June 11, 2024 • 61 mins
#140. Urban Heat prepare for the apocalypse, Chris Kelly of Hillhaven hits rock bottom, Unwed Sailor deconstructs a song, and Ron shares new faves from Liily, Drab Majesty, Beth Gibbons + more.Sponsored by DistroKid. Get 30% off your membership at distrokid.com/vip/independentmindedSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:03):
You're the one that should be worried. You're a freak. You're reading for
big trouble, Big trouble, Bigtrouble, Big trouble, Big trouble,
Big trouble. Here on the IndependentMinded Podcast, we dive deep into the
triumphs and the trials of independent artistsfrom around the world. I have long
conversations with a new band I like, or a heritage artist I've long had
(00:25):
a crush on, and I turnit into an episode, letting the artist
and their music tell most of thestory. I write it, narrate it,
I mix in music from the artiststo add color and context to their
stories. I had to give youkids a listen to what these creative peers
of mine are creating. It's absolutelythe most inefficient, time consuming way to
make a podcast. But you knowwhat, I love it, and I
(00:49):
wouldn't change the thing about it.But I'm here to tell you we are
changing something. We're adding something newto the mix. It's called eleven eleven
new songs from independent artists, playedlike a good old fashioned mixtape. Remember
mixtapes now, The making of agood compilation tape is a very subtle art.
Many dues and don'ts First of all, you're using someone else's poetry to
(01:11):
express how you feel. This isa delicate thing, and to stay current,
we're going to release it on theeleventh of every new month, and
for the most part, we're onlygoing to stop down to let the artists
tell us about how they made theirdope new songs, and to you legions
of hardcore fans who've been following thepodcast since its early days. Don't worry.
We're still going to do our storytellingepisodes every month, but for now,
(01:34):
strap on your headphones, rip opensome gummy bears, and get ready
to get turned on to eleven TheIndependent Minded Podcast Pod Mix. We got
to kick it off with a killerto grab attention. Then you got to
take it up a notch. Butyou don't want to blow your wad,
so then you got to cool itoff a notch. There are a lot
of rules kicking things off. Somefire from Austin, Texas's Urban Heat turns
(02:07):
out singer Jonathan Hortzman and I havea similar songwriting sensibility, and we also
share a love for synthesizers. Here'sJonathan with a story about an honest mistake
that led to the band's anthemic newsynthheavy single seven Safe Places. I was
reading a story about Jim Jones,the occult leader who led nine hundred and
(02:28):
eighteen people to their deaths in theJonestown massacre in Guyana. He was obsessed
with nuclear holocaust and there was anarticle in Esquire magazine in nineteen sixty two
called nine Places to Hide, andit was about nine places that would be
safe in the event of a nuclearholocaust, and that just really stuck with
(02:50):
me, and I thought that thatwould be such an interesting subject for a
song. At one point, Ihad an instrumental that I really liked,
and what I do is all takean instrumental and I'll put it in the
car and I'll drive around and juststart singing different vocals and different melodies and
things, and kind of landed onthis chorus completely forgetting that the article was
(03:13):
nine Safe Places to Hide and notseven. Seven just kind of came out
because it just sounded better, andI thought that that was the name of
the article. At that point,I'd kind of forgotten. I imagined it
being this sort of sci fi operasort of thing, greaser meat, cyberpunk
sort of esthetic fifties maybe sixties,because it'd be really great to be able
(03:35):
to have like a sixty eight Mustangthat also has lasers and can cover.
But so with there being seven safeplaces, you know, now it's sort
of the impermanence of safety and theimportance of finding those close to you that
you can feel safe with. Butthe song initially was named after the nineteen
(03:57):
sixty two article nine Places to Ijust messed it up. It was pleasant
(04:21):
disposition brings me such piece of mind. All the Friday proposition, give me
everything, get a indiscretion. Thebodies left and away. We could tell
(05:00):
ourselves I had a comic. Wecould just hold on mistakes one about seven
seven safe places to hide one butseventh seven safe places to the high forget
(05:48):
about your enemies, and the bagman comes to a close. We could
just tell run your family. Thenwe could find a safe place to rest
(06:09):
in one of seventh seven safety placesto hide in, one of seventh something
safe places to in, one ofseventh seven safe places to hide, and
one of seven seven safe lice sisterseven safe places and one of seven seven
(06:54):
safe places. What we do is, if we need that extra push over
(07:28):
the cliff, you know we doput exactly. He's taken home. This
(08:05):
is the haunted by every single Shedoesn't look brad to your back, does
what you say? And does itany better? The more you she the
(08:26):
more she said, swear she ss do clem still if she's not you
(08:58):
see getting all the less done,tinting an immensel, You got all the
things. Does it really matter somethingthat's missing? The town go down to
(09:35):
go again, down, you godown, the town around you go at
(10:22):
a chlastic starts this pasting thing toset things. She seek shore so she
(11:03):
was one time they still one ship, she said, show s time that
(11:41):
still want ship s leven and loveit and love it. Tell me a
(13:09):
fun tell me live and mindy smilelove the sun of sun th pas my
(13:33):
mem feel saved me. Tell melove it was not showing me that sid
(14:13):
know it and that's all my nose. It's all West no road. Tell
(15:18):
me out of fine, tell melive, out of smile, Silent sun
(15:41):
Flame, not of Fundio, savedme flame, tell me a lie song
(16:34):
number three of eleven on the IndependentMinded podcast. And that's the truth,
Brother. That's by a New Yorkbased band called Fair Visions off the new
self released album Quite an End.Fair Visions is the work of Ryan Work,
a songwriter and a musician from Tennessee, Live in the Dream in Queens,
the Big City. I guess Idid it backwards before that. Song
(16:57):
number two Drab May and photograph DrabMajesty's contribution to the it band filled soundtrack
to the new buzzworthy horror flick.I saw the TV glow, I dig
the genre. The trailer looks good, but I'm mostly a cynical Cinophile.
I haven't seen anything spooky since Hereditary, so fuck it. I'll wait till
(17:18):
October. And we kicked off theMaiden eleven mix with an upbeat, bright
jam about uncertainty and lost. SevenSafe Places from Austin, Texas's Urban Heat.
Lead singer Jonathan Hortzman set us asale with some eloquent exposition about the
apocalypse and laser equipped muscle cars.Jonathan's joined an Urban Heat by Kevin Naquin
(17:40):
and the awesomely named Paxel Foley,and they all appropriately play synthesizers on the
band sophomore album, The Tower,and that's out August sixteenth on Artifact Records.
If you can see you know thenumbers will go to eleven. Dylan
(18:07):
Nash of California noise rock band Lilywas the first lad I interviewed on Independent
Minded after an eighteen month pandemic inspiredlayoff. Everyone else was starting their cute
little podcast during lockdown, and hereI was putting a pin in mine.
Add to that the fact that Iknew next to no one in Nashville and
the pandemic was far from over.Then Lily came into town. I was
(18:27):
a fan of the band's twenty nineteenEP, I Can Fool Anybody in this
town. Add On a warm,crispy October night in twenty twenty one,
Lily finally got me out of thehouse and back into the clubs. Dylan
and the band were gracious hosts,and the singer and I spent Episode one
fourteen chilling on the fire escape ofa club called The Basement. After the
(18:48):
band's energetic performance. On the wayout the door, my friend asks,
is that Miley Cyrus standing in theparking lot? Oh shit? It is
now. Lily's back with a newEP titled The press release says the boys
are without a label, without management, feels like a fresh start. I
like Lily. I like their videos, their attitude, and their energy,
(19:08):
so I hope this is all forthe best. They clearly have the chops
and the connections to head mainstream,but it feels like the band's heart is
in cranking up the volume, pushingboundaries, and rejecting any radio ready conceits.
This is probably why I love thisband the most. They have what
it takes to sell out, butthey refuse to cave. Dylan gives a
(19:29):
clue as to why on the band'snew noise rock Stomper More. Our song
More spawned from our frustrations with notbeing able to put on music for a
long time. Our last record cameout at the end of twenty twenty one.
We spent a lot of that timewriting music than ever saw light a
day. You've always loved hardcore,post punk, and generally every music,
so we're listening to a lot ofknocked Louse, Szulu, Show Me the
(19:52):
Body, and soul Glow. Wefelt like this song and EP was a
time to try out our own versionof that eating too. I feel my
life for cool. They're running labs. Oh my cosay, I'm surprised.
I want it more. I swearyou got. I want it more.
(20:15):
It feels like hey, I picturedthem mony on my feet, kicked in
the crowd. I made it soundI've been gonna pick the ceiling out.
Don't say a word. I can'tsay anything out my ceiling sun, don't
(20:37):
go my fast paying shopped my turnsaway. I'm like, don't tell them
to I don't me. I said, it's a race, don't let I
(21:08):
was. I'm feeling tone. I'llfeel my aful cold round. I bought
(21:29):
it for I know love thought thatsuch a lad with faces a shi la
essay, I love seep, don'tla, I said, don't it's no
(22:00):
way, don't know me, don'tno, no no. I'm like you
God, how body No? Isaid you God, how body don't know?
Way? I know day who don'tway? Don't my body? I
(22:55):
said, look, how may lay? What's your name? Song eleven hasn't
(23:52):
know. I'm gonna head out acrab. Gotta ta get a break of
gage, get else another police.You are sold my side. I ain't
never never say alive, said sojam you got no such acid? Take
(24:18):
a day, fight fire with theback of the lost and fresh right down
(24:38):
sa stuck Crisy for the past time. I ain't a conversation. I ain't
never gonna say a last Saturday.Ain't a squirrel. You ain't got no
sons, you know. Nassis SaganassisSebastian Bach giving me Headbangers Ball era skid
(26:34):
Row Chills with Freedom from the newalbum Child Within the Man, out now
on Raining Phoenix Music. Dude hasnot changed the formula, But it's not
just that. Sebastian's voice still ripsin all the music videos from the new
album. My guy's strutting his leathervests and his boots and his belt buckles.
His man's whipping in the wind.He's cavorting with bikini clad Bronz and
(26:56):
Eddie Trunk, and it's nineteen eightyeight all over again. Pass the kool
aid man and enjoy this renaissance withone fist in the gold and one foot
in the gutter. Before that,California's Lily lil Y with a song called
More That's off the new self titledEP out June fourteenth, eleven. Me
(27:18):
I'm still making music in a bandcalled Return to Earth with Chris Penny,
the founding drummer of the Dillinger EscapePlan, Chris also played in Coheating Cambria
for a couple of years, andever since that ended, he's pretty much
put his drums away, opting tofocus on composing, virtual reality and production.
Me. I still want to puton leather pants and play Cold Waves
Festival, but Chris has had it. A lot of the conversations I have
(27:41):
on this podcast, they're giving mesome insight as to why Chris has burned
out, even though he's still oneof the most heralded drummers of his genre.
But if we want even more context, we can turn to another Chris.
Chris Kelly, the front man forthe band Hill Haven, talks up
his new song Damned to Dream andreinforces a recurring theme on independent minded making
(28:03):
art simply for the love of thegame. The best way I can describe
Dan to Dream is just rock bottom. It reached a point in my life
in my career where I suddenly realizedthat I no longer really had any idea
what it was that I enjoyed aboutthe music business or music in general.
(28:23):
You know, it's just overcome withthis feeling of like I don't matter to
these people. And that went foreverybody right, that went for people in
the business that went for the fans, everybody, the whole thing is sham.
It's all fake. None of itmeans anything. And just for the
record, like historically I'm not thatguy, right, Like I'm not super
like anti capitalist, you know,down with passive consumption kind of dude.
(28:48):
But I just remember this one nightafter a show, being out hanging by
the buses, and all the fansfrom the show had just surrounded the parking
structure that the buses were in.They weren't trying to get anybody's attention,
they weren't shouting anybody's names, theyweren't trying to get any pictures, like,
they weren't doing anything. They weren'tsaying anything. They were just staring.
And they were out there until likefour in the morning. And the
(29:10):
next day, I mean, Ihad like a complete breakdown about this,
not even kidding. I was like, I'm a fucking zoo animal. We
all are. And what really startedto fuck me up when I drew that
parallel was like if you think aboutgoing to a zoo, right, you
go to an exhibit and you seethe tiger, right, and you're like,
oh, that's so cool. Wellyou could leave the zoo and the
tiger could die, and the nexttime you come back there's a different tiger
(29:32):
there. You probably wouldn't even noticeit. You're just like, you're still
just stoked to see the tiger.And ultimately that's just when I realized that
I had gotten sort of swept upby what I think a lot of people
in our business get swept up by. Understandably, it's just the vanity of
the whole thing, you know,the idea that you're gonna leave behind some
kind of legacy and people are gonnaremember you, or people on the street
are going to recognize you or idolizeyou or whatever. You know, you
(29:56):
kind of build these fantasies in yourhead about like what life as a quote
unquote rock star is going to belike, and that shit is corrupting man,
like, it consumes people. Andthe lyrics of the song, you
know, kind of touch on allof that, right, And it's basically
the theme is like, just becauseyou dream about what something's gonna be like,
(30:18):
doesn't mean it's gonna work out thatway. And especially if your dreams
involve any kind of artistic pursuit,if you just get completely lost in your
own ambition. Then you are goingto completely lose sight of why you got
into it in the first place,and it's gonna make you miserable. And
life's too short for that shit,man. I mean, if you get
into something for the love of it, you got to make sure every day
(30:41):
that you still know why you're doingwhat you're doing. Everybody loves a tragedy.
Sofietur rise upon her grind display canwatch me while I raise my handside
and welcome were prior and progress content. Watch about that dollar fight out,
(31:15):
jud I take a large juge totalk. I fin the judge, I
say fat side after thoughts, dotry jodge, I said fall also lock
up watch us a time. Everybodyas shut says a body to watch the
(31:48):
always outside shot out time last totry blas successful by yourself. She never
by as shall say to shouts shotrats. That's jo jo wish to short
(32:12):
sights by jo gasses station everbody alsostays a body clasp not THELWASTI to showrst
(32:44):
so to say something. You neversaw myself as a jester, never got
(33:10):
swallow the bottom my outside. Butit's just cover right now. Everybody knows
(33:36):
a sjoy sufficial rise upon a clowndisplay. You want the waist that side.
The worse will come out to themine, Sgt. Lord, It's
just some standwatchers Hill Haven with Damnto Dream song number six of eleven on
(34:31):
the Independent Minded podcast. Five Morefor You Coming out of the Break Onwed
Sailor's Drummer takes us back to seawith a deep dive into the cool blue
Tangier plus new ones from Not FrenchINDIAX Margaux and Chaddreux. And we'll go
to eleven with some whispering love fromthe woman who fronts Poured his head Dummy,
(34:52):
don't hit that skip button. Elevenis made possible by distro Kid with
a special offer for our independent musicmaking friends out there. If you've got
a new album in the works,a single, a video and you want
the world to hear it, youneed help in more ways than one.
I've been using distro kid to releasemy music for nearly a decade and they've
(35:13):
never made it less than easy.Distro Kid will help you get your digital
release on all the places and thebest and quickest way possible. Just go
here DistroKid dot com, slash vipslash Independent Minded sign up get thirty percent
off your membership DistroKid dot com slashvip that's you, slash independent Minded,
(35:36):
that's me. Distro kid isn't runby some corporate stonecutters. It's run by
creative plebeans like you and me.They get what we're trying to do and
they give us the tools to doit. So do it for thirty percent
off DistroKid dot com slash vip slashindependent Minded. Come on BEBBA fright sixty
(35:59):
seventy. Hey Hello. Jonathan Fordof Tulsa, Oklahoma instrumental post rock band
Unwed Sailor had a date with Destinyto meet me at the five Spot here
in Nashville for an interview prior tothe band's show, But circumstances put a
pin in our independent minded balloon.So when the band released their new aquatically
(36:21):
titled album Underwater over there, Isaw an opportunity to write the ship and
drummer Matt Putnam gets all song exploderon me when he unpacks the making of
one of my favorite tunes on therecord. This is Matthew Putman from the
band Onwin Sailor. I played drumsand I also do production and engineering work
for the band at my home studiocalled Electric Nebraska, which is in Arkansas.
(36:45):
So the process for writing with Unwedisn't always the same, but Blue
Tangier is an example of one waythat we do write songs. John had
been working on the bass part fora while. He's very meticulous when he's
writing, and he'll kind of sendvery along the way until I get one
that says final. So the songis really written for the most part,
like there might be some changes thatwe make later on with the structure,
(37:07):
but like all the parts are almostalways there. And so what he did
for this one, he was justplaying his I don't know if it was
an acoustic bass or his electric bassjust not plugged in, but it was
just, you know, a voicememo on his phone, open room and
plays a song. And so whatI did is I took that voice memo
(37:44):
and I put it on the grid, as they say, kind of found
the general tempo of it, andthen made sure the whole thing was at
that tempo. I basically just satdown. I had one mic on my
little drum set set up in myliving room at the time, and it
was just one mic and I justplayed the song straight through. At the
(38:15):
time, I was really obsessed withLee Scratch Perry and his studio Black Arc
and just like dub Techniques and justsome of the like the groundbreaking stuff that
he did there, and I justlove those sounds. The electronic beat you
here at the beginning was really justinfluenced by I'm trying to bring that kind
of sound to the song in away. It's always fun writing with unwed
(38:55):
because there really aren't a whole lotof rules. The songs come together in
all kinds of different ways. WhatI like to do the most is really
making demos. I think I likemore than anything. There's just something to
be said about when a song isyoung and kind of fresh. Thanks for
listening. Sh sh please catch youeleven at the top of the hill because
(44:32):
always been a mill. It hasa plot dictating the time day in,
day out, day in, dayout, day in, day out.
Those who live below trudge towards itdaily, the seconds and minutes and the
hours of their lives pooling out behindthem. You stop, I continue,
(44:57):
you stop, I continue, youstop, I continue, you stop.
(45:21):
He utilizes the rivers snaking around it, carrying the factory scum, but it's
back now. It lasts as itglides past. The ruins are industrial past.
Pigeons make their homes. A said, its strike makes some crumbles,
gathers rust history to not being erased. You stop, I continue, you
(45:47):
stop, I continue, you stop, I continue, you stop. I
continue, you stop. I continue, you stop. I continue, you
stop, I continue, you stopyou stopped. I continue, you stop,
(46:29):
I continue, you stop. Icontinue, you stop. I continue,
you stop, I continue, youstop, I continue, you stop,
(46:58):
I continue, you stop, Icontinue, you stop until three,
four, five, six, seventynineteen eleven. Eleven's the number for me,
don't you seriously? Eleven's the numberfor me? Oh what thank you?
(47:37):
Time six gets sold stuff picture sooil wash away. I did?
(48:27):
I did? You can take it? So heady mom said, he stop
(49:15):
let your h shay watch say Idid? I did? You can take
(49:50):
it? I would say, whatI do? Shi? So what I
(50:40):
I? You can take it?So time punc time scene time scene time
(51:21):
on time U s time on sereturning time. I see by I see,
(52:13):
I said, some s don't misssir. That's UK band Charpreu with
(54:24):
the Art School Girlfriend remix of theirsong All Sing All the Time. It's
part of a new five song remixEP featuring tracks from the band's debut album
Morning Ritual. Before that, Brooklynsinger songwriter Margo with a soaring string heavy
picture It. That's from her debutalbum Inside the Marble, out now on
(54:45):
Mastiff Records. Marcel waves debut albumSomething Looming, is out on June fourteenth
on Feel It Records. We heardStop Continue from the Female front At UK
band and Unwed Sailor kicked off alongset of numbers with Blue Tangier from the
new album Underwater. Over there.If you can see you Know, the
(55:07):
numbers will go to eleven. Ittook a decade to make, but Beth
Gibbons has finally released her debut soloalbum, Lives out Grown. This one
is ably produced by James ellis Ford, one half of one of my favorite
(55:28):
electronic acts of the twenty oughts Simeand Mobile Disco, and he released one
of my favorite albums from last yearunder his own name. You can hear
similar sensibilities on Lives Outgrown. It'sfull of unpredictable genre turns, experimental orchestration,
and Beth's signature vocal stylings made famousin the band Portishead. Here's the
album's aptly titled closing track, closingus out. This is Whispering Love,
(55:55):
Leave savtry of love with Summer suno w shines through through the trees,
offs Tom with the light. Ifso pure the summer sun lo will link
(56:30):
through the mellowy of flight shoe andlong o spring Come to me when you
(56:51):
come fall a conscious mind, Liethose fellow fields, wear room and hold
(58:10):
swell world, sweet whispering love coldto me when you came, they will
(59:02):
read, They will rise with thecan if they know they have said storing
the when he would go big.Thanks to the artist who shared audio and
(01:00:01):
music with us on eleven. Specialthanks to Willa at rabpr amy At,
Adam Splitter and kip At Tell allyour friends for helping to connect us with
their bands. All the music onIndependent Mind It is used with permission of
the artist, artist management and orartist promotional team. And you can check
out this episode's playlist with listen linksto everyone we featured at Baldfreak dot com,
(01:00:23):
slash podcast and if you're an independentartist interested in me putting my ears
on your wares, simply send anemail to Ron at baldfreak dot com,
follow us on social media at BaldfreakMusic, and subscribe and leave a kind
review for the podcast on Apple Podcastsand Spotify Independent Mind. It is in
(01:00:44):
its thirteenth season. It always wasand still remains a Baldfreak Music production and
me I'm still Ron Scalzo, gotup freak good fans, schools, studs,
(01:01:10):
species, such assists, science,
You're the one that should be worried. You're a freak. You're reading for
big trouble, Big trouble, Bigtrouble, Big trouble, Big trouble,
Big trouble. Here on the IndependentMinded Podcast, we dive deep into the
triumphs and the trials of independent artistsfrom around the world. I have long
conversations with a new band I like, or a heritage artist I've long had
(00:25):
a crush on, and I turnit into an episode, letting the artist
and their music tell most of thestory. I write it, narrate it,
I mix in music from the artiststo add color and context to their
stories. I had to give youkids a listen to what these creative peers
of mine are creating. It's absolutelythe most inefficient, time consuming way to
make a podcast. But you knowwhat, I love it, and I
(00:49):
wouldn't change the thing about it.But I'm here to tell you we are
changing something. We're adding something newto the mix. It's called eleven eleven
new songs from independent artists, playedlike a good old fashioned mixtape. Remember
mixtapes now, The making of agood compilation tape is a very subtle art.
Many dues and don'ts First of all, you're using someone else's poetry to
(01:11):
express how you feel. This isa delicate thing, and to stay current,
we're going to release it on theeleventh of every new month, and
for the most part, we're onlygoing to stop down to let the artists
tell us about how they made theirdope new songs, and to you legions
of hardcore fans who've been following thepodcast since its early days. Don't worry.
We're still going to do our storytellingepisodes every month, but for now,
(01:34):
strap on your headphones, rip opensome gummy bears, and get ready
to get turned on to eleven TheIndependent Minded Podcast Pod Mix. We got
to kick it off with a killerto grab attention. Then you got to
take it up a notch. Butyou don't want to blow your wad,
so then you got to cool itoff a notch. There are a lot
of rules kicking things off. Somefire from Austin, Texas's Urban Heat turns
(02:07):
out singer Jonathan Hortzman and I havea similar songwriting sensibility, and we also
share a love for synthesizers. Here'sJonathan with a story about an honest mistake
that led to the band's anthemic newsynthheavy single seven Safe Places. I was
reading a story about Jim Jones,the occult leader who led nine hundred and
(02:28):
eighteen people to their deaths in theJonestown massacre in Guyana. He was obsessed
with nuclear holocaust and there was anarticle in Esquire magazine in nineteen sixty two
called nine Places to Hide, andit was about nine places that would be
safe in the event of a nuclearholocaust, and that just really stuck with
(02:50):
me, and I thought that thatwould be such an interesting subject for a
song. At one point, Ihad an instrumental that I really liked,
and what I do is all takean instrumental and I'll put it in the
car and I'll drive around and juststart singing different vocals and different melodies and
things, and kind of landed onthis chorus completely forgetting that the article was
(03:13):
nine Safe Places to Hide and notseven. Seven just kind of came out
because it just sounded better, andI thought that that was the name of
the article. At that point,I'd kind of forgotten. I imagined it
being this sort of sci fi operasort of thing, greaser meat, cyberpunk
sort of esthetic fifties maybe sixties,because it'd be really great to be able
(03:35):
to have like a sixty eight Mustangthat also has lasers and can cover.
But so with there being seven safeplaces, you know, now it's sort
of the impermanence of safety and theimportance of finding those close to you that
you can feel safe with. Butthe song initially was named after the nineteen
(03:57):
sixty two article nine Places to Ijust messed it up. It was pleasant
(04:21):
disposition brings me such piece of mind. All the Friday proposition, give me
everything, get a indiscretion. Thebodies left and away. We could tell
(05:00):
ourselves I had a comic. Wecould just hold on mistakes one about seven
seven safe places to hide one butseventh seven safe places to the high forget
(05:48):
about your enemies, and the bagman comes to a close. We could
just tell run your family. Thenwe could find a safe place to rest
(06:09):
in one of seventh seven safety placesto hide in, one of seventh something
safe places to in, one ofseventh seven safe places to hide, and
one of seven seven safe lice sisterseven safe places and one of seven seven
(06:54):
safe places. What we do is, if we need that extra push over
(07:28):
the cliff, you know we doput exactly. He's taken home. This
(08:05):
is the haunted by every single Shedoesn't look brad to your back, does
what you say? And does itany better? The more you she the
(08:26):
more she said, swear she ss do clem still if she's not you
(08:58):
see getting all the less done,tinting an immensel, You got all the
things. Does it really matter somethingthat's missing? The town go down to
(09:35):
go again, down, you godown, the town around you go at
(10:22):
a chlastic starts this pasting thing toset things. She seek shore so she
(11:03):
was one time they still one ship, she said, show s time that
(11:41):
still want ship s leven and loveit and love it. Tell me a
(13:09):
fun tell me live and mindy smilelove the sun of sun th pas my
(13:33):
mem feel saved me. Tell melove it was not showing me that sid
(14:13):
know it and that's all my nose. It's all West no road. Tell
(15:18):
me out of fine, tell melive, out of smile, Silent sun
(15:41):
Flame, not of Fundio, savedme flame, tell me a lie song
(16:34):
number three of eleven on the IndependentMinded podcast. And that's the truth,
Brother. That's by a New Yorkbased band called Fair Visions off the new
self released album Quite an End.Fair Visions is the work of Ryan Work,
a songwriter and a musician from Tennessee, Live in the Dream in Queens,
the Big City. I guess Idid it backwards before that. Song
(16:57):
number two Drab May and photograph DrabMajesty's contribution to the it band filled soundtrack
to the new buzzworthy horror flick.I saw the TV glow, I dig
the genre. The trailer looks good, but I'm mostly a cynical Cinophile.
I haven't seen anything spooky since Hereditary, so fuck it. I'll wait till
(17:18):
October. And we kicked off theMaiden eleven mix with an upbeat, bright
jam about uncertainty and lost. SevenSafe Places from Austin, Texas's Urban Heat.
Lead singer Jonathan Hortzman set us asale with some eloquent exposition about the
apocalypse and laser equipped muscle cars.Jonathan's joined an Urban Heat by Kevin Naquin
(17:40):
and the awesomely named Paxel Foley,and they all appropriately play synthesizers on the
band sophomore album, The Tower,and that's out August sixteenth on Artifact Records.
If you can see you know thenumbers will go to eleven. Dylan
(18:07):
Nash of California noise rock band Lilywas the first lad I interviewed on Independent
Minded after an eighteen month pandemic inspiredlayoff. Everyone else was starting their cute
little podcast during lockdown, and hereI was putting a pin in mine.
Add to that the fact that Iknew next to no one in Nashville and
the pandemic was far from over.Then Lily came into town. I was
(18:27):
a fan of the band's twenty nineteenEP, I Can Fool Anybody in this
town. Add On a warm,crispy October night in twenty twenty one,
Lily finally got me out of thehouse and back into the clubs. Dylan
and the band were gracious hosts,and the singer and I spent Episode one
fourteen chilling on the fire escape ofa club called The Basement. After the
(18:48):
band's energetic performance. On the wayout the door, my friend asks,
is that Miley Cyrus standing in theparking lot? Oh shit? It is
now. Lily's back with a newEP titled The press release says the boys
are without a label, without management, feels like a fresh start. I
like Lily. I like their videos, their attitude, and their energy,
(19:08):
so I hope this is all forthe best. They clearly have the chops
and the connections to head mainstream,but it feels like the band's heart is
in cranking up the volume, pushingboundaries, and rejecting any radio ready conceits.
This is probably why I love thisband the most. They have what
it takes to sell out, butthey refuse to cave. Dylan gives a
(19:29):
clue as to why on the band'snew noise rock Stomper More. Our song
More spawned from our frustrations with notbeing able to put on music for a
long time. Our last record cameout at the end of twenty twenty one.
We spent a lot of that timewriting music than ever saw light a
day. You've always loved hardcore,post punk, and generally every music,
so we're listening to a lot ofknocked Louse, Szulu, Show Me the
(19:52):
Body, and soul Glow. Wefelt like this song and EP was a
time to try out our own versionof that eating too. I feel my
life for cool. They're running labs. Oh my cosay, I'm surprised.
I want it more. I swearyou got. I want it more.
(20:15):
It feels like hey, I picturedthem mony on my feet, kicked in
the crowd. I made it soundI've been gonna pick the ceiling out.
Don't say a word. I can'tsay anything out my ceiling sun, don't
(20:37):
go my fast paying shopped my turnsaway. I'm like, don't tell them
to I don't me. I said, it's a race, don't let I
(21:08):
was. I'm feeling tone. I'llfeel my aful cold round. I bought
(21:29):
it for I know love thought thatsuch a lad with faces a shi la
essay, I love seep, don'tla, I said, don't it's no
(22:00):
way, don't know me, don'tno, no no. I'm like you
God, how body No? Isaid you God, how body don't know?
Way? I know day who don'tway? Don't my body? I
(22:55):
said, look, how may lay? What's your name? Song eleven hasn't
(23:52):
know. I'm gonna head out acrab. Gotta ta get a break of
gage, get else another police.You are sold my side. I ain't
never never say alive, said sojam you got no such acid? Take
(24:18):
a day, fight fire with theback of the lost and fresh right down
(24:38):
sa stuck Crisy for the past time. I ain't a conversation. I ain't
never gonna say a last Saturday.Ain't a squirrel. You ain't got no
sons, you know. Nassis SaganassisSebastian Bach giving me Headbangers Ball era skid
(26:34):
Row Chills with Freedom from the newalbum Child Within the Man, out now
on Raining Phoenix Music. Dude hasnot changed the formula, But it's not
just that. Sebastian's voice still ripsin all the music videos from the new
album. My guy's strutting his leathervests and his boots and his belt buckles.
His man's whipping in the wind.He's cavorting with bikini clad Bronz and
(26:56):
Eddie Trunk, and it's nineteen eightyeight all over again. Pass the kool
aid man and enjoy this renaissance withone fist in the gold and one foot
in the gutter. Before that,California's Lily lil Y with a song called
More That's off the new self titledEP out June fourteenth, eleven. Me
(27:18):
I'm still making music in a bandcalled Return to Earth with Chris Penny,
the founding drummer of the Dillinger EscapePlan, Chris also played in Coheating Cambria
for a couple of years, andever since that ended, he's pretty much
put his drums away, opting tofocus on composing, virtual reality and production.
Me. I still want to puton leather pants and play Cold Waves
Festival, but Chris has had it. A lot of the conversations I have
(27:41):
on this podcast, they're giving mesome insight as to why Chris has burned
out, even though he's still oneof the most heralded drummers of his genre.
But if we want even more context, we can turn to another Chris.
Chris Kelly, the front man forthe band Hill Haven, talks up
his new song Damned to Dream andreinforces a recurring theme on independent minded making
(28:03):
art simply for the love of thegame. The best way I can describe
Dan to Dream is just rock bottom. It reached a point in my life
in my career where I suddenly realizedthat I no longer really had any idea
what it was that I enjoyed aboutthe music business or music in general.
(28:23):
You know, it's just overcome withthis feeling of like I don't matter to
these people. And that went foreverybody right, that went for people in
the business that went for the fans, everybody, the whole thing is sham.
It's all fake. None of itmeans anything. And just for the
record, like historically I'm not thatguy, right, Like I'm not super
like anti capitalist, you know,down with passive consumption kind of dude.
(28:48):
But I just remember this one nightafter a show, being out hanging by
the buses, and all the fansfrom the show had just surrounded the parking
structure that the buses were in.They weren't trying to get anybody's attention,
they weren't shouting anybody's names, theyweren't trying to get any pictures, like,
they weren't doing anything. They weren'tsaying anything. They were just staring.
And they were out there until likefour in the morning. And the
(29:10):
next day, I mean, Ihad like a complete breakdown about this,
not even kidding. I was like, I'm a fucking zoo animal. We
all are. And what really startedto fuck me up when I drew that
parallel was like if you think aboutgoing to a zoo, right, you
go to an exhibit and you seethe tiger, right, and you're like,
oh, that's so cool. Wellyou could leave the zoo and the
tiger could die, and the nexttime you come back there's a different tiger
(29:32):
there. You probably wouldn't even noticeit. You're just like, you're still
just stoked to see the tiger.And ultimately that's just when I realized that
I had gotten sort of swept upby what I think a lot of people
in our business get swept up by. Understandably, it's just the vanity of
the whole thing, you know,the idea that you're gonna leave behind some
kind of legacy and people are gonnaremember you, or people on the street
are going to recognize you or idolizeyou or whatever. You know, you
(29:56):
kind of build these fantasies in yourhead about like what life as a quote
unquote rock star is going to belike, and that shit is corrupting man,
like, it consumes people. Andthe lyrics of the song, you
know, kind of touch on allof that, right, And it's basically
the theme is like, just becauseyou dream about what something's gonna be like,
(30:18):
doesn't mean it's gonna work out thatway. And especially if your dreams
involve any kind of artistic pursuit,if you just get completely lost in your
own ambition. Then you are goingto completely lose sight of why you got
into it in the first place,and it's gonna make you miserable. And
life's too short for that shit,man. I mean, if you get
into something for the love of it, you got to make sure every day
(30:41):
that you still know why you're doingwhat you're doing. Everybody loves a tragedy.
Sofietur rise upon her grind display canwatch me while I raise my handside
and welcome were prior and progress content. Watch about that dollar fight out,
(31:15):
jud I take a large juge totalk. I fin the judge, I
say fat side after thoughts, dotry jodge, I said fall also lock
up watch us a time. Everybodyas shut says a body to watch the
(31:48):
always outside shot out time last totry blas successful by yourself. She never
by as shall say to shouts shotrats. That's jo jo wish to short
(32:12):
sights by jo gasses station everbody alsostays a body clasp not THELWASTI to showrst
(32:44):
so to say something. You neversaw myself as a jester, never got
(33:10):
swallow the bottom my outside. Butit's just cover right now. Everybody knows
(33:36):
a sjoy sufficial rise upon a clowndisplay. You want the waist that side.
The worse will come out to themine, Sgt. Lord, It's
just some standwatchers Hill Haven with Damnto Dream song number six of eleven on
(34:31):
the Independent Minded podcast. Five Morefor You Coming out of the Break Onwed
Sailor's Drummer takes us back to seawith a deep dive into the cool blue
Tangier plus new ones from Not FrenchINDIAX Margaux and Chaddreux. And we'll go
to eleven with some whispering love fromthe woman who fronts Poured his head Dummy,
(34:52):
don't hit that skip button. Elevenis made possible by distro Kid with
a special offer for our independent musicmaking friends out there. If you've got
a new album in the works,a single, a video and you want
the world to hear it, youneed help in more ways than one.
I've been using distro kid to releasemy music for nearly a decade and they've
(35:13):
never made it less than easy.Distro Kid will help you get your digital
release on all the places and thebest and quickest way possible. Just go
here DistroKid dot com, slash vipslash Independent Minded sign up get thirty percent
off your membership DistroKid dot com slashvip that's you, slash independent Minded,
(35:36):
that's me. Distro kid isn't runby some corporate stonecutters. It's run by
creative plebeans like you and me.They get what we're trying to do and
they give us the tools to doit. So do it for thirty percent
off DistroKid dot com slash vip slashindependent Minded. Come on BEBBA fright sixty
(35:59):
seventy. Hey Hello. Jonathan Fordof Tulsa, Oklahoma instrumental post rock band
Unwed Sailor had a date with Destinyto meet me at the five Spot here
in Nashville for an interview prior tothe band's show, But circumstances put a
pin in our independent minded balloon.So when the band released their new aquatically
(36:21):
titled album Underwater over there, Isaw an opportunity to write the ship and
drummer Matt Putnam gets all song exploderon me when he unpacks the making of
one of my favorite tunes on therecord. This is Matthew Putman from the
band Onwin Sailor. I played drumsand I also do production and engineering work
for the band at my home studiocalled Electric Nebraska, which is in Arkansas.
(36:45):
So the process for writing with Unwedisn't always the same, but Blue
Tangier is an example of one waythat we do write songs. John had
been working on the bass part fora while. He's very meticulous when he's
writing, and he'll kind of sendvery along the way until I get one
that says final. So the songis really written for the most part,
like there might be some changes thatwe make later on with the structure,
(37:07):
but like all the parts are almostalways there. And so what he did
for this one, he was justplaying his I don't know if it was
an acoustic bass or his electric bassjust not plugged in, but it was
just, you know, a voicememo on his phone, open room and
plays a song. And so whatI did is I took that voice memo
(37:44):
and I put it on the grid, as they say, kind of found
the general tempo of it, andthen made sure the whole thing was at
that tempo. I basically just satdown. I had one mic on my
little drum set set up in myliving room at the time, and it
was just one mic and I justplayed the song straight through. At the
(38:15):
time, I was really obsessed withLee Scratch Perry and his studio Black Arc
and just like dub Techniques and justsome of the like the groundbreaking stuff that
he did there, and I justlove those sounds. The electronic beat you
here at the beginning was really justinfluenced by I'm trying to bring that kind
of sound to the song in away. It's always fun writing with unwed
(38:55):
because there really aren't a whole lotof rules. The songs come together in
all kinds of different ways. WhatI like to do the most is really
making demos. I think I likemore than anything. There's just something to
be said about when a song isyoung and kind of fresh. Thanks for
listening. Sh sh please catch youeleven at the top of the hill because
(44:32):
always been a mill. It hasa plot dictating the time day in,
day out, day in, dayout, day in, day out.
Those who live below trudge towards itdaily, the seconds and minutes and the
hours of their lives pooling out behindthem. You stop, I continue,
(44:57):
you stop, I continue, youstop, I continue, you stop.
(45:21):
He utilizes the rivers snaking around it, carrying the factory scum, but it's
back now. It lasts as itglides past. The ruins are industrial past.
Pigeons make their homes. A said, its strike makes some crumbles,
gathers rust history to not being erased. You stop, I continue, you
(45:47):
stop, I continue, you stop, I continue, you stop. I
continue, you stop. I continue, you stop. I continue, you
stop, I continue, you stopyou stopped. I continue, you stop,
(46:29):
I continue, you stop. Icontinue, you stop. I continue,
you stop, I continue, youstop, I continue, you stop,
(46:58):
I continue, you stop, Icontinue, you stop until three,
four, five, six, seventynineteen eleven. Eleven's the number for me,
don't you seriously? Eleven's the numberfor me? Oh what thank you?
(47:37):
Time six gets sold stuff picture sooil wash away. I did?
(48:27):
I did? You can take it? So heady mom said, he stop
(49:15):
let your h shay watch say Idid? I did? You can take
(49:50):
it? I would say, whatI do? Shi? So what I
(50:40):
I? You can take it?So time punc time scene time scene time
(51:21):
on time U s time on sereturning time. I see by I see,
(52:13):
I said, some s don't misssir. That's UK band Charpreu with
(54:24):
the Art School Girlfriend remix of theirsong All Sing All the Time. It's
part of a new five song remixEP featuring tracks from the band's debut album
Morning Ritual. Before that, Brooklynsinger songwriter Margo with a soaring string heavy
picture It. That's from her debutalbum Inside the Marble, out now on
(54:45):
Mastiff Records. Marcel waves debut albumSomething Looming, is out on June fourteenth
on Feel It Records. We heardStop Continue from the Female front At UK
band and Unwed Sailor kicked off alongset of numbers with Blue Tangier from the
new album Underwater. Over there.If you can see you Know, the
(55:07):
numbers will go to eleven. Ittook a decade to make, but Beth
Gibbons has finally released her debut soloalbum, Lives out Grown. This one
is ably produced by James ellis Ford, one half of one of my favorite
(55:28):
electronic acts of the twenty oughts Simeand Mobile Disco, and he released one
of my favorite albums from last yearunder his own name. You can hear
similar sensibilities on Lives Outgrown. It'sfull of unpredictable genre turns, experimental orchestration,
and Beth's signature vocal stylings made famousin the band Portishead. Here's the
album's aptly titled closing track, closingus out. This is Whispering Love,
(55:55):
Leave savtry of love with Summer suno w shines through through the trees,
offs Tom with the light. Ifso pure the summer sun lo will link
(56:30):
through the mellowy of flight shoe andlong o spring Come to me when you
(56:51):
come fall a conscious mind, Liethose fellow fields, wear room and hold
(58:10):
swell world, sweet whispering love coldto me when you came, they will
(59:02):
read, They will rise with thecan if they know they have said storing
the when he would go big.Thanks to the artist who shared audio and
(01:00:01):
music with us on eleven. Specialthanks to Willa at rabpr amy At,
Adam Splitter and kip At Tell allyour friends for helping to connect us with
their bands. All the music onIndependent Mind It is used with permission of
the artist, artist management and orartist promotional team. And you can check
out this episode's playlist with listen linksto everyone we featured at Baldfreak dot com,
(01:00:23):
slash podcast and if you're an independentartist interested in me putting my ears
on your wares, simply send anemail to Ron at baldfreak dot com,
follow us on social media at BaldfreakMusic, and subscribe and leave a kind
review for the podcast on Apple Podcastsand Spotify Independent Mind. It is in
(01:00:44):
its thirteenth season. It always wasand still remains a Baldfreak Music production and
me I'm still Ron Scalzo, gotup freak good fans, schools, studs,
(01:01:10):
species, such assists, science,
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