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ANDREW WK - Tower of Sleep

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September 21st, 2006


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11:26 pm - ANDREW WK


I just finished transcribing my interview with Andrew WK, which was (in terms of text) the longest interview I have ever done, and certainly one of the best. Did you know he had a show on MTV in 2004 where people could call in and ask his advice, and if their problem was serious, he would go to their house and help them out? Or that, along with Thurston Moore, he just recently finished a tour and recorded an album with To Live and Shave in LA, one of America's most notorious and experimental harsh noise groups? Or that his latest album, Close Calls With Brick Walls, has just been released in Asia, but nowhere else (and it's his best yet)? And that he will be releasing two more albums over the next year in different parts of the world? Also, this fall, he is beginning work on a cable access TV show which will be available on DVD and the internet.He has deep thoughts. He approaches thinking the same way he approaches music: with total personal commitment and a lack of restraint that borders on simple-mindedness. This man talks as if no one had ever spoken before him, with an urgency that suggests that he lives only in the moment, and only what he is saying and thinking at any particular second can define him. Truly, a remarkable individual.




You just got back from a tour with TLASILA. How did that go?

I thought it went really well.

I know you've talked about them in interviews for a while now. How long have you actually been involved with the band?

My involvement has been focused, initially at least, with Tom, the singer. And I met him about 12 years ago, I guess, when I was 14. He came to Ann Arbor, the town that I grew up in Michigan, to record music with some friends of mine. I had already been aware of him and his music and been very excited, because even at that point, I think To Live and Shave's first CD had just come out. So when he came to town, I was excited to meet him. And he was a lot older than me, and still is, so there was a lot of very interesting dynamics than I'd ever had with other friends or people I'd made mmusic with. Because most of the time they were closer to my age, though at that point, the people he came to play music with were at least a couple years older than me. But it was a real exciting tone that he brought, because he was so different from everybody else. I think some people really liked that, and then some people maybe didn't know quite how to feel about that whole experience, because he made people...I mean, this is just me guessing, but he made me think about things differently and try to imagine how he thought of the world. And trying to imagine how he thought of the world was a very exciting exercise. If I was to...everybody, I guess, has a subjective view of the world that is exciting, but on the surface, my peers, or at least people who were in my age group, we'd had a more similar experience of the world, whereas with Tom, who came from a very different place -- geographically, demographically, by his own will, in addition -- he had a very different view of the world, or at least I imagined he did, and that was enough to open doors for me in thinking and in creativity and in imagination, and I really, pretty much from that moment on, wanted to make sure I stayed in contact with this person, because he showed me more than I would have seen without him.

Well, to be 14 years old and already getting involved with major artists in the harsh noise scene is a pretty different life experience than I think a lot of people have.

Well, it was what it was. It was neither good nor bad. I feel very thankful to have been able to meet those people. The high school I went to, and most of my friends in high school were very interested in really challenging themselves in what they had already experienced, though there was probably an adolescent quality which told us that we had experienced everything. But we were just very hungry. Around age 13, right before high school was starting, I managed to meet a lot of other friends, who I had seen around and been really fascinated with, but he managed to become more productive and creative together, and really venturing out and trying to go full-force to what seemed most exciting. And Tom was thinking along those same lines. And I think that was the most exciting thing. Here's a guy who seems, on the surface, to be totally different, but there was some kind of larger appeal, of this feeling that -- I don't know if it has much to do with the sound, even, or the direct creativity, it might be more of a mindset or a headspace that a person is in, and it clearly can span all different types of people and all different ages of people and all different musical preferences because I don't think it even has to do with the sound, I think it's a spirit...of wanting to keep yourself off-balance, that's how I've been thinkng about it for a while now. You could look at that feeling as being threatening, or as some might say, it makes you think about things you don't want to think about, or is overwhelming in some way or is unfamiliar. But that remains, and has remained for me, for a long time, to be really what I want to go for. To take away familiar touchstones or to get off the path. Because then once you're off the path, you have to really use your wherewithal to cut through the brush, and everything you're gonna see is going to be out of context from the path itself, but you'll still have that to compare it to, and then you can even look back from the wilderness at the path and have a very different perspective and maybe more appreciation, even, for the path. But it's been exciting for me, up until right now...and sometimes it doesn't necessarily feel what you would call good, or comfortable, as is growth, when you're able to have a jumping-off point. And Tom was a jumping-off point for me.

How much older than you was he when you first met?

Well, he's the same amount older than me now that he was then. And he's just 50 now, so, like, 23 years older or something.

Now, I understand you just recorded with him on his new album, Noon and Eternity. Is this the first time you've actually recorded with him, or have you done that before?

Well, we recorded together that time when I first met him, back in the early 90's, and then we played together live, which was taped, and did a radio show, which was taped, and then that most recent tour -- or not the most recent but the tour that you're mentioning, which was last year. But let me think. I mean, we talked and stuff, but we'd never really formally recorded, so that was a big turning point as well.

Now, I can see the connection with what you're talking about with challenging yourself, but it seems to me that a lot of the aesthetic with what TLASILA does is about violence and perversity, and that seems pretty distant from a lot of the sort of sensibility that you deal with yourself. Your own music is very affirmative.

I hadn't thought about that, because I've never taken it as being violent. But I'm thinking back now to sing titles or lyrics that might be construed that way, and...it just hadn't occurred to me, because Tom is so...and I mean, this group has a lot of albums, there's 17 or 18, most of those I'm not familiar with, because I didn't work on them. Some of them I've listened to quite a bit, but the larger portion of them are still unfamiliar to me, and that's fine. But as an overall view? I think the spirit of what I'd like to think I'm doing is very much -- in the big picture -- in line with what Tom is doing. The surface, which might mean particular ideas from song to song, or even the aesthetic, the presentation, packaging and things like that, they might seem very opposite or out of sync. But if it doesn't seem in line, that is why I think it is in line. You might say, 'Oh, it seems like your music is very much about fun and love and peace and this other music has seemed the opposite of that, more violent or more destructive or more perverse, or darker, I think in fact, a level above that, looking at that whole statement would be to say that those two things meeting up against each other is what we're really trying to do, and the very nature of us working together is sort of absurd or perfect or it doesn't make sense or it does. The need to draw conclusions or to examine the surface is sort of, I guess on one hand is the point, and then hopefully to get beyond that, and see that's not where I'm gonna get my answers. It may seem novel for me and Tom to be working together, but in order for me and Tom and everyone else in this group to do this, we would have had to have moved past that, as well.

I can see how, beyond the sound, your music -- or you two people -- would be compatible in terms of spirit and approach. You both seem to approach your work from a vey intense place.

Well, thank you. I'm glad you see that. That's what I would find more interesting after getting past the initial....I agree there's an initial, "Wow, what are those two people doing together?" But I think once people found out that we've been friends for a long time, that isn't so shocking. I think it has to be a more deep and emotional connection to the act of creating with people. I hadn't played music with anybody else, really, outside of Andrew WK for a really long time -- alomost prett much since I left Michigan when I was 18, so also I was just excited to be around other people and not do what I had done and very specifically contradict myself personally, and internally. Because I had said 'I only want to make my music, I don't want to play with anyone else, and it had become so familiar that I needed some way to shake that up and open up new possibilities for myself, and in some ways, playing with Tom seemed like exactly something I wouldn't want to do and that's why I did it.

Speaking of doing things differently, you're oly playing one show in the US this year. That's pretty different from what you've done in the past.

Yeah, in Florida. We played it already, and we went to Japan and Korea right after that Orlando show. That was in August. And now we're going back to Japan in November.

Did you feel like you needed a break from playing live for a while?

Not really, it's just that I've been doing so much recording, and I want to get these albums done and then go on tour. In the past, we didn't have the luxury of existence, so we really had to establish ourselves and that really took priority over everything else, and we felt that the best way to show that we were here was to plays shows -- as many as we could. So for the first four years -- three years especially, from 2001 to 2004 -- we toured non-stop, and now that we put that time in and people had a chance to see this and become familiar with it, at least that it was existing. That's all I can keep thinking, it barely exists as it is. But now that they've back a chance to see this, I'd rather put more of the focus on creating more songs and more music. So, I'm doing three albums over the next two years: the first one we released in Japan, and we're releasing them all everywhere, that's something I really want to make clear...

Now, I've already heard CCWBW, and I think it's fantastic, but I want to know -- where are you at with a label right now? That one was released on Universal International in Asia, right?

Well, again, we're trying a different approach, just to do things different than I've done before, in the spirit of liberating oneself from repetition or from any fear of doing things a different way. I just thought it would be more interesting to release more albums and more music in a way different from the past, which has been one album everywhere, and then touring for two years. So this one, we decided we would release three different albums in different places at different times, but eventually, they'll all come out everywhere. And CCWBW we released in Asia with the same label we've always done stuff with, Universal, and we released it in South Korea. That was the first time for us to ever go over there, we played shows, very exciting. So that's a new place for us. Then eventually, that album will come out in the US and then Europe and then the rest of the world, but not before this other album, and that's the one I'm recording right now. So there's another totally different album that I'm finishing up now, and that one will be released in the US and Europe, but I have no idea on what label. We have to finish it first. And then we'll put that one out in Japan. I thought it would be more efficient, somehow, to enable us to focus on specific areas at a time, rather than the whole earth at once. And it's been great. I've really been enjoying it. But maybe next time, after these three albums, we'll switch it up again. I just want to keep it interesting for myself and try different approaches, just for the sake of it. Because we're definitely in a different place right now than we were in 2000.

This is a really ambititious plan. I'm wondering, if you don't have a label in the states right now, are you being supported while you're doing this?

Am I being supported by a US label? No, no. As in, are they paying me money?

Well, yes, in essence. But do you have a home base?

No, we left Island/Def Jam, our old label, which was really great, and a lot of people there are still very close with us, but right after our second album came out there, everyone we had worked with left, unnanounced, to go to Warner Bros. And a new group of people came in. When that happened, I had a long talk with my manager at the time and we looked into our contract and we decided that we might as well use this chance to break free. And it worked out really well, because our contract had come up for renewal at that time, and we essentially were able to...

You often speakreally quite philosophically in interviews, but you've also said that you're not academically minded...but you've also said that you'd be interested in going to college if you weren't doing music and then contradicted that later, but I'm wondering -- do you feel that you're often inspired by reading? Do you read a lot?

Yeah...I've been reading a lot, or talking to people, but mostly I've just been thinking, really been thinking and trying to turn inwards as much as possible, as a way of ultimately turning out, or going into the outer realm. But I've been finding that seeking inward has allowed me, or has given me a better ground to stand on, to then walk out and see the rest of the world. So there has been a lot of thinking. What's been very exciting over the last couple years is a lot of these ideas or thoughts which had occurred to me or been presented to me in sort of amorphous ways, it turns out they're very old ideas that are so common in the human experience that it's just about at the core of almost all writing or literature or creative arts, somewhere -- it's the human experience -- and I've been becoming more interested in that and less afraid, or less intimidated by what I would find by pursuing my inner self and what's going to be in there. And there might have been a time in the past when I would have laughed at those ideas and thought it was trite or, like my dad says, 'What are you, studying astrology or something?', summing up any kind of elevated thought -- and I don't really want to say elevated, because I don't want to put things on higher and lower levels -- any kind of different thought, any thought that is different from what we've already had, or really trying to speed up the process of the dialectic, or coming to terms with things I've felt bad about and facing them, or that I've felt good about and realizing maybe they weren't so stellar -- it became very exciting, it became like an adventure, it became the most entertaining thing I'd thought in a long time. These ideas, whether creative ideas, personal ideas on how you see the world, it turns out it was all related, and I used to feel more like, 'Oh, well, here I am making music, but this music -- at least the music I'm making, or maybe music in general -- seems so shallow and so insignificant compared to some of these ideas about life and about thinking,' and it turns out, I'm seeing these ideas are very popular and very common and people have been thinking about them for thousands of years. It just makes what I'm doing seem so stupid. And that's what kept me from going there -- like, a fear that it was going to belittle everything I've done. But lately, I've been more excited to go there and see that it actually confirms the goodness of what I was trying to do all along. And that music where it may appear simple or shallow compared to the depths of other created statements or ideas, it's actually that it's so effortless and so pure, the music itself, not even lyrics necessarily, but just the musical tone, which has always been what I have been most excited about in music. And the feeling music can create can not be described with words, and cannot be equated to any other sensation, exactly, other than music itself. So there's been a really exciting confirmation that's happened, whereas I thought I might have felt like this was sort of trivial, it turns out that it always was going for the heart of that whole mystery of what is going on, and what are we supposed to do, and what is the answer? And pondering those questions is just as entertaining as finding the answer. Maybe more! And if anything was to be the answer, or if I've ever experienced anything that could possibly point closest to that, it is creative arts such as music, visual display, performance, all these things. So it has been exciting, over the last couple years, to see that after moments of doubt or confusion, using one's imagination really is what it all comes down to.

I hear what you're saying, and I have a couple things I want to ask you about this. First, I think a lot of people that don't understand what you're doing, or aren't fully willing to embrace what you're doing see your work as trivial, but I really appreciate your albums, and I think on the new one you've reached a pinnacle of this, where it really sounds like you're putting everything on the line, and it really seems to express the power and the awesomeness of being able to really -- if you're really willing to face a challenge in your life, you can change yourself in any way you want. But what I want to ask you about is that I've read you speaking in the past about how you've used this Andrew WK project. You used to think of yourself as a shy person, and now you've been able to -- when you decided you didn't really have to be anything in particular and you could express yourself in any way you wanted...do you feel that what you've done with Andrew WK and the lifestyle you've made for yourself is really where you want to be, for the foreseeable future?

Well, that's a great question. If anything, I hope the experience of listening to this album makes people feel like anything is possible, or gives them a big jolt of possibility. Even if they didn't like it, maybe they could feel that anything is still possible. It's just that sensation of possibility which is, again, the definition of a human. As some could say. It's the limitless possibility, due to our own ability to be self-aware -- not that other animals might not have this -- but as far as we're aware at this point, humans are able to think, and then think about what they're thinking about, which creates that Moebius strip, the loop, and then reflects infinitely, and points towards infinite intelligence. So, thinking on those terms and then making this music, it's continued to be a major contradiction, where I'll think, 'These very ideas that we're talking about now, are these supposed to be expressed literally in the music or is it implied just in the spirit of the sound of the song, or is it implied even just in the spirit that someone made the song?' I think it's probably there on all those levels. And I'm not nearly as concerned now with getting these things across because I think they're there inherently. What's interesting, though – you said some people may not see that, or they may not understand, but in fact they're probably seeing the exact same thing in some way, even if its filtered through their own lens. But if they've seen it, there's no way they're missing these things. Everybody that is exposed to anything will get it. After that it's just subjective. That's why critical comment on any creative statement seems so absurd. Including my own comment, on my own work! It's just one person's opinion on something that's purely non-definable, because it's based on experience. Especially music, because its performed live or, in this case, we have a recording, so its not as primary as it would be if it was a live performance. But to try to sum up any experience, especially a musical experience, sort of defeats the whole purpose of why we're trying to engage in it. Or maybe not! I mean, there's no better or worse. But I could say that , to listen to an album, feel the need to sum it up, and then report on that to the rest of the world, does not say anything about the album. But it says volumes about the person who just chose to listen and then to write and record on it. Everybody is right, or everybody is wrong. In fact, opinion has no place, it could be said, in the realm of creativity or the art. The essence, the meaning of the song, is in you listening to it. It's not in reflection on it, in trying to extract a larger language-meaning from it . Because all you're doing is breaking it down with words. That's why music, as in melody, is so powerful. Because it has meaning unto itself. You can't explain, using words, what it means to play a D, and then an F. You can talk about fequency and levels and use indexing to point to what's happened, but the meaning of it is in hearing it and no words will ever work – thank goodness! -- otherwise the albums would just be a book. Or an album would just be all lyrics.

But I think the useful part of words comes in when – you can only experience the music by experiencing it – but you need words to think about things, and a lot of times you'll feel something and not know what it is, and when somebody tells you about their experience, it gives you the words to think about it yourself.

Exactly. But I think it can be very helpful to be aware of the huge chasm that lays between those two points. And I think, in any culture, a lot of time is spent in reflection, and in discussion, and in description, and in the secondary modes of experience – and I'm using secondary very clearly there, not as higher or lower, or better or worse than primary – but it is secondary. And I become very excited by my own need to understand what I'm doing, and then to say, 'I don't need to, because this is the one thing that doesn't need to fit into my understanding of the world through language.” And that safety or security that I used to really rely on, from being able to sum something up or being able to contain it within my mind or file it away and organize it in a whole filing system of secondary. And I need to say, okay, this is all fine and good, but the reason I did this in the first place was because of that – maybe very brief, maybe very small, but very powerful element of experience that is not ever going to be able to be explained or summed up. And that also went along with my need to sum up all my experiences, sum up people, classify all realms of what was going on, because I felt threatened otherwise and I felt that things were going out of control. And now I'm trying to contradict that by pushing myself to be in a more open place. I've been more excited about trying to de-classify, de-regulate. Now I've forgotten how we got onto this.

Oh. I wanted to ask you if you felt that the life you've created for yourself right now, as Andrew WK, if this is where you want to be and where you want to keep being.

Well, there was a time, there definitely was a time, and I haven't talked about this kind of stuff at all except for with really close friends and family, because I hadn't really decided if or what I want to say about it I felt a little scared, I think, to tell people these kinds of ideas, because I felt like they would take them as being gospel rather than listening to their own ideas. So, there was a time when I first started doing Andrew WK when I was very focused on continuity and consistency. And thank goodness for that, because that allowed us to make our mark and show people enough times that we are here, so by the 30th or 40th time, people could say, 'Oh, there's that guy and he does that thing, and that's that'. And if you had asked me if I would ever change anything up at that time, I would have said no. But the idea I was committed to was deeper than I was aware of at the time, which is that I was committed to what I wanted. So that's what's interesting about it. There's still a consistency to that. The answer to your question is yes, I'm doing exactly what I want to do and I'm exactly where I want to be and I want to to stay here forever, in staying as much as someone can stay – I don't want to say conscious – but in terms of that surface, again, the aesthetic presentation, those things I will always give the freedom to change. Because I don't want to hold myself to anything other than me, and thank goodness this was naned as a solo act and not a band, because the whole point is to watch an individual develop, and see what they go through and how they contradict themselves and force themselves to stay or to go or to change or not change. It's witnessing a human's existence through music or performance or creativity or art or however yo want to look at it. And that's really what I've come to terms with over these last three years: there's nothing right or wrong that I could do that is in spirit or not in spirit with this. I cannot get away from this, myself, so whatever I do will be right. You know what I mean?

I do. If I can change the topic a bit, are you still planning on shooting a cable access TV show?

Yeah! Yes. We're beginning to work on that this Fall, so that's coming up.

And where is it going to air?

In New York, on cable access, and on the internet, and we're going to make DVDs, too. I think every episode will be watchable, in its entirety, on the internet, 24 hours a day. But it's going to be on cable access, which is exciting for me, because it is real TV, but not on anyone's standards other than your own. So that's as good as it gets.

I can't wait to see that! Now, I know you had a show on MTV in 2004, but it wasn't on for very long, and I never got to se it.

It was a whole season.

It didn't last the whole season, though, right?

It was, I think, 11 episodes. Or it was 10, and then there was an 11th that was made as a compilation of other episodes. But it was only a half hour long, and they cut it with music videos, much to my dismay. We had so much footage – and this is no complaint to MTV either, I was so happy that they gave me an opportunity at all. I think they would agree that the show could have had more opportunity to attract or appeal to the viewers if they had included more of that footage rather than the videos. They had been getting a lot of pressure at that time to play more videos. The channel, MTV 2, is supposed to be all about videos. And I agreed with that, but really I would have hoped that the show would have been on a channel that didn't concern itself with programming of any kind, which is exactly like cable access. But I think what happened with that is that they needed to appease many people at once and ended up sort of undercutting everybody. But I don't look at it as a failed show. We did everything that we set out to do, and after that, I didn't want to do it anymore myself, because I was pretty frustrated by that point. All this amazing footage that we shot would have to be cut into two minutes. We'd shoot for two weeks and they'd make a two-minute thing out of it. There's no way they could show what was gong on in the time that they had. They couldn't show what we were really doing.

Does anybody still have that footage?

Well I think its on the internet illegally. It would be great if we could get that footage from MTV and put it on a DVD, maybe that's something we could talk about with them. I have no idea how they do that. Maybe that would be the best use of that footage, in the end. It was sort of being used a bumpers. You know, what they call it when they go from a video to a commercial and they put a little clip in? It kind of became reduced to that. But I never even watched it. I saw a tape of it, but I never saw it on TV. This is what I've heard. Even the people who made the show were surprised that this is how it was being done. It was a very intense experience for me, but I don't think I enjoyed it very much at the time, because I was feeling very confused.

Now, the show you're going to have, is it going to be a reality thing, or is it going to be based around plots and characters?

There's no concept. I'm trying to make it as subconscious as possible. I'm trying to work very directly from a subconscious place. Which is sort of how that last album was. It was done immediately, without a lot of preconceived ideas. I really don't want to have any idea or plan for it, because that's what I did on the MTV show: this huge plan, but there was really no creativity involved at the end of the day. Because we had to have this very hard concept to be able to sell the show. But what I would like to do is think of it as an open canvas, with the TV screen, and I'm just going to put things on it.

That's really exciting.

Part of that's been odd – not having a game plan – but I've been working like that for the past few years and I've been happy – I've been very, very happy – with the results. Because it doesn't allow me to edit myself out, and feelings and ideas and tones that I might not have let come through, come through. It's more exposing, I think, and more vulnerable. And that's been a main tone in what Andew WK's done from the start. But I really want to put it there: maximum exposure, maximum vulnerability. Exposing oneself completely. I'm thinking back, and when people have had adverse reactions to this music or have not liked what we've done, I think it could have made them uncomfortable because it was so exposed and so vulnerable. And I know that when I've seen people expose themselves in the past in that way – and I don't mean that in any crude, obscene way, with nakedness, but just laying it on the line like that – it's really intense. There's been times when it may have made me uncomfortable because it made me have to look at things in myself that maybe I didn't feel like looking at, just like when someone will get turned off to somebody because deep down inside they're reminded of themselves. That is the heart of it. That's where I want to go. I feel like maybe, without knowing it, that's where I was going all along. Like you've already brought up, it was a way for me to confront shyness or to create an alternate idea, like 'Who's the coolest person in the world?' I used to make decisions like that sometimes. Like, What Would Jesus Do?, except that I wouldn't think of Jesus, I'd think of an idealized person. I would think of what that person would do and then I would do that thing. So that was a way of really taking myself outside of my experience. And if someone ha told me then that this is what I would look like, this is what I'd be doing, I don't know what I would have thought. I don't think I ever could have imagined it. Some part of me might have said, 'Yeah!', but it was so specifically done to contradict how I felt as an individual that I don't think I could have imagined it. And I think that's very different in some ways then, because it wasn't like, 'Oh, I wanted to be this kind of person and then I did it,' it was more like trying continually to not be what you are, and realize that you are not anything other than that. Like, when someone says, 'Just be yourself! You've changed! Why can't you just be who you are?” What could that possibly mean? Other than, 'You're not behaving in a way that I've come to take for granted as who I think you are'. Those kind of ideas really became liberating. That I am nobody, that I am nothing other than what I decide to do. And ideas that might chalk themselves up to be integrity or having a moral code that you live by – it's still choice. You create who and what you are every second, based on what you choose to be. And there's no inherent – well, that's to be argued – but there doesn't seem to be any inherent nature to anyone, even if there's a chemical structure to their brain that lends them a certain personality, they still have the choice to contradict that. Just like someone can say, 'You're shy,' and I can say, 'Yeah, but I can still act like this!' So what's the difference between acting and acting like someone who's acting like themselves? I'm sure you think about the same stuff.

Yeah! Well, this is is just straight-up existentialism. Which is really cool. And that was really a fantastic answer. If your TV show can do all these things, then it will be possibly the greatest television show of all time. And I hope it is.

(3 comments | Leave a comment)

Comments:


[User Picture]
From:horseseed
Date:September 22nd, 2006 02:04 pm (UTC)
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HOLY AMAZING, what a great interview. Some of the best moments of my life in the past few years have had Andrew W.K. playing in the background, which is probably a testament to how totally proud I am of you! Have you seen his concert DVD? It's pretty great, especially the utterly bizarre self-shot moments in between concert takes, and the concert footage in which he does the show entirely wheelchair-boun!
[User Picture]
From:martropolitan
Date:September 22nd, 2006 04:29 pm (UTC)
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Congratulations, this is really well done. And WK seems to bring the same fresh-page attitude to interviewing that he does to music--like, not remotely jaded and not pushing a persona, just talkin'. Seems like a really easy interviewee (not that that takes away from your work or anything): address the question, then extrapolate in interesting ways. As a rule, I wouldn't care to do what music journalists do--such a sameness--but good, natural conversation with a rad musician is something I can get behind.

And oh man, the Js and Ks sure do love that guy. I hate to tie 9/11 into this (or into anything), but I remember I was in Banana Rekoodo in Parco in Nagoya on that day after seeing it all on the news and hearing the Japanese TV announcers parrot all the ridiculous rumours that were flying around as if they were stone facts, and I'd seen his ad on the back of Vice with that awesome bloody face, and then I saw his album at the listening bar and gave it a spin and it was just: yeah. Like this was the only way it made sense to live in these times. And I'm sure we all think a lot of stupid shit when Big Events are happening and we're far away from home, but I have to say that the Andrew philosophy (if you will) has coloured the way I've related to our decade, at least to a degree, and I've been better off for ti.
From:vertigomorts
Date:September 23rd, 2006 12:00 am (UTC)
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Great interview, man. Like I said, the quality of his music sort of undercuts his big ideas, for me, but he seems like a good guy. But, to quote a great man, there is a touch of "the transparent effluvium of a hyperactive ego" here.

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