Austin’s The Octopus Project just released their 3rd album, Hello, Avalanche, this fall and are in the process of wrapping up their summer tour. Ever since their fans spoke up in 2006 and got the band a spot at the Coachella Fest for that year, the number of converts has only continued to grow well outside of Texas. The band recently took time out to kndly answer a few questions for MOC.

What were the events that lead to the Octopus Project’s formation?

We were all in bands together in high school/college, and after being the back-up band in a friend’s band, we decided that we wanted to break out and do something on our own. That was around 1998-99. The Octopus Project formed out of the combination of ideas from a couple of other bands, Harry Bugus All Stars (me and Toto) and Invisible Robot Fish (collective of people). The former was a recording project where Toto and I just made up goofy songs, and covered other songs. It was mostly an excuse to mess around and record as much stuff as possible – seeing how far we could take things. The songs weren’t super-awesome, but it was a ton of fun. The latter was an improvisational band where we would go to a club in Houston once a week on open mic night, and just let loose for 20 minutes. There were no rules, and we never practiced or wrote any songs. It sounds like it could be boring, but we tried to make it as fun as possible. None of us were great musicians by any means, so we kinda rested more on our creativity/noise making abilities rather than actual skill.

What was the approach to recording your 3rd album ([b]Hello Avalanche )?

In the past, we’ve always recorded in Austin at home or at a friend’s studio, and it has always taken forever for us to get things finished. For Hello Avalanche , we decided that we wanted to get away from Austin, and seclude ourselves in the mountains outside of Seattle – pretty much as far away from home as we could be. The idea was that we’d record and mix the record in a month, and be done. We finished the recording in the studio, but felt like the mixing could use some more time, so we spent a month and a half working on it at home, then took it into a studio to do some final touches for a couple of days.

Why the decision to work with an outside producer for the album?

We’ve been recording ourselves forever, and know how to get most of the sounds we wanted with the limited equipment we have, but it’s never sounded exactly like what we want. For this record, we wanted things to sound a little more polished, but still have some dirty, nasty sounding stuff. We worked with Ryan Hadlock up at Bear Creek outside of Seattle. He has recorded some amazing sounding records (Blonde Redhead, Black Heart Procession), and we felt like it was a good fit. Since we knew how to get the crazy, lo-fi stuff, we left the more shiny sounding stuff to him.

Is it difficult to replicate the Octopus Project’s sound live with the variety of instruments used while recording?

Sometimes it’s difficult, sometimes not. The songs on the first couple of records were recorded mostly before we started playing them live, so figuring out how to actually play them together was a trick. We have some backing tracks on an iPod for things that are just impossible to recreate live (cut-up beats, extra keyboard parts). But, we’re trying to veer away from that avenue. The songs feel a lot fuller when we’re not relying on the iPod. The newer songs are about half and half. Now, we try and trigger samples off of a sampler, or use sequences that we’re actually controlling rather than just hitting “play.”

As far as instruments, there have been a few difficult things. For example, we have a song called, “I Saw the Bright Shinies” that has multi-tracked Theremins on the recording. Live, we had to change it up a bit. Yvonne plays one Theremin part, but the other two parts are played on guitar and keyboard. But, other songs like [/i]“Truck”[/i] are pretty much exactly the same live as they are on the record.

Even though all of your members seem to be fully capable of playing any instrument put in front of them, is there anything that is specifically reserved for only one member, live or on recordings?

The only instrument that only one of us can play is the Theremin. We let Yvonne have full reign of that one. She’s a fantastic player, and it really wouldn’t do the instrument justice to have any of the rest of us goof around on it. It’s her domain. Everything else is up for grabs though.

What is the main mode of transport for the Octopus Project on the road?

We have a big, white Chevy van. No trailer or extra people yet. It’s tight with 4 people in there, but we each get our own seat, so it all works out ok.

How do you guys do to pass the time?

We listen to an awful lot of music, read, work on music, look out the window, think, sleep… Even though we might drive for 10 hours, I never feel like I get really bored. There’s always something to do.

What are some of your favorite venues and cities to visit?

Besides Austin, we always have pretty stellar times in Chicago[b], [b]San Francisco, New York, Knoxville (it’s a great place, really!), etc… The Pilot Light in Knoxville is a tiny, but lovely place to play. We also really like Bimbo’s in SF, the Metro in Chicago, Irving Plaza in New York. There are way too many places to name. We’ve been lucky to play in some great towns at some amazing clubs.

Are there any bands that you have particularly enjoyed playing with?

We just toured with our friends from Austin called Diagonals, and it was great! We’ve also had the chance to tour with some super-cool folks, Trail of Dead, Enon, Stereo Total, Starlight Mints, and Aesop Rock. We’ve become good friends with them since touring together, so that’s really nice.

Are there any dream tour lineups that you would love to be apart of?

If time and money were no option….

1. The Beatles (of course, but c’mon!)
2. Led Zeppelin (see #1)
3. Deerhoof
4. Air
5. Alice Coltrane
6. The Tammys
7. The Zombies
8. Steve Reich
9. Fela Kuti
10. Francoise Hardy
11. Fugazi
12. Liars
13. MIA
14. Neutral Milk Hotel
15. Sonic Youth


How have your experiences been playing the big festivals like Coachella and Lollapalooza? Is there time to check out other bands? Have you noticed any of the other bands in your audience?

Both of those festivals were mind-blowingly amazing. It’s really hard to explain, but it’s kinda like Christmas morning for three days straight. I mean, it’s always been my dream to get to play next to the most amazing bands in the world. I feel incredibly lucky to have been able to fulfill that dream. We had an outstanding time playing the festivals, but it was also completely awesome to get to check out the other bands, and hang around behind the scenes. It makes you realize that everyone is way more normal than you would have thought. It doesn’t seem out of place at all to be eating lunch next to Perry Farrell or Karen O.

I haven’t noticed anyone in the audience from other bands, but who knows…

It looks as though your tour is wrapping up early fall after an appearance at ACL, what
are the Octopus Project’s plans for after that?

After ACL, we’re going to be heading out east for a couple of weeks of touring. Nothing super long. But, when we get back we’re going to hunker down and start focusing on making a new record. Exciting!!

THANKS FOR THE INTERVIEW OCTOPUS PROJECT!

Thanks for the interview Ryan and Make Out Club!!


The Octopus Project
www.theoctopusproject.com

Hello, Avalanche is out now

Aug 28 Lola’s Ft. Worth, Texas
Aug 29 Warehouse Live - ALL AGES! Houston, Texas
Sep 28 Austin City Limits Festival Austin, Texas

Photo Gina Gutierrez / Wiley Wiggins

The Faith / Void Split LP

Released on Dischord in the early 80's, this remains one of the most influential examples of pure DC punk and X'd up hardcore during a time when the scene was still fighting for it's footing and carving it's niche. The record remains a staple "go to" reference for anyone getting into this shit, and if it isn't in your collection, it should be.

New Jersey-born and now Bay Area-based installation artist and painter Chris Duncan has a new show opening early next month in NYC named after the infamous recording.

"THE FAITH VOID SPLIT" will be on exhibit at the Jeff Bailey Gallery in New York, with an opening reception on September 4, 2008 from 6-8pm. 511 W. 25th St. #207 - NY, NY 10001

Chris Duncan's Homepage
Info on Chris Duncan
Writeup on the record.

So in reading about Chris and the inspiration for his upcoming opening I started thinking about a few other splits that I dug over the years.... (You all should probably chime in here and list your own as well...) here are a few of mine:




The Jihad / Ottawa Split

Cited by many of my friends to be the "best hardcore record of the 90's", (and it's certainly among them), the fourth release on legendary Council Records (home of Current, Indian Summer, etc) in 1994 completely bends minds. Twenty-two tracks of relentless brutally fast hardcore, the longest track clocking it at a minute forty... hard as hell to find on vinyl these days, but easy enough to dig it up somewhere I would imagine...

More Here.




The Filth / Blatz Split

Released in the early 90's, this double CD remains an easy-access point for anyone remotely interested in getting into punk / crust, While there are dozens of bands that personify the genre more, these two Bay Area bands certainly hold their own... and I mention this release simply for the Filth's track "The List" which remains a killer to this day.

Review Here.
Order Here.

Seminal early/mid 90's bay area emo/screamo band Portraits of Past, best known for their inspiring and dirge-like crushing blend of melodic hardcore played two reunion shows earlier this month in and around Berkeley, with two additional shows in NYC coming up on the 29th and 30th of this month.

If you've never heard them before, their rare self-titled LP on Ebullition is now re-released so there's no excuse - and with a new song having been played at both CA shows and rumors of new material to follow, fans and followers of this resurrected band might have more to look forward to.

Below is a clip of their Gilman Street performance on August 2nd of this month.





Catch them in NYC:

Friday August 29th - Brooklyn @ Death by Audio 9pm, 49 S. 2nd.

Saturday August 30th - Manhattan @ Cake Shop 8pm, 152 Ludlow st (with Makeoutclub friends OFF MINOR!)

More Info

If you ever had the opportunity to see "The Last Dragon" as a kid or if you were exposed to this amazing film recently (it can be filed in "LEGENDARY" alongside such flicks as Big Trouble in Little China) then you are familiar with the incredible villain that was Sho'Nuff, the Shogun of Harlem!

I regret to report that actor Julius Carry III who portrayed the infamous shogun passed away today due to complications with pancreatic cancer. Our hearts go out to Carry's close friends and family. Rest in peace.






More info.

• Richard Hell

Long before every musician felt entitled to be a film actor too, it was a good way to make some extra scratch. Punk legend Richard Hell (Television, Dim Stars, Richard Hell & the Voidoids, Neon Boys, Heartbreakers) figured that out and started popping up in a number of 80’s films Smithereens, Blank Generation, Geek Maggot Bingo, What About Me? Final Rewind and most notably appearing in Madonna’s Desperately Seeking Susan. Don’t count on seeing him smiling come credit role or hearing him speak but it is most definitely the lanky Hell getting the business from that Madonna lady.

More Info...




• Tom Waits

It is extremely difficult to have such a revered catalog of music and to be able to act in films of your choosing (as in no guest roles in movies like Wanted). Tom Waits is continuing on with not only a celebrated music career but also has accumulated impressive list of film credits. Waits has had roles in a handful of Jarmusch films (Mystery Train, Down By Law, Coffee and Cigarettes) as well as appearing in Short Cuts, Wristcutters: A Love Story, The Outsiders, The Fisher King, the upcoming The Imaginarium of Doctor Parnassus and had a small role in Francis Ford Coppola’s One From the Heart (Waits also got nominated for an Oscar…that’s right…for his music from that film).

More Info...




• Dean Wareham

Some musicians have quietly appeared in a number of “art” films causing viewers to ask “was that …?” then the inevitable pause, rewind, imdb check. Luna’s Dean Wareham is one of those actors. He’s has his written music show up in films like the Squid & Whale, Margot at the Wedding, the Myth of Fingerprints and Sideways as well as appearing as an actor in indies Mr. Jealously, Piggie, Pumpkin Hell and even an episode of Law & Order that you’ve probably seen a few hundred times (if you can manage to find the show on cable).

More Info...




• Eugene Hutz

He’s still building his acting reel but Gogol Bordello’s Eugene Hutz has already appeared in a handful of films, most notably a brief speaking role in actor Liev Schreiber’s Everything Is Illuminated.

More Info...




• The Cast of Half Cocked

Yes it’s in black and white, yes it does run a little slow and yes it is full of in-jokes but the Half-Cocked cast is made up of members of Rodan, Retsin, The Grifters, Nation of Ulysses, Lungfish, Sonora Pine and the Make-Up. While not a perfect film, it is entertaining to watch these normally reserved musicians trying to play somewhat extroverted characters. Besides that, there are some great performances and a great soundtrack leading to many of the actors performing double / triple duty.

More info...

1991: The Year Punk Broke

Singlehandedly one of the best tour documents ever. Keep in mind 1991 was before the term “punk” was completely bastardized. 1991: The Year Punk Broke finds Sonic Youth taking a very young band called Nirvana with them on a bunch of European club dates. Also showing up; the Ramones, Gumball, Dinosaur Jr., and Bob Mould sampling the catering. The documentary has some priceless scenes (Dave Grohl discovering the food spread alone is worth a watch) and amazing quotes (“"you're not just a duck, you are human" “I’m hungry. Anyone got a pig’s head?!”) and entertaining enough even for anyone that doesn’t care for the band or the live performances.

Haven’t seen 1991: The Year Punk Broke? Unfortunately this is probably pretty common. The film has only been available on VHS (which I own – screening, my place, you bring food) and Laserdisc since it was released on home video. Universal owns the film now and has reportedly been prepped for deluxe release since 2004 but still has not seen the light of day. A site has been created to help petition for its release and hopefully with more attention, 1991: The Year Punk Broke will again see the light of day.

More Info.

No Age guitarist Randy Randall was great enough to speak with MOC's own TheRyan about recording, Nouns, LA, and more...

• Most people are aware that No Age came about from the dissolution of the band Wives. How did Wives begin?
Wives started, um, just through some mutual friends. I knew the drummer (Jeremy Villalobos) and the drummer knew Dean (Allen Spunt). So we became friends just from going to shows and hanging around LA. And yeah the idea was ‘Hey, we should all play music together’. That’s how I met Dean under the guise of ‘hey you should meet my other friend and we should all play’ so that’s how that all started.

• No Age’s initial releases came in the form of 5 different EPs on 5 different labels. How did that decision come about?
It was kind of a crapshoot for us. It was a funny idea. We had just started this band, we didn’t really want to make a record, we felt like we had ideas that were going in a lot of different directions. It just felt too soon to record a whole record cause it felt like we were a good band writing kind of small songs. It just sort of seemed… we wanted to do it in a big way. Make small records in a big way. So the idea was to come up with (and we easily thought this was never gonna happen, no one was gonna agree to do it), we kind of came up with the idea to release 5 EPs at the same time, on 5 different labels in 5 different countries. The kind of stuff you just happen to come across in, you know, a 7” bin. And you know ‘oh, what’s this? never heard of these guys’ in a way that’s more small community based. You weren’t gonna see it at a store, or something. It was gonna be something you’d come across, you know, flipping through vinyl.

• How was the process been changed with Sub Pop, in terms of recording and putting an album out?
Right um, it kind of felt like we really want to make a record where we sit down and kind of shape everything and listen to the songs and kind of take a step back and kind of see how it fits together as a whole unit you know? All the songs, do they compliment each other? Compliment meaning any number of things, in our minds you know, do they fit? Was it a balanced record? So we went about writing songs that way and if we felt there was a sound that wasn’t on the record that we wanted to hear, we would write a song that would express that.

• Did you have the same freedom with the Sub Pop record (Nouns) that you had with the previous EPs?
Oh yeah, totally. We actually started recording Nouns, the Sub Pop record, before we were even on Sub Pop. A good number of the songs were already written. And we had an opportunity to record stuff. So we started recording before we knew even what label we were gonna be on. So it was definitely the same way, we turned it in and you know, there was no notes or anything you know, after the record, that’s it. We paid for it, here it is.

• Have you noticed the reception on the road has changed? Are you getting a different crowd now?
Ah you know, not really. I feel like it’s pretty cool and pretty consistent. I feel like it’s a lot of people that we either know or a friend of a friend or at least that’s how it feels from the people that come and talk to us. Seems fairly organic and pretty normal.

• What are some of the cities and venues you really like to go to?
Um, where do I like to go? I really like um, good question, the Triple Rock in Minneapolis is a great club you know. Liars and us played there to nobody but everybody there was cool and real nice to us. They still gave us a meal and some drink tickets even though we didn’t bring, you know, we probably brought like 10 people in there. So places like that that are totally supportive and cool. They’re still cool when nobody gave a shit who we are. Ah, that place is really cool and also we really love the Todd P shows in New York. He doesn’t have a single venue or solitary venue, he kind of does it in different places but he’s an old friend.


• A lot of mention was made a few months ago when Colin Greenwood (Radiohead) had a No Age shirt on…
(RR laughs)
Was that a surprise to you guys?
Ah, no not really, well, the idea of Colin Greenwood at all, first, was a surprise but we were notified. His people got in touch with our people, I think his record label got in touch with our record label and said he was gonna come to the show. We played a show just outside of London and he came with his wife and a friend who’s a photographer. He was so cool. It was just surprising you know we were like ‘oh wow, that’s the guy from Radiohead’ but his wife came up and said that she was a fan and that she grew up kind of listening to the DC hardcore music and so she was a fan of our music and also she had said that they had played Weirdo Rippers, the album before Nouns, in the car and the kids would like play along, like air drums, play along with it. So I feel like maybe Colin got dragged in by his wife, and I don’t know if, she may have put him up to wearing the shirt. But they were also really nice and bought a whole bunch of merch. We would’ve given it to them but they insisted on paying for it.

•Have any you had any other attention or support from other bands like that since?
Um, I don’t know. No, definitely not from anybody we don’t know. Like the guys from Liars. We had known, just from living in LA, so that was really awesome they asked us. So it’s cool with those guys but yeah, you know nothing really that crazy.

•Growing up in LA, were there any memorable shows that you went to that let you know that this is what I want to do?
Wow, um yeah. I think probably one of the first shows I went to where I really felt like I could do this was, I saw Mike Watt play solo at the Smell in North Hollywood, its first location. And it was definitely, I walked away from the best show with a firm belief in my head that I could do that. There’s no way that I’m not gonna do that and that totally made sense that that was what I wanted to do.

• What is next for No Age?
We’re gonna do this tour with Abe Vigoda all around the US; Abe Vigoda and Mika Miko and then we keep touring. We go back to Europe and bounce around for awhile and then I think we’re gonna sit down and start working on new ideas you know we’ve kind of been writing small parts and pieces of things but after these tours we’ll start to fit them together for the next record.

•Would that planned to be a full length or another EP?
Um, I don’t know. We’re really excited about doing another EP but yeah, I don’t know. I think in a sort of way…we’ll just wait and see how the pieces all fit together. The other thing we’re gonna work on is the music video for the song “Teen Creeps”.

No Age's Nouns Is Available Now on Sub Pop

Songs for Cassavetes

Indie music before it was called “indie”. Songs for Cassavetes captures the burgeoning American “underground” music scene before it became fashionable to use such music in department store adverts. Bands featured in Justin Mitchell’s documentary include Sleater-Kinney, The Make-Up, Unwound, The Peeches, Henry's Dress, Further, Tullycraft, Some Velvet Sidewalk, Dub Narcotic Sound System and the Hi-Fives.

Songs for Cassavetes