Insecure Actresses

Pernilla mp3

Insecure Actresses needs a drummer and a bassist!

(from Andrew) Hylo. It appears iax is getting some street cred. Lately, I've been wondering if a diff "model" would work for a band. I'm not an anal rehearsal junkie, I never have been. I think one or two days of rehearsing has always been good enuf for me. If I can manage it, I'd like to be in Oslo, Norway. Why? bc Norway is a good country. However I could imagine being bandmates w/ two a$$-kicking girls from anywhere. Gigging locally is always nice but I'm not sure playing a set in Oslo every 2 weeks is ideal. Jumping in a van, however, to tour around a bit is quite fun, so basically you'd just need to think that flying somewhere to start a tour after a few rehearsals is fun (I think this works but not sure). Anyway, on stage I don't want ppl to look at me. That's bc I look funny. Everyone will look at you instead! O, happy day! ttyl

Drummers: Are there any female drummers out there looking for a band? My main criteria is precision about where the beat is and how accurate you are about it. If interested, find me :)

Bassists: The ideal fit is a female bassist who loves music and is looking to challenge herself. The bass parts are not that easy so we can sit together and work through them one-on-one. If interested, find me :)

Q: Why only women? A: I am tired of being "alpha'd" or AMOGGED or w/e you want to all it, so fuckoff.

Q: What if someone asks, "Did you write the songs or someone else?" A: Maybe you could say, "Actually someone else in the band wrote the songs."

Q: Thoughts on getting signed? A: My guess is that they'll name a favorite/favorites and divide the band, or subvert status w/ lineup changes (they seem to hate us already but w/e).

Q: Isn't there a lot the labels can do to bust up the band's flow through foul play w/ technology? A: I completely agree, 100%. Do you have any ideas?

Q: Thoughts on gear? A: This is an interesting one. Obviously, the gear you choose is 100% up to you. I'm pretty particular abt this stuff but that's just me. Here where it gets interesting: I think you may ALREADY have endorsement potential! This is bc I get the sense that the MI (musical instruments) industry is trying to keep us out, and in the bigger music industry picture, there is foul play w/ destruction of build quality. This may or may not include Guitar Center, some newer Fenders and/or Gibsons and maybe even eBay/PayPal and others, on behalf of bad musicians who can't win fair and square (w/ skill, style and maybe even some swag!). This means that if you are in the band or are even known as a fan, maybe musical instrument ppl could be paid anywhere from $1k to $1bn by shady ppl not to give you any form of service. The humor is, this of course is only amazing free marketing for us as super-music-people! So then my guess is that the gear you use could be something in itself, rly. Alternatively, why don't we just start an iax online store for musical instruments that don't sound like "moist a$$"?

Q: What's w/ all the side stuff under the "Experiments" tab? To me, these are more-or-less like "side quests". So say, for example, you have some ideas abt the industry, we can build something to "do it", or, you have good ideas abt the online store I mentioned in the last answer or maybe the "label" aspect of the band, then you can easily take it and become the CEO of this particular aspect (ppl seem to like the term "CEO"), I don't rly care, what I care abt is whether or not you care abt it, and if you care then I don't rly care! At this pt assuming you are a woman I would guess something interesting abt France and then that would be cool too bc then every1 wins. As for the $$$ part, I don't rly care too much abt that either as long as I have a bed and some spaghetti.

Q: What abt the band image? idk, you tell me.

Q: Ppl who feel like they're from the industry are starting to weirdly approach me. What do I do now? Music is life and death, it's not that trivial. IMHO these sorts of shady scenarios should be reported as loudly and violently as possible. My thinking is that if you take the $$$, your family and every1 you are associated w/ could be slaughtered for a few generations. Alternatively, if every1 knows you called out the BS, the sky's the limit and there should be various opportunities for you (in the long run). Anyway, if they seem to be so intent on owning you, why not own them?

Q: Did you know some call you the best guitarist from NYC? I don't even have a Wiki or a bassist or drummer! :)

Q: What do you use for production and how did you learn it? I use Logic.

Q: How are we going to pay for touring? Do I need to be rich or something? Ha! I would hope you are. :) Well I've been thinking abt touring bc it's sort of expensive, you need a van and motel rooms and things, and also, gas and something to eat, and then if the van breaks down bc you didn't pay enough for one (you get the idea), etc. Well I basically have no $$, but anyway right now I'm thinking that ppl just wanna hear more Insecure Actresses tunes, and then we'll go w/ the flow. In other words, expect me outputting another double record by mid-2017, as long as I can manage to actually get some working guitars and amps here in New York :)

Q: Well how do you plan to make $$? I want to build a brand called "Wagnyr Music". The problem is, I sort of don't think anything shouldn't be free. In other words I think everything under Wagnyr Music should be free. You might be thinking "Hey good idea idiot no $$ then". Well yeah I know but the problem is what if I am right and charging to use any of it looks rly bad? So my ideas are then a) build StettinOS, a mobile OS, and charge for app store downloads (10%), b) then do something creative like sign bands onto Wagnyr Music and sell things like trading cards and coins, c) When any of the stuff gets to "that point", then introduce $$ into it in a sensical way.

Q: You took lessons from Wayne Krantz? Should I know jazz? Haha that was lucky. Maybe 8 or so lessons over a small NYC workshop (damn I left a nasty gig in Florida early for that!), a few one-on-one (I suck), the mp3s that were on his website way back when (scales, chords, rhythm, phrasing, 4-fret primer, rhythmic imagination[!] ), his awesome instructional booklet An Improviser's OS (and The Advancing Guitarist, recommended in An Improviser's OS), and tons of live performances that I either DL'ed or just secretly took w/ a Zoom recorder (sorry 55 Bar, I'm older and wiser now). There was a gig from Stockholm, Sweden in 2000 floating around w/ amazing sound, I'm not sure what happened to it. Anyhow my time still sucks but that could be a point of humor for the bassist I think. For drums IMHO anything to add to the band's flow live. If we wanted to have a sense of humor we could potentially take some stages as more of an improvisation outlet w/ a jazzy twist I guess (but only a "twist" bc I am far from Wes Montgomery), and that could be something cool to aspire to, bc [something-something].

Q: Do you use drugs? No. I personally think once you hit 20 years of age, it's more fun to practice (plus, it's not good for time).

Q: Tell us more abt your thoughts on drugs... weren't you in Berlin for a while? Yeah. Tons of drugs but no gfs. Seriously haha so hilarious bc the ladies don't rly go for addicts like ever. So that's the thing I guess, so fun you are w/ too much drugs but then only lies and made-up stories abt hus. (Just my 2 cents, anyway)

Q: Now the ladies want you to continue on abt drug use. Well, idk. Drugs cost $$, sometimes tons. I did not rly have any money in my 20s. My drug was definitely alcohol, meaning my beer fund never had anything left over for literally any drug use. I just turned 30 and so I sorta think giving $$ some more thought now makes sense. In my 20s I had 2 jobs in NYC, one normal one and one weird one, a gig analyzing mainly tech stocks and an internship at Roadrunner Records in NYC near Union Sq. Neither paid much but I learned a ton so I think 20s is rly good for learning. Of course someone might call me an arrogant prick for saying this but over the past 10 years I can count on one hand a "friend" [something-something] while you, whoever is talking junk, prob have friends you hit up all the time whenever so who then is the arrogant one? Exactly so I'm just making a point that it's tougher to soak things in if you take drugs in your 20s. Also I sorta think meeting as many girls as possible is hilariously ill during your 20s (creepy at 30) so do you seriously think you can play the game as accurately as possible if you're getting high? I doubt it, so exactly.

Q: What are ppl saying abt Insecure Actresses? I have no idea, you tell me.

Q: Well, have you noticed anything strange? Again, you tell me. I just had to spend way more time than I should have in a hospital taking large doses of lithium. I just paid 70$ to fix my guitar's intonation at a local guitar shop and the "A" and "G" strings weren't intonated properly (both diabolically flat at the 12th frets, maybe slightly humorous but not rly bc I'm down 70$ and I don't want to bring it back bc it's a new guitar). If the band is getting attention, then awesome, but I will not lie, I am sensing some seriously shady shyt all over the place. If the industry doesn't like us, what are they going to do, give us death threats? Big whoop. What is so controversial abt iax? We care abt our musicianship, our authenticity, our production, our live show, our responsibility to society in an era where villains seem intent on destroying the young and innocent? Well that is for you to tell me and then I will probably simply say "Yeah, agreed". (Pizza anyone? haha)

Q: OK, so what is Wagnyr Music again? Just goto :)

Q: Coolio. Anyway, what are your thoughts on recording? The only thing I won't compromise on is me being the producer. That's sort of by default in the sense that I don't have $$ to pay a producer, and then the idea that I simply don't trust any producer doing the mic placement and production techniques which then makes everything sort of "chicken-and-the-egg". So my thinking is that the production community (by that I mean rock producers! IMHO hip-hop mixes never fell off) rly did something bad by botching mixes, and by that, I mean crucial, make-or-break, high-profile mixes over the past 10 yrs or so. It's like the music terrorists paid them 10x to slaughter the mix. No good my friends, no good! You will never touch anything I do ever unless you are able to screw up my soundboard at a live show, I assure you! Here is the other thing: I never took a class or a training course in "rock production"--I got Logic and some plugins when I was a sophomore at university in NYC, and other than some helpful pointers from my mentor Larry who I met at the bar 1020 when I was a senior, I am pretty much self-taught and have no idea what "the right way" is! So everything is sort of hacked together and so this may be why you might think my mixes are sort of weird but in a good way, I hope.

Abt recording drums: My first question is, would you prefer doing the recording? My second question is, do you know how to mic drums and do you have all the mics and things, bc I don't have the $$ to afford these things and a studio to record them in, and I am fairly anal abt recording guitars, but I have no idea what I'm doing as a producer w/ mic-ing drums!! :( My third question is, is your mic'd drum sound better than the drum sound I'm getting on my tracks, and if so, is it better enough to warrant the hassle of all the micing and studio techniques to record it, instead of, say, using Haake's refined sound in Drumkit from Hell? My fourth question is, do you think fans would prefer you to record, or would they rather hear my sort of simplistic, easy-to-remember drum sound, and then go to live shows to hear how you sort of flow live? ::shrug::

Abt recording bass: I kinda like recording bass. I think Billy Corgan recorded D'arcy Wretzky's bass parts on the recordings, and live, she was basically the coolest woman on the planet. (haha) What I would think abt is: "Which bass amp do I want to play? Which bass? How does it represent us?" I have no $$ but I'm fairly obsessed w/ my gear, and so, hopefully you too :)

Q: Why do you play a Warmoth guitar? Don't you have to build it yourself? I always thought signature guitars are cool. When I was a teenager I had a green Yamaha RGX-TT Ty Tabor signature model, but the neck itself had intonation problems. tbh with all the shady crap going on these days, for the most part I don't rly trust a guitar company to make a guitar where everything works properly, like, what am I gonna do, spend $$ on a guitar that doesn't work? Or endorse others getting F-ed w/ a guitar that doesn't work? Man, that is some crazy stuff, it just makes me feel all insane all over.

I like Warmoth. The feel special and uniquely USA in my mind. It's just a crazy company to me. I'm pretty sure their quality control is grade-A. Well, as far as I'm concerned, if ppl are curious abt my stuff, my thinking is, "Who are you?" Like, what makes you different? That to me feels sort of American. like, I picked out some funny looking Warmoth parts, now what guitar would you pick out, and what makes it you? Or, what makes it, all abt you? And then abt your tone, what thinking did you put into it? And your playing, how is it uniquely you? or what personal twist did you put on it, etc. I mean that is simply only if you care what my opinion is, so just my 2 cents.

Q: What do you think of Meshuggah? A: The best show I've ever been to IMHO was Meshuggah opening for TooL at Nassau Coliseum, Long Island on Halloween in 2002. I was sort of mesmerized by Meshuggah, mostly by the drums and imposing height of the guitarists. There rly weren't that many ppl there, it was just sort of a standing crowd of epic music fans observing this crazy Scandinavian band w/ all the lights on. TooL then opened up w/ Cold & Ugly and they were touring for Lateralus so I stood front row right in front of Adam Jones it was just the best show I'd ever seen! Well my interpretation of Meshuggah is that they are sort of absurd for absurdity's sake, like this whole idea of ludicrous metal polyrhythms and insane drumming was just so absurd as a fan of Lateralus which was so awesome w/ these sorts of things, but then Meshuggah was just so crazy, so maybe they wanted to create a concept that was just so impossible to mimic or duplicate bc it was so extreme and then they just called it "Meshuggah", and this is why I've been sort of amused by the Meshuggah-esque stuff. Firstly, the 8-string guitar as a downtuned metal guitar was only Hagstrom and Thordendal, and AFAIK they were first using a brand called "Nevborn", which by the way if any of the djent guys were using Nevborn than it would have way more "swag" IMHO, and so the idea of anyone using an 8-string is just so crazy to me. And so this offshoot of "metal" based on Meshuggah-esque stylings has felt crazy bc the idea of Meshuggah itself is crazy enough! I def would have never guessed this would happen, and then, Meshuggah's fan base and then how many ppl who knew who Meshuggah are growing to such a massive size makes me wonder, how long have these ppl liked Meshuggah? bc in the past I'm pretty sure the earlier you liked a band, the cooler it made you, but then w/ all these crazy later Meshuggah fans, there's just something weird abt it, and then it seemed Meshuggah became like a new Metallica where like, you have to play drums like Tomas Haake and this is where I think most if not all women disagree w/ rock music today and why I think female drumming may generally actually be superior to male drumming nowadays bc there are only a handful of guys out there, maybe less than 10, and these days maybe zero new ones (maybe!), who can rly anchor a "drum band", like a band whose existence is the awesomeness of the complexity of the drumming IMHO (here's my list: Peart, Portnoy (Nopthon), Carey, Haake, Jordison, Duplantier, Harrison, Minnemann, of the top of my head).

Q: Any ideas abt the live show and the "look" of the band? A: I just recently saw Meshuggah at Playstation Theater in NYC. They have such an amazing live sound and I think this was very consciously crafted by them bc the mix of the guitars and things like the bass kick and the snare are just so punchy and clear together, so I like that. I rly hate that waiting for the next band takes so long. Don't bands soundcheck before doors open? I don't rly get this, why don't you just have everything mic'd up instead of making ppl wait, doesn't it just take a second set of mic things? Why are the settings reset? It's just such an anxious period of time and then they play this weird music w/ all the lights on, song after song, and then the band starts playing and maybe ppl are sort of less into it than they could be, idk. The other thing is, I'd imagine it could be cool to just sit at the front of the stage after a show (this is of course only if there's no one after you or maybe during takedown) to hang out and talk w/ ppl but maybe you'd "disagree".

I think a lot of music fans may be tired of overblown set design. Lights are one thing, like Meshuggah has the craziest lights bc I think there is some crazy dude who flicks light switches in sync w/ their insane rhythms. But set design idk, it doesn't feel as cool as it used to be. Maybe something simpler and more concise makes more sense these days. Also, I'd like to be considered worthy of "marriage" to a nice girl and so something presentable would be nice, maybe you have some ideas, idk. I went to the FIT Museum on 27th the other day and they were showing an exhibit on "uniforms". I don't know much abt fashion but I do think it is interesting and so I guess it could make the band look way cooler.

Q: Fashion huh? What are your thoughts on jock types? A: I don't know as much abt the EU, I mean as far as I can tell boys who play soccer in Europe are pretty nice kids. I grew up playing American football and lacrosse and I get the sense that athletics in the HS and collegiate level are causing major headaches. In other words, the ladies aren't going for "jocks" nemore. Why is this? I think they are being perceived as more creepy and rapey than they used to be, which was sort of funny and "broey" abt lame pickup attempts. I was in university when a scandal hit Duke University's lacrosse team abt rape of an African-American stripper, and then soon after some awful murder stuff dealing w/ Virginia Lacrosse, and I get the sense that women are seeing this stuff as more or less describing almost every male lacrosse player, like way hyper-racial and just too much. So then is it a good idea to get into athletics if you are a boy in school? I don't rly know, I guess maybe not, maybe it depends on the sport and community, but these are weird times, I mean there's all sorts of awful things going on these days and I think HS kids pretty much know everything and so talking abt it makes life definitely not boring, but neway, if the girls are pretty much out-ing the "jock" type then this might make life way more tolerable for normal kids (haha)!

Q: What else do you think you (we) can do to get more ladies at the show? A: Haha! That is the question of every rock band ever! :) Well, one thing I've noticed is that rock shows and the rock scene feel way porn-influenced IMHO. Now, rock has always been porn-influenced but I mean this in a negative way. This is bc IMHO the internet and "incognito mode" and sites like Pornhub and YouPorn have made ultra-overboard porn insanely accessible to the mainstream, whereas in the past, the rock scene, especially in the USA, had much more of a sense of humor abt the idea of porn, or making porn, especially in a rock sense, bc being a rock star was kinda supposed to be funny abt making porn and such, even if it was just to be funny, it def was funny, whereas now to me it kinda feels like there's like this detached, abrasive vibe from the rock scene, where it's not as fun and so you're standing in the crowd and these jerks nearby are talking rly loud, making references to weird stuff I don't wanna hear abt, using obnoxious innuendo and I think that just turns a lot of cool ppl off to going to rock shows, especially women! And that is just a tragedy bc there ain't nothing like seeing a hot girl at a rock concert! So the past history of rockers making jokes abt porn is interesting bc in my mind it's still sorta there but in a diff sorta way, where being porny is cool and so ppl will try to give off this vibe of being a porn dude, but then the way its done is sort of weird due to the disconnected computer aspects of it yet the creepy sort of lines seem to be the one that win record deals and such! but yet still the ladies are not so into that, so then IMHO this insane buildup or divergence has gradually occurred where dissatisfaction amongst the ladies has become more and more extreme and so demand for any sort of acknowledgement of this gradual buildup is just at an insane, extreme level! And so I don't want the idea of having female members in Insecure Actresses to be abt some sort of girl power thing, I mean that's OK but I think women, especially the music type, are smarter than this so having some sort of sound where this isn't the case is impt I guess, I mean dudes will prob go to any rock show w/ a hot girl in the band but man if the music isn't good then I'd just die! And that's the thing, I honestly don't think anyone wants to hear me talk or say nething, I mean that's just in general in my life as I am funny-looking enough so I think I should simply just shut up and play my guitar as much as possible, so then I think the more you talk and voice your thoughts and opinions the more ppl will like us as a band and then I think women could come to a show for that reason too.

Q: What more can you tell us about fashion? A: I think this is an interesting question because I think if anyone in rock made an effort at this, this in itself would make it a "successful" band, or at least, potentially draw crowds rather than empty venues. This is bc IMHO the world or at least young ppl in general these days seem to be in a decent amount of flux and negligence by the rock world has a lot to do with it. For example, recorded sound and then MTV visuals generated a lot of flow for the consumer, which in this case was "society" as a whole, and over the past decade or two this natural state of things or status quo has been entirely disrupted! Disrupted by: manufactured bands, artificiality, etc. This is especially weird because in pop this is sort of artistic in itself but supposedly "authenticity" is and always has been the name of the game in "rock". I gave this one some thought: are there any women in the world not interested in fashion? What about, "highly" interested in fashion? Simultaneously, what is rock fashion today anyway? In the 80s, people wore Megadeth shirts or Danzig jackets or Motorhead patches, and still to this day, this seems to be more or less the way to go at live rock shows, or, on the softer side of things, the well-strategized band T-shirt. I'm not sure about this but I sort of think the industry deciding that the "360 deal", or splitting everything down the middle 50/50 including merch, roughly being the "next step" or the answer to the onslaught of the invention of the "mp3" may have something to do with it, because AFAIK this is like the crux of the sell of the live act, at least, this idea of monetizing the live game by setting up a merch table and selling shirts and things to kids to fund billions in revenue. Actually, this in itself doesn't offend me that much but I really sort of think this has been totally botched because the coldest area in the venue IMHO is the merch table--they just sort of stare at you with these cold eyes, somehow judging you, but actually this too would be sort of OK if they did it in a way where they are telling you you are not a cool person if you don't buy merch, but instead, it's like, actually you're not cool either way! Or, in other words, if you buy some merch, it's like a sale to some corny loser, and this too wouldn't be that bad as well but the fact of the matter is that merch is so insanely expensive at the merch table! And then, this high-tech wizardry with the store at the band website and stuff. I actually liked when I was in Germany, this was probably the only online rock webshop I've ever liked--it's not so annoying, it is reasonably priced and they have lots of cool bands and stuff, and then on the other side of things, Cafepress for like those sorts of dorky things, but otherwise, for the most part I find this totally tiresome, that stuff at the merch table is mindbogglingly high-priced and sold by ppl who give me dirty looks. Of course, if there is an opening act they like to tell the crowd to find them at the merch table and buy stuff, but I always get this weird feeling that they are looking down at me because I suck at guitar or I don't have an amazing Myspace and this makes the idea of wearing their T-shirt in public weird, as though they will laugh at my facebook page if they ever got my name and saw it. The point of this long diatribe is that, actually, the T-shirt and also the sweatshirt (wow $$) are pretty cool but I wonder what women would think re: demand for clothing as it relates to rock. For example, I bought a Gojira L'enfant Sauvage sweatshirt off of (a nice German girl at a Trivium show in Berlin was wearing it, although her guy friends basically told me to F- off she was nice), and I sort of unconsciously figured that there is something to this, because Gojira has sort of been like the "penultimate" FR metal act, and that this is a much bigger deal than people think, so the idea would then be that if a label like Roadrunner built a 2 woman fashion team to generate a whole line based on Gojira's cred rather whatever they did with Gojira, it could actually sustain Roadrunner's brand for quite a while, but for whatever reason, all I could ever find was this simple hoodie off of! In my mind, the interesting thing about this concept is that it would only take a few ppl who are in tune with what women in general are thinking (FR, etc.) and not an entire squadron of fashion-obsessed fashion junkies to make an impact, if anyone would agree that this basic need is quite unmet yet in insanely high demand! High demand, not in the "fashion world" per say, like, Victoria's Secret, but, in terms of stupid men like me who have no idea what to wear, and, younger women who are basically bored by the idea of wearing Motorhead stuff (however, RIP Lemmy)! I would also think this pushes the boundaries of technology, in terms of design and production, how it would be done and how this could be humorous to a lot of women who don't work for LVMH.

Q: Who are your favorite bass players? A: I don't really know. My first favorite bassist was Flea. Actually I think this is the first name that comes to mind for 80% of music fans. That said even though he is mainstream I think he might be the flowiest of them all, e.g. Under the Bridge, Other Side, and then of course the slappy stuff (slappin da bass, etc.) I think this is a pretty cool baseline for the future of bass, but just maybe a bit more freer than studio loop-style bass riffing and the confines of writing songs for record labels and such. Actually, Flea is sort of a funny character because his style isn't that copied yet everyone knows someone as cool as Flea can carry the entire band to global success. Also, his name was simply "Flea" and I actually like that name better than "The Edge". Speaking of slappin the bass, I don't mind Geddy Lee. Sort of on the other end of the spectrum in my opinion would be ICS Vortex from Dimmu Borgir. In fact I was so blown away by ICS Vortex, just the power of his voice and big sounding bass. Along the same lines but from the Finnish side I like the dude from Nightwish. His voice is equally if not more powerful. This is actually interesting because between these two I sort of think their bass tone both recorded and live slaughter the rest of the field over the last decade or two. On the USA tonal side, I really like dUg Pinnick but then again he is sort of synergistic in my humble opinion with Ty Tabor, as in, the two are tone aficionados so they just have a really good instinct on how to blend the audio spectrum optimally, actually I think more live than on the newer records, though the newer records are cool tone examples I think. Also, dUg plays a 12-string bass (welcome to the groove machine). Robert DeLeo (STP) I think was another guy who sort of pumped flowy bass enthusiasm into the band. Sort of childish and of course STP had the cool voicings with the blended amps, I think a Vox AC30 with some Demeter stuff, and this fascinated me as a kid and maybe this is why I find blending tones so cool, AFAIK they had a guy live who made the AC30 louder or softer depending on the complexity of the chords of each song but IDK. I saw them live at Jones Beach, Long Island when I was maybe 12 years old, they opened with Fishbone for RHCP, and now this is funny to me due to bringing up Flea and thusly implying how far a cool bassist can take the sound (especially in a mainstream sense), and Fishbone opened for King's X a few years later at BB King's. I really liked Interpol's Turn on the Bright Lights although I must admit I haven't listened to the other stuff since much. It just seemed like a "bass album", sort of an idea of a more slangy way to play bass, and also, I saw them live in New York in university around 2007, and the bassist had such a cool presence and look and actually this was much cooler than the rest of the show in my mind, it was almost like Milan style swag or something (but then again, what do I know). So actually, I think Obstacle 1 in itself also could be a cool benchmark or "bassline" for a more modern bass sound, maybe not to be quoted verbatim but just the spirit of something a little bit looser, a little bit more open and airy, even improv-esque. Abt the thing I mentioned before, about my time sucking and having a sense of humor about it and such, I think this is what I meant, something more childish, humorous, maybe even improv-esque than rigid and studio-take-10-like. This is because I'd like Insecure Actresses to more or less stray from "idiom" and this is when you start getting into the "jazz" territory of things but that is why I am thinking of something maybe even more "improv-esque". The other thing about Interpol was that they were from NYC and this was so strange to me, the idea that a band became known out of NYC, and so I thought it was because the bassist was so cool-looking. Obviously this is a huge plus for a band and as a result I would much rather prefer than that if there is any audience at a show, that they would prefer to look at someone else. :)

Q: What do you think has changed since your last visit to Europe? A: I am actually a bit surprised at the nature of how obsessed French-influence can be about "stealth-distance". This is a really weird one for me because I always was sort of the odd-man out being that my family moved here from S. Korea. Now, I am sort of weirded out by people in general. The reason is, the obsession with stealth-distance. It is basically a communicative edge, like something women do. That is OK, insinuation, suggestion and such, but actually I am just weirded out by it. I am tired of being spit on and stepped on in favor of some weird stealth-distance stuff. This is really just all the way down to the relationship, that I am being outstealthed in some way. Maybe not, but still it is just the weird idea of someone hanging around that feels strange. For example, having a band, a tour bus, stages that don't explode, etc. It requires human contact and something like some sort of physical exertion, and as far as I can tell, a lot of social lubricant may or may not be occurring because of this website. So, the main thing is.. the sound you hear on Dogjew. It was intended to humor spytech. Actually, the original working title was "Voyeurism-Collusion", and I was also thinking about "Sextech" as a joke about "spytech". So that's the thing.. the fluid/flow things, and the sort of liney-gesture-suggestion stuff.. I am just weirded out by it and also feeling stepped on. I'd like to build a smartphone OS, actually, and eventually some video games, but if people don't want it then I guess I'd have to move to S. Korea or something.

Q: Hey Andrew, you're from S. Korea, right? If so many things are made in China, why don't you do something about it? A: Haha. I agree!

I think this is cause for a lot of tension because why not make it in S. Korea? For example, how many things sold on the mass-market today originate from China or from technologies from China? One I like a lot of is the diamond, mostly which come from China or India. The thing is, the precision and economic efficiency that S. Korea can accomplish these things with are on a scale-basis, like, orders of magnitude, I think. Another way to put it is: I think when it comes to the huge majority of products being made in China, people immediately think of it as having "a lot to do with S. Korea". So it brings up extreme hostilities, like, why are you allowing this to continue, and for how long?

I could talk about this for a long time. It is extremely frustrating to me as well, what percentage of global products come from China or Chinese technologies, and just going down a list and talking about each one and the sort of mass effects of each. At the same time, I think there is thorough analysis on a conceptual and/or economic basis, but for some reason there is no telling how long this could go on for! The one that strikes me the most at the moment in terms of lack of initiative is the ball (rubber), which I see on the label mostly comes from China or Pakistan. These things seem so meticulously crafted for Chinese mischief that I go literally insane. At the same time, people are so connections-focused.. connections-this, connections-that. So I can see why you would ask something about my obvious appearance. :)

The thing about this one is, once you get into the ball-zone, you are essentially trying to pitch "The Next Nike", which can sound totally insane. At the same time, I think people are more worried than usual recently about jobs and such, like, where to find one and how. This is really funny to me because it seems the guys who like cheating at sports (i.e. the magnet) are so distracted and scatterbrained that they need magnets to win to suck money out of the system like parasites!

Then, you have the initiative part. Is the state of rubber a storefront or a proxy for the general state of things re: China vs. S. Korea? And then, how long is this gonna go, where rubber is totally corrupted, and people keep looking to S. Korea for a change and it never occurs, and local communities have to suffer and decay, and as every minute of every day passes by, people are wondering how they haven't got time for this "nonsense"? So this is just rubber as one example, and I do believe anyone sensible enough could just go down a list of this sort of thing but athletic balls just stand out to me in particular because of the lack of initiative. At the same time, I think a lot of people just aren't up for the task, and are wondering how to pay the rent and such, like I wonder about this band and how I want to tour!

Q: I want bigger, badder and better. What are you thinking about the future of the band's sound? A: I think objectively when you are listening to a band's sound, you are thinking to yourself about what is different, like, what is possibly different about this band than the other bands. So, if something sounds different, I think it stands out. I tried to have a sense of humor about this marketing a band that no one has ever heard of. Now, since there are some recordings, I'd like to take specific "elements" and stack them. So, say things are at "lvl 1" right now. So, onward to 2, then 3, etc. with more consistency. I'd also like it to sound less modular. That means more fluid, more clever, almost like more well-thought out. I'd like songs to consistently flow harder from start to finish. This will probably mean digging in and trying to hash out more in terms of quirks and musicality, w/e that means. I'd like the leads to sound more abstract, less linear. That means harder, basically. I want it to pack more direct punch, less dancing, especially around being first efforts. I'd like it to sound more like songs, and less of the instrumental stuff with no vocals and just free marketing. I want to take whatever is "different", and amplify it with force, to try and build on whatever is currently recorded and just call it "a good enough start" (in terms of being proud of what you have created).

Q: What is up w/ A: I started writing these band pitches when I was still in Europe, so that is maybe 2 years now. It occurred to me that the best book at the Columbia bookstore is The Bro Code. So I wonder, if people like these one-liners, what if I were to turn it into a book? For me, grade-A paper (papyrus) would be funny to me, and anything less wouldn't make sense. I like the idea of really uninhibited paper to mesh the verbal with the visual. Then, these pickup lines could rival The Bro Code or The Game. I do have thoughts on this stuff. For example, "my music" is really influenced by dreams. This brings up terms like "imago", reflections of an ideal self. So, when you dream, do you view things in an ideal way? So this is theory, that the distance or gap between the ideal and dream vs. reality creates potential. So, thinking in these terms created a sort of "hot streak" for me while I was in Europe. Now, having been in New York for a while, that seems more and more distant (New York state of mind and things like that). However, I did create AxFuze Oslo if anyone wants to hang out. In the meantime, got any connections in paper technology? :)

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