Image

No Pulp w/ ORL Promoters Ugly Orange

In June 2016, Orlando music promoters Ugly Orange hosted their first event, a tour kick off for Lakeland’s Swept with support from The Knick Knacks (R.I.P.), Dumberbunnies, and The Zigs. Even before its start, each of UO’s three heads were already seasoned veterans in the Orlando music scene. Nicole Dvorak cut her booking teeth playing in numerous local bands, most notably Transcendental Telecom. Hannah Fregger had been a key member of monthly dance night Body Talk since its inception. And Kaley Honeycutt was performing with/booked shows for her synth pop trio Island Science and crafting amazing artwork for local bands and shows.

Together, Ugly Orange quickly became a brand boosting local and touring music, booking an average of two shows a month and collaborating with the likes of Always Nothing and yes, The Vinyl Warhol. They’ve also expanded beyond events, releasing a series of live session videos. I kicked it with two of The Ugly Oranges—Kaley has since relocated to Boston to be a rockstar in BABY—to see why they’re so damn cool. Enjoy.

Upcoming Events:

6/1: Crumb, Lance Bangs, The Welzeins, & Room Thirteen at Henao Contemporary Center

6/23: No Thank You, Brave Face, Spirit Maps at Henao Contemporary Center


DSC05740

matthew warhol: I wanted to start with asking my good friends in the Orange community, how did you get together?

Nicole Dvorak: Tell him about, “Where is this bitch?”

Hannah Fregger: I was booking shows and helping manage Body Talk at the time. I booked Island Science for a Body Talk and Kaley and I kept in touch after that. After I was asked to leave Body Talk, I was feeling really sad, and saw that they posted a Facebook Status saying that they wanted to start doing shows that were powered by girls. They asked me to come over to Nicole’s house, and I’m perpetually late.

matthew warhol: You were late to this interview. And it was at your house.

Hannah Fregger: I was like seven minutes late, and I’m walking up to the door and hear Nicole go, “Alright, where is this bitch?!” And I knock on the door and everyone gets quiet. I’m like, “I’m right here.” We sat down and talked about music we liked and what we thought we wanted to do; we had our dreams in one little basket and they seemed to align. Here we are.

matthew warhol: What do you think the importance of it being female-powered is?

Nicole Dvorak: Oh, that’s a Hannah question. I didn’t even think about it being female. I’ve never even had that in the back of mind.

matthew warhol: But you’ve been in bands and stuff where you’re the only girl.

Hannah Fregger: At the same time, you’ve literally said that you’ve been asked to be in bands because your profile picture is you with a bass. This is an entirely sexist industry.

Nicole Dvorak: I should be promoting that fact.

matthew warhol: And you are, by default, just doing what you do.

Hannah Fregger: And at that time, the only people who were booking shows, besides Tierney, were a bunch of dudes. And they were putting on other dudes, which is fine, but there aren’t a lot of women. It’s a very male-dominated industry. People come up to us and say that’s one of the things they like most about our shows. And for me at least, I think girls are more visual. We want everything to look cool.

DSC06004

matthew warhol: And that’s something that sets your shows apart. I think all good shows create a night, an atmosphere, something people are going to remember. How do you do that?

Hannah Fregger: We try to make things different each time.

Nicole Dvorak: I never want to put on a show of just locals. I want to have some fresh faces, and we’ve never booked a show without an out-of-town band as our starting point. We start with “Oh, we’re really excited about this band that hit us up,” and we go from there.

Hannah Fregger: Also, there aren’t a lot of venues to work with, and when that happens everything gets stale really fast. So you’re going to the Henao Center or Spacebar or Will’s, but I don’t want it to ever feel like you’re in those places. I want you to feel like you’re at an Ugly Orange show. We’ve never done the same thing twice. We reuse local talent but try to make sure everything is different on the inside, a little gimmick going on. We had macaroni n cheese one time.

matthew warhol: I’d say immersion hit its highest peak so far at the last show at the Henao.

Nicole Dvorak: Yeah, well that one was all Hannah Glogower.

DSC05838

matthew warhol: She did an excellent job. With a space like that, it’s so big. I feel like to create an environment, you have to go all out.

Nicole Dvorak: But it’s also such a low-key, low pressure place, I don’t feel like I need to fill the space to make it a successful night. Will’s Pub, I feel like I need to bring in people.

Hannah Fregger: You can definitely feel it at Will’s if there aren’t a lot of people. And at the gallery, they have the big room where all the art is, so I think that takes the pressure because there is already some focal point. And the back room is bare bone, it’s guts like The Space used to be. Even if there’s only five people in there, you can still create really cool environments. That’s what Hannah did. She had one little idea as a jumping point, and she created the outdoor installation that was gorgeous.

matthew warhol: What’s been the most flattering moment so far?

Hannah Fregger: Freakin’ Cassie Ramone, dude. Oh my God, TONSTARTSBANDHT that’s crazy! I think, recently, a lot of people have been reaching out to us, which is crazy.

matthew warhol: What show have you been most proud of?

Hannah Fregger: I think that the coolest thing we’ve done so far is the one at the gallery.

Nicole Dvorak: The most recent one?

Hannah Fregger: Yeah. The Ace Metric show was super fun too, but I felt really stressed that night.

Nicole Dvorak: I feel completely the opposite. I was so stressed during the show at the gallery.

matthew warhol: Why?

Hannah Fregger: We’ve never worked with people with guarantees before. We never make a profit.

Nicole Dvorak: Also, Henao is still in its beginning stages. They don’t have a sound guy. We’re still figuring it out there.

Hannah Fregger: And that’s one of those things where I have no idea. I let Nicole do that.

read our last interview

Follow Ugly Orange: Facebook / Instagram

Follow The Vinyl Warhol: Facebook / Instagram / Twitter

matthew warhol: Nicole, I remember we were talking at the Ace Metric show that that was one of your favorite moments, getting to do something at a bike shop.

Nicole Dvorak: Oh God, yeah.

matthew warhol: As someone who loves Orlando, seeing a local business, local music, and a local booker coming together…

Nicole Dvorak: That’s what really did it for me. I’m trying to bring everybody up with me—and she feels the same way. Michael at the bike shop has become a really dear friend of mine. And when we bring Hannah Glogower on board and seeing them profit off a show, that’s the rewarding part for me.

Hannah Fregger: There’s so much mutual respect within the community. Especially with The Vinyl Warhol, if there’s ever someone that reaches out to me that I think is more up your alley, I’m going to send it to you, same thing with Harryson and SR50. They have a grasp on different genres.

Nicole Dvorak: Also, shout out Hannah Spector, one of my favorite artists in town. She has had work at like three shows and has been a huge help.

Hannah Fregger: Always reliable, everything always looks so good.

matthew warhol: To what you said about everyone coming together, something I’ve said many times is that, because we’re so much smaller than a city like New York, to have the impact of a big city everyone needs to work together. That wasn’t really a question, but you want to agree or rebuke it, go ahead.

DSC05814

Nicole Dvorak: Yes and no, I go to New York and they have their own little cliques and get caught up going to the same shows. I think it’s cool that you do stuff that brings different communities together, and I want to definitely do that too.

Hannah Fregger: I think what sets Orlando a part, even from cities like St. Petersburg or Tallahassee, is that the city itself doesn’t support its alternative community. That’s why all the good stuff dies, The Peacock Room, The Space. If the city were backing us, if we had more support, we could have a really strong community. It’s a big small town. Sometimes I step outside of my bubble, and am amazed. Like, the ska scene is alive in Orlando!

Nicole Dvorak: That’s why the death of Spacebar and The Space is so detrimental.

matthew warhol: It needs to grow, more and more venues. Not just replacing the one that dies.

Nicole Dvorak: It can’t be like that.

Hannah Fregger: We had A Place Gallery around for a year. The city didn’t support them as an art gallery so they had to stop. If there was more support and funding from bigger community members, it would be able to actually create a culture that could stay. That’s why everyone leaves because nothing good can stay here. You reach your ceiling and you have to bolt.

matthew warhol: What else would you improve?

Nicole Dvorak: The whole point of why we do this is to get artists that we like to come down here and see how cool it is. Hannah and I take care of them every time. She makes the breakfast in the morning. We already have artists coming back that are from Colorado and Iowa.

Hannah Fregger: Karen Meat is coming back. Hypoluxo is coming back.

Nicole Dvorak: Hopefully, they’re spreading the word for people to come down.

Hannah Fregger: We just want to create a place where people feel comfortable and safe. We don’t mind if only 15 people come out to a show as long as you had the best night, ya know?

matthew warhol: But that doesn’t really happen anymore for you guys.

Hannah Fregger: Not for a while, but now it’s going to happen. You’re jinxing us.

matthew warhol: So it won’t, what’s next on the horizon?

Hannah Fregger: I think especially because this was our first year, we weren’t saying no to much. I think we’ve figured our shit out now.

Nicole Dvorak: Personally, I like the video aspect. And she’s really good at interviews.

DSC05994

Hannah Fregger: I want it to be more of an homage to different music publications… and collectives too. Like Hardly Art and Panache Booking, they all work together and make sure that not only that they’re doing well, but that everyone else is supported. We want to be that for Orlando. Hopefully, we can keep being a jumping off point for local talent and touring talent, making lasting connections.

Nicole Dvorak: And establish more of an online aspect, that’s important to me.

matthew warhol: What shows are coming up?

Hannah Fregger: On June 1, we have Crumb, Lance Bangs, Room Thirteen—who I’m super excited to have back from New Orleans—and, our friends, The Welzeins. It’s going to be a very cool show for The Welzeins because they are no longer a two-piece.

matthew warhol: I heard about that. They’ve spent like the last five years as a two-piece.

Hannah Fregger: It’s going to give them a really big sound. Their sound is big to begin with; RJ’s amps are bigger than him.

Jon Bartee [who’s been sitting quietly watching us talk]: They’ve practicing as a three piece for like two or three months now.

matthew warhol: That’s so good… am I interviewing you?

DSC06044

[laughs]

matthew warhol: I’m just kidding.

Nicole Dvorak: That was so [clap] fucking [clap] good [clap] Matt.

matthew warhol: Any other solid dates booked?

Hannah Fregger: We have Tall Juan coming on July 5. He just played both weekends at Coachella and is on BUFU Records.

matthew warhol: Where’s that?

Hannah Fregger: It’s going to be at Deadly Sins Brewery. And then we have No Thank You on June 23rd with Brave Face.

Nicole Dvorak: And Frank Ocean is coming in July…

Hannah Fregger: …July 37th. He’s only going to play “Chanel” in different languages…

Nicole Dvorak: …to us two. Nobody else is invited. I’m so sorry.

Hannah Fregger: You know what I think we should do? I’m serious about this. Petition for Jack Black to come and play a show as Mr. Schneebly,.

matthew warhol: Ew.

Nicole Dvorak: For some reason I thought you meant Jack White.

matthew warhol: Petition Jack White to come play as Jack Black as Mr. Schnebly.

Nicole Dvorak: Next question.

DSC06075

matthew warhol: Which School of Rock character are you most like?

Hannah Fregger: I’m Summer.

Nicole Dvorak: Dude, I’m Ned Schneebly, dude. Well, I’m Dewey Finn pretending to be Ned Schneebly,.

matthew warhol: Who am I?

Hannah Fregger: um… Billy.

[laughs]

matthew warhol: Is that the guitar player?

Hannah Fregger: No, that’s the fashion designer.

matthew warhol: Come on?!

Nicole Dvorak: “You’re tacky and I hate you.”

matthew warhol: You are tacky and I do hate you, Nicole.

read our last interview

Follow Ugly Orange: Facebook / Instagram

Follow The Vinyl Warhol: Facebook / Instagram / Twitter

Sounds Within Sounds: (the) Harsh(est) Radish

A man and his four cats. This is the party I’m greeted by when I walk into the apartment of Russell Parker, a multi-talent Orlando artist who makes music under the name Harsh Radish and shoots video with ORL collective Always Nothing. I really started getting into his glitchy brand of singer-songwriter/electronic sounds while touring with fellow locals, Slumberjack. The lyrics I heard were deeply personal, and the music presented along with them was wildly creative and engaging. Live, Harsh Radish is a one-man enigma, layering guitar, samples, drum machines, and his voice into one. Besides his creative endeavors, Russell is a just great person to have a conversation with. Enjoy.

Upcoming Appearances:

Friday, May 26 at Will’s Pub w/ Emperor X, Someday River, DONKNG & Slumberjack


DSC05112

matthew warhol: I wanted to start by going through everything you do, because I know you’re involved in so many different things. You do music as Harsh Radish. You work on the Aways Nothing videos. I know you work at The Orlando Science Center—also doing video stuff?

Harsh Radish: Projection.

matthew warhol: Am I missing anything?

Harsh Radish: I do some other—besides Always Nothing— I do some filmmaking stuff. I just recently helped a friend shoot her thesis film for grad school. I used to do a bit more filmmaking and photography stuff, but lately it’s been more sound oriented. I’ve been focused on all things sound, music—and also field recording.

DSC05183

matthew warhol: That’s like uh… like recording something on the spot. Like in nature or something? [laughs]

Harsh Radish: Yeah exactly, whether it’s in actual field or even in the parking lot.

matthew warhol: Where all have you been doing stuff?

Harsh Radish: You’d be surprised, once you turn on a recorder and put on some headphones, you hear thousands of sounds even just outside of my apartment. Last night, it was raining and there were some frogs. There’s a laundry room back there, and the dryer was running. You get a mix of everything. Some of it I like on its own and other times I’m collecting sounds to sample. That’s a big part of the Harsh Radish music, making sounds out of other sounds and finding sounds within sounds.

matthew warhol: When your recording, do you have an idea of the sounds you want, or does it come more organically, finding different bits?

Harsh Radish: Definitely the latter…

[One of Russell’s cats is scrapping something in the background. He tries to get it to stop.]

matthew warhol: Oh don’t worry, don’t worry about that. It’s fine.

DSC05336

Harsh Radish: …that was definitely a big shift in my music that really started with Harsh Radish. I was in a lot of bands, but the songs that I wrote never really got put out there. Before, I was trying to do the former where I had this concept of what the song was going to be before hand. But that would never work. I would always be disappointed because it would ever be what I imagined it to be. Instead of that, I started thinking about songwriting as like taking little seeds and letting them grow into something that I didn’t plan or couldn’t expect.

matthew warhol: How does that happen?

Harsh Radish: Sometimes it starts with something as small as a sample. I’ll have this sound that I can start sequencing in my OP-1 or the Octatrack there. Sometimes it starts with that or something on the guitar. Guitar was my first instrument.

matthew warhol: You let it happen in the moment.

DSC05123-2

Harsh Radish: Usually, it’ll be when I’m not trying to write songs; I’ll be like trying to practice for a show with a limited amount of time. Something will happen and I’ll have to record a little snippet on my phone…

[Another cat starts batting around a toy that bings every time it rolls. Russell tries to stop it.]

matthew warhol: No, I love it. Keep going. 

[bing, bing]

Harsh Radish: …I’ll have to start collecting bits and pieces and forming them into something.

matthew warhol: Have your cats made it onto anything?

Harsh Radish: Have they? I think one of their toys did. I have some recordings of them meowing and eating and stuff like that. They definitely will.

DSC05616-2

matthew warhol: So, you’re album came out in late 2015?

Harsh Radish: Yeah, I’ve kind of been sitting on a lot of stuff trying to finalize something.

matthew warhol: What are you working on?

Harsh Radish: I’ve got 20, 30-something songs. I’ve narrowed it down, recently, to like 12 to 15 of them that I want to form into a new album. This one has been taking really, really long for some reason.

matthew warhol: Do you have a deadline for yourself?

Harsh Radish: It always gets pushed back. The current deadline is… sometime in June. There’s a lot of songs that are in a mostly finished state but I feel as a whole, there’s something missing.

matthew warhol: Do you do it all yourself?

Harsh Radish: All by myself.

DSC05481

read our last interview

Follow Harsh Radish: Facebook / Instagram

Follow The Vinyl Warhol: Facebook / Instagram / Twitter

matthew warhol: Listening back to the last record—I don’t know how much you’ve revisited it—what do you think of it now that it has been a couple of years?

Harsh Radish: I always feel like… it’s hard for me to get a clear picture of where I’m at now. I feel like I’m always a couple steps ahead of myself. The music that I’m going to release next is surely a progression from the last album. But I feel like I’m a step ahead of the music that I’m trying to put out soon. There’s a lot of weird projects that I want to do. I need to finish a lot of things I’ve already started, but I want to do something a little more conceptual. Like making a soundtrack for an imaginary virtual reality game—that’s an idea. It gives me some limitations. If I don’t have limitations, I’ll spend forever on something or never finish it.

[Another cat start scratching something.]

[laughs]

matthew warhol: Is there something new that’s happened in your life that you’ve been drawing inspiration from?

Harsh Radish: Talking about lyrical content… I always forget the saying… “seeing the forest through the trees?” So I’m not quite there yet, but from what I can tell this one has a lot more uncertainty that the last one. I think the last one had a little more optimism, but this one seems to be more… uh, seeing things as bigger than me or beyond my ability to perceive. Certainly, the political climate has influenced that.

DSC05512

matthew warhol: I think that’s a part of getting older. Don’t you think? Am I projecting? [laughs]

Harsh Radish: There’s an element of that, but it’s weird to think of growing as a person. I used to think you learn more as you get older but the older I get, the less I feel like I know. I think that’s what is reflected in the music.

matthew warhol: You were saying that when you were in bands before, that getting your own music out there was harder. What do you like about doing it all yourself? And what limitations are there?

Harsh Radish: We’ll see if this answers your question… I, I became a lot more capable from a managerial standpoint. I wasn’t really talking to anyone other than the people I was in bands with. Harsh Radish helped me start talking to people and participating in the music community. So many hard working people doing the same thing that I want to do. As far as the songwriting, it allows to me to waste more time, in a good way. I don’t have the fear that something isn’t going to work. I can be a curator of my own little experiments.

DSC05533

matthew warhol: You used to do a lot of looping, right?

Harsh Radish: It’s evolved over time. Initially, I had an actual loop pedal where I would make beats and sounds and stuff and have that loop. Part of me lost interest in that because, for me, it felt like kind of a circus trick. It’s totally like a valid, cool thing to do, but for me, it wasn’t what I wanted to focus on. I wanted to focus on the composition of the songs and some of the other performative elements. I still have some preset loops, though. It’s all up to me, what I have preset and what I play live. It’s whatever I feel like is going  to bring out the most energy. I don’t want to leave too much for me to juggle, but I don’t really feel comfortable standing there with a microphone, not  having my hands engaged at all.

matthew warhol: What else has changed?

Harsh Radish: It’s more freedom. I’ve given myself the option to make the songs a little more dynamic.

[The fourth and final cat climbs onto my lap]

matthew warhol: Aw, you’re cute.

Harsh Radish: She’s being very sweet.

DSC05653

matthew warhol: They just like me. So the last thing I wanted to ask you–this is because I was revisiting the album today–a line that sticks out to me is “Have you ever made a choice between your lover and your voice?” So I wanted to ask you that question that you ask to the audience. Tell me about where that came from.

Harsh Radish: Let me preface it by saying that I don’t want songs to be entirely inward gazing. I want to have something universal, but I don’t think speaking in vague terms is the best way to do that. I think speaking in about specific things helps that. I think that song and question are about commitment in the context of a relationship. When you share your life with another person… the question is are you giving up something essential about you?  There’s a fear there, but it’s me quelling that fear.

matthew warhol: So it’s not necessarily a bad thing?

Harsh Radish: Not for me, but for someone it could be. There’s a part of me where I think changing yourself is really good. My partner and I balance each other out really well.

matthew warhol: I think, like you were saying, you can take your experience and apply them to something grander.

Harsh Radish: The intention for that greater thing is commitment to anything. You have a limited amount of time. What are you going to spend your time doing? You have an infinite number of choices. What has value?

read our last interview

Follow Harsh Radish: Facebook / Instagram

Follow The Vinyl Warhol: Facebook / Instagram / Twitter

DSC05665

Image

On God, On Family

Andy Thrasher. DeadMonBernz. Destiny. Loca Legend. Mario Manzi. Meka. Randy Santos. Valentin. These are the creative minds that make up rap collective On God Records. Apart, they’re talented rappers, singers, photographers, producers, promoters, video editors, and business people. Together, they’ve pushed each other to the best of their abilities through collaboration and savvy promotion strategies, crafting well thought out songs and videos with hundreds-of-thousands of streams. I got to see how they move and interact with each other, chilling with them outside of Stardust Coffee & Video, record shopping at Park Ave CDs, and smoking a blunt at an undisclosed location. Enjoy.

Upcoming Appearances:

Thursday, May 10 at Sandwich Bar, The Vinyl Warhol Presents w/ Transcendental Telecom & GRANT. 

matthew warhol: How did On God come together?

Valentin: I’ve known Randy since the fifth grade. We separated and got really close again after the senior year of high school.

Meka: I found Randy in the worst time in my life. He and his family are the most humble people, the most gracious people. I would not want to be with anyone else.

matthew warhol: So Randy, Randy, did you all meet through him?

DeadMonBernz: I met them through [Valentin].

Andy Thrasher: For the most part we all met through Randy. I was fanboying over this kid’s music, and one day he let me produce for his friends.

Meka: The most humble man you’ll ever meet. It’s scary how humble he is.

Mario Manzi: Cocky in his music but humble in his life.

Andy Thrasher: He’s drunk right now.

matthew warhol: When did it actually happen?

Randy Santos: We had a collective before — in high school — called “M.A.F.I.A.” It stood for “Money And Family Is All.” It consisted of me, Loca Legend, Meka right here, and a few other people. After a while, that fizzled out and we were trying to figure out a way to rebrand ourselves, right? I was thinkin’ of putting a collective of artist together and we couldn’t find a name at the time. One day, I called [Meka] up and he answers the phone — randomly he was just like “On God Records, Baby!” [laughs] I was like, “oh shit, say that again!” He’s like, “On God Records, Baby!” And I was like, “That’s it! That’s the million dollar name.” Like he said, I knew [Valentin] since like fifth grade. I heard he started makin’ music.

Valentin: I was already makin’ music. I ran into him at a party and started a fight with one of his close friends. It was weird as fuck! I had just started a fight a bunch of people on some dumb shit. I had run into him and [Mario] was DJing at night. He was there! You were there!

Mario Manzi: Was this Poinsettia?

Randy Santos: You remember that shit!

Valentin: I specifically told him, “Yo bro, I seen you doin’ shows. I wanna do shows too.”

Randy Santos: He was being the hype man for the whole party. [laughs]

Mario Manzi: Three, four months later he’s opening for 21 Savage.

Valentin: The day after that party, the next day, I got my car. As soon as I got my car, the first person I hit up was Randy like, “Yo bro, I need to link you.” And then right then, boom, linked him.

read our last interview

hear new Orlando music

Follow On God Records: Facebook / Instagram / Twitter

Follow The Vinyl Warhol: Facebook / Instagram / Twitter

matthew warhol: What all do you do for each other? I know you’ve said there’s a lot of collaboration, but take me through something specifically.

DeadMonBernz: Like, if him and him got a song, they hit me up for the cover, that’s my job.

Randy Santos: He does the covers. [Destiny] handles most of the visuals.

Mario Manzi: For example, he has a camera. He has a camera. I have a camera. We all try to produce content, but what’s dope is that if [Loca Legend] is working on a project he’ll have Randy as an Executive Director. Then I got [Andy Thrasher] doing production, and [Valentin] will do vocals on a track. I’ll be working on the campaign. It’s not like [Randy] is just a rapper, and I’ll hit him for rap shit.

Loca Legend: We just be all over the place.

Valentin: One thing we have though is that we push each other to the max. If something is not good, we’ll tell each other.

matthew warhol: What would you say to him if something he’s working on isn’t good?

Valentin: “Yo bro, that shit fucking sucks.” [laughs]

Randy Santos: He’d be like, “Yo, honestly, this is ass.” [laughs]

Valentin: You gotta be real with your friends. I love him, you know?

Loca Legend: That’s what I tell them all the time, I don’t want a fucking yes man around me. If I got some whack shit, I want you to say it to me.

DeadMonBernz: Word! If you give me something, “Yo, I need art for this.” “I’m not going to make nothing for that shit.”

matthew warhol: Because you know it’s not only his thing. It’s your thing. It’s your thing. It’s your thing. And you don’t want your name on something that’s bad.

Valentin: I feel like music, in general, what one person doesn’t like, somebody else does.

Meka: We all encourage each other. We don’t fabricate anything. I wouldn’t never tell Randy, “Put this song out,” if it wasn’t worth putting out. I could tell him that something sucks, and he’ll come out with something ten times better. It’s not a group. This is literally a brotherhood.

Randy Santos: If I hear something hard from him, I’m going to take that as motivation. Like, “alright, now I need to outdo him.”

Loca Legend: That’s how I be with him though. He sends me some hot shit, I got to outdo him.

matthew warhol: You’re pushing each other to be better.

Andy Thrasher: My favorite part of all of that is that I get to sit back and watch it. I’m producing and making beats, but I get to hear all these tracks.

Meka: Don’t sleep on him.

Loca Legend: I got to watch him now too.

Randy: Yo, [Andy] is fuckin’ spazzin’ too.

Valentin: This man made a song that I listened to for a week straight.

matthew warhol: What song was that? Is it out?

Mario Manzi: Nah, he’s always sitting on so much music.

matthew warhol: That’s good though, until it’s ready.

Andy Thrasher: I’m working on a project. I got inspired by some shit I went through. April was hard. I lost my aunt and some stuff happened with this girl. I was talking to Randy about it. With pain comes some sort of creativity. And I took that as not a burden, but to find a new sound. And I did that.

DeadMonBernz: Facts! Everything with them has made revamp my whole sound. I went on the Curren$y route because it’s what I sound like, smoking music. Listening to them I’m like, “I have to rewrite this whole thing.” It’s all love though.

Destiny: When I listen to their music, it’s actual situations that they go through. Nothing is fabricated. I listen to some of y’all and you be like, “I remember when this happened.”

Meka: As far as the competition goes, we will never be against each other.

matthew warhol: That’s something that I’ve noticed in hip hop more now. It’s more about people uplifting each other. One problem that the old heads have with the newer generation is that everybody is friends. When you hear Lil Uzi Vert, all he has to say is good things to say about Lil Yachty, 21 Savage. Just how you lift each other up.

Andy Thrasher: As much as we take the music as a competition, none of us ever take it as jealousy. If his shit get moving, I’ll never be upset because my shit isn’t moving. I will push their shit more than I’ll ever push my shit.

Loca Legend: The way we see it, if one of us blows, everyone’s coming with us. If I get on, I’m putting everyone in a position to eat.

Valentin: If you look at how Odd Future and A$AP Mob got on — I knew who Earl was before I knew who Tyler was, but then I got on to him.

matthew warhol: Did they inspire you to make a collective?

Randy Santos: Some of us had already been in the previous collective. But a lot of people don’t know — my first tape was directly inspired by Tyler. I sounded like a Great Value Tyler.

matthew warhol: What are you working on now?

Valentin: I have a project coming out. The only name I have in my mind right now is Broken Matter. We’ll see what happens.

Loca Legend: And then, [Randy] and I have a party EP coming out called The Party EP.

Randy Santos: It’s inspired by house. It has a more bouncy vibe.

matthew warhol: Does that include that song that was going around Twitter?

Randy Santos: That sound is what you’re going to hear.

matthew warhol: That song is great.

Randy Santos: We just want to take over the summer.

Andy Thrasher: I’m working on an EP, myself. It’s in the range of house, dance, EDM, cool trance-y vibes. It’s called I Thought I Might Get Right For You And I.

Loca Legend: For me, I think I have like 30 unreleased songs that are recorded that are for two different tapes. I want to sit everybody down and have them listen to it. The one is about female problems its called Time After Time. The other one is called Through The Madness. It’s more personal shit.

Valentin: I love his fuckin’ music. He sent me a verse yesterday, and I literally listened to it 50 fuckin’ times.

DeadMonBernz: Yo, that fuckin’ song! That fuckin’ song!

Loca Legend: I always say that we’re not making songs. We’re making music. Shit that’s going to be around forever.

Randy Santos: I’m trying to have that 2023 sound. I want you to have that same feeling like when you first heard it.

Meka: It’s not about Klout. It’s not about Klout. There is nothing we will put above this shit. All of us know that by luck or whatever, we came together and we really built something from nothing, no handouts.

Mario Manzi: Sleeping on the floor, being homeless, not knowing what to do. Bad omens yet so many blessings at the same time.

read our last interview

hear new Orlando music

Follow On God Records: Facebook / Instagram / Twitter

Follow The Vinyl Warhol: Facebook / Instagram / Twitter

On God Records Interview Orlando

glenn stefani florida is loud interview orlando music blog
Image

Florida Is Loud: Harsh Noise w/ Glenn Stefani

Orlando Fashion Square Mall is a weird place for an interview with a member of a harsh noise/doom band. Like the isolation one feels in an empty mall that’s set to close soon(?), Glenn Stefani’s berating music has an unexpected peacefulness to it. Glenn, if you don’t know, plays in the bands Ad Nauseum, Deformed, and Uh, makes drone/noise music solo under the name Temperament, makes digital art, and was responsible for Florida Is Loud, the three-day celebration of Florida fringe music that happened in December. He’s an aloof character who doesn’t like take well to the spotlight or having his face online — which is why I’m so thankful that he was down to do this interview. Enjoy.

Photos by matthew warhol. Edits by Glenn Stefani.

Upcoming Appearances:

May 23 Ad Nauseum, Prisoner (VA), Disgender, and Acid Baptism @ Lou’s

June 23 Uh, Narvee, Gutter Girl, Deformed, Acid Baptism, & Burn to Learn @ K2 House Orlando


matthew warhol: From what I know about you, it seems you’ve done a lot of good for a side of music and a scene in Orlando that gets overlooked a lot, that’s on the fringes of things. You did Florida is Loud. You’re in a bunch of bands. I was wondering how that came about?

Glenn Stefani: Um … my friends and I got into Metallica and Misfits when we were in like fourth or fifth grade. I’ve been on and off with it for years, depending on what’s going on in my life, but I started hitting it really hard when we were getting out of high school. We had hardcore bands in high school, but when I got out and started meeting people who were older than I was and doing things, I realized that there is a mortality on who runs shows or plays in bands. I guess that’s when I started recognizing that I wanted to start really playing music. Initially, when people who book shows started moving away, people started hitting me up. I figured it wasn’t that hard to run a show. You stand there and hassle people for money, give them hard looks if they give you shit. Then you give it all to the touring bands and go home.

matthew warhol: Were you in a band at the time?

Glenn Stefani: When I was in high school, I was in a really short lived hardcore band. Grant [my roommate] and I started Ad Nauseum. That’s what I consider my first real band, and we’ve just been running with it since then. I like to stay as busy as I can at all times, so I kind of pick up whatever comes my way as I go along. If it sticks, it sticks. If it doesn’t, it doesn’t. We had one ligament band and I started jamming with people. Before I knew it, I was in four or five bands.

matthew warhol: You said since high school. How many years has that been?

Glenn Stefani: Four or five.

matthew warhol: That’s a long time for a local band.

glenn stefani florida is loud interview orlando music blog

Glenn Stefani: The person who has stuck with me the most is the vocalist, Justin. He’s also in a band called Burn to Learn. Him and I, since the day we met, have been really like-minded. We met my sophomore year of high school and bonded on like Slayer and Morbid Angel. He’s one of those dudes where if we didn’t talk for six months, we’d pick up right where we left up. His patience and willingness to persevere have probably been the biggest inspiration I’ve had being in any of the bands I’ve been in.

matthew warhol: You were saying when you were coming up, that you recognized that there is a mortality to what locals could do. Is that because you think that Orlando people will move on, or is it an age thing?

Glenn Stefani: Orlando is definitely a transient place. People kinda cut their teeth here, and once they decide they want to pursue a job in a different state or something, they leave. It’s definitely a training camp.

matthew warhol: You come here and then you go to a bigger city.

Glenn Stefani: All that is a positive thing because people are going off and doing bigger and better things. While I get nostalgic for the way things were — like for the band Knife Hits and their first demo — things change. All my favorite bands lived and died within a five-year gap in the 90s and 00s. Once I was getting into music and going to record stores, I realized a lot of these bands are very short lived.

matthew warhol: Do you think it’s something about the music they make?

Glenn Stefani: People get old. You might have to go get a big boy job and stop playing music or have a kid or something. But then there are people who keep doing it. I feel like when you’re coming out of high school, which a lot of the bands were, you have a different idea of what it’s going to be. You go on tour a few times and realize it’s not for you. People, as they grow older, get different ideas of what they’re going to do.

glenn stefani florida is loud interview orlando music blog

read our last interview

hear new Orlando music

Follow Glenn: Instagram

Follow The Vinyl Warhol: Facebook / Instagram / Twitter

matthew warhol: What’s kept you in it?

Glenn Stefani: Stubbornness. And anxiety. I need music. Music is very important to me. If I didn’t have it I’d have no idea what I’d be doing. I’d probably be more of any idiot than I am now. It’s taught me to grow and understand different ideas and different things about myself. As far as the mortality rate, it was as seamless as someone hit me up and said, “Hey, my friend’s band from North Carolina is coming down and said to contact you because they’re not doing shows anymore.” At that point, I’d booked shows in high school and … I pretty much exclusively book at Lou’s because I love that place. It’s a home away from home.

matthew warhol: You kind of fell into it. You were kind of like the young person in the group and when the older people were gone, you were all that was left.

Glenn Stefani: Yeah, I was 17. I was going to see shitty metalcore, Hot Topic shows in middle school. Fortunately, I met people who showed me better stuff. That’s when I went and saw Knife Hits or No Qualms, two really important bands. That’s why Florida Is Loud was such a jarring thing because I brought Knife Hits back to Orlando.

glenn stefani florida is loud interview orlando music blog

matthew warhol: Had you known them before?

Glenn Stefani: I’d known Ben since I was in high school. Ben was their vocalist — he’s their bass player now. But I talked to Jake Smith the person who handles their booking. Florida Is Loud … I had the idea six months before it happened. And things maybe fell into place two months before it happened. I was lucky to have a more experienced promoter help me with the logistics of it. Like, “Hey, I got Will’s Pub for you.” I more handled booking Lou’s and getting all the bands together. But when it came to me starting to book shows, it was odd because I feel like there are way more charismatic personas in the community than I am. I’m more of a wallflower who’s having awkward conversations with people.

matthew warhol: You bring them together.

Glenn Stefani: Sure, and it’s fun. Nothing gets me more stoked than watching a room full of people watching a weird band from out of town. I enjoy that a lot of times more than playing.

matthew warhol: Was this the first year of Florida Is Loud?

Glenn Stefani: December was the first one. I was at work thinking, “Oh, I’ve met a lot of bands the past few years. Why don’t I try to get them all in a room.” Initially, it was supposed to be a two-day thing. I hate running shows with more than four bands. But with the response it was generating, by the end of the week I realized, “Oh man, I’m going to have to do bigger things with this.” I was nervous at first because I hadn’t handled anything that grand before. But it ended up okay, the worst thing that happened was when we knocked down the ceiling at Lou’s.

matthew warhol: And that’s pretty awesome. It’s shitty, but it’s like, “Wow I didn’t expect that to happen.” You’re making an awesome memory for someone.

Glenn Stefani: I was living purely off of coffee at that point. I hadn’t eaten anything the whole weekend. I wanted to pass out so bad and saw Niko bust out of Lou’s and drop his bass. I was like, “What happened?” I walked in and ceiling tiles were everywhere. That being the worst thing that happened all weekend made it a roaring success for me.

matthew warhol: There are certain bookers, I’ve noticed, that are more in it for themselves. They think that they’re the reason everyone is coming out. But you seem very selfless in the way you move. Does that come from your punk roots? There seems to be certain rules — like you said, the touring band gets the money.

Glenn Stefani: I’d like to go out on a limb and say that with any form of art, there’s always some degree of ego attached. I think I do a very good job of self-regulating. I think my personality to begin with — someone could throw me a compliment and I’m just going to subvert it entirely. From a very young age, I recognized that. If you’re booking a show, you help out the bands to the best of your abilities. From a young age, being exposed to Minor Threat and Black Flag and reading stories about them. Shit, these people are going far beyond where they’re comfortable to bare their hearts and souls to a room full of strangers. They deserve all we can afford to give them.

glenn stefani florida is loud interview orlando music blog

matthew warhol: Going from punk and metal to drone, how did that happen? What’s the progression there, I guess? They seem similar to me, but I don’t know the intricacies of the genre.

Glenn Stefani: There’s this band called Man Is The Bastard, probably one of my favorite bands just out of creativity. I related to people being like, “It’s cool but I don’t get it,” because that’s what I experience a lot with my music. Right when they started, they also formed a group called Bastard Noise which was focused on harsh noise. I liked a lot of the aspects of it because it reminded me of older movie soundtracks like The Texas Chainsaw Massacre, where Tobe Hooper was banging pots and pans and bowing cymbals and bass guitars to make these really weird ambient soundscapes. I had that pure artistic interest in it.

matthew warhol: It seems like a logical step.

Glenn Stefani: I was also living in a house with friends from high school. One of my roommates had a girlfriend who would lay around all day and would complain when I came in after working all day and played guitar or listened to records. So initially, I thought it would be hilarious if I started doing harsh noise in the house just to piss her off. And Ad Nauseam had started, but we couldn’t practice all that often. I had all the pedals and stuff, so I started doing it myself. I kept it mostly a bedroom thing. And eventually, I got sick of listening to power violence stuff and started listening to John Caprenter and Brian Eno. I started forming more ambient stuff that was a little more pleasant to hear.

matthew warhol: What do you get out of that kind of music? Is it the atmosphere it creates? Because I was at the TMD/TWMT Counterweight event at the church and to me, sitting there, your music made me feel very isolated even though I was in a room full of people. What does it do for you?

Glenn Stefani: I’ve always felt like a weirdo my whole life. No matter how charismatic I try to be, I always end up sitting in the back of the room, staying to myself. I find it liberating to be able to — like you said — make people feel as isolated as I do sometimes. But that was kid shit when I was 18. Rather than trying to isolate somebody, as I grew older, I felt a tranquility within the introspective nature of the music. I would hope people feel a similar catharsis.

matthew warhol: There’s definitely a peacefulness in all the static. What are you working on now?

Glenn Stefani: Right now, I play in a grindcore band called Deformed. We’ve finally started writing again. I’ve been working on a lot more visual art lately. It’s something I’ve always been interested in. I’ve been watching more movies lately so I’ve been trying to knock out more graphic stuff.

matthew warhol: When you say visual art, what’s your medium?

Glenn Stefani: Digital. I can’t draw that well, but I can sure shit manipulate stuff. I like doing collage stuff, Zerox looking shit. Reflections of old horror movies that I watch. But musically, I’ve been working on a more ambient album. I’m way too particular so it could take months to do anything.

read our last interview

hear new Orlando music

Follow Glenn: Instagram

Follow The Vinyl Warhol: Facebook / Instagram / Twitter

glenn stefani florida is loud interview orlando music blog

Image

DVWEZ Takes a Darker Trip to ‘Paradise’

It makes perfect sense that DVWEZ (pronounced: “Dames”) and I’s first conversation would be via FaceTime. So much of this smooth, neo-R&B voice seems to have taken shape on the World Wide Web. Last year’s Pastels garnered her a solid fanbase through premiers on reputable music sites like Stereogum. This strategy been implemented again with her upcoming Paradise EP, as the titular track first appeared on The Fader and she premiered “The Life” just yesterday on Noisey. In preparation for Paradise, she utilized Kickstarter to fund the album’s promotion and a unique live experience — we’ll get into that in a second. And one can’t overlook the songwriter’s own online branding. Her Instagram looks more like a curated art gallery than the meme-filled trash that I usually see.

With all the digital build up, I was eager to speak one-on-one with DVWEZ, to dig past the internet persona and see how it matched to the real Delia Albert. Enjoy.

Photos by Liv Jonse.

Upcoming Appearances:

FRIDAY, 4/28, ALWAYS NOTHING PRESENTS: FEMME HOP VOL. 2 W/ TIME & TIGER FAWN


DVWEZ_Paradise-9493-2

matthew warhol: It’s good to finally to get a chance to sit down and talk to you, because I’ve been a fan of yours for a while, and I’ve seen what you’ve been doing and like… oh you froze on the screen for a second…

DVWEZ: Where I live in Gainesville, I call it the boonies. The connection is weird so if that happens, I can totally call you back. We can make it work.

matthew warhol: Dope. So yeah, right off the bat, you had a Kickstarter a couple months ago to make a new experience, is it called “The Paradise Experience?”

DVWEZ: Yeah, for lack of a better, non-cheesey title that’s what it’s called. The whole idea behind it is like… have you been to III Points? It’s based off their philosophy of combining art, music, and technology. Living in Gainesville, there’s not a lot of electronic acts to begin with, let alone a different experience than just going to a show and seeing a band on stage. And that’s it. So I wanted to make it more interesting. I had seen some projection mapping at III Points, and the creative team that I worked with, I reached out to them and asked, “Hey, do you guys know anyone who does this?” And they mentioned David Lajas who lives in Orlando. I started talking to him and figuring out how much something like that would cost. In addition to raising money for the press behind my new music that’s coming out every month, I also want to have a really cool way to share the music visually — in an interesting way. 

DVWEZ_Paradise-9471

matthew warhol: Can you break down what the experience is live? What people can expect from that?

DVWEZ: So basically, David created these structural shapes that incompass myself and my drummer. He created them out of PVC pipe and wrapped a mesh material around them. So when he’s projecting video you can still see us. It’s really cool to watch. The footage that he’s projecting is expremely unique that we shot specifcally for the live show. With that in mind, we tried to create different visuals that felt similar to the project, so you could experience what I was thinking and feeling when making the music. 

matthew warhol: How was the process of putting that together? Were you working on it together or did you let him do his own thing?

DVWEZ: I gave him my music to listen to and was like, “I’ve never done anything like this before. I want you to use your expertise.” In regards to coming up with the structure concept, originally my band was a four piece. He had this idea to put me in a pyramid with my bandmates around me. And that kind of evolved. A week before the big show, I had a bandmate quit. And a couple weeks before that, we went down to a three-piece. 

matthew warhol: Wow.

DVWEZ: So when I spoke to him, we came up with the idea for the giant shapes. So it kind of evolved, it wasn’t the original idea. In regards to the video that accompanies everything, I left that up to Liv [Jonse]. I told her that the project is darker than Pastels and that I wanted something to visually represent that. 

read our last interview

hear new Orlando music

Follow DVWEZ: Facebook / Instagram / Twitter

Follow The Vinyl Warhol: Facebook / Instagram / Twitter

matthew warhol: That’s… that’s really interesting. Just thinking about the album cover on Pastels and comparing it to your new visual aesthetic, you can tell it’s much darker. Going into this new project, Paradise — that’s an album or EP?

DVWEZ: It’s a four track EP.

matthew warhol: Just listening to the single, I can tell that it’s darker, but also just much more experimental direction. What’s your head like for these new songs? What’s the difference, I guess?

DVWEZ: Sonically, things are very different becuase this project wasn’t produced by myself — it was prodcued by my friend KAIXEN aka Julian in Miami. He’s, simply put, a far better producer than I am. You can feel I went up a level from Pastels there’s more depth, sonically. And also, I think just the headspace that I was in while writing these songs was different. I had just moved back to Gainesville, and I was feeling this weird isolation, having a loving experience with my girlfriend in Gainesville, but also being totally separated from my friends and my family. And also feeling like I was in this area of being a new artist trying to find myself. I was struggling at the time when I wrote. So the concepts are darker, where Pastels was so lovey and airy.

matthew warhol: When you’re working with someone else, do you have the base of the song written, a demo that you bring to Julian? Or did he come at you with stuff he was working on?

DVWEZ: Moving forward, I would like to do it the first way, having an idea and lyrics and melodies and going to a prodcuer to help feel it out. But with this project, it was the opposite. He sent insturmentals that he thought he could hear me on and I worked around that. That’s usually how I do things. I think it’s really cool when artists have ideas and it gets produced out because I think there are more layers when that happens.

DVWEZ_Paradise-9448

matthew warhol: You can build from that. 

DVWEZ: But for this it was me hearing the instrumentals and being inspired. “Paradise” for example, I wrote in a car ride from Orlando to Gainesville. I had the instrumental playing in my car. I call it “John Legend-ing.” He would hear something and start mumbling crap that would form into a song. That’s kind of, exactly, how I wrote “Paradise.” I think that the melody gives way to lyrics and the context. That way the music is informing the lyrics. 

matthew warhol: You said with the last project was all you. In general, have you preferred making music with other people?

DVWEZ: Um, I think it’s, honestly, just experience. There are so many people out there who are extremely talented. I feel that I’m not necessarily up to par. But in terms of the whole creative process, I hate working with other people. I really like being by myself because it’s a very intimate, grueling thing. I’m challenging myself to be in a creative space with other people, but because I’ve been so solo for the past few years, it’s a little bit uncomfortable with other people in the moment. But that’s what I’ll be doing next.

matthew warhol: How do you go from this isolationist method of creating to then put something out into the world and play it live? For me, as someone who doesn’t perform for people, those two things are completely different. That sounds almost mental to me.

DVWEZ: I’m still figuring that out. When I think I perform best, it’s when I feel like no one is there. And what I mean by that is that there can be however many people in the crowd, but I’m so into what’s happening that I don’t see anyone. I always joke about how my eyes are always closed when I’m really into it. But you have to push yourself because a lot of artists aren’t outgoing people. Not that I’m not — but there’s a performer that you have to bring out of yourself. Once the songs are done, I don’t feel weird sharing it. Showing someone something that’s not done feels so weird. 

DVWEZ_Paradise-9432

matthew warhol: When you’re performing such emotional music, do you feel that in the moment? Do those feelings come back to you?

DVWEZ: It just depends. Everytime I sing “Celebrity,” I give myself goosebumps. *zzziiinnnggg* Sorry that’s my dryer. [laughs] I give myself goosebumps, which is so weird. But it happens a lot. I think it depends on the song and how comfortable I am with it, because if you’re still trying to make sure you don’t mess up, I don’t think you allow yourself room to really get into it, feel those emotions and have them transfer to the audience. 

matthew warhol: What is it about that particular song?

DVWEZ: “Celebrity” is the only song as DVWEZ that I’ve written lyrics first, then came the music. So it probably has something to do with that, because I was so inspired when I wrote the lyrics. Also, I’ve never heard a song like that before. I don’t know why? That’s the short answer. [laughs]

matthew warhol: How many times have you done “The Paradise Experience?”

DVWEZ: I’ve only done it once and we filmed it. So the idea is to stitch it together and pitch it to venues. Friday, I will have a broken down version of it. It just depends on the venue and the space. But if people are interested in seeing it, we’ll make some version of that work.

matthew warhol: How did the first performance go?

DVWEZ: It went well sonically and in terms of support from the crowd. It took a long time to set these structures up, more than I had anticipated. I would say that the venue we did it at needed to be darker. The videos and photos really capture the projections, but if you were there it was a little lighter, so that’s something to take into consideration. And we’ll be incorporating LED lights moving forward. There’s litttle things that we’ll add. I think it will keep getting better every time. 

read our last interview

hear new Orlando music

Follow DVWEZ: Facebook / Instagram / Twitter

Follow The Vinyl Warhol: Facebook / Instagram / Twitter

Processed with VSCO with a6 preset

BABY’s ‘Pick Me’ is 10 Minutes of Bliss (premiere)

It’s been a while since we’ve heard from Kaley Honeycutt. This pop force first came into my knowledge back in 2015, when she was hustling in the the criminally short-lived synth pop trio Island Science. But, as they say, all things happen for a reason, and for Kaley that reason was BABY. This solo project fused Frankie Cosmo-like jangly rock tunes with a perfect aesthetic, brought to life by Kaley’s own design. Now, this pop package has been polished further with the help of Maryland-based record label Yellow K, and she’s ready to take on the indiesphere.

BABY’s debut EP Pick Me is out today (premiered here). It gives you a taste of her infectious, fun attitude, but due to its short runtime, leaves you wanting more sweet ear candy. You want more of the party. You want to watch the music video. You want to see her live. It hypes you up for her future work. She hazily coos like a stoned Zoey Deschanel on the EP’s first song “Home, Sweet Home.” It’s a moment that sums up everything BABY is about, friends, a good time, and a forever summer. She may have moved to Massachusetts, but Kaley still hasn’t lost her Orlando glow. 🙂

18053020_1947809242120913_1898540892_o