LaunchLeft

Rain welcomes John Vanderslice to LaunchLeft today.  John launches Spacemoth, and together we discuss how getting away from the handbook and taking risks can make a lasting piece of art. John doesn’t hold back on his views of creativity, production, artists' treatment, and more. Spacemoth joins in to discuss recording studios and her music. Stay tuned to the end to hear Spacemoth’s vibey track ‘UFO Bird’. 

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LAUNCHLEFT OFFICIAL WEBSITE
https://www.launchleft.com 

LAUNCHLEFT PATREON 
https://www.patreon.com/LaunchLeft 

TWITTER 
https://twitter.com/LaunchLeft 

INSTAGRAM 
https://www.instagram.com/launchleft/ 

FACEBOOK 
https://www.facebook.com/LaunchLeft 

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LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery.

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IN THIS EPISODE:

[01:08]John discusses his journey through what, how and why he writes his music. 

[07:28] What two artists inspired John to step out of his comfort zone. 

[10:27] John’s examples of ‘whatever it takes to get by’. 

[11:55] John talks about his collection of instruments. 

[13:57] What would John do if he ever stopped making music? 

[17:31] What non-attachment means to John and how grieving informs an artist. 

[20:29] How John spends his time in and out of the studio and his views of this creative art. 

[27:51] Spacemoth talks about finding Tiny Telephone and the different vibes in studios. 

KEY TAKEAWAYS: 

Artists must always find something inspiring. They are constantly looking for gems in music and others.

Sometimes when “accidents” happen in the studio, they can result in fantastic music.

Collaboration in music is the key to making lasting records while the artists have fun and find joy in making them.

BIOGRAPHY: 

The Reintroduction of John Vanderslice

by Grayson Haver Currin

Nearly 20 years ago, or just after the start of this century, John Vanderslice made some of his generation’s most masterful singer-songwriter records. Life and Death of an American Four-Tracker, Cellar Door, Pixel Revolt: Every year or so, he’d release another set of engrossing songs set expertly on edge, vulnerable excavations animated by a new dawn of endless-war unrest. Those albums sounded like little else, each blown-out drum line or warped calliope melody or sun-baked synthesizer layer a testament to Vanderslice’s laborious process and tireless ingenuity. (There were rumors, possibly true, he once cut 500 hours of tape for a single album.) This dovetailed, of course, with his emergence as a keen analog revivalist and the proprietor of one of the best studios in the country, San Francisco’s Tiny Telephone.

But on a sunny winter day in his gently sloped Los Angeles backyard, feet from the little green cabin where he now makes music, Vanderslice beams as he disavows all of it. “I went from this scrappy dude who wanted to own a studio to someone able to record in a big room with a full orchestra, like fucking Frank Sinatra, the end result of an obsession with songwriting,” he says of his maximalist apogee, 2011’s White Wilderness, brushing hair so blonde it sometimes seems white from his suddenly trenched brow. “I should have wrapped it up right there—no more tape, no more reel-to-reel, no more linear format. Let’s blow it up. It took me a long time to learn how.”

Let’s round it, in fact, to a dozen years: Crystals 3.0—the culmination of a span of ecstatic experimentation with harsh noise and hard drugs, curious samples and cascading sequencers—is both a new pinnacle for Vanderslice and the manifestation of a revelatory outlook. A seamless 19-minute sequence of melodies so memorable they belong in an ice cream truck, static bursts so meticulous they belong on a Merzbow tribute and beats so spring-loaded they belong on a trap record, Crystals 3.0 applies the unencumbered enthusiasm of vintage Vanderslice records to his ideas about breaking old molds, about avoiding easy interpretation.

“Songwriting is inherently conservative, and I just don’t have the mindset to write something like ‘Exodus Damage’ again,” Vanderslice, now 55, says, grinning broadly in his contagious way. “I want to make music that poses more questions than it answers.”

The essential elements here are nothing unprecedented for Vanderslice. He was, after all, the sample guy in his acclaimed band of ’90s weirdos, MK Ultra, and his approach to crosshatching rhythms and hooks in playful patterns betrayed a love of hip-hop and electronica at least since 2004’s Cellar Door. During pandemic lockdowns, though, a budding fascination led him to embrace those elements unabashedly—drugs, from acid and coke to mushrooms and MDMA. After years as the songwriter who didn’t drink on tour for fear of how it might impact his craft, the spoils of a libertine Los Angeles became distinct tools, allowing him to tunnel into his creativity in distinct ways. He would build electronic trances on ecstasy or up the mushrooms on recording days, looking for unimagined connections.

During 2022, Vanderslice would often sit in his backyard studio in some pleasant psychedelic state and work while a film—maybe something by the Maysles Brothers or Frederick Wiseman—played in the background. If something caught his ear, he’d often weave it into the music, using the distortion inherent in those decades-old documentaries to counter the rigidly clean tones of digital instruments. No context, just the serendipity of overlapping moments.

Those samples populate Crystals 3.0 like reawakened ghosts, maybe guests of honor at one of the drug parties Vanderslice throws in the backyard with his partner, Maria. The whole dense little record feels like a distilled fête, its 13 overlapping tracks functioning as fragments from conversations and encounters. Bits of singing that might have fit on Pixel Revolt about sequences that Chicks on Speed would have loved; celebrations of jungle drums run into sunken-keyboard miasmas, like an old friend pulling you aside to deliver some bad news. Vanderslice spent a year building, sorting, and stitching together these pieces; despite the brevity, you may spend just as long trying to unpack every layer, and decode every secret.

It is no mystery that the music Vanderslice made at the start of this century is no longer in supreme vogue, not a source of major cachet. He’s not only OK with that but also invigorated by it, the way it permits him to pursue whatever excites him. When he talks about music, he hopscotches between modern rappers and classical composers, abrasive producers and Charles Mingus, beaming as he goes. He gloats about one day dying broke, about creating with no master plan except what’s right in front of him. “You have to move on to more challenging silos,” he says, “or you’re just going to be a boring fucking artist.”

Named for a novel method of synthesizing pure LSD, Crystals 3.0 overflows with youthful vim, the sense that to settle into an old pattern is to be dead already. If you have previously loved John Vanderslice, you will hear him here instantly, whether it’s that familiar warble during “Crystals 26” or the way he cavorts with hooks. If you’ve never known him, you will instead instantly hear a mind on post-modern fire, trying, like always, to make sense of our modern mess. This side of John Vanderslice’s sound hid in plain sight for two decades on records that remain essential because of those very interests; it has never sounded more full, dauntless, or thrilling than on Crystals 3.0.

RESOURCE LINKS

Podcast - LaunchLeft

John Vanderslice - Website

John Vanderslice - Twitter

John Vanderslice - Facebook

John Vanderslice - Instagram

John Vanderslice - Bandcamp - Website

John Vanderslice - Wikipedia

Spacemoth - Website

Spacemoth - Bandcamp - Website

Spacemoth - Instagram

Spacemoth - Twitter

Spacemoth - YouTube

Edward Sharpe and the Magnetic Zeros, Alex Ebert joins LaunchLeft and launches Try. Is there such a thing as a “happy accident?” Can a human fail in ways AI cannot? Tune in for thoughtful conversation with Rain, Alex and Sam i + Shmuck the Loyal from Try. Try music was born during the pandemic, and you will hear about their new, innovative, and creative process. Listen to the end to hear Try’s music and the full lively conversation between these award winning artists.

IN THIS EPISODE:

KEY TAKEAWAYS: 

BIOS: 

Alexander Ebert is an American singer-songwriter and composer. He is best known for being the lead singer and songwriter for the American bands Ima Robot and Edward Sharpe and the Magnetic Zeros. On January 12, 2014, Ebert won the Golden Globe Award for Best Original Score for his musical score to the film All Is Lost (2013).

Shmuck the Loyal is an experimental music producer based out of Nashville, TN. His idealistic approach to production is driven by the pursuance of maximalism and a deeper, more emotive side of electronica. After a stint of exclusively focusing on working for artists such as , ,  and others, Shmuck developed a finely tuned project that defines his most realized creative self. The diversity and versatility that he showcases during this project superbly highlights his talents as an upcoming electronic music artist. His music and visuals showcase the overlay of his passions for music, film and car culture.

Grammy-nominated producer, DJ, composer, music director and film director Sam i is a multifaceted artist. His latest album, Random Shit From The Internet Era, features collaborations with Doja Cat, Anderson .Paak, Tropkillaz, Sia, Busta Rhymes and more. His recently released single, Shake feat. Alex Greenwald of Phantom Planet fuses alt-pop vocals with disco, funk and electro-pop and features a remix by French Ed Banger legend Breakbot.

Sam i's music has been used in countless films, TV and commercials. Most recently, Suéltate feat. Anitta, BIA & Jarina De Marco has been the focus track for Sing 2, charting in Brazil and gaining momentum around the world.

With his recently retired DJ duo N.A.S.A., Sam collaborated with Wu-Tang Clan, Kanye West, M.I.A., Childish Gambino, David Byrne, George Clinton, Lykke Li and many more. He's also produced artists like Lizzo, Yeah Yeah Yeah's, Crystal Castles, and Fatlip.

RESOURCE LINKS

Podcast - LaunchLeft

Alex Ebert - Twitter

Alex Ebert - Instagram

Alex Ebert - Facebook

Alex Ebert - YouTube

Alex Ebert - Wikipedia

Alex Ebert - Badguru

Trymusic - Instagram

Trymusic - Twitter

Sam_i_universe - Instagram

Shumck the Loyal - Instagram

Shumck the Loyal - Facebook

Shumck the Loyal - Soundcloud

See omnystudio.com/listener for privacy information.

Founding member of pioneering band The Raincoats, Gina Birch joins LaunchLeft to discuss the independence she has shown throughout her career, her love of the arts and the transformative impact creativity has had on her life. Gina’s new album, I Play My Bass Loud, dropped on February 24th on Third Man Records. Gina pays it forward by launching Tianna Esperanza and her fantastic debut record Terror. The granddaughter of The Slit's Palmolive, Tianna embodies a depth of talent and heart well beyond her years. Tune in to hear vibrant conversations and excitement from these two talented artists.  

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LAUNCHLEFT OFFICIAL WEBSITE
https://www.launchleft.com 

LAUNCHLEFT PATREON 
https://www.patreon.com/LaunchLeft 

TWITTER 
https://twitter.com/LaunchLeft 

INSTAGRAM 
https://www.instagram.com/launchleft/ 

FACEBOOK 
https://www.facebook.com/LaunchLeft 

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LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery.

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IN THIS EPISODE:

KEY TAKEAWAYS: 

BIOS: 

GINA BIRCH

Gina Birch is a founder member and songwriter of pioneering post punk band The Raincoats. Over 4 albums, The Raincoats helped shape the timeless notion that punk is what you make it to be – an act of raw expression, not any one sound. They set a crucial precedent for feminist work within a DIY punk context. Gina has made videos and super 8 films, performance art, played with Red Crayola /Art and Language, and among many other achievements she has been raising two daughters with her husband Mike. Birch has been painting solidly for four years.

TIANNA ESPERANZA

Tianna Esperanza is a singer/songwriter who embodies a depth of talent and heart well beyond her years. Her music has been described as having hints of Sade, Public Enemy, and Gil Scott-Heron. Tianna is known for her personally inspired lyrics with roaring protest undertones, making for a powerful and unforgettable experience.

RESOURCE LINKS

Podcast - LaunchLeft

Tianna Esperanza - Website

Tianna Esperanza - Instagram

Gina Birch - Website

Gina Birch - Instagram

See omnystudio.com/listener for privacy information.

Ben Lee and Ione Skye join this episode of LaunchLeft. They discuss how a couple can work together and thrive, activism, and quantifying success. Later in the show, Ben and Ione Skye launch Emily Wurramara, an Australian songwriter who composes her music in English and her native indigenous language. She performs her song “Stay the Fuck Away from Me” acoustic to close this genuinely inspiring episode. 

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LAUNCHLEFT OFFICIAL WEBSITE
https://www.launchleft.com 

LAUNCHLEFT PATREON 
https://www.patreon.com/LaunchLeft 

TWITTER 
https://twitter.com/LaunchLeft 

INSTAGRAM 
https://www.instagram.com/launchleft/ 

FACEBOOK 
https://www.facebook.com/LaunchLeft 

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LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery.

---------------------

IN THIS EPISODE:

KEY TAKEAWAYS: 

RESOURCE LINKS

Podcast - LaunchLeft

Website - Emily Wurramara

Facebook - Emily Wurramara

Instagram - Emily Wurramara

BIO: 

Originating from Groote Eylandt in the Northern Territory, the AIR award-winning and ARIA-nominated artist released an 11-track album Milyakburra, educating and informing in both English and Anindilyakwa languages. The critically acclaimed 2018 album features the emotive Lady Blue (over 6.5 million Spotify streams) and Black Smoke, amassing over 1.2 million Spotify streams and rotation on Triple J, ABC Local, and ten weeks in the AMRAP charts.

Emily has performed on many global stages, including Woodford Folk Festival, Bluesfest, TEDX Sydney, GARMA, Port Fairy Folk Festival, BIGSOUND, and International Folk Alliance showcase in Kansas, Canada, and New Orleans, as well as shows in Chicago, New York, Paris and across so-called Australia.

She has toured and played with iconic artists, including Archie Roach, Mavis Staples, John Farnham, Busby Marou, Coloured Stones, Missy Higgins, Shellie Morris, Jessica Mauboy, Cat empire, and John butler, just to name a few!

Emily is a six-time Queensland Music Award winner; she was selected for the AMP Tomorrow Maker Award and won the AIR Awards Best Blues and Roots Album of the Year.

What's next?

Emily recently signed to the record label ABC Music and is currently in the studio working on her new album, set for release in 2022.

See omnystudio.com/listener for privacy information.

Rooney Mara joins Rain on LaunchLeft and launches Suay Sew Shop. The conversation begins with family, film, music, and activism before welcoming Lindsay Rose Medoff, CEO and Lead Designer of Suay. Lindsay tells us about the mission and services that this unique retail shop provides. The best news is that Suay is cultivating a workforce of textile recyclers dedicated to eliminating post-consumer waste and giving opportunities for under-appreciated workers fair pay and recognition. With its original location in Los Angeles, Suay will open another location in New York. Don’t miss this episode of LaunchLeft to catch up with Rooney Mara and learn all about Suay Sew Shop.

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LAUNCHLEFT OFFICIAL WEBSITE
https://www.launchleft.com 

LAUNCHLEFT PATREON 
https://www.patreon.com/LaunchLeft 

TWITTER 
https://twitter.com/LaunchLeft 

INSTAGRAM 
https://www.instagram.com/launchleft/ 

FACEBOOK 
https://www.facebook.com/LaunchLeft 

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LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery.

---------------------

IN THIS EPISODE:

KEY TAKEAWAYS: 

RESOURCE LINKS

Website - Rooney Mara

Instagram - Rooney Mara

Facebook - Rooney Mara

Website - Suay Sew Shop

Instagram - Suay Sew Shop

Facebook - Suay Sew Shop

LinkedIn - Lindsay Rose Medoff

BIO: 

Rooney Mara: 

Actress and philanthropist Rooney Mara was born on April 17, 1985 in Bedford, New York. She made her screen debut in the slasher film Urban Legends: Bloody Mary (2005), went on to have a supporting role in the independent coming-of-age drama Tanner Hall (2009), and has since starred in the horror remake A Nightmare on Elm Street (2010), the biographical drama The Social Network (2010), the thriller remake The Girl with the Dragon Tattoo (2011), and the romantic drama Carol (2015).

Patricia Rooney Mara is one of four children of Kathleen McNulty (née Rooney) and NFL football team New York Giants executive Timothy Christopher Mara. Her grandfathers were Wellington Mara, co-owner of the Giants, and Timothy Rooney, owner of Yonkers Raceway, and her grand-uncle is Steelers Chairman Dan Rooney, the former Ambassador to Ireland. She is the great-granddaughter of Art Rooney, the founder of the Pittsburgh Steelers football franchise. Her father has Irish, German, and French-Canadian ancestry, and her mother is of Irish and Italian descent.

After graduating from Bedford's Fox Lane High School, she went to Ecuador, Peru and Bolivia in South America for four months as part of the Traveling School, an open learning environment. She attended George Washington University for a year and then transferred to New York University, where she studied international social policy psychology and nonprofits. She took her degree from New York University in 2010. Her studies focused on non-profit organizations, as her family has a tradition of involvement in philanthropic causes.

She had thought of acting after watching old movies and attending musical theater, but did not think of it as a serious vocation and was afraid she might fail at this. As a result of her reservations, she appeared in only one play while in high school.

She began seriously focusing on acting when she was at New York University, appearing in student films. Inspired by her older sister, actress Kate Mara, she began to pursue the craft, auditioning for acting jobs at age 19. She appeared with her sister Kate in the video horror movie Urban Legends: Bloody Mary (2005), billing herself as "Patricia Mara". As "Tricia Mara", she had guest roles on television and won her first lead in the movie Tanner Hall (2009), which was shot in the fall of 2007.

She originally auditioned for the supporting role of Lucasta in "Tanner Hall", a $3-million independent film, but director Tatiana von Fürstenberg was so impressed by the young actress, she had her return to audition for the lead role of Fernanda, which Mara won. Furstenberg was delighted with her nuanced performance, saying, "Still waters run deep".

Continuing to call herself Tricia Mara, this was during the making of "Tanner Hall" that she considered changing her professional name to Rooney Mara, soliciting the advice of the cast and crew. After premiering at the 2009 Toronto International Film Festival, her performance in "Tanner Hall" brought the rechristened Rooney Mara a "Rising Star" award at the 2009 Hamptons Film Festival and a "Stargazer Award" at the 2010 Gen Art Film Festival.

She received her first lead role in a major feature, in the $35 million remake A Nightmare on Elm Street (2010). The movie proved disappointing at the box office, grossing only $63 million domestically and racking up a worldwide gross of just under $116 million. However, she was noticed by critics in the small but pivotal role of the Boston University undergrad Erica Albright who dumps Facebook founder Mark Zuckerberg in The Social Network (2010). Director David Fincher subsequently cast her as the lead, Lisbeth Salander, in his thriller remake, The Girl with the Dragon Tattoo (2011), based on Stieg Larsson's Millennium book series. She received critical acclaim for her performance, and was nominated for an Academy Award for Best Actress and a Golden Globe Award for Best Actress in a Motion Picture - Drama.

She starred in the thriller film Side Effects (2013), the independent drama Ain't Them Bodies Saints (2013), and the acclaimed sci-fi romantic drama Her (2013). The following year, she starred in the adventure drama Trash (2014). She garnered further critical acclaim for her performance in Todd Haynes' romantic drama Carol (2015), for which she won the Best Actress Award at the 2015 Cannes Film Festival, and was nominated for the Golden Globe Award for Best Actress in a Motion Picture - Drama and the SAG, BAFTA, and Academy Award for Best Supporting Actress.

In the spirit of her family's philanthropic endeavors, Rooney created Faces of Kibera, a charity that provides food, medical care and housing to orphans in Nairobi, Kenya's Kibra district, a small slum that houses a million people. There are many orphans as AIDS is rampant in the slum.

Lindsay Rose Medoff, CEO and Lead Designer of Suay: 

SUAY SEW SHOP is creating a culture of community and reuse.

As our global community demands change from corporations, our dedication to design, coupled with a drive for activism, is putting reclaimed products at the center of a social, economic and environmental revolution. Cultivating upcycling as the priority will not only massively impact our planet, but our daily quality of life.

SUAY is a Los Angeles based 100% vertical sewing, production and consulting shop founded in 2017 by CEO, Lindsay Rose Medoff.

See omnystudio.com/listener for privacy information.

Johanna Warren joins LaunchLeft to talk about her new album, Lessons for Mutants, and share her thoughts about the creative process. Johanna is also involved in writing a play, The Buckeye, and will do a live workshop in Bristol, England, in February. In addition, Johanna speaks boldly about how she has found energy and creativity in nature and discusses rebelling against parts of society that put deadlines and expectations on artists and people in general and how that can compromise your well-being. The episode closes with a live performance of her song "Lessons For Mutants" from the Garden Sessions at PULP studio in Gainesville, Florida. Join us this week for a truly inspiring episode. 

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LAUNCHLEFT OFFICIAL WEBSITE
https://www.launchleft.com 

LAUNCHLEFT PATREON 
https://www.patreon.com/LaunchLeft 

TWITTER 
https://twitter.com/LaunchLeft 

INSTAGRAM 
https://www.instagram.com/launchleft/ 

FACEBOOK 
https://www.facebook.com/LaunchLeft 

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LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery.

---------------------

IN THIS EPISODE:

KEY TAKEAWAYS: 

RESOURCE LINKS

Podcast - LaunchLeft

Album - Johanna Warren

Instagram - Johanna Warren

Facebook - Johanna Warren

Twitter - Johanna Warren

Soundcloud - Johanna Warren

Bandcamp - Johanna Warren

BIO: 

As a little kid, I knew who I was: a wild magical creature who delighted in the gifts of the Earth and the mysteries of the universe - feasting on red clover and honeysuckle, grinding berries between stones to make "potions," thatching faerie huts with slabs of damp moss, talking to bugs, singing to birds, drawing channeled images of interdimensional angels, and happily passing long afternoons with my face pressed in the dirt watching golden light dance through blades of grass.

Then, as most of us do, I forgot. The magic was conditioned out of me and replaced with corn syrup, plastic and The Pledge of Allegiance. And I got very sick, and very very sad. I was slapped with a long string of diagnoses, including Type 1 diabetes. My adolescence and young adulthood was a horrorshow of illness and medications that caused side effects for which more medications were prescribed. After ten years of this nightmare, I realized I had no idea who I was without the antidepressants, birth control pills, antibiotics, acne medications, antiandrogens, prescription migraine drugs and insulin injections I had been taking regularly since before I was old enough to question any of it. 

I started experimenting with phasing out pharmaceuticals and exploring "alternative" (ancient, sacred) healing modalities: herbalism and folk medicine, acupuncture, Qi Gong, meditation, fasting. I started working on biodynamic farms and learning directly from plants. Getting back outside to be in direct communion with the natural cycles of the Earth, as I did so naturally as a child, has been absolutely vital to my personal healing. Since most of my illnesses were stemming from toxic foods, getting directly involved with the source of my nourishment was pivotal. I can’t overstate how difficult it was to get off the pharmaceuticals, but I was determined — I knew in my bones that there was a better way. Over the course of a harrowing year, I weaned myself off the insane slew of drugs I’d been on for years — all except insulin, which I still currently rely on to help manage Type 1 diabetes (a profound teacher I am continuing to learn from!)

The next major event in my training as a healer came In 2012, when I was in a fatal car crash. At the moment of the collision, I had a lucid experience of being saved by the angelic form of my best friend, who had died a year prior: I felt his presence as a warm bubble of white light that shielded me from injury. By all accounts, given the circumstances and severity of the impact, it was miraculous that I lived at all – but in fact I was left without a scratch on my body. 

The car crash was an initiation. It cracked me wide open. It was like I was catapulted into a different dimension where magic was real again. Suddenly I was talking to dead people, seeing colors I’d never seen before, feeling like I could start a fire with the light and heat coming out of my hands. 

My work as a healer has been about finding my way home, back to the wise child who knew who she was, and helping others do the same. Remembering that we are all deeply connected. Reclaiming our magic. Dancing for the trees. Singing for the squirrels. Fasting in the wilderness sometimes. Learning from plants. Learning from people. Listening within. Falling more deeply in love with myself/ You/ Nature/ God every day. 

As I continue to walk the healing path, I come again and again to the understanding that pain, suffering and disease are invitations: portals to awakening. Our bodies are constantly communicating to us in poetic metaphors densely encoded with information, and they can teach us everything we came here to learn. All we have to do is listen.

See omnystudio.com/listener for privacy information.

JJ Kramer, who is rebooting Creem Magazine, joins LaunchLeft today. JJ shares about the  impact of Creem Magazine and what it means to bring back the iconic magazine his father started in the 70s. He launches Zachary Lipez, the Editor at Large, who discusses his love for writing, music and even going into the office. Listen in on this enthusiastic conversation between music lovers about the history and future of Creem Magazine. 

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LAUNCHLEFT OFFICIAL WEBSITE
https://www.launchleft.com 

LAUNCHLEFT PATREON 
https://www.patreon.com/LaunchLeft 

TWITTER 
https://twitter.com/LaunchLeft 

INSTAGRAM 
https://www.instagram.com/launchleft/ 

FACEBOOK 
https://www.facebook.com/LaunchLeft 

---------------------

LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery.

---------------------

IN THIS EPISODE:

KEY TAKEAWAYS: 

RESOURCE LINKS

Website - Creem Magazine

Facebook - Creem Magazine

Twitter - Creem Magazine

Instagram - Creem Magazine

Facebook - JJ Kramer

Facebook - Zachary Lipez

Linkedin - JJ Kramer

Linkedin - Zachary Lipez

BIO: 

JJ Kramer, Chairman, CREEM Magazine

JJ Kramer is the only child of CREEM's late founder, Barry Kramer.  After his father's death in 1981, CREEM was bequeathed to JJ who, at four years old, was named the magazine Chairman. For the better part of his adult life, JJ has been fighting to preserve CREEM's storied legacy (including an actual fist fight). In 2022, JJ comes full circle and resumes his role as Chairman of CREEM Entertainment. In addition, as a practicing intellectual property and entertainment attorney with 20 years of experience, JJ has worked with some of the world's biggest brands, influencers, and recording artists. 

Zachary Lipez, Editor at Large, CREEM Magazine

Zachary Lipez is a writer and bartender based in NYC. His byline has appeared in The Washington Post, Talkhouse, VICE/Noisey, Bandcamp Daily, Pitchfork, The Fader, and Penthouse. He is the co-author (with Stacy Wakefield and Nick Zinner) of 131 Different Things, Please Take Me Off The Guestlist, Slept In Beds, and No Seats On The Party Car. He sang in the post-punk band Freshkills (about which he wrote the Talkhouse essay, “Playing in a Band No One Likes”). He is currently the singer in two bands, Publicist UK and Telematics, both goth-adjacent.

See omnystudio.com/listener for privacy information.

Carey, Wisconsin-based multi-instrumentalist, songwriter, and producer, joins LaunchLeft. Most notably as the drummer and backing vocalist of Bon Iver, S. Carey shares with Rain how he balanced writing a very personal album while collaborating with other artists to create Break Me Open. He also talks about his experience growing up with his music teacher father, finding his love for percussion, and how many art forms have inspired and shaped his career in the music industry.

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LAUNCHLEFT OFFICIAL WEBSITE
https://www.launchleft.com 

LAUNCHLEFT PATREON 
https://www.patreon.com/LaunchLeft 

TWITTER 
https://twitter.com/LaunchLeft 

INSTAGRAM 
https://www.instagram.com/launchleft/ 

FACEBOOK 
https://www.facebook.com/LaunchLeft 

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LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery.

---------------------

IN THIS EPISODE:

KEY TAKEAWAYS: 

RESOURCE LINKS

Carey Website

Carey on IG

Carey on Twitter

Carey on Facebook

Carey on YouTube

Carey on SoundCloud

BIO: 

Carey is the moniker of Eau Claire, Wisconsin-based multi-instrumentalist, songwriter, and producer Sean Carey, commonly recognized as the drummer, backing vocalist, and second-longest serving member of Bon Iver. Over the past decade, Carey has fostered his flourishing solo career via themes of nature and sustainability, songwriting built from jazz beginnings, and heartfelt, emotive lyricism. His latest and fourth album, Break Me Open, adds to a discography of three full-length releases, two EPs, and countless collaborations.

As S. Carey developed his songwriting and producing talents, he was commissioned by Will Arnett to write the track "Rose Petals" for his Netflix series Flaked, co-wrote "Hold The Light" with Dierks Bentley for feature-length film Only The Brave, contributed to Sufjan Stevens' album Carrie & Lowell, and has produced for and written with the likes of Low, Mike Kinsella, Pieta Brown, and Ed Tullett of Novo Amor. Carey and his adept band of longtime friends and collaborators celebrate their 12th year of touring everywhere from international headline shows to intimate living room performances to theater stages.

See omnystudio.com/listener for privacy information.

Scout Willis has always been musical throughout her life, but she didn’t know she would end up focusing on music in such a big way. Choosing to do a solo record was a big decision, leading to her first self-titled album, Scout Larue Willis. On this episode of LaunchLeft, Scout shares with Rain about the art of creative collaboration, her earliest musical memories, and excitement about performing her new songs in front of an audience. 

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LAUNCHLEFT OFFICIAL WEBSITE
https://www.launchleft.com 

LAUNCHLEFT PATREON 
https://www.patreon.com/LaunchLeft 

TWITTER 
https://twitter.com/LaunchLeft 

INSTAGRAM 
https://www.instagram.com/launchleft/ 

FACEBOOK 
https://www.facebook.com/LaunchLeft 

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LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery.

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IN THIS EPISODE:

KEY TAKEAWAYS: 

RESOURCE LINKS

Scout on IG

Scout on Twitter

Scout on YouTube

Scout on Soundcloud

BIO: 

Imbued with wistful melodies and eloquent, eccentric arrangements, Scout LaRue Willis’ self-titled debut is an unflinching chronicle of hard decade, a coming-of-age album that turns this young auteur’s darkest fears into hurt yet distinctly hopeful songs that both soothe and catalyze. 

From her first lonely notes on “Blue Moon” until the final rowdy sing-along on “Red Road Home,” she comes across as an artist who grounds her music in vivid inspiration as well as honest experience; In the exquisitely simple and authentic expression of Patsy Cline, in strange dreams half remembered upon waking, in old cowboy trail songs, in the 1960s classic rock passed down by her father like an heirloom, in the everyday challenges of being a human and in the operatic way Roy Orbison delights in his voice. Willis constantly marshals her resolve as she conveys hard truths in her graceful rasp: “And I will pass this test, ‘cause I know I am strong,” she declares on the anthemic “Woman at Best.” “I won’t call out your name, I’ll just sing out this song.”

While it’s immediately apparent that she’s an original voice, it took her many years to find the courage to share it. After harboring tender, childhood aspirations of being a musician, she felt discouraged by certain experiences in high school and all but suppressed the dream.  It wasn’t until she started writing songs and singing as one-half of the duo Gus + Scout while at Brown University that she realized it was something she could really pursue. In between classes they managed to tour and record a 2012 EP that mixes early rock and doo-wop sounds. “We’d go away for the weekend, play a little festival and then have to come back and finish papers.  It was thrilling getting to run away and moonlight as a rockstar for a little while.” The pair paused musically upon graduation, and Willis spent years believing she couldn’t pursue music as a career. “Somewhere between fear and misperception I had this idea that I shouldn’t and couldn’t pursue music full time. My reasoning was based in self judgement, that I needed a ‘real job’ and that especially coming from privilege, music didn’t fall into that category. Later though, I realized this was just a very clever way to hide from the deep, unconscious fear I had around sharing myself and my art with the world” This safety net led her to a number of other jobs in the interim, all the while continuing to first teach herself to play guitar and then starting to write music on her own for the first time. 

In February of 2016 Willis played her first ever solo show and began writing prolifically.  After a number of years of feeling lost with her work, this was a moment of rededicating herself wholly to music.  Though she knew she wanted to make an album, the songs she wrote during this period were also a means of processing the intensity of her emotions, “I’d have feelings that were so enormous I thought they’d destroy me, and the best tool I had at my disposal was music, so I would just start writing. I wrote ‘Love Without Possession’ in the throes of massive love addiction. I wrote it in real time, as it was all happening, and performed it live the day I finished it, as a means of communicating with the person I wrote it about. I was nearly crying onstage, such high drama! Even with all of the emotional ups and downs, it was such a beautiful and growth provoking time in my life!” 

Even as she compiled a poignant and honest catalog of songs, Willis made little progress towards recording and releasing them. “In my conscious mind, I really wanted to get my musical career off the ground and share my work, it always felt like there was a wrench in the machine though and nothing was happening.” She says of the period between 2017 and 2019 especially “Ultimately, I came to realize that I was unconsciously holding myself back, which made sense because of course music is the thing I am most proud of in the world, it’s my heart laid bare and if I were to finally share that and still be found lacking somehow, either internally or externally, it would feel like death! After this realization it became much easier to be compassionate towards the parts of myself that were terrified to wholeheartedly pursue the thing that matters most to me. I came to see how this old story and the protective mechanisms around it had been running the show, enabling me to find a million different reasonable excuses to put it off” Understanding the subtle workings of her inner world proved to be the key because within a few months of that epiphany, Willis was in the studio recording her debut solo record.  

Working with Producer Greg Papania (Snoop Dogg, Gwen Stefani) at Lucy’s Meat Market, an intimate studio in Highland Park, California, Willis set about searching for the ultimate version of each song—the version that would most effectively and deliciously deliver the truth of her lyrics. The songs are all centered around her unique voice and inventive guitar playing, with imaginative flourishes of strings and theremin. “I wanted every song to be its own episode, its own ride.” “Do You Trust Me Enough” marries the playful, skipping melody seamlessly with the heart wrenching lyrics. “Oh, I’m in love with your potential, but what of the man that you are,” she sings among the fluttering birds. “And oh, we’re addicted to each other, and that can only take us so far.”

Anchoring these ingenious arrangements are sounds you won’t hear, but you’ll certainly feel. “In addition to recording the entire album in 432 tuning, we embedded specific tones in each song,” she says, “396hz clears fear, guilt, shame, anger and self-loathing, 417hz helps to release trauma.”  They added those tones underneath the tracks although they’re largely imperceptible to the ear. “For me music is a healing modality and Greg’s insight into 432 tuning and the use of these tones helped me to take that as far as it could go. I am really excited to hear about people’s response to the music and whether they can feel it as well as hear it!” 

Scout LaRue Willis is, ultimately, a record of personal growth. It’s both an ode to the relationships that have helped her grow and to the relationship she has developed with herself. Even on “Last Night” the most recently written song on the album that Willis says, “is the first out and out love song” she’s ever written, there is a sense that it’s about the mirror her relationship holds up to herself.  Over a delicate finger-picked guitar and a sympathetic mandolin, Willis sings, “I think it was the first time, I started to believe, that you could love me, even when I’m a mess, that you could love me, with all the feelings I possess.” She could be singing to herself just as easily as to a lover. This album is a love letter to not only her triumph, but to her pain as well, to music as a healing force, and it offers her a vantage point to see how far she’s come. “Looking back through the lens of this album and my own personal growth work, I’m in love with every experience that inspired these songs, every moment of challenge, heart break and victory, because each of them conspired to get me to this exact moment and I’ve never been more in love with myself and my life than I am right now.  I feel like I am singing these songs to the girl I was—that young, thrashed, courageous version of myself who just kept making art no matter what. I feel so grateful to finally be at this point, ready to send these stories out into the world to have a life of their own”. 

See omnystudio.com/listener for privacy information.

The Steens, Elijah and Isaiah, are two brothers from Orange County, CA, who formed their band in 2021. Growing up in the music and TV production industry, the brothers had a lot of influence from early on in their lives. Tune in to hear the brothers and Rain talk about growing up with music and how they used it to evolve into the duo they are now. 

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LAUNCHLEFT OFFICIAL WEBSITE
https://www.launchleft.com 

LAUNCHLEFT PATREON 
https://www.patreon.com/LaunchLeft 

TWITTER 
https://twitter.com/LaunchLeft 

INSTAGRAM 
https://www.instagram.com/launchleft/ 

FACEBOOK 
https://www.facebook.com/LaunchLeft 

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LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery.

---------------------

IN THIS EPISODE:

KEY TAKEAWAYS: 

BIO:

The Steens are two brothers from Orange County, CA. They formed their band in 2021 using their surname.  Naming the band was an easy decision with the duo’s sound and vision being firmly planted in their roots.

At an early age their father was actively working in the music industry as an A&R/ artist manager while their mother was pursuing a promising career as a stylist. This all changed when their dad was arrested and went on to serve a 10 year prison sentence.

The Steen’s “future rock n’ roll” sound picks up where their fate dropped them off. Feeding back and buzzing like gleaming gold through a distorted lens, the brother’s have woven a sound very much in tune with their childhood. Blown out 808s clip your speakers while fuzz injected guitars and vocals invite ancestors like Little Richard to perhaps take some more uppers.

Someone suggested their band was like “the Black Strokes or something.” The Steens weren’t offended by the comparison but later stated, “The Strokes are great, but they’re a little polite, no? If we were gonna be the “black anything” and not “the Black Beatles” can’t we at least be “the Black Iggy Pops.”

RESOURCE LINKS

The Steens on IG

The Steen's on FB 

The Steen's on Sound Cloud

See omnystudio.com/listener for privacy information.