, like, flipping out and going crazy and there's noise through the entire thing and I was like, "This is what we have to be like."
RG: What is your in relationship to the scene and other bands?
(Laughter)
RG: This is a serious question!
JON: None whatsoever! To put it bluntly...
SAM: We're probably the most anti-social band.
IAN: Well I still hang out with guys from other bands. Since I used to be in another band with the guys from The Mighty Handful and I'm friends with them I’d say I have the most contact out of the three of us. I like those guys. They're great people. I'm not a huge fan of their music because they're not really my thing. They know that about me. It's like, whatever, they do what they do well and I still go and support them when I get the chance. I used to be more connected to the other bands but lately I'm more focused on my own material and working on my own music and... getting... good.... I spent enough time socializing and being like, "Yay! Let's go party with the other bands!" It's not for me.
RG: The question wasn't directed so much towards The Mighty Handful as much as the scene in general and how dense it is.
All: (Various mutterings and laughing about "The Scene.")
IAN: We've got this joke rivalry with The Mighty Handful.
SAM: I thought with Tetsuwan Fireball we were really ingrained with "The Scene" and then we had kind of a falling out... well, I did... with most of those kids. So... I'm sorry. For the past few months I don't know it's like we've been asleep and all this stuff is happening without us. And now it's like, we're going to college...
JON: ...I should be in college.
SAM: So it's like, everything has this weird timetable and it feels like it's all ending so it doesn't really matter.
RG: The feeling that it's ending -- Does that weigh on the choices you make?
SAM: I think it gives us more freedom.
IAN: Yeah, a bit more.
JON: We can be as much of an asshole on stage as we want. We won't be seeing half the people I guess. Not that we want to be assholes, but that we aspire to be.
SAM: It was like, when I was in 9th grade my plan was to start a band and we'd play a bunch of shows and get a lot of hype and then when I was a senior I'd get signed so I didn't have to go to college. Obviously it didn't work out that way.
RG: It's a sound plan!
SAM: But now it's not happening that way and now it's like...
JON: Reputation is on the bottom of our priorities. Put it that way.
IAN: We do what we want.
JON: We do what we want and it doesn't affect the writing process at all.
SAM: I think it does. If I had another 4 years in Brooklyn I'd probably be in another band in addition to [Earth Defense Force] but this [band] is, like, [for] kicks...
RG: So then college plans take you far away from each other?
SAM: Yeah but we'll stay in touch. We'll do Postal Service stuff. We'll send 8 tracks and shit back and forth to each other.
IAN: I imagine we'll come back together during breaks and try to learn the material again. That's why we need to record.
RG: Talk about recording and access and technology and ultimately release and distribution. How did you put together your single?
SAM: In May I was interning at Newkirk Studios, which is where we recorded Tetsuwan Fireball's first album. It's a small studio and it's run by this guy Ben Rice who's in a band called Surefire . They're kind of a Led Zeppelin/70's rock thing. But he's like the chillest guy in the world he looks like a 20-something roadie for The Rolling Stones. So I interned there and he just gave us a really good deal. His thing is just that he'll record anything and he was very open to trying our kind of stuff, which he hadn't done before. One of his lessons to me as his protegee was, "Listen Sam, people are going to come up to you and ask you to record them and you're not going to know how the fuck to record a death metal band but, goddammit, you just got to give it the ol' college try and put yourself out there!"
IAN: and the recording process was really great. I mean, we got there, set up the drums, I had a lot of fun messing up on "Time & Time Again." It took me like, six tries to get that down...
SAM: He's being modest. He's a total pro.
JON: He played with the click [track], goddammit!
(Laughter)
JON: The only teenager in park slope to play with the fucking click!
IAN: We just jammed out the bass stuff and the guitars -- there are two guitars.
JON: Yeah I pretty much played the same parts with two guitars. And then I slightly changed one of the guitar tracks by playing something a little different... but not enough that you would notice up front so that it sounds like a mistake. But I thought that was kind of cool. I was listening to a lot of Blood Brothers when I was [recording] and they do the same thing -- kind of doubling, really. But then there'll be some moments where it's like, "oh that was really cool!"
SAM: Now he's being modest too. Jon's recording style -- I remember from Tetsuwan Fireball -- is that he would stay up the day before and think of fifty-million different parts to overdub and he'd be like, "I have one or two things," and we'd think, "Cool this'll be quick," and he'd be like, "Uh... no. 15 more guitar tracks."
IAN: It wasn't that bad this time.
JON: No, it wasn't.
IAN: He kept himself contained to some degree. The biggest thing we have in terms of guitar tracks is in "Kindergarten" where is breaks down into the slower post rock part of that lead with big reverb and that guitar part is, like 3 guitar parts.
SAM: And then the lyrics I just made up in he booth.
(Laughter)
RG: Your live show is quite similar to your recorded output.
JON: It was very different with Tetsuwan Fireball because our live shows were a lot heaver and also a lot more sloppy and our album was really...
IAN: ...Pretty...
JON: ...Clean cut, which is good, but if you can't really live up to the album your recording it's kind of a joke. Especially with a band like Earth Defense Force and the energy we have -- you got to keep it simple and put your balls to the wall and rock out.
RG: How do you go about finding shows? Finding all-ages venues seems to be kind of a trick.
SAM: I mean, yeah I'm kind of the one who does booking on this. I mean there are places. There's the Knitting Factory, Cake Shop.
IAN: Don Hills.
SAM: Yeah, Don Hills. We've kind of built a rapport with all these people because they know we can bring enough kids.
JON: This kid Kabir Kumar got us this gig on Saturday so props to him.
SAM: It's tough, but you just send emails like any other band.
IAN: Yeah, there's Southpaw and we were going to play Southpaw last weekend but things just really didn't work out. We were going to play it; we should probably try booking it for July actually.
SAM: The best places are the ones that don't treat you like kids. Whereas Southpaw has, like, all-ages matinees so you kind of feel like you're being used.
IAN: And you don't get paid.
SAM: You don't get paid which is a real drag.
JON: Well you get pizza. I enjoyed the pizza.
RG: You don't get a door cut at Southpaw?
IAN: That's the thing that Steve is kind of known for.
SAM: But pretty much the second you're in a band you realize you're never going to make money and every scent you get you're going to lose instantly.
IAN: Like, the money we got from the Knitting Factory show we spent two days later on recording.
SAM: Being in a kid band sucks -- the whole thing in general about promotion and shit. But you gotta pay your dues.
RG: You say, "Being in a kid band..." and I don't want to call you guys a kid band...
IAN: I've always found the term insulting.
RG: As someone who has a fine grasp on ethnic slurs and dirty jokes and what is and isn't offensive I can say I don't want to call anyone a "kid band."
SAM: You can call us "cunts" too.
RG: It's a good mic check. Is there anything besides "kid band" that you think you'd rather be called? Or are you just a "band" at this point?
SAM: Ian doesn't like it but I personally like it. I think it's good because kids play rock 'n' roll better than adults. Period. Just because you get jaded really quickly. I mean, Jonathan and I had this discussion a few days ago I asked him, "Are you gonna go to college for music?" and he said, "No," and I was like, "Why? All you do is practice all you do is music shit," and he's all, "Musicians are, like, the most unhappy people in the world."
JON: I actually play in a few other bands who are like, "professional musicians" and I'm kind of hip to, like, playing clubs at midnight and they're NOT that great. It's glorified -- I mean you, pretty much have to pay for your car back because I play upright bass; if you have equipment; you gotta pay for a 5 dollar beer. And there's no after party! Because everyone wants to pack up their stuff and all these guys got to go teach the next day. It's not that great.
SAM: Nope. Kids are better. They play like they're going to die the next day.
JON: And then they party like they're going to die the next day.
IAN: Sometimes they play like they don't give a shit. That's my experience. I mean, in Cool & Unusual -- ask any of us -- we could not get our shit together. It was like, "I don't even care anymore." And we got sick of that really fast. I understand where they're coming from. I just don't like being referred to as a kid band. Nowadays I don't like being referred to as a "kid band" because now I'm about to graduate high school.
21:57 RG: Right, at this point you can say you ain't kids.
JON: Look at this moustache, man!
JON: I don't look at us like a "kid band," I look at us as people... trying to save the Earth. I mean come on. You can't be a kid. You gotta have your stuff together. You gotta be organized. You gotta come to rehearsal on time and I mean that's the most important part... so I don't know, man.
RG: Where can we get the single?
IAN: You can get it for free.
SAM: Yeah you can get it for free on Myspace, http://myspace.com/defendthisplanet, and if you come to our show on Saturday -- North Bergen -- we're going to hand it out for free. And we're playing with The Mighty Handful, Radiates and Tinselfish.
IAN: There's some other band too.
SAM: I think it's "Every Bunny's Invited."
JON: Right, some stupid fucking name.
IAN: If they turn out to be cool people, we're sorry.
SAM: I mean, if they have "bunny" in their name then maybe they like Echo and the Bunnymen so that'd be cool.
JON: Or maybe they just like pink bunnies and shit.
SAM: Band names. Band names are tough. You can tell someone's first band by their band name. "Every Bunny's Welcome" -- definitely their first band. Tetsuwan Fireball was our first band name and that is a shit name.
JON: I wanted to change it so many times.
IAN: Nothing is as bad as Cool & Unusual Punishment. That is the worst band name ever.
RG: It's... young.
IAN: Yeah, see? That's a kid band. Cool & Unusual was a kid band. I'll admit to that. We treated ourselves like kids, y'know... and it worked out.
SAM: Like, everybody's done with their first string of bands. And I felt like that was the elementary school phase. Where you just learn the dynamics and stuff.
IAN: Now we're all in middle school and hate each other.
SAM: Yeah we hate each other. But we have a better idea of how a band works.
RG: The one thing I remember about High School graduation was the urge to escape. Is that feeling inside you guys even though you live in New York?
IAN: Yeah.
JON: Well I'm going to college in NY.
IAN: I am very, very hyped on getting out of here, personally. I'm going to Chicago for college. It's still a city environment. I want a break, from these people and the scene – I mean, these guys are cool.
SAM: I kid of feel the same way; I'm kind of sick of everyone just doing the same shit all the time. On the other hand I feel like this is just when things are going to break and I feel like something good's on the horizon for everyone in Brooklyn right now. And I just went to a show at Death By Audio and I hadn't been there before and I was like, "Shit! why haven't we been playing these places? What the fuck have we been doing the last 6 months?"
JON: Rehearsing.
RG: Is there anything you want to take back?
JON: Like, what we said or...?
RG: Basically.
IAN: We regret nothing.
SAM: I regret everything.
RG: What are your upcoming dates?
IAN: Saturday June 28th in North Bergen, NJ and Saturday, July 26th at the Knitting Factory Old Office. Hopefully this time if we do well we'll get moved up to the second stage.
SAM: They never let us... we played the main stage and we brought 100 people and they still didn't let us move up.
Labels: bands, brooklyn, calamity sam, earth defense force, interview, music
POSTED BY rgin AT 5:52 PM0 COMMENTS
