motel void

You are from LA, California. Could you please describe the local music scene a bit? What’s your favorite venue in LA?

It’s sort of hard to point to a specific DIY scene, although I’m sure there are many. That being said, I like Leaving Records out in Highland Park/Mt Washington, as well as 100% Electronica. But in general it feels post-scene. Less self-incubating and more spread out. My favorite venue is the Hollywood Bowl. It’s festive, you can bring your own food and wine, get a cheap seat in the back, and reflect. I also really like the Moroccan Lounge— it’s small, in downtown la, and it has great sound. I opened for Ruby Haunt there last December, and the sound person was incredibly nice despite all my fear.

Could your recommend some of your favorite local bands?

I have a few friends who I recommend, Ruby Haunt, Windser, Gregory Ackerman. All a bit different from one another, but bound by tenderness. Again I love what Leaving Records and 100 percent electronica are doing, but I think Rage Against the Machine is our best export:)

‘Corn Cobs’ was one of my favorite songs from 2022. Truly a fantastic song. How were you satisfied with the reception of your Type A-C albums?

There’s a learning curve, and I was so nervous about it (first release) that I kind of just did my best. But I’m happy that it got some reception—even the fact that you love Corn Cobs warms my heart. I think I’ll be releasing music pretty frequently so I’m excited to see these get relooked at down the years. I love Type A.

You released Type A and Type B on tape. Will you return to this format with your future releases?

Yes! So I think I’m going to invest in some sort of digital to tape situation. For Type A Type B I sent it off to Cassette Works in Pasadena, and while it worked well the lead time is very long. So this upcoming album I think I’m going to try and figure it out, that way I can always just have a few tapes of new releases, and do it last second!

You’ve just put out your new single ‘Stained Glass Curtain’. Will it be a part of your new record?

Yes! It’s the first single off of an upcoming album called “Ladders of Misfortune”. To be honest it’s not done yet. But it’s shaping up to be really special— it features a lot of collabs with friends. Going to probably release one to two more singles before the release. Lots of work to do!

Your influences right now?

I feel like I’m currently really influenced by things metamorphing, like what happens after death, and dreams. My partner and I went to Powells bookstore in Portland and books just started jumping out at me and so I’ve been reading a lot of metaphysical stuff about spirits talking to people via ouija boards in the early 1900’s, and out of body experiences. Feeling this idea of consciousness as everything. Also my dad just passed and it’s changed my life. The permanence of it, not seeing the lights go on and off. But at the same time, the impermeable presence that exists thereafter. I’ve discovered some of his art from the 70s and so this is a huge inspiration.

Could you describe your writing and recording process?

In terms of writing it’s a complete hodgepodge. I usually just start with a place of I want to do this. Like I want to do something that is GUITAR, and like urrggghhhh. Like it’s an emotion or an energy level. And then it’s just an accumulation of this. And often it’s spaced out, sometimes over years, and so maybe one idea started a bit urrrggghh, but then I come back to it half asleep at 2 am, and I’m like why are you so urggghhh, let’s calm down and fall asleep. I think if there’s anything I ever want to do with this, it’s make songs that pull you in different directions, which is often how I feel in life anyways. I’m going one way and the other way at the same time. My favorite music does this too.