July 25, 2024 • 48 mins
In this incredible episode, we catch up with Jeremy Bolm, the electrifying lead singer of the Los Angeles post-hardcore band Touché Amoré. Join us as we take a trip down memory lane, revisiting Jeremy's record store roots and exploring the incredible bands that have shaped his artistry. Matt and Jeremy also dive deep into the significance of authenticity and lyrical vulnerability, revisit the band's electric set at Outbreak Festival, and get an exclusive sneak peek at Touché Amoré's highly anticipated new album, set to drop later this year. As always, brought to you by Sailor Jerry!
https://www.instagram.com/jeremyxbolm/
https://www.instagram.com/toucheamore/
https://sailorjerry.com
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
All right, jeremy Bohm here on the Sailor Jerry
podcast.
What a pleasure, my man.
We have probably talked more inthe last week here than we
probably have in the last decade.
I was just on your podcast andnow you're here on our podcast,
so thank you very much for yourtime.
Speaker 2 (00:17):
Oh, it's a pleasure.
It's an absolute pleasure.
I think I said it on theepisode we did together on mine,
where, though, you and I justhad our longest conversation the
other day.
You're someone I just look toas just like a fixture of LA,
and it's always so nice to seeyou when I do see you, so it's
nice to have another opportunityto chat it up with you.
Speaker 1 (00:38):
Yeah, man, absolutely stoked to have you on.
Truth be told, we were going todo this episode down the road a
little bit, maybe in likeanother couple of weeks, but you
just got back from OutbreakFest over in Manchester and the
FOMO is real.
There were so many great bandsand so much great footage coming
(01:00):
out of Outbreak.
I messaged you and I said, hey,man, any way we could kind of
push this up because I reallywant to get the lowdown on the
festival, because you guysplayed an incredible set and it
just looked like such anincredible scene.
The vibe looked fantastic.
So I figured we'd start with alittle bit of a breakdown of
Outbreak Fest, manchester, uk,for our listeners who don't know
(01:25):
.
Historical music scene we gotHerman's Hermits, the Hollies,
the Bee Gees, the Smiths, joyDivision, happy Mondays, stone
Roses, the Verb, the Fall Oasisinsane music scene.
But it's just one of thosemagical places for music and
obviously, as a touring bandfrom the States, you go to
(01:46):
London.
It's incredible, england isincredible, the UK is incredible
.
But there's just somethingspecial about Manchester.
From what I know about thefestival, it started in 2011.
Obviously, huge couple of yearsfor hardcore, big resurgence.
What was the vibe like at thefest and start us off and walk
(02:07):
us through the Touche Amore set.
Speaker 2 (02:09):
So we were lucky enough to play in 2022.
That was our first time everdoing that festival and I say to
this day it's like it was myfavorite show we've ever played,
because it was like there was alot to it.
It was our first time in the UKpost pandemic and we had this
new album that we hadn't had achance to play to anybody yet.
There was also like some stressthat got alleviated.
(02:30):
Like the second we hit thestage where it was like we were
never supposed to headline everytime I die was.
They unfortunately fell apart,so then they just basically
moved us up to the headliner,which is like flattering, but at
the same time like maybe from afrom a fan perspective, they're
like well, we already knew theywere playing.
This feels like potentially, usrockers know the the term
(02:52):
deadliner where it's like, oh,did this become the sunday
deadliner?
Uh.
But as soon as we hit thatstage, man, the entire room was
still filled, nobody left, andwe opened with the first song
off that new record and thewhole place sang it back and it
was like and we opened with thefirst song off that new record
(03:23):
and the whole place sang it backand it was like it was just
this huge, just like breath oflike.
Wow, this is I miss this somuch.
And wow, the love in this room.
It was just unbelievable.
Try not to read the comments,but a lot of people seem pretty
indifferent about people likemanchester, it's gonna fucking
piss rain the entire time.
What are you guys thinking?
Yeah, and it was a clear skiesall weekend until we hit the
stage.
Then it's just like torrentialdownpour.
(03:45):
But what's, what's cute is thatthe audience and the vibe of
like the whole scenario seemedto be like touche in the rain
was so cathartic and I'm like,yeah, okay, I'll take it like if
that, if that's the way to spinthis to where people are just
sad and wet, like like fucking,I'm down.
So it was amazing, man, likefrom far away, I was like, oh no
(04:07):
, is there a barrier?
But there wasn't a barrier.
It was just like there was likea lip so people could like
still roll up and like jump offthe stage and have a lot of fun.
It was like a really, reallycool experience.
Saw a lot of good friends.
That's the thing about thatfest too.
It's like you know what it'slike?
(04:29):
You've done a million festivals, those ones where all of your
friends are just there and youhaven't seen each other in a
long time.
So every time you open a dooryou just someone just goes, hey,
and it's like that's the wholethe whole time.
So that was a lot of fun, likeour stage was stacked where it
was like fucking, they went likenothing ceremony, poison, the
well touche, have hard basement,which is just like crazy.
Damn, yeah it was yeah, it was.
It was really really cool.
The band I was most excited tosee was that band, chat pile.
(04:51):
I don't know if you're familiar, if you've listened to them at
all.
Speaker 1 (04:53):
Yeah, I recently just got turned on to them.
It seemed super, super heavyand super awesome and they look
kind of like like unhinged onstage.
They.
They look a little wild Like agrumpy dude just kind of moping
around.
What was the vibe?
How were they Shirtless?
Speaker 2 (05:10):
shoeless the whole nine.
Someone asked how would youdescribe chat pile?
I say antisocial music.
It is like the antisocial musicand I love me some antisocial
music.
It's like it's.
It's real unhinges, the rightway to say it.
Like it's if you mix likefucking, like swans, big black
(05:35):
corn, like all of these weirdmix of just like they're so
unique and so goddamn cool andthey've only ever played
californ California one time andit was like at a festival, so I
didn't catch them.
So I was like today's the dayI'm going to see them.
They also all have like aliases, which I think is really funny.
Like the singer goes by ReaganBush, but like Bush spelled like
(05:56):
beer.
It's just, it's awesome.
Like Luther Manhole is theguitar player.
Speaker 1 (06:07):
It's just oh, oh, I like that, I like a good musical
alias.
Speaker 2 (06:09):
Yeah, they're, they're fucking cool.
So that was really exciting tosee and then so I wasn't going
to go back the next day, justbecause it was like kind of a
pain to get in and out of thefestival from like where I was
staying.
Yeah, I got dinner with afriend finished up that dinner
and looked at my watch and I waslike, like man, I know,
Thursday goes on in 90 minutesLike and I'm saying bye to my
friend.
What am I going to do?
What else do I have to do?
(06:29):
So I figured it out.
I got there and then ended uphopping on stage with Thursday
singing a song with them, whichwas a whole lot of fun.
Speaker 1 (06:36):
So it was just a fantastic weekend.
That's awesome, man.
That's awesome.
Yeah, the footage from your setlooked incredible.
I love the description of sadand wet when it comes to
describing the English rain andEngland in general.
Right, but yeah, I mean it justit looked incredible, man.
It looked absolutely incredible.
(06:57):
And after all these years Idon't think I still haven't seen
your band live, which isinfuriating to me and that's
something that absolutely has tochange and a cool moment for
Thursday as well, a band that weboth know really well.
I'm stoked to see them havingtheir legacy moment right now.
(07:20):
The last couple of years, maybethe last two years especially,
they've been just doing thesetours and whether it's playing
records front to back orwhatever, but it seems like
they've kind of crossed overinto that Hall of Fame type band
type band Totally and they andalso they dropped a new song,
which they haven't.
Speaker 2 (07:39):
they hadn't had a new song in a really, really long
time and it's so fucking good.
It's just like the chorus andit is unbelievable.
It was really exciting to seethem do that outbreak set
because they're they'reconsistent touring band, but if
you see them nine, nine and ahalf times out of 10, there's
probably going to be a barrier.
You know like they play likenice venues and stuff.
(07:59):
So to see them do an outbreak,set in front of kids who are
just like diving the whole timeyou could see it on their faces
that they're like this is sosick that's awesome.
Speaker 1 (08:07):
Well, thank you for the for the outbreak breakdown,
the post game show yeah, postgame show.
well, no, it's just cool, man,because one of the things that
that I've always appreciatedabout you and I think it's a
universally appreciated aboutyou, if I dare say is that you
are a genuine lover of music,man, and it's just, it's
(08:29):
something that's really cool.
It's really inspiring to see,because there's a lot of people
who might not understand this,but you know, sometimes the
music scene isn't necessarilyfilled with people who really,
really love music.
It's just like somewhere alongthe way they can, they can lose
it, or it becomes a job, orthere's all sorts of different
(08:50):
things that can happen tosomething that you love and
something that has changed yourlife or whatever.
So it's cool to, it's cool totalk with you about music,
because I know how much it meansto you.
You know what I'm sayingTotally.
Speaker 2 (09:04):
Yeah, no, and I appreciate that.
Yeah, I mean, like my first jobout of high school was working
at a record store and that jobchanged my entire life, like I
was such an introverted kid,like the idea of like having to
talk to random customers, evenjust to ring them up was like
incredibly stressful, but I hadsome amazing older coworkers who
, like, really took me undertheir wing and, like, not only
(09:26):
showed me so much music that Inever probably would have found
on my own, but also, just like,made me comfortable in my own
skin in a way, like they allbecame like older brothers,
older sisters to me, and so I'mthankful for that job, because
it not only, yeah, brought meout of my shell, but it also
showed me so much music that I,like I said, I probably would
have never found on my own.
Speaker 1 (09:49):
Yeah, that's rad and it seems like every kind of
artist or every person ingeneral has moments that mean a
lot.
But it seems like that recordstore job was kind of a pivotal
moment for your love of music.
What were some kind of artistsor people or or or bands that
kind of had an impact on youwhen you were kind of first
(10:09):
coming out of your shell?
Oh good, question.
Speaker 2 (10:14):
Well, so I was.
I mean, like I was a music fanreally really early on, like I.
I just it was the only thing Icared about.
Um, my brother was I have anolder brother.
He was always kind of more of avideo game guy.
He also does love music and heplays drums and stuff like that,
but like it was all I caredabout.
It was like I had to just gowhat?
There was a few different recordstores in my neighborhood, one
(10:36):
like right at the top of mystreet that had the best name
that I had no idea what it meantwhen I was a kid.
It was called DB Coopers, whichis like the hardest name for a
record store.
But I didn't know, I justfigured it was like the owner's
name or something.
But anyway, yeah, like so Iwould, I would you know, get,
get out of school and basicallyjust go sit cross legged on the
(10:56):
floor and go through all of theUCDs and there probably only be
like six added every single day,but I would still look through
all of them, read all the linernotes, see whatever I could find
.
But along the way I was obsessedwith Nirvana and Pearl Jam and
all that sort of stuff that wasso big for me and then
eventually it got really intometal.
I loved Korn, I loved Sepultura.
Speaker 1 (11:19):
A lot of that sort of stuff.
Speaker 2 (11:28):
And then I found hardcore through the OzFest 96
VHS because because earth crisiswas on that and I was like what
is this?
Found that?
And then around that same timeI also bought stripes in this
defiance because I saw thatchino from the deftones did a,
did a guest spot on it and I waslike yeah, wait what?
Because that was me sittingcross-legged on the floor
reading through all the linernotes and all of a sudden I see,
see Additional Vocals by ChinoMoreno and I was like wait a
minute, what?
So I bought that.
And then just it's so funny howyou're At that time in your
(11:53):
life like all music is just cooland you're not.
You don't know that there'sdifferent tribes to belong to.
You know what I'm saying?
It's like if you're a metal kidyou only listen about.
Like this is at a time in mylife where I was like I didn't
know that there was a differencebetween strife and like
sepultura or corn and earthcrisis, like to me it was just
heavy and aggressive.
But eventually you start tokind of figure that stuff out
(12:15):
where you're like, okay, this isdifferent.
But then then I I I startedworking at a record shop and
then, probably when I was thereis when I got way more into like
indie rock and stuff like that,which is when I found bands
like bell and sebastian and anduh, and that for me was like a
huge one so, like I found atthat point in my life, I was
listening to the softest stuff Icould listen to and then also
(12:37):
some of the hardest stuff, causeI was like obsessing over, like
when Jane Doe from Convergecame out the same time.
I was obsessing over like DearCatastrophe Waitress from Bill
and Sebastian.
Speaker 1 (12:47):
That's awesome man, and it's funny how Korn now I
get it.
But it's like you know, for meespecially Korn, and like that
first album, dude, I wore it outLike I fucking loved it.
I loved it and when it came outthere was nothing like it and
it was so sick.
And you know the same thingwith like chaos ad was a record
that I was sepultura that fuckman.
(13:08):
That record I listened to thatdefinitely still every now and
then I'll put on the first cornrecord, but it's gotta be, it's
gotta, you know, it's gottagotta be in a little bit of a
crazy place when I go back andlisten to that.
But both those records were soamazing, man and I think Strife,
especially in LA you can'tunderstate how kind of important
(13:28):
they were and what an impactthey had.
Because even for me I was veryanti-metal hardcore when all
that stuff was dropping, whenEarth Crisis came out, all that
stuff, I was on the fucking punktrain man.
I was not trying to hear aboutit, but I understood it was
there and even as it washappening it was having an
(13:48):
immediate impact, immediateimpact.
So it's cool, man.
I could see how those are bigrecords, big bands for you
totally.
Speaker 2 (13:55):
Yeah, man, I've said this before, but I wonder if you
how you feel were you a Nirvanaguy?
Did you like Nirvana?
Speaker 1 (14:00):
Big time yeah, yeah, yeah.
Speaker 2 (14:01):
So you and I are very close in age.
When Kurt Cobain passed, Igenuinely thought music was over
.
And I was so young that's sucha dramatic thing to feel.
I was like 11 years old and Iwas like music is fucking done.
And then later that summer orwhatever it was, I saw the music
video for Blind and I was likewait a minute, because that came
out in 94, shortly after Kurtpassed, and it was like fucking,
(14:25):
what is it?
God closes the door, opens thewindow, or something like that.
Speaker 1 (14:28):
Yeah, I was just like wait a second, wait a second.
What is this shit, this?
Speaker 2 (14:33):
is so much more aggressive.
There's people jumping all overeach other in this music video.
I don't understand.
It Gives a butthead, watchesthe music video and makes fun of
it.
But I'm down.
So I get that cassette and then, yeah, off to the races I go.
Speaker 1 (14:52):
Oh, dude.
And then that album too.
There's so many incrediblesongs, but just there's also
super funny songs like theknickknack paddywhack give a dog
a bone song yeah man.
Shoots and Ladders, shoots andLadders, shoots and Ladders.
But then, like dude, the lasttwo songs where he's like crying
and then like the studio doorslams, that record kind of has
like it's got all the fixings ofa classic it is, it's haunting,
it's heavy, it's scary.
Speaker 2 (15:20):
It.
It's an incredible album, man,and then a full circle situation
.
Speaker 1 (15:21):
We've now worked with ross robinson, the guy who did
that, yeah, and has done, andhas done a lot of these records
that were that we're kind oftalking about here.
Speaker 2 (15:26):
Like he ended up doing roots from sepultura, all
that sort of stuff.
So hearing all the insidebaseball on some of that stuff
was just like so full circle andcrazy and everything like that.
But yeah, yeah man, thoserecords were great.
They were pretty terrifying,pretty terrifying.
Speaker 1 (15:43):
Yeah, absolutely, man .
So how you know?
Let's get into you picking up amicrophone.
Let's get into Touche Amore.
First album came out in 2009?
Yes, Full length, yeah, 2009.
Okay, so how does that band getstarted?
How do you become the singer ofthat band?
Tell me the story so.
Speaker 2 (16:01):
I had played guitar in bands, always Like I'd always
just play guitar.
Speaker 1 (16:06):
Really, you're a guitar player.
Speaker 2 (16:08):
Yeah, always was, and not a good one, one that gets
by.
I learned I went from learningthe power chord to learning the
bar chord.
And once you learn that barchord it's even worse, because
you're like wait a minute, Ijust threw one thing down and
now I just lay my finger acrossand I get this thing done.
Uh, so, yeah, like I yeah, I'dalways play guitar um, the band
I was in before had broken up ornot, sorry, I had left and
(16:32):
wanted to just do something sodifferent, like I'd always kind
of had a bug to want to try tosing in a band or yell in a band
or whatever, but never hadreally the motivation or the
courage or whatever it was.
But I found myself without aband and I was like, maybe now?
So I kind of grabbed randomfriends that I knew that I liked
(16:55):
a lot, that, some of which I'dnever met before.
But I was like I think that guywould be cool to be in a band
with, think that guy would becool to be in a band with, that
guy would be cool to be in aband with.
And then, yeah, we wrote ahandful of songs and but what
was great was, I know, when youand I spoke, you had done bands
before the Bronx and everythinglike that.
So I was curious.
I don't think I don't think youand I really talked about this,
(17:16):
but once the Broncos you hadmentioned, you were now in a
band with people who are likeindustry minded, knew how shit
works, right, yeah, and how muchof a leg up that gives you when
you're starting a new band.
Right, because you start makingreally critical decisions
before you're even getting offthe ground.
Right, you're thinking ahead ina way that, like, if you're
just a garage band with yourbuddies who, like, haven't had
(17:39):
much experience, it's different,right?
So, like, with this band, I haddone all the boot camp like my
previous band.
I'd done all the boot camp, I'ddone all the fucking touring the
country in a van that's fallingapart every every two days,
driving 12 hours to a show thatdoesn't exist to like all the
hard shit, right.
So when two, when I startedtouche, it was like okay, we're
(17:59):
not gonna play a show until wehave something to sell, until we
have like a full demo to sellbefore we have like t-shirts
like we like we're only gonnaplay if we're opening for like a
cool band that's coming to town, like we're not gonna overplay
our hometown.
Like in our first year I thinkwe only played la a handful of
times and it was like our secondshow was in the Bay Area.
(18:20):
It was just like let's be smartabout this.
You know what I'm saying.
Speaker 1 (18:25):
Yeah, absolutely.
Speaker 2 (18:26):
And that was sort of it, and we were already doing
West Coast tours.
We did two West Coast tours, Ithink, in the second year we
were a band and that was aroundthe time that we ended up doing
the first LP.
But it was just like, yeah, itwas, we tried to be as strategic
as possible, um, so that wedon't.
Yeah, like I think there'ssomething about overplaying your
(18:46):
hometown when you're startingout.
Speaker 1 (18:47):
that can be detrimental because no one knows
you.
Yeah, you're like.
Speaker 2 (18:50):
Yeah, you can only get your co-workers and your and
your closest friends to comesee you play the same fucking
bar or open mic or whatever itis every other weekend?
Speaker 1 (18:57):
Yeah, absolutely man.
And when it comes to the band,how?
When it comes to you singingyeah, going a little bit deeper
how long did it take you to feelcoming from the guitar world?
Let's say, how long did it takeyou to feel comfortable on the
microphone, on stage, just beinga standalone singer?
Speaker 2 (19:19):
So you get gifted this thing.
When you're playing the kind ofmusic that we are trying to
make right, when it's notuncommon to, where you're the
kind of band that's playingfloor shows and the whole band
has its back to the audience youknow what I'm saying Everyone's
just throwing themselves aroundand whatever.
So those first probably like 30shows we were probably not
(19:41):
playing on the stage and it wasa lot of back to the audience
just flailing around, which theneventually people started to
know our words, which then mademe feel a little more
comfortable turning around,because now I can pass the mic
to people and I think that wasthe evolution.
It was like I'm scared to lookat people.
I feel uncomfortable a bit.
Oh, people know the words.
(20:01):
Now I can share this moment andthen eventually I'm facing the
crowd.
I think that's the turn of howit went.
That makes sense.
Speaker 1 (20:09):
Yeah, that's awesome man.
And as the band progressed,parting the sea between
brightness and me is survived byboth on Death Wish, stage 4,
huge record for you, huge recordfor the band.
And, of course, lament, both onEpitaph.
One thing that I think isspecial about you, which I
(20:30):
identify with personally as awriter, is you're super
vulnerable with your lyrics, andI just kind of wanted to wrap
with you about songwriting for alittle bit.
Was that kind of an automaticthing, like is that just who you
are, or was it a process of,like, trying to get stuff out of
(20:51):
your?
A lot of times writing iscathartic, it's therapeutic.
You write to just expressyourself, to heal yourself, but
some people that's just who theyare, like they're just going to
let it spill Is beingvulnerable lyrically.
Is it a difficult thing for you, or is it just who you are as a
writer?
I?
Speaker 2 (21:09):
think it is just who I am.
It's just what happens.
You know what I'm saying andI've always firmly believed that
.
It's not lost on me how manymillions of bands exist, right?
Everyone has every choice inthe world to listen to a million
different things.
So if someone is kind enough togive me their time, I owe it to
them to be as open as possible,to give as much of myself as
(21:35):
possible because they're givingme their time and I feel I owe
that to them to be as direct aspossible and let out whatever
I'm going through, because it'sgoing to be ultimately healing
in some respect for myself too.
But it's funny, we talk aboutyou're just talking about Korn,
and I think that and I've hadthis conversation with Ross
Robinson before, where I thinkwhat drew me to that band
(21:57):
without realizing it when I wasyoung and then as time went on,
was the vulnerability you- know,like that to me was the like.
There was elements in Nirvanathat were, that were vulnerable,
for sure, but Korn, I think,was the first band because, yeah
, you hear him crying on theserecords and stuff like that, and
eventually that's what I'mchasing.
You know what I'm saying?
It's bands that you and Ididn't talk about this, but I
(22:20):
would be curious to hear yourside on this too.
But it's like what you know.
You you were mentioning youwere not so into the metal corey
stuff when that was happeningin the 2000s and stuff like that
and I I you liked some of thatstuff.
For sure there's bands that Icertainly like, but it was
always I was very surgical inhow I got into those bands
because for me, if I can, if Ihear the vocals and it sounds
(22:42):
like they're making a voice asopposed to making this voice,
because it's how they're feeling, it's a big difference for me,
like I need to hear that thisperson means it, as opposed to
they're just like growling, likea monster.
That's like uninteresting to me.
So if the vocals feel genuine,whether I even like the music or
not, it's going to make meappreciate your band.
(23:03):
So that's always been importantto me, like the honesty and the
voice like you have.
You yourself, like there aresome vocal parts in your records
that like can give me chillsbecause I can tell that you
(23:29):
genuinely fucking mean.
Speaker 1 (23:31):
One of the things that first stands out is just
the ability to see yourself inthe music, in the lyrics
specifically.
It's way more open, it's waymore something that you can
relate to, and I thinkvulnerability is just a little
bit just further down that samerabbit hole.
You have some riders who arecomfortable just completely
(23:51):
sharing their lives in a waythat is super powerful and can
affect anyone who listens to it,and some people they have a
more surface level of that typeof vulnerability where there's
only so much they're going toshare and we're lucky to get it.
You know what I mean.
But it is super cool because Ifeel you on that and I really
(24:12):
always appreciate vulnerabilityin songwriting.
It's something that I think isvery tough to do and I think
it's something that you I thinkyou walk a line sometimes as a
songwriter.
You hear a lot of people talkabout how you'd never want to
make things too personal,because then it's like the world
(24:33):
as a whole can't really grabonto your song or whatever, and
I kind of get that, but I alsokind of don't.
Like it's.
The artistry is just to expressyourself how you want to
express yourself, and I dobelieve that when you're
censoring yourself for the sakeof making the song more
appealing to the general public,you lose something.
Speaker 2 (24:54):
I have found and I'm sure you have too that the more
specific, the morehyper-specific you get in what
you write, the more you're goingto connect with people.
Speaker 1 (25:03):
Yeah.
Speaker 2 (25:04):
Whatever that may be, whether you reference a fucking
street corner in LA, guess what?
That street corner probably hasthat same name in another town.
You know what I'm saying?
There's a million ways that youcan get really, really specific
and have it have a biggerimpact than you'd ever imagine.
Speaker 1 (25:20):
Yeah, yeah, and the emotions that someone can sing
about those specifics aresomething to where maybe, if you
generalize the lyrics a littlebit, you lose the emotion within
yourself when it comes toperforming it.
So then you might havesomething lyrically that people
can identify with on a generallevel, but they're not
(25:40):
identifying with the way you'redelivering it or singing it,
because it loses something whenyou put some sand on it or try
to cover it up with kind of tryto code your lyrics and stuff
like that.
So it is interesting.
It's a really cool rider torider kind of thing.
I really don't think there's aright way or a wrong way to
(26:01):
write a song.
As long as it's coming from anhonest place, I think that it
can land with somebody somewhere.
You know what I mean, totally,yeah.
Speaker 2 (26:12):
Like you know, the stage four record that we have I
remember driving around playingit, for I know you're friends
with them too Pat Kinlan, chuckChurch, pat Kinlan, so you know
that dude's personality right.
Speaker 1 (26:24):
Oh yeah, so he's the best.
Speaker 2 (26:26):
He's one of my favorite people I've ever met
through music, but he's also PatKinlan, right.
So I was driving around withhim and we got like four songs
in and he was just like, soyou're trying to alienate anyone
under 35 on this record?
And I was like I don't know, Iwas like this, like this.
I just this is what I had towrite, and I think that people
(26:47):
take loss in a lot of differentways, whether it's like the
actual physical loss of somebodyor maybe a loss of a
relationship.
This is the most uncreativething to say, but the whole idea
of like, once you release asong, it's not yours anymore.
Speaker 1 (27:03):
People can always turn it into whatever their
narrative is, and also, maybenot everyone in the world can
relate to that specific thing.
Things that happen to youthrough that experience that you
relate through song issomething that I think people
can understand.
So it's always just good tofollow your heart and write
what's on your mind.
I don't think you can ever losedoing that, and I think you do
a great job at that, my man.
Speaker 2 (27:23):
I appreciate that.
Speaker 1 (27:24):
I really do.
Thank you, let's go to theinternet here.
A couple of questions from theweb.
Okay, uh, dear Jeremy, what doyou think will come first?
World peace or higher streamingroyalties for musicians?
Oh my God, musicians, oh my god.
(27:51):
So okay, so we're gonna put,we're gonna.
Let's put the.
The middle east, obviously.
We got ukraine, we gotwhatever's happening in the
united states.
We got china versus.
We got spotify.
Yeah, it's spotify, apple music.
What comes first world peace orrespectable streaming royalties
?
Speaker 2 (28:09):
it's probably world peace you know what I'm saying
like, and I and I hope it isI'll take world peace over over
streaming royalties.
Fuck man, but man, but yeah,that's a debilitating question.
It's a tough one.
It's a debilitating question.
It's a tough one.
It's a tough one.
Speaker 1 (28:27):
Yeah, how about this one?
What's up Jeremy?
What's up from Australia we?
Got a lot of love fromAustralia, so shout out
Australia.
What is your favoriteAustralian band?
Speaker 2 (28:36):
Royal Headache, oh yeah oh yeah, fucking hell man.
What a band.
What a band.
Yeah, I love royal headache somuch.
I only got to see him one time.
Unbelievable band, but yeah, II think they're unbelievably
cool.
They just put out like a.
They just released like a liverecord.
That's, that's really, reallygreat.
(28:58):
One of my favorite front men ofall time, like most soulful
voice ever.
Just yeah, I love royalheadache awesome, man, awesome,
uh.
Speaker 1 (29:07):
So we got some pickums here.
So, okay, we got a couple.
I'm gonna, I'm gonna throw somethings at you.
You tell me which one you likebetter.
Okay, let's start with somebands here quicksand or thursday
thursday j Lizard or DillingerEscape Plan.
Speaker 2 (29:25):
I'm going to go, I'm going to be honest, I'm going to
say Dillinger Escape Plan, justbecause Calculating Infinity
was like a record that I trulywore out, so like that record in
particular can kind of like ownthe entire band for me.
So I'll say Dillinger.
Speaker 1 (29:39):
Awesome, sonic Youth or Pavement.
Speaker 2 (29:42):
Oh sorry, clayton, I'm going to say I yeah awesome
sonic youth or pavement.
Oh sorry, clayton, I'm gonnasay I'm gonna say I'm gonna say
I'm gonna say pavement nice uhminor threat or fugazi oh, I'm
gonna say minor threat onlybecause it's like it's a perfect
discography, whereas, like,fugazi has a lot of records and
(30:04):
there's and there's songs onsome of those records I'm less
interested in.
Speaker 1 (30:07):
So I think really you're going minor threat over
fugazi.
Speaker 2 (30:11):
I'm gonna go minor threat over fugazi just because
there's no, there's no throwouttracks with minor threat all
right, I got that debbie harryor patty smith I'm gonna go
patty smith just because becauseI truly enjoy like a straight
up weirdo you know what I'msaying.
Like like Debbie Harry isfucking amazing in so many ways,
(30:31):
so many ways, but but PattiSmith was like a true and true,
like out there, out there artistand I think that's sick.
Speaker 1 (30:41):
Nice, nice.
What about some current bands?
What about speed or drain?
Speaker 2 (30:44):
I'm gonna go speed because I really, really, really
love jim, the singer of thatband, and and have toured with
with him and his previous bandand I I love it and also I'm, on
on their behalf, annoyed atanyone who feels weird about his
flute thing.
I think it's fucking sick ashell.
I think it's sick as hell he's.
Speaker 1 (31:04):
I think it's fucking sick as hell.
Speaker 2 (31:05):
I think it's sick as hell.
He's playing flute on stage.
Speaker 1 (31:06):
It's sick as hell.
Innovation.
I don't think anybody saw theflute coming.
I don't think anybody saw theflute coming.
The first time I saw the fluteclip I was like fucking I'll
take it, I'll take it.
You know what?
Speaker 2 (31:19):
Give me something new in the genre.
You know what I'm saying Likegive me something that someone's
doing differently.
I don't care what it is.
Jonathan Davis had bagpipes.
Speed got flute.
Let's go.
Speaker 1 (31:30):
Yeah, absolutely, I'm feeling this one might be tough
for you, joyce, manor or DrugChurch.
Speaker 2 (31:43):
That's tough, because those are friends.
You're throwing the friends atme.
Oh boy, I'm going to go drugchurch.
Sorry, sorry, joyce, manor, I'mgoing to go drug church.
They make me laugh more.
I'm going to say that.
Speaker 1 (31:52):
Yeah, nine-inch nails or rage against the machine.
Nine-inch nails, cro-mags orturnstile.
Speaker 2 (32:00):
Turnstile.
Speaker 1 (32:01):
Ooh nice, I like that .
Let's go.
Labels real quick, let's go.
Death wish or revelation, deathwish epitaph or fat epitaph,
matador, sub, pop, sub pop, allright, what about sst or discord
(32:31):
, discord, nice, nice, all right, let's then.
What about?
What about?
Speaker 2 (32:32):
leonard cohen or john prine.
Leonard cohen, I mean I, I lovejohn prine.
I love john prine, but I am, Iwill fucking no, leonard cohen
is my guy.
Converge or?
Speaker 1 (32:41):
Oasis Converge.
Speaker 2 (32:46):
Sorry, I just got to see Liam in Manchester.
Speaker 1 (32:49):
Literally.
Speaker 2 (32:51):
And it was fucking amazing.
But you know what?
Oasis never made me mosh.
Speaker 1 (32:57):
There you go, speaking of slam dance or stage
dive, stage dive, nice Stalloneor Schwarzenegger.
Schwarzenegger Books or movies,movies, black Flag or the
Circle Jerks.
Speaker 2 (33:10):
Black Flag.
Speaker 1 (33:11):
Ramones or the Clash Ramones.
Terror or Agnostic Front Terror.
Nice, hell, yeah, awesome.
La, awesome, yeah, absolutelyOkay, almost done here,
appreciate your time.
A couple of hypotheticals foryou.
Okay, time machine, bill andTed style.
Okay, time machine comes down,door swings open.
(33:34):
Someone awesome is in there.
Leonard Cohen's in there.
He's like Jeremy, get in.
Okay, anywhere you can go inthe world, world anywhere in
history.
Where's the first place you'regoing and why?
Speaker 2 (33:47):
okay, so you were nice enough to send me this
question ahead of time, so nowI'm thinking.
Right, it's an incredibly hardquestion, but I'm being a music
fan, I got two.
I got two things that I came upwith and I know that's cheating
because I'm giving you two, butexperiencing the Greenwich
Village era in New York City inthe 1960s Ooh Getting to see
(34:08):
like Bob.
Dylan and Phil Oakes and DaveEnronk and all these people in
these like little cafes in thatera Probably pretty fucking
amazing.
And just to experience whatthat felt like in that time
Music was so alive, experiencewhat that felt like in that time
music was so alive, uh or orother answer in the mid 80s, the
(34:28):
revolution, summer era, discordrecords, washington dc to be
able to see bands like fuckingright to spring and embrace and
like all of that sort of stuffwhen that was all happening also
would be pretty fucking cool sothose are my two answers, but
it's tough to say which one.
I would want more I kind of.
I love I think I romanticizethe idea of New York in general.
So I think, like I think I'mgoing to go New York City,
(34:49):
greenwich Village era likeprotesting.
Speaker 1 (34:51):
Yeah, that's a good one.
Yeah, that's a good one.
I like it.
What about you get home?
You pop open a beverage.
Leonard Cohen comes out of thebottle, okay, and he says,
jeremy, I'm going to grant youone wish.
Okay, you have one wish.
Could be anything, whatever thehell you want, could be selfish
(35:15):
, it could be diplomatic, itcould be anything under the sun.
What's your one wish?
Speaker 2 (35:24):
Anything under the sun.
What's your one wish it's hardfor me not to make this heavy,
but I would love a cure forcancer.
Yes, hell, yeah, yeah, that'san amazing wish.
Yeah, that's the one Too manypeople in all of our lives
affected by it?
Speaker 1 (35:44):
Absolutely, man.
That's what I'm talking about.
That's a one Like too manypeople in all of our lives
affected by it?
Absolutely, man.
That's what I'm talking about.
That's a great wish, Cool man.
I just want to kind of touchbase on a lot of the other stuff
that you got going on in yourlife.
You've got a record label.
You've got a podcast the firstever podcast you've been doing
now for a couple of years Reallyawesome, Like we've been
(36:04):
talking about.
I just did it with you and Iknow that'll be coming out soon.
Between the podcast, the recordlabel, how do you kind of how
do you divide your time nowadaysbetween everything you got
going on?
Speaker 2 (36:20):
That's a fucking great question, man.
I know you know what it's liketo have to wake up and be like
which thing do I tackle firsttoday For me?
I wonder how you feel aboutthis, too, because I know you've
been doing this show for awhile now, where, like, the
podcast for me is very importantbecause it does keep me on a
schedule.
It's nice to have something tobe accountable to.
It's where I'm like I have todo this every single week, like
(36:40):
I have.
Like I have to do this everysingle week Like I have to, you
know, because now there's moreon the line.
I have sponsors I got to showup to.
That sort of stuff helps pay myrent, so, like I need to get it
done.
There's nice people who I havewho subscribe to my Patreon.
I need to show up for them too.
So that's like another thingthat I need to like put focus on
, but it makes me me.
(37:06):
It's very gratifying to do, andI love talking to people like
you.
Like it's nice to like havethese conversations.
That's that's that's likealways at the forefront, but
then, like band stuff isconstant.
I also yeah, I do a label calledsecret voice.
That used to not be that active.
I used to put out like maybeone record every two years, two,
two records every year, so likeit was never on.
It kind of made it like a lessis more sort of a thing where I
was like damn, he's putting outsomething, like he's got to
(37:27):
really believe in this.
But these last few years arelike the last two years it's the
most I've put out like kind ofin a row, so that's been pretty
crazy.
So the labels is subsidiary ofdeath wish, so they're the nice
shit happen for me.
So they came to me and werelike, let's like, let's do more,
let's do more, we will help youdo more.
Yeah, so because of that nowit's like I just fucking.
(37:49):
I got a band called so nagithat's about to drop, the band
called blind girls.
By the time this comes out,that record will be out.
I did a band called heavenlyblue band called infant island,
like all these fucking amazinglike kind of like screamo,
screamo adjacent bands that arethat are just mind blowing.
So yeah, it's that also keepsme pretty, pretty busy.
But we got new Touche Morialbum stuff on the horizon so
(38:10):
that's going to pretty muchswallow my entire life for the
rest of the year.
So I got to make the otherstuff also.
Speaker 1 (38:15):
Yeah, we appreciate everything you do, man.
I know it's a labor of love.
The podcast is something thatyou care about.
The label is obviouslysomething you care about.
Both are highly demanding andthe public gets to reap the
rewards of your love for music.
So we appreciate that.
And just wrapping things uphere, you mentioned something
(38:40):
new from Touche amore.
Coming down the pipeline, youguys been teasing some stuff on
your socials.
What's the rest of the yearlooking like for you?
Speaker 2 (38:48):
yeah, we'll have a new song out soon, uh, and then
awesome.
Yeah, uh, like new album by theend of the year and then a
whole lot of touring a whole lotof touring, yeah, man, so
that's exciting that's all.
It's all it's all happening.
It's taken us four years to dothis record, so not to eat up
more of your time here, but Iwonder how you like we were very
(39:09):
strong about like we don't wantto make a new record until we
feel we've exhausted the lastone, and obviously we had to
wait a little while to get thatone started to be played live
and all of that.
So we're like we need to,because you I look, I'm not
telling anyone how to live theirlife, but I feel like you need
to learn everything you possiblycan from your last record
before you make a new one.
Speaker 1 (39:28):
So that's what we felt we had to do.
Yeah.
Speaker 2 (39:31):
So it finally.
It felt like it was time, andvery, very, very happy with what
we've made.
Speaker 1 (39:39):
That's awesome man.
I can't wait to hear it.
I know there's a lot of peoplewho can't wait to hear it super
stoked.
Jeremy Bohm, thank you so muchfor your time here on the say
the Jerry podcast.
My man really appreciate havingyou on, really appreciate your
time.
It's been awesome talking toyou last question here.
Yeah, yeah, man, it's been,it's been fucking great.
(40:01):
Last question here what to you,is the meaning of life?
Speaker 2 (40:08):
OK, follow me down this rabbit hole, because it's
not a one word answer.
Help me, help me figure out howto how to correctly say this,
matt the moments when you loseyourself with a friend, right
like the moments when you loseyourself with a friend, right
like the moments when you'relaughing the hardest and all of
a sudden it's just like that,that pure moment of being free,
(40:30):
being like outside of yourself,right like when, all of a sudden
, the worries dissipate, thefears dissipate, the stress
dissipates and you're just likein a moment with someone that it
might be a stranger that youjust had this conversation with,
or it might be someone you'veknown your entire life, might be
the love of your life, it mightbe a parent, whatever it might
be, but the times when you havea deep connection with someone
(40:54):
in a whether, how short, whetherhow fleeting the moment might
be, but that time to me is likethe essence of what life is.
So that's, that's my answer,and I don't know if there's like
a specific way to phrase that,but that's the best I got yeah,
man, that's beautiful, it's justit's.
Speaker 1 (41:16):
It's all about being alive, man.
It's about those moments whereyou truly feel alive.
Whether it's a briefinteraction with a stranger on
the street, or hanging out withyour friends, or going to a show
, or writing an album, orsitting on the couch with your
significant other Anytime youfeel genuine connection.
I feel like that's what life isall about.
Speaker 2 (41:35):
Yeah, that's it.
Yeah, I think it's when youfind a genuine connection with
someone, whether it be astranger or somebody you know in
your whole life, but gettinglost, where you just don't feel
anything other than just thatmoment, that's life Hell yeah,
Awesome man.
Speaker 1 (41:52):
Well, Jeremy, thank you so much for your time.
My man Really appreciate you,it's my pleasure, Super, super
excited for everything you gotcoming down the pipeline.
Thanks for your time here onthe podcast and we'll talk to
you soon.
All right, jeremy Bohm here on the Sailor Jerry
podcast.
What a pleasure, my man.
We have probably talked more inthe last week here than we
probably have in the last decade.
I was just on your podcast andnow you're here on our podcast,
so thank you very much for yourtime.
Speaker 2 (00:17):
Oh, it's a pleasure.
It's an absolute pleasure.
I think I said it on theepisode we did together on mine,
where, though, you and I justhad our longest conversation the
other day.
You're someone I just look toas just like a fixture of LA,
and it's always so nice to seeyou when I do see you, so it's
nice to have another opportunityto chat it up with you.
Speaker 1 (00:38):
Yeah, man, absolutely stoked to have you on.
Truth be told, we were going todo this episode down the road a
little bit, maybe in likeanother couple of weeks, but you
just got back from OutbreakFest over in Manchester and the
FOMO is real.
There were so many great bandsand so much great footage coming
(01:00):
out of Outbreak.
I messaged you and I said, hey,man, any way we could kind of
push this up because I reallywant to get the lowdown on the
festival, because you guysplayed an incredible set and it
just looked like such anincredible scene.
The vibe looked fantastic.
So I figured we'd start with alittle bit of a breakdown of
Outbreak Fest, manchester, uk,for our listeners who don't know
(01:25):
.
Historical music scene we gotHerman's Hermits, the Hollies,
the Bee Gees, the Smiths, joyDivision, happy Mondays, stone
Roses, the Verb, the Fall Oasisinsane music scene.
But it's just one of thosemagical places for music and
obviously, as a touring bandfrom the States, you go to
(01:46):
London.
It's incredible, england isincredible, the UK is incredible
.
But there's just somethingspecial about Manchester.
From what I know about thefestival, it started in 2011.
Obviously, huge couple of yearsfor hardcore, big resurgence.
What was the vibe like at thefest and start us off and walk
(02:07):
us through the Touche Amore set.
Speaker 2 (02:09):
So we were lucky enough to play in 2022.
That was our first time everdoing that festival and I say to
this day it's like it was myfavorite show we've ever played,
because it was like there was alot to it.
It was our first time in the UKpost pandemic and we had this
new album that we hadn't had achance to play to anybody yet.
There was also like some stressthat got alleviated.
(02:30):
Like the second we hit thestage where it was like we were
never supposed to headline everytime I die was.
They unfortunately fell apart,so then they just basically
moved us up to the headliner,which is like flattering, but at
the same time like maybe from afrom a fan perspective, they're
like well, we already knew theywere playing.
This feels like potentially, usrockers know the the term
(02:52):
deadliner where it's like, oh,did this become the sunday
deadliner?
Uh.
But as soon as we hit thatstage, man, the entire room was
still filled, nobody left, andwe opened with the first song
off that new record and thewhole place sang it back and it
was like and we opened with thefirst song off that new record
(03:23):
and the whole place sang it backand it was like it was just
this huge, just like breath oflike.
Wow, this is I miss this somuch.
And wow, the love in this room.
It was just unbelievable.
Try not to read the comments,but a lot of people seem pretty
indifferent about people likemanchester, it's gonna fucking
piss rain the entire time.
What are you guys thinking?
Yeah, and it was a clear skiesall weekend until we hit the
stage.
Then it's just like torrentialdownpour.
(03:45):
But what's, what's cute is thatthe audience and the vibe of
like the whole scenario seemedto be like touche in the rain
was so cathartic and I'm like,yeah, okay, I'll take it like if
that, if that's the way to spinthis to where people are just
sad and wet, like like fucking,I'm down.
So it was amazing, man, likefrom far away, I was like, oh no
(04:07):
, is there a barrier?
But there wasn't a barrier.
It was just like there was likea lip so people could like
still roll up and like jump offthe stage and have a lot of fun.
It was like a really, reallycool experience.
Saw a lot of good friends.
That's the thing about thatfest too.
It's like you know what it'slike?
(04:29):
You've done a million festivals, those ones where all of your
friends are just there and youhaven't seen each other in a
long time.
So every time you open a dooryou just someone just goes, hey,
and it's like that's the wholethe whole time.
So that was a lot of fun, likeour stage was stacked where it
was like fucking, they went likenothing ceremony, poison, the
well touche, have hard basement,which is just like crazy.
Damn, yeah it was yeah, it was.
It was really really cool.
The band I was most excited tosee was that band, chat pile.
(04:51):
I don't know if you're familiar, if you've listened to them at
all.
Speaker 1 (04:53):
Yeah, I recently just got turned on to them.
It seemed super, super heavyand super awesome and they look
kind of like like unhinged onstage.
They.
They look a little wild Like agrumpy dude just kind of moping
around.
What was the vibe?
How were they Shirtless?
Speaker 2 (05:10):
shoeless the whole nine.
Someone asked how would youdescribe chat pile?
I say antisocial music.
It is like the antisocial musicand I love me some antisocial
music.
It's like it's.
It's real unhinges, the rightway to say it.
Like it's if you mix likefucking, like swans, big black
(05:35):
corn, like all of these weirdmix of just like they're so
unique and so goddamn cool andthey've only ever played
californ California one time andit was like at a festival, so I
didn't catch them.
So I was like today's the dayI'm going to see them.
They also all have like aliases, which I think is really funny.
Like the singer goes by ReaganBush, but like Bush spelled like
(05:56):
beer.
It's just, it's awesome.
Like Luther Manhole is theguitar player.
Speaker 1 (06:07):
It's just oh, oh, I like that, I like a good musical
alias.
Speaker 2 (06:09):
Yeah, they're, they're fucking cool.
So that was really exciting tosee and then so I wasn't going
to go back the next day, justbecause it was like kind of a
pain to get in and out of thefestival from like where I was
staying.
Yeah, I got dinner with afriend finished up that dinner
and looked at my watch and I waslike, like man, I know,
Thursday goes on in 90 minutesLike and I'm saying bye to my
friend.
What am I going to do?
What else do I have to do?
(06:29):
So I figured it out.
I got there and then ended uphopping on stage with Thursday
singing a song with them, whichwas a whole lot of fun.
Speaker 1 (06:36):
So it was just a fantastic weekend.
That's awesome, man.
That's awesome.
Yeah, the footage from your setlooked incredible.
I love the description of sadand wet when it comes to
describing the English rain andEngland in general.
Right, but yeah, I mean it justit looked incredible, man.
It looked absolutely incredible.
(06:57):
And after all these years Idon't think I still haven't seen
your band live, which isinfuriating to me and that's
something that absolutely has tochange and a cool moment for
Thursday as well, a band that weboth know really well.
I'm stoked to see them havingtheir legacy moment right now.
(07:20):
The last couple of years, maybethe last two years especially,
they've been just doing thesetours and whether it's playing
records front to back orwhatever, but it seems like
they've kind of crossed overinto that Hall of Fame type band
type band Totally and they andalso they dropped a new song,
which they haven't.
Speaker 2 (07:39):
they hadn't had a new song in a really, really long
time and it's so fucking good.
It's just like the chorus andit is unbelievable.
It was really exciting to seethem do that outbreak set
because they're they'reconsistent touring band, but if
you see them nine, nine and ahalf times out of 10, there's
probably going to be a barrier.
You know like they play likenice venues and stuff.
(07:59):
So to see them do an outbreak,set in front of kids who are
just like diving the whole timeyou could see it on their faces
that they're like this is sosick that's awesome.
Speaker 1 (08:07):
Well, thank you for the for the outbreak breakdown,
the post game show yeah, postgame show.
well, no, it's just cool, man,because one of the things that
that I've always appreciatedabout you and I think it's a
universally appreciated aboutyou, if I dare say is that you
are a genuine lover of music,man, and it's just, it's
(08:29):
something that's really cool.
It's really inspiring to see,because there's a lot of people
who might not understand this,but you know, sometimes the
music scene isn't necessarilyfilled with people who really,
really love music.
It's just like somewhere alongthe way they can, they can lose
it, or it becomes a job, orthere's all sorts of different
(08:50):
things that can happen tosomething that you love and
something that has changed yourlife or whatever.
So it's cool to, it's cool totalk with you about music,
because I know how much it meansto you.
You know what I'm sayingTotally.
Speaker 2 (09:04):
Yeah, no, and I appreciate that.
Yeah, I mean, like my first jobout of high school was working
at a record store and that jobchanged my entire life, like I
was such an introverted kid,like the idea of like having to
talk to random customers, evenjust to ring them up was like
incredibly stressful, but I hadsome amazing older coworkers who
, like, really took me undertheir wing and, like, not only
(09:26):
showed me so much music that Inever probably would have found
on my own, but also, just like,made me comfortable in my own
skin in a way, like they allbecame like older brothers,
older sisters to me, and so I'mthankful for that job, because
it not only, yeah, brought meout of my shell, but it also
showed me so much music that I,like I said, I probably would
have never found on my own.
Speaker 1 (09:49):
Yeah, that's rad and it seems like every kind of
artist or every person ingeneral has moments that mean a
lot.
But it seems like that recordstore job was kind of a pivotal
moment for your love of music.
What were some kind of artistsor people or or or bands that
kind of had an impact on youwhen you were kind of first
(10:09):
coming out of your shell?
Oh good, question.
Speaker 2 (10:14):
Well, so I was.
I mean, like I was a music fanreally really early on, like I.
I just it was the only thing Icared about.
Um, my brother was I have anolder brother.
He was always kind of more of avideo game guy.
He also does love music and heplays drums and stuff like that,
but like it was all I caredabout.
It was like I had to just gowhat?
There was a few different recordstores in my neighborhood, one
(10:36):
like right at the top of mystreet that had the best name
that I had no idea what it meantwhen I was a kid.
It was called DB Coopers, whichis like the hardest name for a
record store.
But I didn't know, I justfigured it was like the owner's
name or something.
But anyway, yeah, like so Iwould, I would you know, get,
get out of school and basicallyjust go sit cross legged on the
(10:56):
floor and go through all of theUCDs and there probably only be
like six added every single day,but I would still look through
all of them, read all the linernotes, see whatever I could find
.
But along the way I was obsessedwith Nirvana and Pearl Jam and
all that sort of stuff that wasso big for me and then
eventually it got really intometal.
I loved Korn, I loved Sepultura.
Speaker 1 (11:19):
A lot of that sort of stuff.
Speaker 2 (11:28):
And then I found hardcore through the OzFest 96
VHS because because earth crisiswas on that and I was like what
is this?
Found that?
And then around that same timeI also bought stripes in this
defiance because I saw thatchino from the deftones did a,
did a guest spot on it and I waslike yeah, wait what?
Because that was me sittingcross-legged on the floor
reading through all the linernotes and all of a sudden I see,
see Additional Vocals by ChinoMoreno and I was like wait a
minute, what?
So I bought that.
And then just it's so funny howyou're At that time in your
(11:53):
life like all music is just cooland you're not.
You don't know that there'sdifferent tribes to belong to.
You know what I'm saying?
It's like if you're a metal kidyou only listen about.
Like this is at a time in mylife where I was like I didn't
know that there was a differencebetween strife and like
sepultura or corn and earthcrisis, like to me it was just
heavy and aggressive.
But eventually you start tokind of figure that stuff out
(12:15):
where you're like, okay, this isdifferent.
But then then I I I startedworking at a record shop and
then, probably when I was thereis when I got way more into like
indie rock and stuff like that,which is when I found bands
like bell and sebastian and anduh, and that for me was like a
huge one so, like I found atthat point in my life, I was
listening to the softest stuff Icould listen to and then also
(12:37):
some of the hardest stuff, causeI was like obsessing over, like
when Jane Doe from Convergecame out the same time.
I was obsessing over like DearCatastrophe Waitress from Bill
and Sebastian.
Speaker 1 (12:47):
That's awesome man, and it's funny how Korn now I
get it.
But it's like you know, for meespecially Korn, and like that
first album, dude, I wore it outLike I fucking loved it.
I loved it and when it came outthere was nothing like it and
it was so sick.
And you know the same thingwith like chaos ad was a record
that I was sepultura that fuckman.
(13:08):
That record I listened to thatdefinitely still every now and
then I'll put on the first cornrecord, but it's gotta be, it's
gotta, you know, it's gottagotta be in a little bit of a
crazy place when I go back andlisten to that.
But both those records were soamazing, man and I think Strife,
especially in LA you can'tunderstate how kind of important
(13:28):
they were and what an impactthey had.
Because even for me I was veryanti-metal hardcore when all
that stuff was dropping, whenEarth Crisis came out, all that
stuff, I was on the fucking punktrain man.
I was not trying to hear aboutit, but I understood it was
there and even as it washappening it was having an
(13:48):
immediate impact, immediateimpact.
So it's cool, man.
I could see how those are bigrecords, big bands for you
totally.
Speaker 2 (13:55):
Yeah, man, I've said this before, but I wonder if you
how you feel were you a Nirvanaguy?
Did you like Nirvana?
Speaker 1 (14:00):
Big time yeah, yeah, yeah.
Speaker 2 (14:01):
So you and I are very close in age.
When Kurt Cobain passed, Igenuinely thought music was over
.
And I was so young that's sucha dramatic thing to feel.
I was like 11 years old and Iwas like music is fucking done.
And then later that summer orwhatever it was, I saw the music
video for Blind and I was likewait a minute, because that came
out in 94, shortly after Kurtpassed, and it was like fucking,
(14:25):
what is it?
God closes the door, opens thewindow, or something like that.
Speaker 1 (14:28):
Yeah, I was just like wait a second, wait a second.
What is this shit, this?
Speaker 2 (14:33):
is so much more aggressive.
There's people jumping all overeach other in this music video.
I don't understand.
It Gives a butthead, watchesthe music video and makes fun of
it.
But I'm down.
So I get that cassette and then, yeah, off to the races I go.
Speaker 1 (14:52):
Oh, dude.
And then that album too.
There's so many incrediblesongs, but just there's also
super funny songs like theknickknack paddywhack give a dog
a bone song yeah man.
Shoots and Ladders, shoots andLadders, shoots and Ladders.
But then, like dude, the lasttwo songs where he's like crying
and then like the studio doorslams, that record kind of has
like it's got all the fixings ofa classic it is, it's haunting,
it's heavy, it's scary.
Speaker 2 (15:20):
It.
It's an incredible album, man,and then a full circle situation
.
Speaker 1 (15:21):
We've now worked with ross robinson, the guy who did
that, yeah, and has done, andhas done a lot of these records
that were that we're kind oftalking about here.
Speaker 2 (15:26):
Like he ended up doing roots from sepultura, all
that sort of stuff.
So hearing all the insidebaseball on some of that stuff
was just like so full circle andcrazy and everything like that.
But yeah, yeah man, thoserecords were great.
They were pretty terrifying,pretty terrifying.
Speaker 1 (15:43):
Yeah, absolutely, man .
So how you know?
Let's get into you picking up amicrophone.
Let's get into Touche Amore.
First album came out in 2009?
Yes, Full length, yeah, 2009.
Okay, so how does that band getstarted?
How do you become the singer ofthat band?
Tell me the story so.
Speaker 2 (16:01):
I had played guitar in bands, always Like I'd always
just play guitar.
Speaker 1 (16:06):
Really, you're a guitar player.
Speaker 2 (16:08):
Yeah, always was, and not a good one, one that gets
by.
I learned I went from learningthe power chord to learning the
bar chord.
And once you learn that barchord it's even worse, because
you're like wait a minute, Ijust threw one thing down and
now I just lay my finger acrossand I get this thing done.
Uh, so, yeah, like I yeah, I'dalways play guitar um, the band
I was in before had broken up ornot, sorry, I had left and
(16:32):
wanted to just do something sodifferent, like I'd always kind
of had a bug to want to try tosing in a band or yell in a band
or whatever, but never hadreally the motivation or the
courage or whatever it was.
But I found myself without aband and I was like, maybe now?
So I kind of grabbed randomfriends that I knew that I liked
(16:55):
a lot, that, some of which I'dnever met before.
But I was like I think that guywould be cool to be in a band
with, think that guy would becool to be in a band with, that
guy would be cool to be in aband with.
And then, yeah, we wrote ahandful of songs and but what
was great was, I know, when youand I spoke, you had done bands
before the Bronx and everythinglike that.
So I was curious.
I don't think I don't think youand I really talked about this,
(17:16):
but once the Broncos you hadmentioned, you were now in a
band with people who are likeindustry minded, knew how shit
works, right, yeah, and how muchof a leg up that gives you when
you're starting a new band.
Right, because you start makingreally critical decisions
before you're even getting offthe ground.
Right, you're thinking ahead ina way that, like, if you're
just a garage band with yourbuddies who, like, haven't had
(17:39):
much experience, it's different,right?
So, like, with this band, I haddone all the boot camp like my
previous band.
I'd done all the boot camp, I'ddone all the fucking touring the
country in a van that's fallingapart every every two days,
driving 12 hours to a show thatdoesn't exist to like all the
hard shit, right.
So when two, when I startedtouche, it was like okay, we're
(17:59):
not gonna play a show until wehave something to sell, until we
have like a full demo to sellbefore we have like t-shirts
like we like we're only gonnaplay if we're opening for like a
cool band that's coming to town, like we're not gonna overplay
our hometown.
Like in our first year I thinkwe only played la a handful of
times and it was like our secondshow was in the Bay Area.
(18:20):
It was just like let's be smartabout this.
You know what I'm saying.
Speaker 1 (18:25):
Yeah, absolutely.
Speaker 2 (18:26):
And that was sort of it, and we were already doing
West Coast tours.
We did two West Coast tours, Ithink, in the second year we
were a band and that was aroundthe time that we ended up doing
the first LP.
But it was just like, yeah, itwas, we tried to be as strategic
as possible, um, so that wedon't.
Yeah, like I think there'ssomething about overplaying your
(18:46):
hometown when you're startingout.
Speaker 1 (18:47):
that can be detrimental because no one knows
you.
Yeah, you're like.
Speaker 2 (18:50):
Yeah, you can only get your co-workers and your and
your closest friends to comesee you play the same fucking
bar or open mic or whatever itis every other weekend?
Speaker 1 (18:57):
Yeah, absolutely man.
And when it comes to the band,how?
When it comes to you singingyeah, going a little bit deeper
how long did it take you to feelcoming from the guitar world?
Let's say, how long did it takeyou to feel comfortable on the
microphone, on stage, just beinga standalone singer?
Speaker 2 (19:19):
So you get gifted this thing.
When you're playing the kind ofmusic that we are trying to
make right, when it's notuncommon to, where you're the
kind of band that's playingfloor shows and the whole band
has its back to the audience youknow what I'm saying Everyone's
just throwing themselves aroundand whatever.
So those first probably like 30shows we were probably not
(19:41):
playing on the stage and it wasa lot of back to the audience
just flailing around, which theneventually people started to
know our words, which then mademe feel a little more
comfortable turning around,because now I can pass the mic
to people and I think that wasthe evolution.
It was like I'm scared to lookat people.
I feel uncomfortable a bit.
Oh, people know the words.
(20:01):
Now I can share this moment andthen eventually I'm facing the
crowd.
I think that's the turn of howit went.
That makes sense.
Speaker 1 (20:09):
Yeah, that's awesome man.
And as the band progressed,parting the sea between
brightness and me is survived byboth on Death Wish, stage 4,
huge record for you, huge recordfor the band.
And, of course, lament, both onEpitaph.
One thing that I think isspecial about you, which I
(20:30):
identify with personally as awriter, is you're super
vulnerable with your lyrics, andI just kind of wanted to wrap
with you about songwriting for alittle bit.
Was that kind of an automaticthing, like is that just who you
are, or was it a process of,like, trying to get stuff out of
(20:51):
your?
A lot of times writing iscathartic, it's therapeutic.
You write to just expressyourself, to heal yourself, but
some people that's just who theyare, like they're just going to
let it spill Is beingvulnerable lyrically.
Is it a difficult thing for you, or is it just who you are as a
writer?
I?
Speaker 2 (21:09):
think it is just who I am.
It's just what happens.
You know what I'm saying andI've always firmly believed that
.
It's not lost on me how manymillions of bands exist, right?
Everyone has every choice inthe world to listen to a million
different things.
So if someone is kind enough togive me their time, I owe it to
them to be as open as possible,to give as much of myself as
(21:35):
possible because they're givingme their time and I feel I owe
that to them to be as direct aspossible and let out whatever
I'm going through, because it'sgoing to be ultimately healing
in some respect for myself too.
But it's funny, we talk aboutyou're just talking about Korn,
and I think that and I've hadthis conversation with Ross
Robinson before, where I thinkwhat drew me to that band
(21:57):
without realizing it when I wasyoung and then as time went on,
was the vulnerability you- know,like that to me was the like.
There was elements in Nirvanathat were, that were vulnerable,
for sure, but Korn, I think,was the first band because, yeah
, you hear him crying on theserecords and stuff like that, and
eventually that's what I'mchasing.
You know what I'm saying?
It's bands that you and Ididn't talk about this, but I
(22:20):
would be curious to hear yourside on this too.
But it's like what you know.
You you were mentioning youwere not so into the metal corey
stuff when that was happeningin the 2000s and stuff like that
and I I you liked some of thatstuff.
For sure there's bands that Icertainly like, but it was
always I was very surgical inhow I got into those bands
because for me, if I can, if Ihear the vocals and it sounds
(22:42):
like they're making a voice asopposed to making this voice,
because it's how they're feeling, it's a big difference for me,
like I need to hear that thisperson means it, as opposed to
they're just like growling, likea monster.
That's like uninteresting to me.
So if the vocals feel genuine,whether I even like the music or
not, it's going to make meappreciate your band.
(23:03):
So that's always been importantto me, like the honesty and the
voice like you have.
You yourself, like there aresome vocal parts in your records
that like can give me chillsbecause I can tell that you
(23:29):
genuinely fucking mean.
Speaker 1 (23:31):
One of the things that first stands out is just
the ability to see yourself inthe music, in the lyrics
specifically.
It's way more open, it's waymore something that you can
relate to, and I thinkvulnerability is just a little
bit just further down that samerabbit hole.
You have some riders who arecomfortable just completely
(23:51):
sharing their lives in a waythat is super powerful and can
affect anyone who listens to it,and some people they have a
more surface level of that typeof vulnerability where there's
only so much they're going toshare and we're lucky to get it.
You know what I mean.
But it is super cool because Ifeel you on that and I really
(24:12):
always appreciate vulnerabilityin songwriting.
It's something that I think isvery tough to do and I think
it's something that you I thinkyou walk a line sometimes as a
songwriter.
You hear a lot of people talkabout how you'd never want to
make things too personal,because then it's like the world
(24:33):
as a whole can't really grabonto your song or whatever, and
I kind of get that, but I alsokind of don't.
Like it's.
The artistry is just to expressyourself how you want to
express yourself, and I dobelieve that when you're
censoring yourself for the sakeof making the song more
appealing to the general public,you lose something.
Speaker 2 (24:54):
I have found and I'm sure you have too that the more
specific, the morehyper-specific you get in what
you write, the more you're goingto connect with people.
Speaker 1 (25:03):
Yeah.
Speaker 2 (25:04):
Whatever that may be, whether you reference a fucking
street corner in LA, guess what?
That street corner probably hasthat same name in another town.
You know what I'm saying?
There's a million ways that youcan get really, really specific
and have it have a biggerimpact than you'd ever imagine.
Speaker 1 (25:20):
Yeah, yeah, and the emotions that someone can sing
about those specifics aresomething to where maybe, if you
generalize the lyrics a littlebit, you lose the emotion within
yourself when it comes toperforming it.
So then you might havesomething lyrically that people
can identify with on a generallevel, but they're not
(25:40):
identifying with the way you'redelivering it or singing it,
because it loses something whenyou put some sand on it or try
to cover it up with kind of tryto code your lyrics and stuff
like that.
So it is interesting.
It's a really cool rider torider kind of thing.
I really don't think there's aright way or a wrong way to
(26:01):
write a song.
As long as it's coming from anhonest place, I think that it
can land with somebody somewhere.
You know what I mean, totally,yeah.
Speaker 2 (26:12):
Like you know, the stage four record that we have I
remember driving around playingit, for I know you're friends
with them too Pat Kinlan, chuckChurch, pat Kinlan, so you know
that dude's personality right.
Speaker 1 (26:24):
Oh yeah, so he's the best.
Speaker 2 (26:26):
He's one of my favorite people I've ever met
through music, but he's also PatKinlan, right.
So I was driving around withhim and we got like four songs
in and he was just like, soyou're trying to alienate anyone
under 35 on this record?
And I was like I don't know, Iwas like this, like this.
I just this is what I had towrite, and I think that people
(26:47):
take loss in a lot of differentways, whether it's like the
actual physical loss of somebodyor maybe a loss of a
relationship.
This is the most uncreativething to say, but the whole idea
of like, once you release asong, it's not yours anymore.
Speaker 1 (27:03):
People can always turn it into whatever their
narrative is, and also, maybenot everyone in the world can
relate to that specific thing.
Things that happen to youthrough that experience that you
relate through song issomething that I think people
can understand.
So it's always just good tofollow your heart and write
what's on your mind.
I don't think you can ever losedoing that, and I think you do
a great job at that, my man.
Speaker 2 (27:23):
I appreciate that.
Speaker 1 (27:24):
I really do.
Thank you, let's go to theinternet here.
A couple of questions from theweb.
Okay, uh, dear Jeremy, what doyou think will come first?
World peace or higher streamingroyalties for musicians?
Oh my God, musicians, oh my god.
(27:51):
So okay, so we're gonna put,we're gonna.
Let's put the.
The middle east, obviously.
We got ukraine, we gotwhatever's happening in the
united states.
We got china versus.
We got spotify.
Yeah, it's spotify, apple music.
What comes first world peace orrespectable streaming royalties
?
Speaker 2 (28:09):
it's probably world peace you know what I'm saying
like, and I and I hope it isI'll take world peace over over
streaming royalties.
Fuck man, but man, but yeah,that's a debilitating question.
It's a tough one.
It's a debilitating question.
It's a tough one.
It's a tough one.
Speaker 1 (28:27):
Yeah, how about this one?
What's up Jeremy?
What's up from Australia we?
Got a lot of love fromAustralia, so shout out
Australia.
What is your favoriteAustralian band?
Speaker 2 (28:36):
Royal Headache, oh yeah oh yeah, fucking hell man.
What a band.
What a band.
Yeah, I love royal headache somuch.
I only got to see him one time.
Unbelievable band, but yeah, II think they're unbelievably
cool.
They just put out like a.
They just released like a liverecord.
That's, that's really, reallygreat.
(28:58):
One of my favorite front men ofall time, like most soulful
voice ever.
Just yeah, I love royalheadache awesome, man, awesome,
uh.
Speaker 1 (29:07):
So we got some pickums here.
So, okay, we got a couple.
I'm gonna, I'm gonna throw somethings at you.
You tell me which one you likebetter.
Okay, let's start with somebands here quicksand or thursday
thursday j Lizard or DillingerEscape Plan.
Speaker 2 (29:25):
I'm going to go, I'm going to be honest, I'm going to
say Dillinger Escape Plan, justbecause Calculating Infinity
was like a record that I trulywore out, so like that record in
particular can kind of like ownthe entire band for me.
So I'll say Dillinger.
Speaker 1 (29:39):
Awesome, sonic Youth or Pavement.
Speaker 2 (29:42):
Oh sorry, clayton, I'm going to say I yeah awesome
sonic youth or pavement.
Oh sorry, clayton, I'm gonnasay I'm gonna say I'm gonna say
I'm gonna say pavement nice uhminor threat or fugazi oh, I'm
gonna say minor threat onlybecause it's like it's a perfect
discography, whereas, like,fugazi has a lot of records and
(30:04):
there's and there's songs onsome of those records I'm less
interested in.
Speaker 1 (30:07):
So I think really you're going minor threat over
fugazi.
Speaker 2 (30:11):
I'm gonna go minor threat over fugazi just because
there's no, there's no throwouttracks with minor threat all
right, I got that debbie harryor patty smith I'm gonna go
patty smith just because becauseI truly enjoy like a straight
up weirdo you know what I'msaying.
Like like Debbie Harry isfucking amazing in so many ways,
(30:31):
so many ways, but but PattiSmith was like a true and true,
like out there, out there artistand I think that's sick.
Speaker 1 (30:41):
Nice, nice.
What about some current bands?
What about speed or drain?
Speaker 2 (30:44):
I'm gonna go speed because I really, really, really
love jim, the singer of thatband, and and have toured with
with him and his previous bandand I I love it and also I'm, on
on their behalf, annoyed atanyone who feels weird about his
flute thing.
I think it's fucking sick ashell.
I think it's sick as hell he's.
Speaker 1 (31:04):
I think it's fucking sick as hell.
Speaker 2 (31:05):
I think it's sick as hell.
He's playing flute on stage.
Speaker 1 (31:06):
It's sick as hell.
Innovation.
I don't think anybody saw theflute coming.
I don't think anybody saw theflute coming.
The first time I saw the fluteclip I was like fucking I'll
take it, I'll take it.
You know what?
Speaker 2 (31:19):
Give me something new in the genre.
You know what I'm saying Likegive me something that someone's
doing differently.
I don't care what it is.
Jonathan Davis had bagpipes.
Speed got flute.
Let's go.
Speaker 1 (31:30):
Yeah, absolutely, I'm feeling this one might be tough
for you, joyce, manor or DrugChurch.
Speaker 2 (31:43):
That's tough, because those are friends.
You're throwing the friends atme.
Oh boy, I'm going to go drugchurch.
Sorry, sorry, joyce, manor, I'mgoing to go drug church.
They make me laugh more.
I'm going to say that.
Speaker 1 (31:52):
Yeah, nine-inch nails or rage against the machine.
Nine-inch nails, cro-mags orturnstile.
Speaker 2 (32:00):
Turnstile.
Speaker 1 (32:01):
Ooh nice, I like that .
Let's go.
Labels real quick, let's go.
Death wish or revelation, deathwish epitaph or fat epitaph,
matador, sub, pop, sub pop, allright, what about sst or discord
(32:31):
, discord, nice, nice, all right, let's then.
What about?
What about?
Speaker 2 (32:32):
leonard cohen or john prine.
Leonard cohen, I mean I, I lovejohn prine.
I love john prine, but I am, Iwill fucking no, leonard cohen
is my guy.
Converge or?
Speaker 1 (32:41):
Oasis Converge.
Speaker 2 (32:46):
Sorry, I just got to see Liam in Manchester.
Speaker 1 (32:49):
Literally.
Speaker 2 (32:51):
And it was fucking amazing.
But you know what?
Oasis never made me mosh.
Speaker 1 (32:57):
There you go, speaking of slam dance or stage
dive, stage dive, nice Stalloneor Schwarzenegger.
Schwarzenegger Books or movies,movies, black Flag or the
Circle Jerks.
Speaker 2 (33:10):
Black Flag.
Speaker 1 (33:11):
Ramones or the Clash Ramones.
Terror or Agnostic Front Terror.
Nice, hell, yeah, awesome.
La, awesome, yeah, absolutelyOkay, almost done here,
appreciate your time.
A couple of hypotheticals foryou.
Okay, time machine, bill andTed style.
Okay, time machine comes down,door swings open.
(33:34):
Someone awesome is in there.
Leonard Cohen's in there.
He's like Jeremy, get in.
Okay, anywhere you can go inthe world, world anywhere in
history.
Where's the first place you'regoing and why?
Speaker 2 (33:47):
okay, so you were nice enough to send me this
question ahead of time, so nowI'm thinking.
Right, it's an incredibly hardquestion, but I'm being a music
fan, I got two.
I got two things that I came upwith and I know that's cheating
because I'm giving you two, butexperiencing the Greenwich
Village era in New York City inthe 1960s Ooh Getting to see
(34:08):
like Bob.
Dylan and Phil Oakes and DaveEnronk and all these people in
these like little cafes in thatera Probably pretty fucking
amazing.
And just to experience whatthat felt like in that time
Music was so alive, experiencewhat that felt like in that time
music was so alive, uh or orother answer in the mid 80s, the
(34:28):
revolution, summer era, discordrecords, washington dc to be
able to see bands like fuckingright to spring and embrace and
like all of that sort of stuffwhen that was all happening also
would be pretty fucking cool sothose are my two answers, but
it's tough to say which one.
I would want more I kind of.
I love I think I romanticizethe idea of New York in general.
So I think, like I think I'mgoing to go New York City,
(34:49):
greenwich Village era likeprotesting.
Speaker 1 (34:51):
Yeah, that's a good one.
Yeah, that's a good one.
I like it.
What about you get home?
You pop open a beverage.
Leonard Cohen comes out of thebottle, okay, and he says,
jeremy, I'm going to grant youone wish.
Okay, you have one wish.
Could be anything, whatever thehell you want, could be selfish
(35:15):
, it could be diplomatic, itcould be anything under the sun.
What's your one wish?
Speaker 2 (35:24):
Anything under the sun.
What's your one wish it's hardfor me not to make this heavy,
but I would love a cure forcancer.
Yes, hell, yeah, yeah, that'san amazing wish.
Yeah, that's the one Too manypeople in all of our lives
affected by it?
Speaker 1 (35:44):
Absolutely, man.
That's what I'm talking about.
That's a one Like too manypeople in all of our lives
affected by it?
Absolutely, man.
That's what I'm talking about.
That's a great wish, Cool man.
I just want to kind of touchbase on a lot of the other stuff
that you got going on in yourlife.
You've got a record label.
You've got a podcast the firstever podcast you've been doing
now for a couple of years Reallyawesome, Like we've been
(36:04):
talking about.
I just did it with you and Iknow that'll be coming out soon.
Between the podcast, the recordlabel, how do you kind of how
do you divide your time nowadaysbetween everything you got
going on?
Speaker 2 (36:20):
That's a fucking great question, man.
I know you know what it's liketo have to wake up and be like
which thing do I tackle firsttoday For me?
I wonder how you feel aboutthis, too, because I know you've
been doing this show for awhile now, where, like, the
podcast for me is very importantbecause it does keep me on a
schedule.
It's nice to have something tobe accountable to.
It's where I'm like I have todo this every single week, like
(36:40):
I have.
Like I have to do this everysingle week Like I have to, you
know, because now there's moreon the line.
I have sponsors I got to showup to.
That sort of stuff helps pay myrent, so, like I need to get it
done.
There's nice people who I havewho subscribe to my Patreon.
I need to show up for them too.
So that's like another thingthat I need to like put focus on
, but it makes me me.
(37:06):
It's very gratifying to do, andI love talking to people like
you.
Like it's nice to like havethese conversations.
That's that's that's likealways at the forefront, but
then, like band stuff isconstant.
I also yeah, I do a label calledsecret voice.
That used to not be that active.
I used to put out like maybeone record every two years, two,
two records every year, so likeit was never on.
It kind of made it like a lessis more sort of a thing where I
was like damn, he's putting outsomething, like he's got to
(37:27):
really believe in this.
But these last few years arelike the last two years it's the
most I've put out like kind ofin a row, so that's been pretty
crazy.
So the labels is subsidiary ofdeath wish, so they're the nice
shit happen for me.
So they came to me and werelike, let's like, let's do more,
let's do more, we will help youdo more.
Yeah, so because of that nowit's like I just fucking.
(37:49):
I got a band called so nagithat's about to drop, the band
called blind girls.
By the time this comes out,that record will be out.
I did a band called heavenlyblue band called infant island,
like all these fucking amazinglike kind of like screamo,
screamo adjacent bands that arethat are just mind blowing.
So yeah, it's that also keepsme pretty, pretty busy.
But we got new Touche Morialbum stuff on the horizon so
(38:10):
that's going to pretty muchswallow my entire life for the
rest of the year.
So I got to make the otherstuff also.
Speaker 1 (38:15):
Yeah, we appreciate everything you do, man.
I know it's a labor of love.
The podcast is something thatyou care about.
The label is obviouslysomething you care about.
Both are highly demanding andthe public gets to reap the
rewards of your love for music.
So we appreciate that.
And just wrapping things uphere, you mentioned something
(38:40):
new from Touche amore.
Coming down the pipeline, youguys been teasing some stuff on
your socials.
What's the rest of the yearlooking like for you?
Speaker 2 (38:48):
yeah, we'll have a new song out soon, uh, and then
awesome.
Yeah, uh, like new album by theend of the year and then a
whole lot of touring a whole lotof touring, yeah, man, so
that's exciting that's all.
It's all it's all happening.
It's taken us four years to dothis record, so not to eat up
more of your time here, but Iwonder how you like we were very
(39:09):
strong about like we don't wantto make a new record until we
feel we've exhausted the lastone, and obviously we had to
wait a little while to get thatone started to be played live
and all of that.
So we're like we need to,because you I look, I'm not
telling anyone how to live theirlife, but I feel like you need
to learn everything you possiblycan from your last record
before you make a new one.
Speaker 1 (39:28):
So that's what we felt we had to do.
Yeah.
Speaker 2 (39:31):
So it finally.
It felt like it was time, andvery, very, very happy with what
we've made.
Speaker 1 (39:39):
That's awesome man.
I can't wait to hear it.
I know there's a lot of peoplewho can't wait to hear it super
stoked.
Jeremy Bohm, thank you so muchfor your time here on the say
the Jerry podcast.
My man really appreciate havingyou on, really appreciate your
time.
It's been awesome talking toyou last question here.
Yeah, yeah, man, it's been,it's been fucking great.
(40:01):
Last question here what to you,is the meaning of life?
Speaker 2 (40:08):
OK, follow me down this rabbit hole, because it's
not a one word answer.
Help me, help me figure out howto how to correctly say this,
matt the moments when you loseyourself with a friend, right
like the moments when you loseyourself with a friend, right
like the moments when you'relaughing the hardest and all of
a sudden it's just like that,that pure moment of being free,
(40:30):
being like outside of yourself,right like when, all of a sudden
, the worries dissipate, thefears dissipate, the stress
dissipates and you're just likein a moment with someone that it
might be a stranger that youjust had this conversation with,
or it might be someone you'veknown your entire life, might be
the love of your life, it mightbe a parent, whatever it might
be, but the times when you havea deep connection with someone
(40:54):
in a whether, how short, whetherhow fleeting the moment might
be, but that time to me is likethe essence of what life is.
So that's, that's my answer,and I don't know if there's like
a specific way to phrase that,but that's the best I got yeah,
man, that's beautiful, it's justit's.
Speaker 1 (41:16):
It's all about being alive, man.
It's about those moments whereyou truly feel alive.
Whether it's a briefinteraction with a stranger on
the street, or hanging out withyour friends, or going to a show
, or writing an album, orsitting on the couch with your
significant other Anytime youfeel genuine connection.
I feel like that's what life isall about.
Speaker 2 (41:35):
Yeah, that's it.
Yeah, I think it's when youfind a genuine connection with
someone, whether it be astranger or somebody you know in
your whole life, but gettinglost, where you just don't feel
anything other than just thatmoment, that's life Hell yeah,
Awesome man.
Speaker 1 (41:52):
Well, Jeremy, thank you so much for your time.
My man Really appreciate you,it's my pleasure, Super, super
excited for everything you gotcoming down the pipeline.
Thanks for your time here onthe podcast and we'll talk to
you soon.
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