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On this episode of The Self Portrait Gospel Podcast, we sit down with the wizard behind the flowing crimson curtains of all things Uknown Mortal Orchestra, Ruban Nielson, to talk about his favorite cult classic horror films and how the unique process and trailblazing approach to some of those classics from the 1980s have inspired him on his melodic journey from the group's monumental 2011 self titled debut to their most recent EP "CURSE." Over the years, Nielson has kept a humbling philosophy on how he deals with the sonic success, and overall reality of being in a band that has not only transcended the cultural confines of "indie rock," but continues to create, and establish, exciting new melodic methods to bring out the best within.
Having recently stepped into the wide and winding world of jam band culture and the tonal tenacity of the tape trading subculture that iconically came about during the Grateful Dead's radical reign on society, Nielson eagerly encourages fans to document UMO shows by using analog equipment such as film cameras, reel-to-reel machines, and other various tape recording instruments to not only capture the essence of the band live, but to be a part of something much bigger than the band istself.
By The Self Portrait Gospel :: Podcast3.7
1717 ratings
On this episode of The Self Portrait Gospel Podcast, we sit down with the wizard behind the flowing crimson curtains of all things Uknown Mortal Orchestra, Ruban Nielson, to talk about his favorite cult classic horror films and how the unique process and trailblazing approach to some of those classics from the 1980s have inspired him on his melodic journey from the group's monumental 2011 self titled debut to their most recent EP "CURSE." Over the years, Nielson has kept a humbling philosophy on how he deals with the sonic success, and overall reality of being in a band that has not only transcended the cultural confines of "indie rock," but continues to create, and establish, exciting new melodic methods to bring out the best within.
Having recently stepped into the wide and winding world of jam band culture and the tonal tenacity of the tape trading subculture that iconically came about during the Grateful Dead's radical reign on society, Nielson eagerly encourages fans to document UMO shows by using analog equipment such as film cameras, reel-to-reel machines, and other various tape recording instruments to not only capture the essence of the band live, but to be a part of something much bigger than the band istself.

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