TRANSVERSO

- A culture magazine reaching terminal verbosity -

Kishi Bashi Turns Lighght to Daark With New Coffee Blend

Music InterviewEllen WilsonComment

A renowned violinist and founding member of Jupiter One, Kishi Bashi has recorded and toured internationally with artists ranging from of Montreal to Regina Spektor. He released his solo debut 151a in 2012 which earned him the title of “Best New Artist” by NPR, and in 2014 released his sophomore full-length Lighght, which charted at #53 on Billboard.

But recently he has revealed a new project that is different altogether: a unique blend of coffee released by his hometown Athens, Georgia-based company Jittery Joe's.

Athens is known for its alternative music scene, boasting artists including R.E.M., Neutral Milk Hotel, of Montreal, and Danger Mouse, but when members of the small college town aren't at shows they're drinking coffee. Kishi Bashi has successfully combined those two loves with his new Jittery Joe’s roast “Royal Daark Blend," each can of which comes with a download code of an exclusive track inside. 

Transverso was at his release party this morning in the independent coffee shop Hendershot’s, where over 150 fans ranging from four year-olds in Wolverine costumes to townies who likely graduated with Michael Stipe packed the small space.

While we waited for the show to start we sampled Royal Daark. The coffee has a really strong, unique flavor from beans originating in a region in the Ethiopian region of Harrar which are known for their floral and fruity toned acidity. The beans are French pressed to give them a dark roast per Kishi Bashi's exact specifications.

Photos by Patricia Tancredi

Photos by Patricia Tancredi

After he arrived on stage he announced that it was the earliest show of his career (10 AM), and light-heartedly empathized with the audience about the morning show time even though he had been the one who booked it in the first place. I guess that's what the coffee is for after all.

Performing without a set list Kishi Bashi took suggestions from and interacted with the audience, even going as far as inviting the kids up on stage, giving his local fans a truly unforgettable experience. He ended up playing about five songs including “It All Began With a Burst,” “Bright Whites,” and “The Ballad of Mr. Steak,” which you can listen to below:

Transverso met up with Kishi Bashi after the show to discuss his new coffee and his roots in Athens, Georgia.

TRANSVERSO: What inspired you to start your own line of coffee?

KISHI BASHI: I really like Jittery Joe’s a lot and I usually don’t jump at things that are outside my comfort zone, like doing music things. They came to me and I was like oh yeah, it’s a no brainer because I like the coffee. Then we did a tasting and I found a coffee that I really liked and then expanded on it.

So basically, it wasn’t something that I was really inspired to do it’s just something that’s really fortuitous, because their coffee is really progressive and they’re kind of cool and local you know? So it was just a really easy thing to do.

Oh! You know why they approached me? It’s because they’re expanding. They’re going to start having Jittery Joe’s coffee in Japan. They were like this guy plays in Japan too and so I’m going to launch it with them and make it official. I think that’s the real reason they came to me.

Other artists such as St. Vincent, James Murphy, and most recently Win Butler have their own coffee products now too - 

Wait they have coffees too? No way!

Yeah! Do you think that it’s something more artists are going to be doing in the future?

I think if you feel good about it…

Is there a reason you chose Hendershots as the venue for the event?

I know Seth Hendershot, I think he used to work at Jittery Joe’s. That’s the whole backstory behind Seth. And then it’s a cool place because they’re serious about their coffee here. And also I just texted him because there’s no show here in the morning so it’s really easy to book.

What’s the inspiration behind the name of your coffee?

Oh Royal Daark Roast? Well the Royal thing is because I really like the graphic that JLP designed. I came up with the idea of having the suicide king, that’s a card. He’s got a knife behind his head. It’s a pose that people know. And I was like oh yeah, it should be royal you know? So that was easy. I did 'Daark’ because I have an album, Lighght, so it’s just really a play on words.

When you buy the can it has a free song to download. How did you choose the track?

I wrote it, I mean I literally was like I need a song to put on this coffee can or it’s going to be a hard sell, especially for my fans. So I was thinking about coffee and everything that came out was pretty shitty so I was like I’m just going to write a song and that’s what happened. It has nothing really to do with coffee.

Are you targeting your coffee directly to fans of your music or more to coffee lovers?

I have a feeling that a lot of people just bought it, not even coffee drinkers, just because it’s an interesting gift, and a cool can.

How has being based in Athens affected your career?

I got my start here when I was touring with of Montreal. My first solo show was here and everyone in of Montreal was there heckling me. [of Montreal frontman, Kevin Barnes] was there at that show and was heckling me and people were getting mad like at him because they didn’t know who he was. They were were like ‘why are you such an asshole?! He’s trying so hard!’ It just made him look like an asshole, it was hilarious.

Which Athens coffee spot is your favorite?

I go to Jittery Joe's a lot. The Alps one is a little sterile. The one at Five Points is hard to park but I like it. But I don’t really have a favorite spot, I usually just drink at home.

When you’re on the road, do you have a favorite coffee spot that you visit?

Every town has really cool coffee shops. I can’t think of anything that’s really stuck out. They usually have one, there’s always a cool coffee shop with good music going on.

And lastly, how do you take your coffee?

A little milk, no sugar.


You can buy Kishi Bashi’s Royal Daark Blend online here, or at most Jittery Joe’s selling locations throughout the American Southeast. You can see Kishi Bashi's tour dates here.

Watch alt-J's Horrifying New "Hunger Of The Pine," Featuring Miley Cyrus

New MusicWeston PaganoComment

Leeds-based trio alt-J have released a new music video for their single “Hunger Of The Pine” that's not unlike a nightmare most of us have had before. With a barrage of inescapable arrows chasing after him, the unfortunate soul in the video frantically and determinedly sprints through the forest in a desperate fight for his life while Joe Newman’s chilling voice coos.

Along with “Left Hand Free,” this Miley Cyrus sample laden track is another preview of alt-J’s forthcoming album, This Is All Yours, which is slated for release on September 22 in the US via Canvasback / Infectious Music. Check out the video below.

Directed by Nabil Concept by Joe Newman From the album 'This Is All Yours' Available on iTunes here: http://smarturl.it/TIAYitunes Available on CD / Double LP here: http://www.altjband.com/ Stream Hunger of The Pine here: http://smarturl.it/hungerstream Forthcoming live dates: http://showsnear.by/alt-J


Originally published on The Music Ninja

Cold War Kids Are in a Giving Mood: Announce New Album & Tour, Drop Single "All This Could Be Yours"

New Music, Music NewsWeston PaganoComment

It seems Cold War Kids are in a giving mood; not even a month after frontman Nathan Willett and bassist Matt Maust released Is Exotic Bait, the debut album from their side-project French Style Furs, the Kids have revealed new single “All This Could Be Yours” to the world along with the announcement of new tour dates and an as-of-yet unnamed LP on Downtown Records this October.

The forthcoming record will be a surprisingly early addition to what has been a period of high productivity for the LA artists, with the full band’s last LP, Dear Miss Lonelyhearts, coming out only little over a year ago, followed by the EP Tuxedos last fall, and one-off single “A Million Eyes” in March.

The new album will be Cold War Kids’ fifth overall, but the first with what appears to be a new lineup following reports that drummer Matthew Aviero has been replaced by Joe Plummer, who, along with guitarist Dann Gallucci, is best known for his tenure with indie rock classics Modest Mouse, in addition to work with The Shins, Mister Heavenly, and more.

The single itself kicks off with a piano riff just as last summer’s “Miracle Mile” did, followed by Willett’s signature vocals at their most piercing and a marching pulse of percussion from Plummer. A catchy track, “All This” further pushes the boundary of anthemic pop-ness for the band, leaving fans to wonder just would could be theirs come October.

Tour Dates:

07/20 – Chicago, IL @ Rock N Roll Half Marathon
07/26 – Tulsa, OK @ The Center Of The Universe
08/29-31 – Columbus, OH @ Fashion Meets Music Festival
10/20 – Cambridge, MA @ The Sinclair
10/24 – Washington, DC @ 9:30 Club
10/25 – Philadelphia, PA @ Union Transfer
11/18 – Santa Ana, CA @ The Observatory
11/19 – Solona Beach, CA @ Belly Up Tavern
11/22 – Santa Cruz, CA @ The Catalyst


Originally published on The Music Ninja

You Are Going to Be Pleasantly Surprised by This: French Style Furs' Debut 'Is Exotic Bait'

Music ReviewWeston PaganoComment

“You are going to be pleasantly surprised by this,” seduces Nathan Willett in the opening line of “Miami U R About 2 B Surprised,” and he couldn’t have been more right.

It was indeed quite a surprise when it was announced that the Cold War Kids frontman and bandmate Matt Maust were teaming up with We Barbarians drummer Nathan Warkentin (with Haley Dekle of Dirty Projectors featuring as well) to form side-project turned supergroup French Style Furs, and now it’s finally here, with the trio releasing their debut LP Is Exotic Bait on Frenchkiss Records today.

Named after a storefront in Brooklyn and cultivated in spontaneity, French Style Furs is abstract and pulsing with the kind of creative urgency that comes with writing and recording in between shows, with Willett’s signature howls, barks, and wails giving restless life to lyrics inspired by Trappist monk and mystic Thomas Merton’s poetry.

Opening with the quasi-autobiographical “3 Friends,” Is Exotic Bait exudes this vivacity, confidently declaring “Damn it / We are here” after chronicling the musicians’ decision to “Live together and know nothing of it,” with “No plans / No benefits,” and asking “Could we just fly in space / And forget to exist?” If that isn’t the description of playing in a band then I don’t know what is.

Taking the dance-inspiring synth vibes explored in Cold War Kids’ last album Dear Miss Lonelyhearts and running with them, Willett and co. get downright frantic in “All The Way Down,” before transitioning into the fuzzy, vaguely U2-esque riffs of “(World In My) Bloodstream.”

Standout track “Solitary Life” opens with one of the best bass grooves of Maust’s discography so far (you can almost see him jerkily swaying on stage as you hear it) before swinging horns, Dekle’s vocalizations, and even some cowbell are layered on.

Produced by Nick Launay, whose past projects include Nick Cave (one of the Cold War Kids duo’s main influences) and Yeah Yeah Yeahs, Is Exotic Bait is steeped in the brooding of the former and the sharpness of the latter; “Miami” and “Turn or Burn” display some of the darkest and deepest vocals ever recorded by Willett, while the beat and pulse of “Christmas Card” could just as easily be filled with Karen O’s shrieks and shouts.

Complete with another beautiful specimen of cover art from Maust, Is Exotic Bait is good on its promise of being one of this year’s most pleasant surprises. Oh, and only Willett could write a song called “Ambassadors Of General Electric” and make it sexy as hell. Check it out in its full glory below:


Originally published on The Music Ninja

'Wish I Was Here' Soundtrack Contains New Bon Iver, The Shins, and More

Music News, TV/Film NewsWeston PaganoComment

Ten years ago Zach Braff’s last film Garden State did wonders for propelling indie, specifically The Shins, into the mainstream spotlight. It seems Wish I Was Here, his Kickstarter-funded forthcoming directorial sophomore effort, will be similarly musically inspired, with a soundtrack boasting many of the screenwriter and star’s favorite artists, including Paul Simon and The Head And The Heart.

The Shins appear once again with shimmering new tune “So Now What,” with frontman James Mercer taking a break from side-project Broken Bells to write the song specifically for this sountrack. Just as wistful and dreamy as they were a decade ago, the now Portland-based sextet seem eager to reunite with Braff with lines like “I guess we’ll just begin again / I hope you know you’re my best friend” making up the soaring chorus lifted by Mercer’s gentle and softened falsetto.

Another new track commissioned for Wish I Was Here is Bon Iver’s eerie and minimalistic “Heavenly Father.” Justin Vernon’s vocals layer over a looping synth vibration in what, according to NPR, was an incredibly spontaneous recording:

They were enjoying it and laughing, but at a certain point, they just got quiet. When it was over, Justin started humming. We talked afterwards about the relationship between Zach’s character and his brother [Josh Gad], and Justin and Nate talked a little about their father — all the while Justin kept distractedly humming. Eventually, he sang out the words ‘heavenly father.’ Before I even left their house, Justin was recording the first version of the song in his downstairs studio. His inspiration was that immediate.

The complete soundtrack is due out July 15 via Columbia with the film hitting theaters three days later. There will be a separate vinyl release on August 5, with Garden State’s soundtrack being reissued the same day. Check out the tracklist below:

Wish I Was Here

  1. The Shins “So Now What”
  2. Gary Jules “Broke Window”
  3. Radical Face “The Mute”
  4. Hozier “Cherry Wine (Live)”
  5. Bon Iver “Holocene”
  6. Badly Drawn Boy “The Shining”
  7. Jump Little Children “Mexico”
  8. Cat Power & Coldplay “Wish I Was Here”
  9. Allie Moss “Wait It Out”
  10. Paul Simon “The Obvious Child”
  11. Japanese Wallpaper “Breathe In [ft. Wafia]“
  12. Bon Iver “Heavenly Father”
  13. Aaron Embry “Raven’s Song”
  14. The Weepies “Mend”
  15. The Head & the Heart “No One to Let You Down”

Originally published on The Music Ninja

"Do You" Want to Hear the First New Spoon Song in Four Years?

New Music, Music NewsWeston PaganoComment

After a four-year hiatus, Austin-based indie rock mainstays Spoon are back and as spry as ever with the first official single off their forthcoming eighth record, They Want My Soul.

“Do You” is classic Spoon, with Britt Daniel’s pleading vocals calling out over intertwining guitar and piano along with the type of softened, echoing “do-do-dos” only the best instant sing-alongs are made of. Despite the ferocious intensity of the three-eyed lion in the artwork, the track is actually quite warm and inviting, and you can almost feel the audiences clapping in time already.

Written immediately after Daniel’s side-project Divine Fits concluded touring last year, They Want My Soul is scheduled to become the Texas outfit’s first LP on new label Loma Vista upon its release on August 5th, though there’s still plenty of summer left to bounce along to this song in the meantime.

“Do You” is available for purchase on iTunes, or better, through the band’s new Vinyl Gratification program.


Originally published on The Music Ninja

Yeasayer's Anand Wilder Announces 'Break Line' Musical with Star-Studded Soundtrack, Releases First Single

Music News, New MusicWeston PaganoComment

Talk about an all-star cast: Yeasayer co-founder and multi-instrumentalist Anand Wilder and longtime friend and composer Maxwell Kardon have announced the completion of a new musical featuring fellow bandmates Ira Wolf Tuton and Chris Keating, James Richardson (MGMT), Christopher Powell and Ryan Kattner (Man Man), Rostam Batmanglij (Vampire Weekend, Discovery), K Ishibashi (Kishi Bashi, of Montreal, Jupiter One), Haley Dekle (Dirty Projectors), and more.

According to the press release, Break Line The Musical “harkens back to rock concept albums of the early 70′s,” exploring “the classic arc of lost love, betrayal, and pride,” and is based on “a labor conflict in a Western Pennsylvania coal town” that the duo’s fathers had discovered in “an old folk song taught in Quaker schools in the 1950s.”

Conceived six years ago, Wilder’s project began to take shape in between Yeasayer albums and is reminiscent of his band’s debut LP, with a lighter, springier version of All Hour Cymbals’ freakier folksy vibe. Taking inspiration from The Kinks and The Byrds, the musical puts a contemporary twist on a classic art form.

Ahead of Break Line’s release this July 15th on Secretly Canadian (July 14th, rest of the world via Mute), Wilder and Kardon have given us a small taste of what’s to come with ‘Wedding Day,’ a sleepy track that begins with children’s laughter and reversed guitar strums before Wilder’s croons raise the tempo into full-blown folk-pop festivity.


Originally published on The Music Ninja

Members of Cold War Kids and We Barbarians Form New Side-Project, French Style Furs

Music News, New MusicWeston PaganoComment
french style furs press photo.jpeg

The newest addition to the long list of supergroup side-projects forming in recent years is here: LA-based French Style Furs, made up of Nathan Willett and Matt Maust of Cold War Kids and We Barbarians’ Nathan Warkentin, has announced Is Exotic Bait, a debut LP due out July 8th via Frenchkiss Records.

Named after a storefront in Brooklyn and cultivated in spontaneity, French Style Furs pulses with the kind of creative urgency that comes with writing and recording in between shows, with Willett’s signature howls, barks, and wails giving restless life to lyrics inspired by Trappist monk and mystic Thomas Merton’s poetry.

Lyric video for "Solitary Life" by French Style Furs. Download Is Exotic Bait: http://bit.ly/1kcNTGJ French Style Furs. Cold War Kids + We Barbarians team up for the full length debut album, Is Exotic Bait, available now on Frenchkiss Records. Subscribe: http://bit.ly/1jtvzsh http://www.frenchstylefurs.com/ https://www.facebook.com/frenchstylefurs http://www.frenchkissrecords.com

As he does with Cold War Kids, Maust doubles as graphic designer and videographer, and has created a moving collage lyric video for ‘Solitary Life.’ The track itself opens with a bass groove of his (you can almost see him jerkily swaying on stage as you hear it) before swinging horns, Haley Dekle (Dirty Projectors) vocalizations, and even some cowbell are layered on. Check out the three singles available already and the current tour dates below.

Tour Dates:

6/2 – Los Angeles, CA @ The Satellite
6/9 – Los Angeles, CA @ The Satellite
6/16 – Los Angeles, CA @ The Satellite
6/23 – Los Angeles, CA @ The Satellite
7/7 – New York, NY @ Mercury Lounge
7/9 – New York, NY @ Rough Trade


Originally published on The Music Ninja.

Lousy With Sylvianbriar is Anything But: A Conversation with of Montreal

Music InterviewWeston PaganoComment

Having performed in a ten-foot dress adorned with hallucinatory projections, completely nude, and with everything in between, enigmatic and eccentric frontman Kevin Barnes has guided of Montreal through a kaleidoscopic 18 years, 12 albums, and countless reformations in cast, spanning genres from vaudevillian twee pop, acid-soaked electronica, glam rock, and funk.

In their newest incarnation, a unique take on Dylan and Stones-esque 60-70s psychedelic Americana, Lousy with Sylvianbriar is anything but. Eschewing the glitter-covered, other-worldly, and androgynous sex-charge of their past few records, Barnes and co. have returned to their roots, recording without the use of computers on the 24-track in his home studio and emerging with yet another undeniably successful left turn.

Known for their flamboyant and high-energy live shows, of Montreal have incorporated elaborate stage acts, costumes, fruit, and once even a real-life, all-white horse into their musical performances as they convey Barnes’ meandering and shocking narratives articulated in his characteristically voluble diction and delivered in his simultaneously jarring yet soothing croons, shrieks, and falsettos.

Transverso Media spoke with Barnes about his beginnings, the new album and more.


TRANSVERSO: What was it like starting out in the Elephant 6 Collective in Athens, Georgia?

KEVIN BARNES: It sort of came together very unexpectedly when I moved down to Athens. I just knew one person who happened to connect me with all those other people, so it was really fortunate the way it happened. [It was] basically just a bunch of people who were making cassette four track recordings in their bedrooms and listening to Beach Boys’ Smile and [other], at that time, sort of obscure 60s music. Young people weren’t really listening to that stuff, so I needed to find a bunch of people my own age that were listening to those classic 60s records. It was great because, where I was living before in south Florida, there was nothing like that, basically everyone just listened to what was on the radio and dance music and things like that, so it was cool to meet all these likeminded people and to be inspired by each other and kind of create this new alternate universe together.

But you created the new record more or less isolated in San Francisco. What motivated this move and how did it affect you?

I’m not sure really what motivated it besides just wanting to get out of my comfort zone and go somewhere that sounded sort of exotic. I didn’t really know that many people but I knew enough people that I wouldn’t feel completely alienated in the new environment and [I] just sort of wandered around and spent a lot of time by myself and in my head thinking of ideas. I did a lot of reading, writing, and all that, so that’s cool, just to be focused to have nothing else going on other than focusing on writing. I think it inspired me because I was sort of romanticizing the concept of San Francisco and the different important cultural movements and events that happened there over the decades, [thinking] about the beat generation, the feminist movements, gay rights movements and all the important events that went down there. It’s cool because it’s a very culturally diverse city as well, so there’s so much ethnic diversity and cultural diversity and all these new places to discover, [whereas] in Athens, Georgia it’s a small town and there is not much mystery there. I’ve been [in Athens] so long that I kind of know everything, so it was cool to be in some new place that I could just go explore and discover new things.

of montreal is a bit of a revolving door in terms of members. How does it feel to be the solitary mainstay? Does that give you that sort of freedom you need to go to these places and do these things on your own?

Yeah, it’s cool to not have to answer to anybody because I’m very restless creatively speaking, and so it’s hard for me to really be attached to people in that way. I kind of need to be free to make decisions to help me go in different directions and realize different visions and so it’s just the way it is.

Your lyrics seem to fluctuate over a blurred line between personal and fictional. What can you tell us about that?

I think if you only write about yourself and your personal life it feels maybe a bit narcissistic, but I think it’s inevitable that there will always be some aspect of your personal life or your personal emotions or whatever coming through, even if you write about something that would seem like fiction. I guess I just made a decision early on that I wanted songs to be directly connected to my personal life and to reality, but I’ve gone through phases, like early on where I got kind of I got some bad reviews, and so I freaked out and [thought] well, I don’t want to put any of my personal life in there ‘cause it makes me too vulnerable. Then I’ve come back around to writing from a more personal perspective over the last six or seven records. If you write from a personal standpoint it’s likely to have a more timeless quality, just because you’re writing about universal themes that everyone can kind of identify with and they don’t really disappear.

Most of your early work is absent from your live shows, though. Is it because of those negative reviews? How do you go about picking a set from such an extensive discography?

No, I wouldn’t say that my decision making is affected by negative reviews of the early work, just because I’ve really sort of moved on, you know? I’m happy [those records] exist, but they don’t make any sense to me anymore; they came from a part of my psyche that’s either in hibernation or in a coma or dead or whatever. I don’t identify with them anymore, but the songs from the last six or seven records I still identify with, and it doesn’t seem foreign at all to play them. It’s really just wanting to play songs that I can connect with, ‘cause otherwise it’s just like doing some cover song or something. As far as putting a set together, it’s usually just a matter of thinking about what would be fun to play, what would feel good to play or would be therapeutic to play.

Drugs and other chemicals are often mentioned in your lyrics.  How have these substances affected your artistic process?

Everything affects the creative process and your reality and your day-to-day outlook on things. I’m so focused on writing and everything it’s sort of centered around that, everything I do is gonna influence that on some level, but I’m not really a recreational drug user or anything like that so I don’t really have that same sort of relationship with recreational drugs that maybe some people have. I don’t really use drugs as an inspiration. If I do drugs, which I don’t that often, it’s normally just to see, okay, how’s this gonna feel, but it doesn’t usually make me more productive. I tend to be more productive when I’m just genuinely excited about the thing that I’m working on. I don’t really need anything artificial to boost that because the whole thing happens organically, and its not something that I can make happen through this combination of different things, it’s just something that kind of mystically happens without much effort, or it doesn’t happen at all.

What can you tell us about the upcoming of Montreal documentary “The Past is a Grotesque Animal”?

Well it’s basically done. I think that now it’s at the point of post production, [going through] color correcting, making sure the sound is solid throughout and little things like that, but yeah, it’s basically done. It just got picked up by Oscilloscope, so it’ll have a decent distribution. I’m not sure exactly when it’s coming out, but I’m assuming sometime this year.

Is it more of a documentary on you or the band as a whole? What exactly does it cover?

Well it’s not so much about the music. I had no real involvement with the way it was edited or put together or directed or anything, so it’s definitely not my project. It’s probably more about me and [my] personal relationships over the last 15 years or whatever more so than the music and the live show and the artwork and things like that. It’s slightly more behind the music than something that would be more objective.

Speaking of the artwork, Lousy with Sylvianbriar has the first album cover in a while that wasn’t done by your brother, David Barnes. How do you go about selecting the visuals to accompany your music and what is the relationship there?

Growing up I always had a strong connection with albums and album art. Whenever I hear a song I instantly have the album cover in my head if its something that’s like a classic album that I loved. It’s a weird thing, just staring at the album cover while you’re listening to the album and having that really strong memory connection with the music. I always wanted the album covers to have some presence of their own but also to feel like a visual embodiment of the spirit of the record. The new record [with] the motorcycle on the hill represents a sort of wildness and freedom ‘cause I was reading a Hunter S. Thompson book about the hells angels when I was writing the record. [The] motorcycle represents, maybe not so much anymore, but what it represented in the 60s and 70s, [was] that sort of outlaw culture. The record, to me, is sort of hearkening back to that time period, [and] it seems to be a sort of icon for that time period.

What are some of the album covers that made such a strong impression on you growing up?

Well a big one is the Prince album Sign o’ the Times where he’s on the cover with his big, kind of, like, Randy glasses, or whatever, and just looking very androgynous. That one, and also the cover of Lovesexy. Prince album covers I’ve probably stared at the most, just ‘cause he was so serious and perplexing, this strange, androgynous, beautiful creature that was so talented and so versatile and different; each record he was a completely different person. Same with David Bowie; [I spent a lot of time] staring at the cover of The Man Who Stole the World and Ziggy Stardust and Low, and things like that.

What ever happened to your rumored collaboration with MGMT’s Andrew VanWyngarden?

We’re still close friends and we still talk about it, so I think it will happen eventually, it’s just a matter of finding a moment where were both open and available.

What’s next for you and of Montreal?

Well I started work on a new record and we’re talking about getting together in a country house out in Tennessee this summer, so basically just sort of collecting ideas and chasing different inspirits and trying to find some spark to create a new wave for me artistically. I think I have actually discovered it, but I don’t really want to talk about it yet because it’s sort of in this vulnerable state right now. I just keep looking and keep touring; we have a lot of shows happening over the next couple months. We’re going to Europe, we’re going to Moscow in June, which is the first time we’ve ever gone out there. Yeah, I’ll basically just keep looking and keep producing things.


Lousy With Sylvianbriar is out now on Polyvinyl

Miniature Tigers Discuss the Future, fun., and Fighting

Music InterviewWeston PaganoComment

After first gaining recognition when named "one of the 25 best bands on Myspace” by Rolling Stone in 2006, Miniature Tigers released their sticky-sweet sing-along debut Tell It To The Volcano two years later. Now with three EPs and three full-length albums under their belts, Phoenix-born and Brooklyn-bred pop foursome are back at it and more polished than ever with “Swimming Pool Blues,” the first single from their upcoming LP, Cruel Runnings, just in time for the weather to (hopefully) begin warming up.

In support of these new releases, frontman and guitarist Charlie Brand, guitarist Algernon Quashie (better known as AJ), keyboardist Rick Alvin Schaier and bassist Brandon Lee recently embarked on a tour with co-headliners Bear Hands and opening act Total Slacker. Ahead of their show at the Empty Bottle in Chicago’s Ukrainian Village we got the chance to speak with the band after being instructed to climb into their large, unmarked black van as it pulled up to the sidewalk outside.

Transverso: Do you kidnap all of your journalists?

Charlie: [Laughs]

So how’s touring going so far?

Charlie: It’s going good. I just had strep throat recently so I’m getting over that and pretty much back to normal now.

Did you miss any shows from that?

Charlie: Just some South By [Southwest] shows.

How was SXSW?

Charlie: It was good, we played three shows the first day and then had a day off, and then were gonna do more and then that’s when the strep throat happened, so we canceled the rest of it.

Were you anywhere near [the hit-and-run incident]?

Charlie: No, not really.

You toured with fun. not too long ago, what was it like playing like in a large arena type venue versus a more intimate setting like this?

Charlie: Well it’s a whole different thing, really, and, I don’t know, the energy is different. I mean, I guess for them their crowd is pretty receptive and cool and, yeah, it’s trippy playing in front of that many people and playing to that large of an audience, but then we also love playing more intimate shows and smaller clubs and things like that too, so that’s kind of more where we’re at as a headlining band.

Are there any other bands you’d like to play with down the road? What’s been your favorite band to play with so far?

Charlie: Man, I mean that fun. tour was awesome. We’re on tour with this band Bear Hands and Total Slacker, and those guys are really rad, [we’re] loving being on tour with them. Who would you like to tour with, AJ?

AJ: Who would I like to tour with? Man, maybe the Paul McKenna All-Stars, but for people we have toured with, yeah, fun. has been awesome, Kevin Devine and that crew, Spinto Band.

Charlie: Spinto Band, love ‘em.

Your upcoming album was recorded in Jamaica and produced by Chris Zane. How has this influenced your sound and what should we expect this spring?

Charlie: I definitely feel Jamaica influenced it. It was just a more laid back recording process, and we were really relaxed making it, so it felt very effortless to record it and make it, but it doesn’t really sound like an island record, really. It’s very clean and poppy and there’s lots of big drums and things like that.

Album art for Cruel Runnings

Album art for Cruel Runnings

You’ve done a lot of your album artwork in the past. What inspires this crossover between mediums?

Charlie: That’s a good question. It usually kind of happens after everything’s already done. Rick painted the first two album covers and the third one, we just shot this photo, and this [new record] we’re on the cover for the first time. We’ve never really done anything like that, and just kind of had this idea inspired by the Memphis design group with lots of 80s interior design kind of stuff, like really pastel-y colors and [we] wanted to basically create this room and put ourselves in it.

What is your songwriting process?

Charlie: I’ll just kind of like sit down and start fucking around and record demos, and most times I’ll like send it to these guys and they’ll write little parts and we’ll all kind of tinker with shit, and once we get in the studio, then that’s kinda when the songs really take shape and we all contribute our parts and weigh in on how we’re gonna approach the production and stuff.

Do you have any other side projects that you’re working on?

Charlie: Yeah, pretty much everyone has other projects outside the band and these guys can tell you more about that.

AJ: Yeah, everyone has their own little thing. Rick has the Alvin Band, Rick and I have a little group called Spooky, I make beats, Brandon, he has his own solo project, too, so we all just keep it moving. [Laughs]

You’re currently on tour with Bear Hands and so I have to ask: who would win in a fight between a man with bear hands and a group of miniature tigers?

AJ: Hmm… a group of tigers.

Charlie: Yeah, probably a group of tigers.

AJ: How many are these tigers?

I don’t know, there’s four of you.

Charlie: Yeah, ‘cause what’s a bear’s hand? It’s like, okay that’s something, but I’d be more afraid of the mouth area.

AJ: Mhm, yeah.

Charlie: Does this guy have like a bear mouth too?

AJ: And a group of tigers, what is that called?

Charlie: Is the man the size of an upright bear?

AJ: Are we talking about a normal sized man, or like..?

I’m realizing I haven’t thought this through enough.

Charlie: [Laughs] You have to think of all the angles!

AJ: We’re in a van a lot so this kind of thing comes up.

Charlie: Okay, I personally think the pack of miniature tigers would win, but ultimately, who would win in a fight between Miniature Tigers and Bear Hands?

AJ: You mean the bands?

Charlie: Yeah. I think Bear Hands, dude. I mean, I’ve had some fights, I guess, but I think they’d ultimately beat the shit out of us.

J: Yeah, they’d probably beat us.

Rick: Yeah, I think we’d lose.

AJ: TJ [Orscher, Bear Hands’ drummer] is pretty jacked.

My center of gravity is too high, I wouldn’t be very good.

Charlie: Yeah I feel ya, we’re all kinda tall too, so.

AJ: Except for me.

Charlie: Except for you.

AJ: But I do have patience, and patience wins fights.

Charlie: You have patience, yeah, you Hollywood ‘em.

Well, sounds good. So am I gonna make it out of this van alive?

Charlie: [Laughs] Probably not.


Cruel Runnings is out May 27 on Modern Art Records.