SugarPlum Orlando music

A Sweet Treat w/ SugarPlum

I became aware of Chelsea Ybarra after my friend Henderson Nguyen sent me the music video he had just finished for a song called “All The Time.” The video featured a new ORL artist who went by the name SugarPlum. The visuals were bright and SugarPlum was bubbly; her voice joyfully sung the sweeeet chorus. After meeting her a few times and seeing her first two live performances, at Will’s Pub and Spacebar respectively, I became more interested in uncovering who this SugarPlum really was. So we scheduled an interview in Stardust Video & Coffee to talk about her upcoming, currently-untitled EP. Our talk even led to a visit to the ice cream parlor where “All The Time” was filmed. Enjoy.

Upcoming Appearances: February 10 @ Will’s Pub w/ Zoya Zafar & Pathos, Pathos.


matthew warhol: I wanted to ask you, straight off, who exactly is SugarPlum? Is she, you? Is it kind of like a morphed version of you? How do you see it?

SugarPlum: … it’s kind funny how SugarPlum started. Ever since I was little I wanted to do the music thing, but I was never like, ballsy enough to do it. I needed that push. And my best friend Sarah — who’ve I’ve been best friends with since we were three-years-old, she does all my cover art — she always had my name in her phone as SugarPlum. So I was said that if I ever made music, I would use SugarPlum. [She’s] kind of like the girl who could. And I always said SugarPlum could be so much more than music. But essentially I am SugarPlum.

matthew warhol: So aesthetically, what is that? What is the vibe around SugarPlum?

SugarPlum: She’s like the goofy side of me, I think. The one who’s cheery and happy all the time. And even when things are hard she’s like, “Whatever, let’s go out!” I think she’s the version of me that pushes me to do all the things that are out of my comfort zone. Maybe I can’t do it but SugarPlum can.

SugarPlum Orlando music

matthew warhol: When did she start to take shape?

SugarPlum: It [happened] after I met Henderson. He was a fan before I even met him. I would post little videos of me playing guitar and singing on Instagram. And he would randomly comment on them saying, oh this is good. And when I finally played for him, he instantly shed into tears and was like, “No, you have to do it!”

matthew warhol: Was Instagram the first platform you started putting your stuff on?

SugarPlum: Yes.

matthew warhol: And when did that start?

SugarPlum: That was my first semester of college, so roughly a year ago. So like the end of 2015, I started posting videos of me playing.

matthew warhol: Were you playing your own songs?

SugarPlum: No, I was just doing little covers. I was too scared to post my songs. And I was obsessed with Frankie Cosmos at the time. I would go to my friend’s house, who had all these instruments and a studio, and record myself playing all of her songs — the guitar, the main and backing vocals, the whole thing. I was trying to get a feel of what it was going to be like to record songs. And then randomly I met my friend Alex, and he was super about recording.

SugarPlum Orlando music

matthew warhol: Your first song, “All The Time,” was that recorded with Alex?

SugarPlum: Yes.

matthew warhol: There are drums on that song. Who did those?

SugarPlum: Those were all done on the computer. I’ve been looking for a drummer for the longest time. They’re like hiding from me!

matthew warhol: Maybe you’ll be able to find one through this interview.

SugarPlum: Scouting drummers!! I really am looking!


SugarPlum Orlando music

SugarPlum Orlando music

matthew warhol: With “All The Time,” a lot of the lyrics seem very direct. They sound like we’re hearing actual experiences. Is that the case?

SugarPlum: Yeah, yeah! 100% real. I think the moment I started “All The Time,” I already knew what I wanted it to be. The writing process for me is like … I can write a verse in seconds, but the chorus is what gets me — the repetitiveness, writing something catchy. But “All The Time” like basically wrote itself. It was about the scenario when you’re with someone and you end it. And they keep calling you. And you like that they keep calling you. It’s that good feeling that they still want you, but you have so much you have to do.

matthew warhol: And even the chorus came together quickly?

SugarPlum: It was super fast. I was honestly just rushing it because I wanted to get it out! I knew my first song wasn’t going to be my best song, so like I’m not going to over think it. But then it like, blew up and I was like *screams*.

matthew warhol: Where was that reception coming from?

SugarPlum: I was always random people who always wanted me to do it and were waiting for me to do it. One of those people, who I appreciate and admire a lot, is Scott. He runs a music blog, 53rd & 3rd. And Sarah, who I mentioned earlier, worked with him at Barnes n Noble. She showed him “All The Time” when it came out. And he wanted to meet me and post the song. From there one of those blogs that automatically reblogs songs it sees potential in reblogged it.

matthew warhol: Was it Hype Machine?

SugarPlum: Yeah!

matthew warhol: Really? That’s really good!

SugarPlum: I was like “WOW!” I didn’t know what that meant at the time.


matthew warhol: Do you know how many listens it has?

SugarPlum: It just hit 1,000 two weeks ago. And “Maybe, Baby” has only been up a week and it’s already at 100.

matthew warhol: Tell me about “Maybe, Baby.” I listened to it on the way here and it has a different sound. Were you wanting to make something different?

SugarPlum: After I came out with “Clover Pt.2” with EMRLDTRACE, I got a feel with a different vibe. Then Andre Thomas — who is an amazing, amazing musician and producer — reached out to me and wanted to work together. All of the music on “Maybe” is by him.

matthew warhol: So was it already done and you came in and added melodies to it?

SugarPlum: Sort of. He sent me a little snippet of it and thought I would like it. I loved it.

matthew warhol: Did you tweak it together?

SugarPlum: Yeah, I went to Miami to see him. I’m actually going this weekend again. It was all a very good feeling. We would do things in one take. We’re like two puzzle pieces and musically, we fit perfectly.

SugarPlum Orlando music

matthew warhol: Is he producing more on the EP?

SugarPlum: Yeah, the EP is all me and him.

matthew warhol: So is “All The Time” going to be on it?

SugarPlum: “All The Time” will be a bonus song. I think the EP has a different vibe — “Clover” will be on the EP. But “All The Time” and an interlude I wrote on the ukulele are going to be the bonus tracks. Because they’re more, more …

matthew warhol: You want the EP to have its own sound?

SugarPlum: Yeah.

matthew warhol: So is it going to be more synth-based with more beat production behind it?

SugarPlum: There’s definitely still going to be guitar incorporated in the EP, but we have a more synth sound.

matthew warhol: How many songs?

SugarPlum: Five songs and we’ll all have the two bonus songs.

matthew warhol: Does it have a name yet?

SugarPlum: NO! I can’t come up with a frickin’ name. I’m seeing Andre this weekend and we’re like, “We have to get a name!” At the same time, I was bugging my friends like, “Do people name their EPs, or is it self-titled?”

matthew warhol: I mean it could be SugarPlum EP.

SugarPlum: I though the same thing with the interlude I wrote. I was like, should I just have it as “Interlude?”

matthew warhol: I think it can be either one. It can also be like … “[something] Interlude.”

SugarPlum: I had a name for the interlude, but it’s so long.

SugarPlum Orlando music

matthew warhol: What was the name?

SugarPlum: So when I recorded the interlude, it was on Christmas Day and I was eating Japanese food. So we just named it “Japanese Food on Christmas Day.” Everyone was like, “It has nothing to do with the song.” And I was like, “But it’s true!!”

matthew warhol: So the EP comes out … ?

SugarPlum: It should be early February. I’m going to be releasing it before the show on the 10th.

matthew warhol: Now the previous show at Will’s Pub, that your first show?

SugarPlum: Will’s was my first show. And it went surprisingly well.

matthew warhol: No, that was an amazing show. And so many people came out.

SugarPlum: Yeah everyone was so amazing. Zoya. Tiger Fawn was amazing. I remember smoking with Tiger Fawn before I went on, and I was like, “This is my first show! I’m so nervous.” And she was like, “MY FIRST SHOW WAS HERE!”

matthew warhol: And you had never performed on a stage before?

SugarPlum: Never, ever, ever, ever. I don’t think I had even played for most of my friends.

matthew warhol: How did it compare to what you thought going into it?

SugarPlum: I remember posting “All The Time” and thinking that I would be so happy if 10 people listened to this. I remembering looking into the crowd and hearing people sing along and it a different kind of feeling. To hear people singing along to my first song ever.

SugarPlum Orlando music

B8ta interview orlando

Developing B8TA: ORL Producer/DJ on the Past/Present/Future

Ever since he started making noise in the Orlando music community, B8TA has stayed busy. If you’re at all familiar with local DJ nights, chances are you’ve already seen him. He DJs every Thursday at Patio’s Talk Yo Shit, books his own nights under the Labwrk brand, and pops up on bills by TMD and Body Talk. Additionally, B8TA’s Soundcloud is filled with his own smooth tunes that are heavily influenced by the sound of eclectic hip hop label, Stones Throw Records. I had yet to kick it with the guy, so we sat down, dug through all of his projects, and listened to some music, all while ORL glitch artist MalRea provided a backdrop of twisted anime. Enjoy.

Upcoming appearances: Cultural Canopy at Spacebar.

B8ta interview orlando

matthew warhol: Let me just say, thank you so much for doing this, because I have been a fan of your shit for a while. I really like the stuff you’re doing with Labwrk, the Talk Yo Shit stuff you’ve been doing. [In addition to DJing] you’ve been doing the design too, right?

B8TA: Yeah, I’m not … I’m just stealing shit from The Internet and just putting words on it. [laughs] Thank you, though.

matthew warhol: No, you’re just repurposing. [laughs] But yeah, we’ve never gotten to talk, but that’s why I like doing these interviews. I get to learn more about the artists I cover. So … Starting off, are you from here?

B8TA: I’m originally from the Virgin Islands, Saint Thomas. But um, I’m by way of here. I’ve been here all my life. I just turned 30 in October, and I’ve been here since like  ’95. Actually no, ’96.

matthew warhol: How old were you?

B8TA: Nine or ten?

matthew warhol: And you came to Orlando?

B8TA: Straight to Orlando. 

B8ta interview orlando

matthew warhol: Why did you move?

B8TA: In ’94 we had this crazy hurricane, Hurricane Marilyn, and it was a Category 4 or 5. I remember being in the closet with my mom, my two aunts, my grandma, and my sister, who was a newborn. [We] were all huddled in this little closet. And throughout the whole storm, we could see our ceiling peeling off; we could hear glass breaking, windows breaking.

matthew warhol: And after that they were like, we need to leave?

B8TA: Yeah, our home was completely messed up. And we were eating army rations at school for like a year. We didn’t have actual power for like a year. We were running off generators.

matthew warhol: So you moved here when you were nine. Did your parents bring that music and culture with them?

B8TA: When I was younger I remember her listening to things that were popular back home but when I got here, that’s when I got into hip hop. Like, the first song that I heard that was hip hop where I actually understood what that was, was Fugees “Killing Me Softly.”


matthew warhol: Oh cool. Where did you hear that?

B8TA: Funny story about that, I was on the way to the dollar theater with a guy my mom was dating at the time. He was taking us to see Ace Ventura: When Nature Calls, and it was on the radio.

matthew warhol: Was it an instant love? Did you try to find other things like it?

B8TA: Naw, it was just one of those things where it was like damn, this a new sound. Because when you’re young you just listen to what your parents listen to.

matthew warhol: So when did you start finding your own music that you liked to listen to?

B8TA: Probably like the start of middle school. I think the first album I bought with my own money was the Busta Rhymes When Disaster Strikes…, that had “Put Your Hands Where My Eyes Could See.” And that summer was when that the Missy Elliott album came out, and the Will Smith Big Willy Style.


matthew warhol: Man, I had [the Big Willy Style] CD in my car fairly recently. [laughs] When did you realize you wanted to start making music?

B8TA: You know what? When I was in high school, I was like trying to be a rapper. Or I would just write stuff and me and my friends would freestyle. But nothing really serious. But actually making beats and producing music … my boy Jeff, who was in algebra class with me, he brought in this CD that had instrumentals on it. So we’re listening to it in class, on his walkman, and we’re like, “Yo, this is hot. Who made this?” And he’s like, “I did.” And you know, we’re like, “You’re full of shit. You can’t make this.” He’s like, “No I did. I made it with this program called Fruity Loops. And you just download it. It’s like $99 or some shit, but you can get it for free.” From then, I went home and got the program. I think my first beat was like all bells. But I thought it was the hottest shit ever. I think I was like 15, 16.

matthew warhol: When did you start wanting to put it out there?

B8TA: Immediately.

matthew warhol: Immediately? What, for your friends? Did you have CDs you would pass out?

B8TA: I used to burn a new little mixtape or album every other week, or every month. I was just super excited about it at that time.

B8ta interview orlando

matthew warhol: When did you start getting your name out in Orlando, or even start going out?

B8TA: I think it was like, a couple years ago. I was going out to the Beat Battles at Spacebar. And all the producer-heads used to come out and show face. It was one of those things where there was nothing like that in Orlando. I was probably 25 or 26 … I started getting out there late. Up until I was like 25, I was concentrating on work, and I was going to college too. I kinda got lost in the everyday type thing.

matthew warhol: Were you not making music at the time?

B8TA: I was, but not as consistent. I was in Altamonte for a while, but when I moved back to Orlando I didn’t see the scene the same. Everything had changed. People were actually doing cool shit. And I started doing the Beat Battles. I think I won one or two. That’s how I met Allan Duncan [native feel] and Side C.

matthew warhol: How soon did you start booking your own stuff? Because that’s what Labwrk is, right?

B8TA: Labwrk was basically me and my buddy sitting and watching Boiler Room videos and we were like, it’d be so cool if we did something like this. Not quite Boiler Room per say, but just add different elements like visuals to tweak it just a little bit. And that’s when we started doing the parties.

B8ta interview orlando

matthew warhol: And with Labwrk, were you going to play a certain kind of dance music?

B8TA: Naw, we were like, fuck a whole format. You gotta touch everybody, right? Everyone wants to have a good time. No one wants to be alienated. So play what you whatever the fuck you want. Somebody is not going to feel it, but it’s not that serious.

matthew warhol: What about The Left Field Theory? You’re affiliated with them too, right? Explain that.

B8TA: Yeah, I’m the DJ. It’s mostly rappers and producers. There’s 15 of us? It’s me, Blue Novemeber, METVLMOUTH, Alfonso X, LFT Solis, Lauren’s Truees, Nelson, ZAE THE PHILOSOPHER, illfigure, j. robb … there’s so many of us.

matthew warhol: How did that get started?

B8TA: We actually all met at this open mic thing called The Sesh, like 2014. Some of them performed. And we were all like, what do you have going on?

matthew warhol: So you formed a collective. What do you do in that?

B8TA: We all do our own individual thing. But right now we’re doing a Left Field LP or tape or whatever you want to call it. I think the single, “Ay Mane,” was played on the radio last Sunday, on 104.5 The Beat. But some of the guys I mentioned don’t even live here. They’re in Baltimore, Boston, Miami.

B8ta interview orlando

matthew warhol: What’s your role on that tape?

B8TA: Producer.

matthew warhol: The whole thing?

B8TA: No, I’m mainly doing interludes and intros/outros with Metalmouth. And I think the main sound will be coming from Jay Rob, to form the vibe.

matthew warhol: Is there a vibe yet?

B8TA: Yeah, that song they played on the radio is probably what they’re shooting for, upbeat and feel-good. Because a lot of the stuff I make isn’t very upbeat. It’s more chill, smoke a blunt.

matthew warhol: Who all have you produced for?

B8TA: Blue November, Donny Blanks, this guy over here, [Zuhaven], Duckworth, a whole buncha cats.

matthew warhol: What’s the difference when you’re making music for someone to rap over, versus something purely instrumental? Is it a different process?

B8TA: I like to sit down with people and listen to different music before. A lot of times I’m two tracking it with people, sending stuff through email. But if I have you in my space, we’ll listen to music for a while then go into it.

matthew warhol: Do you play off them and adapt to what they do?

B8TA: Yeah, definitely. Then I come in and add my little thing.


matthew warhol: You have to similarly adapt when you’re DJing, depending on what type of event it is. What’s the difference?

B8TA: At Talk Yo Shit, I definitely can’t slip in a Mac DeMarco track all willy nilly. That would not fly at like 12 o’clock. But maybe [it would] at Cultural Canopy. I can do that with ease and mix it into like Lou Reed or something and people would be like, woah.

matthew warhol: What are your personal goals for music?

B8TA: For this year, I really want Labwrk to develop into a brand that’s more than just throwing parties. Becuase that’s not really my scene … I can’t even say that. I like being out. And I like having fun. But it’s not about partying. And I eventurally want it to be a thing where I can take other artists and help them get out and do their thing, essentially the Stones Throw Records of Orlando.


matthew warhol: Were they an early influence for you?

B8TA: They were a huge influence. MF Doom. Jay Dilla. Madlib. Madlib is my all-time, next to The Neptunes. I’m sorry Jay Dilla.

matthew warhol: What attracts you to that kind of music?

B8TA: I think it’s the “I don’t give a fuck,” vibe. Because it sounds gritty and dirty. There’s so much more tape hiss and hella dust on the record when they’re mixing it. But it still sounds like … I can’t even explain it.

matthew warhol: Raw?

B8TA: Yeah, raw.

matthew warhol: How do you add that same feel into your music?

B8TA: Man, I just try to emulate what these cats are doing, and just add my own thing to it. And I think at the end of the day, me transitioning from a producer to also being a DJ has made me realize where I see myself. It has helped me discover my sound.

matthew warhol: And that’s because you’re taking so much in?

B8TA: Yeah, constantly having to find what’s new. Because a lot producers do this where they’re like, I’m not going to listen to no new music; I can’t be disturbed. But you start to put yourself in a box. And before you know it, you put your shit out and you’re 10 years behind what the new sound is, instead of progressing with the sound.

B8ta interview orlando

Sweater Fest ticket giveaway

Sweater Fest : 10 Years of Cheer *ticket giveaway*

Lemme tell you a story about Dave Hanson — the brains behind Sweater Fest and Event Coordinator at Spacebar. The man approached The Vinyl Warhol about giving out some tickets (enter below) and releasing interviews with a few of the bands playing the holiday festival’s tenth year (one with sexy space elves PLEASURES is up rn). He ended up going in and getting six full interviews. Since Sweater Fest is this Saturday, and releasing six full interviews seems like overkill, I’ve taken the best bits from everyone and compiled them into a big Sweater Fest sweat fest. Enjoy.


What are some of your favorite Florida/local/bigger bands and why?

DONKNG: “We always love playing with our friends in RV and Slumberjack. Not only because they make amazing music but because it means we get to hang out with them and talk shit at breakfast the next day.”

FayRoy: “After coming back from San Francisco, we were totally seduced with the St. Pete music scene. Sonic Graffiti, Veiny Hands, Johnny Mile and the Kilometers, all the roser house bands, etc. are such crazy good musicians and performers and just genuine awesome people. Orlando mirrors that with Someday River, Day Joy, Thrift House, and Saskatchewan just to name a few. There’s also this Long Island band called Lemon Twigs that we’ve been on a kick with. They’re so good, and so young. Came out of nowhere like a slap in the face.”

Jollan (Luckily I’m The Hunter): “Antarctic is my favorite band from Florida and one of my favorites of all time. They have only released one album, but it’s this amazing instrumental album that moves seamlessly to each track and they have definitely influenced me as a musician, especially with the way they play and write.”

What do you hope people get out of a [insert band name] show?

Will (Luckily I’m The Hunter): “We love for people to let the music consume them as it does us. We hope the listeners are delighted by unexpected sounds and song structuring and hope it gives them a new perspective of what music can be from just a guitarist and drummer.”

Cosmic Roots Collective: “A nagging sense of unease and disorientation, with sporadic bursts of ecstasy and an occasional glimpse into the void.”

DONKNG: “Their kicks.”

FayRoy: “Positivity is probably the ultimate goal. Our music may have dark elements but the subject matter usually results in some sort of triumph or realization.”

What advice do you have for people that want to start a band up?

Cosmic Roots Collective: “Go for it! But remember, a career in air conditioning and refrigeration will most likely provide a steadier income.”

DONKNG: “It’s hard work. Being in a band isn’t that different from being on a road trip with three people who usually disagree, to a certain extent, on the destination. It’s about compromise. The results, if they’re from honest intent, are always worth it. But to quote Maroon 5’s hit song ‘Sunday Morning,’ ‘ITS NOT ALWAYS RAINBOWS AND BUTTERFLIES.'”

Jollan (Luckily I’m The Hunter): “It will never be easy if you want to play something original, but don’t let anyone stop you. Sometimes the time has to be right, but as long as you are willing to sacrifice the time and effort, you can do it. Don’t let anyone stop you, even if you have to be a two-piece band. As Shia Lebeouf says, ‘Just do it!'”

Any strange holiday traditions?

PLEASURES: “It’s the only time of year Roger eats cheese.”

FayRoy: “Every year about this time we buy every tickle me Elmo we can get our hands on and hope it becomes a hot commodity for Christmas again. One of these years were going to make a fortune.”

DONKNG: “Matt keeps bringing Mistletoe to all our practices.”

Cosmic Roots Collective: “We wear animal masks … It’s a pagan thing and entails worshiping megaliths, dressing in Druid robes, and ingesting candle wax.”

IRONING: “I don’t think so.”

What are you looking forward to most about Sweater Fest?

IRONING: “I haven’t seen Blair Sound Design in two and a half years, so that’s exciting. Also stoked to experience sets from people I haven’t heard or seen yet before! “

DONKNG: “We’re excited to be sharing a stage with some really cool acts. We actually keep up with a lot of the artists on the bill (FayRoy, Tiger Fawn, Evil Virgins, Cosmic Roots Collective) on social media so we’re excited to finally experience their music in a live setting… Also, we heard that we get free entry. That’s nice.”

FayRoy:  “… hopefully seeing Joey Davoli’s hairy chest. It’s obligatory.”


The Nightmare B4 XxXxXMas: PLEASURES (SWEATER FEST interview)

Sweater Fest is an Orlando holiday tradition of epically tacky proportions. Saturday, December 17 marks the 10th itchy celebration as The Milk District is transformed into a celebration of Central Florida music. Encompassing three stages (Spacebar, Sandwich Bar, and an outdoor stage), DJs will share the sleigh with psychedelic space bands; noise duos will toast eggnog with surf rock trios. TVW is previewing Sweater Fest in the form holiday-themed interviews leading to a Ticket Giveaway the week of the event. The first to take a seat on our lap is Sarasota-based Space explorers, PLEASURES. Enjoy.

TVW: How was the response to your horror movie tour? What spurred the creation of that film?

PLEASURES: It was an incredible experience to show the film across the country and the timing was perfect, it being Halloween. It was a great ice breaker at the least and some venues felt like they were built for us. At Ghost in Santa Fe, we played the film directly from the VHS onto their huge projection wall. Seeing the tracking and artifacts that large was glorifying. We had started selling short VHS tapes at our merch table and it was my turn (Greg) to make a video, so I thought it would be fun to make it about our audience leaving the show with the tape they just got. When we realized the timeline would work out in October, we went full ham with a popcorn machine and all. A collapsible screen was built and we brought a small projection crew.

TVW: What are you all up to nowadays and what’s in the works?

PLEASURES: We all took off separately from our last tour date in California and now we’re back home in Florida and getting ready for a bunch of local and semi-local shows. We’re getting excited to start writing a new album with our new drummer/member and see where the dynamic takes our music! We’re also working on a remix album of all the tracks from Fucked Up Dreams Come True, which our crew of friends and the musicians we’ve met on tours have been kind enough to contribute to. It’s called Deluxed Up Dreams Come True. There’s gonna be some other cool stuff on there too like the score we wrote for the horror film.

TVW: What is the songwriting process like for you all? How has that and your overall sound evolved since your band’s inception?

PLEASURES: The songs on FUDCT were written two ways: half by Morgan on a laptop — which we then converted into an organic live song experience by the band — and half as a group in a jam session. I (Katherine) write the vocal melodies and the lyrics that I sing and Greg writes what he sings. There are a couple new songs we’ve been playing out that aren’t on the record, and I’d say the newer material will be different in a few ways. I think PLEASURES will evolve into a band with more musicality and precision and not so much “wall of sound” all the time. But definitely sometimes.


TVW: There’s a lot of layers and abstract sounds going on with your songs. Without giving away too many secrets can you tell us a little bit about what all is going on musically at your show?

PLEASURES: Pretty much every sound we make is modulated or manipulated by something. We use delay pedals, live looping with a KP3, backwards stuff, random tones, oscillators, stuffed animals, and a fax machine. Nothing we do or use is outside of anyone’s reach though. We just combine it all in our own way.

TVW: What do you hope people get out of a PLEASURES show?

PLEASURES: We try pretty hard to create a separate universe outside of people’s usual internal space for them to hang out in for a while. Hopefully, it’s crazy and stimulating in some way.

TVW: You all are one of the hardest working bands I’ve come across. What helps you stay motivated?

PLEASURES: I feel like once you set personal goals and agree on a certain level you’d like to reach as a band, that’s kind of the only way to go about things. Constantly producing and moving, touring, etc. Moving from local to everything beyond. Plus, if you’re the kind of person who gets obsessed with touring it’s hard to quit that routine. Like the ragged old sailor who comes home only to be beckoned back to the sea by his ocean mistress the next morning.

TVW: What has your experience in Orlando been like as a band thus far?

PLEASURES: Awesome! Lots of friends and fans. Nice scene building up it seems.

TVW: What are some of your favorite Florida bands and why?

PLEASURES: There’s a rad little thing happening in St. Pete — there’s Sonic Graffiti, Veiny Hands, Soapbox Soliloquy, Johnny Mile & The Kilometers, UFO Sex Scene (who recently split up but they were rad), Ask For Tiger, Fictional Friends. They’re all a group of friends playing in each other’s bands and keeping the scene going. It’s motivational. In St. Augustine there’s a rad stoner band called Cosmic Groove. All the sweeties in the Orlando groups like Timothy Eerie, The Welzeins, Someday River, and Slumberjack. We’re also just getting into the Miami scene thing after meeting Cammy from Period Bomb who is a hardworking babe and has been super supportive of us.


TVW: Got any strange holiday traditions any of you partake in?

PLEASURES: It’s the only time of year Roger eats cheese.

What are you looking forward to most about Sweater Fest?

PLEASURES: I think we’re playing on an outside stage? That’s always fun and interesting. You inspired us to have thrift store sweaters at our merch table with PLEASURES patches sewn on just for this event so that’s cool.

PLEASURES SWEATER FEST Interview by Dave Hanson.


Marshal Rones Talks 64 North, Punk On The Patio, & The ORL Music Community

I wish Orlando had a million Marshal Rones. The man has selflessly given his all to the music scene and remains incredibly humble. For those unaware, Marshal is a booker at Foundations Presents, The Social, and The Beacham. He’s also been essential to the transformation from Barbecue Bar to 64 North, a downtown haven for local music, and created the monthly local music showcase Punk On The Patio. I wanted to give Marshal the spotlight he deserves to talk about how all these projects came to be, his philosophy on local music, and to find out what we can expect in the future. Enjoy.

Don’t miss the next edition of Punk On The Patio, now on Tuesday nights, happening November 8 and featuring Moonmen From Mars, The Woolly Bushmen, and Raising Cadence

The Vinyl Warhol: You’ve been at The Social for how long now?

Marshal Rones: I started July 2015 … so like 14, 15 months. Not very long.

TVW: But ever since you’ve been there, your presence been felt in the Orlando music community. Not that it wasn’t before, but like to a whole ‘nother extent because you have so much more at your disposal now.

M: I mean, if it has, that’s awesome.

TVW: Yeah, and that’s why I wanted to talk to you.

M: When I got in there, for me, I was like … I’m going to fuckin’ kick that door in [for local musicians] as much as they’re going to let me. And literally maybe my first week there, I remember one of the owners was talking to Haley talking about 64. And I’m like snapping at her like, “I got it. I got it.” And so, first show they were like, you’ll be lucky to get 20 people in there. And we had two weeks to book and promote it and had a hundred-something people. After that, we had a whole meeting and I remember like … I don’t pull punches, man. I used to go to Barbecue Bar, that was my shit. I met my girlfriend there. You know what I mean? I could tell you a million fucking blackout stories. And so, one of the owners was like, “How do we get barbecue bar people back?” And I’m like, “You can’t, that’s done.”

TVW: So 64 North now, has it kind of pulled that Sly Fox/Will’s Pub crowd?

M: I wouldn’t say that. I told them, you can’t be barbecue bar. It’s never going to work. You’ll fail. Let me make this 64, and let me turn it into a shrine for our local community. Let me rip down the stupid The National shirts and replace them bands that have played here. Plus, you’re going to let me grunge this shit up. It’s too clean. And I mean, I would say there are select shows were some of the Mills people will come. But I told them, “Forget about those people!” Most of those people are my age, dude. I’m 30. Half of these people are married, some of them have kids, some of them don’t go out and drink anymore. I was like, let me have 18+ shows because there’s nowhere else for them to go except I-Bar. There’s no stigma at 64. No one cares. I wanted to make this like you’re playing my fucking basement.

TVW: Is that something that they hired you for, or did you just see the potential and take it on as a passion project?

M: [64 North] just kind of fell into my lap. And again, opportunity, I don’t care. Kicked it open and I did what I wanted to with it. And after [they saw what happened], everyone was like, “Okay, we’re listening.” And so I told them that it was kind of like a farming thing. You can have the locals here. If they’re drawing 500 people, let me put them next door [at The Social]. Plus, what if there’s an amazing band and BackBooth is taken; Will’s is taken. Some of those bands aren’t going to fit in Spacebar. There not going to fit into Lou’s. Our cap at 64 is the same as Will’s. I’m not saying it’s Will’s. But that being said, there’s no reason to limit it to anything. Let me just make it somewhere fun. It’s a Monday. What do you have to lose? There’s nobody there anyways. So they let me run with it. After that started picking up some steam, then the discussions started.

TVW: The let you have the place a little bit?

M: Pretty much. They let me had the freedom I wanted. After a few months, they let me do whatever I wanted. They gave me the freedom to do grind shows there. My big fight initially was trying to have some sort of cover, even if it was a donation. Because I know people want to tour and I’m not going to be like, “Yeah, play for free.” And about a month into the shows over there, we were loading in through The Patio and I’m like, “Bro, I want shows out here. Why aren’t there shows out here?”

TVW: You’d been scheming about that for a while. I remember talking to you about that and you were like, “Oh, we’re going to start doing punk shows out here.” Even before it happened.

M: My bosses used to have shows out there. To me, it’s like, why did that stop? So I had one boss who was all about it. Some were hesitant and had concerns. All things considered, they’ve always been supportive of what I wanted to do, but they’re not always quick to say yes.

TVW: So did the success of 64 persuade them to let you go ahead with Punk On The Patio?

M: No.

TVW: So how did you convince them?

M: I’m stubborn. I’m very stubborn.

TVW: Did you just keep bringing it up?

M: Again, one of my bosses loved the idea. The others weren’t opposed to it, but the word “punk” brings a connotation of, “Fuck, how much security are they going to need? What is this going to entail?” And so I just kept pushing it along. You know? What’s the holdup? Then they’d come back with this issue and that issue. I’d come back the next day and want to talk about it again. Here’s why I felt that your issue wasn’t warranted, or here’s the solution. And then they’d come back to me with a couple more things.

TVW: How long was this going on?

M: Maybe three months. I have four to five different channels everything has to go through. It’s not that anybody was trying to slow me down. It just prolongs the process. So about four months total and finally we’re A-OK. I got the first one. And um, I got really lucky. Bao [from Orlando Weekly] has been extremely nice to me and supported the things I’ve done, Mitch [from Shows I Go To] same. You’ve posted about stuff. I’ve been very fortunate that people have been down with my idiocracy.

TVW: Yeah, because no else was doing anything like that, especially with the first one. When it was announced, there was a big thing on Orlando Weekly kind of showing it to the world. Immediately, it was different.

M: And that first one I got really lucky that everyone wanted to play it that I got. For me, I had a dream lineup out there with Slumberjack, with Out Go The Lights, with Flashlights, that was huge for me. And after it was done, from [the owner’s] end it really wasn’t a success.

TVW: Really? They didn’t make money?

M: No. Did I make money? No. The bands did good. But again, they look at these things from a million different angles. Part of my fight there — I’m breaking the fourth wall here — I was very vocal that it had to be five dollars. I’m Jewish, okay? That’s a big deal to me. And if it’s a big deal to me, I think it’s going to be a big deal to everyone. So typically I walk with 10 bucks. Is that a shocker? Maybe. But you’ve seen me. I have a blast squirting people with bubbles and shit. Sometimes you got to invest when you’re passionate about something. Money is important, but I’m paid to do my job. This is a passion project. It’s something I do because I love doing it.

TVW: Did you have that mindset when booking shows before working at The Social?

M: Yeah because I love it. That’s the only reason I fell into what I do now. I had a band; we needed a show. How do I get a show? I made some calls. And then you’re helping touring bands. I want to take care of them because if I’m in their city, they’ll take care of me. When shows started on Mondays at 64, I didn’t care what I was getting. I was so stoked to provide another place. I know how I’ve been treated on tour. Our industry is full of great people and awful people. And I like to think I can be one of the good ones. So I made 64 like that. I made it flexible and fun. And that’s what Punk On The Patio has to be. And if it’s not that way, I wouldn’t want to do it. I’m the production manager. I’m the loader. I’m the sound guy. I’m the light guy. I’m the one settling the show. I’m the one booking the show. There is a multitude of people who do those jobs for any normal show. But I’m doing all of it because if I wasn’t doing all of it, it wouldn’t happen.

TVW: Did you do all that stuff before?

M: As much as I do now. Everything that I’ve done music-related has been out of necessity, aside from me initially starting a band. It was like, cool I want shirts. How do I get shirts? Fuck man, our bass player quit. Well fuck, it’s a guitar minus two strings. I’m going to figure it out. Oh my god, our singer can’t sing. I don’t fucking sing, but I’m going to try. The worst thing you can do is not try. All of it has always been, I wanted something. And just because I was told no, doesn’t mean I have to lay down.

TVW: Switching gears a little bit, why change Punk On The Patio from the first Wednesday of the month to the first Tuesday?

M: That wasn’t my choice.

TVW: Why did that happen?

M: Well, now you can go every Wednesday and enjoy a latin EDM night on The Patio. Sometimes when you work for a company, there are things that happen that are beyond your control. I was told — I’m trying to put this as politically correct as I can — I was informed that there was something that would be bringing in more money every Wednesday. And I was like uh, what about Punk On The Patio? And they were like, we don’t want you to stop. You can have another night. So basically if I wanted to continue doing it, that was my option.

TVW: Were you worried?

M: No. Honestly, I think Tuesday could be better. There’s the Emo Night next door. It could be good for both of us. Come see a band or two and stop by I-Bar. Support your downtown scene.

TVW: I’ve noticed that not all bands that play don’t fit the “punk” title. What’s your theory on picking acts outside that label?

M: There’s a Kurt Cobain quote, but it’s sampled in this Page 99 song. I’m going to paraphrase it, but it’s “Punk rock is about freedom. Playing whatever you want, however you want. As long as it’s something that has passion.” Yeah, at its core punk rock is about DIY ethics and doing something you fucking love. I don’t need every band out there to be a punk band.

TVW: What are you going to do for the one-year?

M: I have some stuff I’ve been working on. We’re trying to do something special. I have some people who are on hiatuses that might want to do it. I have some people whose bands are done, who might not be done. Then I have an idea that would just be fun for me. And I don’t really give a fuck if it’s fun for anybody else. Because if it’s fun for me, I promise it’ll be fun for everyone else. I just try to appeal to myself.

TVW: What do you see as the future of POTP?

M: I’m not sure what the future holds. Do I keep it seasonal next year? Do we not do it during the rainy months to be safe? I guess the only thing that’s for sure about Punk On The Patio is that nothing is for sure.

The Grizzly Atoms Orlando band

Rock the Vote: The Grizzly Atoms Reform Amid Political Turmoil

Breaking up is hard to do, but getting back together is even harder. After two years of hibernation, Orlando garage trio The Grizzly Atoms made the decision to reunite, start playing live again, and release a four-song EP of previously recorded material dubbed Witness. Those songs see the light of day this Friday at Spacebar, where the EP will be paired with cheatsheet covering the issues being voted on this November. See, the Grizzlies cite this election’s political climate as inspiration to reform. I spoke with Nik Sidella (vocals/guitar), Terran Fernandez (bass/backing vocals), and Nick Roe (drums) about all this and more over a bowl of Willie Nelson, a strain curated by the man himself. Enjoy.

The Grizzly Atoms Orlando band

TVW: You guys were praising me in [the practice room] and I really appreciate that, but I wanted to thank you guys because you The Grizzly Atoms was one of the first shows I saw when I moved to Orlando. It had to have been like four or five years ago, but I saw you at Uncle Lou’s and you had just released an album.

Nick Roe: I know what show you’re talking about. It was one of the first or second Lou’s shows we ever played, right after we released the album. The last time we played Lou’s was one of our last shows with [Room Full Of Strangers], but before that it had been like a year-and-a-half.

TVW: Do you remember who else played that show?

NR: (After we all fumbled about trying to remember) Ricin House!

TVW: Yeah, that sounds right.

NR: Ricin House, us, and… one of these other fuckin’ bands. I remember because it was one of the first shows I saw Ricin House. There was a light bulb above him, and he hit the light bulb with his guitar and was it was going back-and-forth. And it looked fucking awesome.

TVW: They had some amazing shows at Lou’s. I remember him taking his guitar off, breaking it, kicking the door open, and running out. That wasn’t that show.

Terran Fernandez: We played that show. We were there. I remember freaking out like “Oh my god, this guy is…” because it wasn’t just like a show thing. He was definitely upset and decided to break his gear. Didn’t Danelectro send him a new guitar because he told him that story?

Nik Sidella: Nice!

TVW: Okay, first question…


The Grizzly Atoms Orlando band

TVW: So, why did the band separate in the first place and why did you get back together?

N: We were in the process of ramping stuff up. We had talked about a bunch of stuff we hadn’t thought about before, the marketing side. The night before what became our last show, I got a call from my parents saying that my brother was in the hospital and that he might die. We played the show and then that was a continuous thing for the next three months. After that happened, I straight up told the guys, “Listen, I can’t do this anymore.” Trying to finish school, managing a job, and also trying to play music and get shows, it was a lot of stress.

NR: And there was some stuff with the band, limbo stuff. We had two or three different recordings that were like half-finished. We wanted to play shows, but it’s hard to book in Orlando if you’re not in the scene a lot. And with us being so busy, it was hard to meet people and be active. The strain of being in a band for years, [took its toll]. Taking some time away, as much of a bad thing as it sounds, it’s actually pretty therapeutic in a way.

N: I think after a few years apart, we got everything else figured out and now we’re in a place where we just want to play music and enjoy it again, to be a part of something again. Especially since we’ve seen the scene flourish in the past two years.

The Grizzly Atoms Orlando band

TVW: Playing together again, how have the older songs changed?

NR: We kind of like, fine-tuned everything. More vocal melodies, Nik’s soloing has gotten way better; the drums and bass vibe more.

N: We’re just a three-piece, so we have to maximize what we can do. And one thing you can really do with a three-piece is really play with the dynamics a lot. And that is what we tried to bring to the old songs, was focusing on the balance of loud and quiet.

TVW: Does it feel easier?

NR: Oh yeah, I think we can all say it feels better than before. Not having each other just makes us want each other more.


T: It’s definitely a different band, but I’m excited to see what’s happening now.

TVW: Different band, how?

T: Um, just the way we interact. There was a lot of disagreement back then about how to do things in the band. We’ve all come back with different gear and that makes a new sound. Nik has like seven-billion pedal boards. I’m like trying to keep up with him changing his tone so much. But it’s weird playing four-string again. I play six-string bass primary, because I play really technical metal [in my other band]. I can just settle and have fun. But as far as the future goes, I’m really excited to see where the music goes.

NR: I think we should take a four-year hiatus and think about it.


The Grizzly Atoms Orlando band

NR: yeah, we haven’t taken the time to write new stuff. We’re really playing our EP release show to release it and we’re going to go from there.

TVW: Is Witness new stuff?

N: This is stuff we recorded two years ago that we were playing live, but nothing we’ve released before. But with what Tarren said about new material, what I like about it is that we all have such various [tastes and styles] that I think we can bring that together and make some really, really cool stuff.

TVW: So take me through the moment where you actually decided to try this again?

NR: We would talk and jam once in a while. Nik’s really into Strangers stuff. He was doing the touring thing at the time. Terran is fucking touring. I’m kind of doing my own thing with two bands. Then I went out to drinks with Terran, and [Nik and I] would talk, but nothing really happened. Then they actually talked to each other and we decided to get together and have a meeting. It’s funny that the band broke up [behind Nik’s house] when Nik was going through all the stress and we decided to take a break. Two years later, we go back to the same spot and have the opposite of that conversation. We were also kind of nervous about the political situation, so that was another reason why. When shit is fucked up good music is made.

The Grizzly Atoms Orlando band

TVW: So what does the political climate have to do with The Grizzly Atoms?

N: There was this one song I had written the lyrics to called “Witness.” I go down the rabbit hole with like conspiracy theories a lot, and I also try to educate myself on what the established idea of what things are. And the song was about seeing the bullshit that goes on, seeing how money kind of dictates everything in this country, how the corporate elites have power over everything, seeing that and doing nothing about it. “I’m a witness, yeah, but do I really see? I’m a witness, yeah, but I never speak.” So my idea was to play a show but also raise political awareness.

TVW: And that’s where the show in October comes in.

NR: Being in a band, you have a platform. If you have a platform, use it!

The Grizzly Atoms Orlando band

TVW: Let’s talk more about the cheatsheet that you’ll be giving out at the show. Take me through the process of coming up with that.

N: When you vote, you see all this language about bills or names you don’t recognize and some people Christmas tree it.

NR: It’s confusing, sometimes you vote for someone who has the best name. Amendment One for instance, “Yes on One for the sun.” That’s completely falsified. It’s run by the utility companies trying to one-up the right to have free solar energy.

TVW: So with the cheatsheet, it’s focusing on stuff other than Trump and Hillary?

NR We’re trying to take an unbiased view with the candidates, the amendments, the people running for different offices, and giving pros and cons. Giving the information in a non-confusing way where they can see it and know what it is.

N: I think if people understand what they’re voting for, then that’s truly a democratic society. But I want to put out a disclaimer, this was made by people who lean towards the left side of things. We encourage you to do your own research because ultimately it’s not a democracy if you’re just pushing your own opinion on people. It’s only a democracy if you have your own point of view, and we think about it and talk about it and compromise.

The Grizzly Atoms Orlando band

The Grizzly Atoms Orlando band

The Grizzly Atoms Orlando band

The Grizzly Atoms Orlando band

The Grizzly Atoms Orlando band

The Grizzly Atoms Orlando band

The Grizzly Atoms Orlando band

The Grizzly Atoms Orlando band

Tedd.gif Interview Photos

“You Can’t Control The Internet” : A Night with TEDD.GIF (interview + photo journal)

I’m standing outside of a two story apartment building, knocking on the door every 15-sceonds. An off-white sedan pulls up to the house and starts beeping at me. I dismiss it and continue knocking. Finally, a figure emerges, tells me his uber is here, and invites me to come with him.

Confused but willing, I ask, “You’re Ted, right?”

As I step into the backseat of this uber—captained by a 60-year-old grey-haired woman who’s discussing the status of her sickly 86-year-old mother with a hospital worker—my suspicions are verified. This isn’t just an interview with ORL rapper TEDD.GIF; it’s a story. Enjoy. 

Tedd.gif Interview Photos
I mention I came from a photo shoot with local photographer Liv Jonse at Stardust Video & Coffee. “Liv was actually the one who gave me the name ‘TEDD.GF’ … at Stardust. She said my whole image should be based around The Internet.”

TVW: You’ve had mixtapes before, released on Soundcloud. With Lil Mixtape, there’s more hype around it; the image is tighter. What’s the difference between that and the rest of your work that’s come out so far?

T: This project is one of the more fun projects to me. You know, Lanlord Collectin produced the whole shit. He recorded it all. We did it all at his house. The direction of it was all organic. I didn’t have to think to much. Everything we did, we were just hanging out. It naturally came together. 

If you check out the projects I’ve done, with most I work with one producer specifically because I like to catch a vibe and get chemistry. You know what I mean? We build a relationship. So, Lil Mixtape is me and Lanlord. And this is actually going to be a series because like, I love working with Lanlord. He’s one of my best friends now.

And Harryson – he’s my manager and shit – he told me to make some shit that you feel like is really going to connect with the people. “Give the people what they want.”

Tedd.gif Interview Photos
Tedd seems confident and comfortable around everyone. He took our uber driver into Golden Krust to explain Caribbean food to her.
Tedd.gif Interview Photos
The 23-year-old emcee was at UCF pursuing a degree in graphic design but felt limited by the heavily controlled assignments. In one particular class, he was told by the professor that he couldn’t pass but kept going because he still wanted to grow. That was until the professor banned him from the classroom.

TVW: What do the people want?

T: With this project, I had a theme in my head. It’s kinda like The Qlone Wars. I was hanging out with my friends, and all of the music they were making, I was making my own version of certain tracks. I’d spit shit out in my own way. Maybe I’d listen to a track and be like, “I’m inspired by this. I’m going to make a track like this.”

TVW: Who were some of those inspirations?

I was listening to a lot of SoundCloud rap. Made in Tokyo. I fuck with him.  Lanlord, he’s a DJ as well, so he plays a lot of music like that. So I was listening to a lot of new shit. We throw an event like every week or every other week, so I feel like it’s just influenced by the vibe of us and our friends n’ shit. 

Tedd.gif Interview Photos
On making a name for yourself online: “You can’t control The Internet, that’s the scariest thing about it.”

TVW: So like most of the lyrics, are they off the dome? It seems like it’s about the energy, like you said. 

T: Most of the shit was really off the top of the head. But in the moment, we’d play music and I’d have an instant, a certain feeling like “this is it.” I’d have a concept and boom, we’d lay it down.

Landlord is a beast too. We work a certain way where we get shit done pretty fast. There’s like seven tracks on there. It’s not a lot, but those are the ones. We had a couple more. They might come out later, but they just didn’t fit. I didn’t want to give out too much because of people’s attention spans, nowadays. People just eat shit up, you know what I mean? 

Tedd.gif Interview Photos
s/o to Harryson for setting this whole thing up.
Tedd.gif Interview Photos
Fuck paying $7 to stand in a parking lot.

TVW: Features? Anybody else on there?

T: Yeah there’s a couple, not too many. It was on some gang shit. The people that I was really fucking with. I got Nick Prosper from Dark World. I got a track called “Sobriety Test” featuring RAELY, Young $ino, DeadMonBernz…

TVW: Yes! Yo, I love him. I’ve been fucking with his SoundCloud shit for a while. 

T: Word. I’ll definitely link y’all up n’ shit. 

TVW: He’s got some real connects on that art shit. 

T: Naw, for sure. That’s how it is too. I do lots of other shit besides the music. I’ve built a lot of relationships that don’t have anything to do with music. You can branch out with other shit. 

TVW: Nobody is doing one thing. 

T: There are no excuses. All you really need is a laptop. That’s all you really need.

Tedd.gif Interview Photos
On local DJ collective TMD: “TMD is so pure. TMD is lit”
Tedd.gif Interview Photos
Tedd is the music guy. He controls the aux chord almost the entire night.

Tedd.gif Interview Photos


Tedd.gif Interview Photos

TVW: Question I wanted to ask you, so you opened for Sales, right? Why can you open for Sales? Like, Why does that work? Because that shouldn’t work.

T: I was actually surprised they wanted me to be on the show. You know, it was sold out and shit. I guess, you know, music is going in a lot of different directions. There’s a lot of culture being mixed together. There’s a lot of people coming together and I guess they wanted to show that. To expose people to something there not used to. And it was dope. People really enjoyed the set. And I’m really appreciative of them considering me for that. I actually have some music coming out with J SHIH from SALES.

Tedd.gif Interview Photos
We end up at a house party full of local DJs and MCs. Everybody is hella cool.

Tedd.gif Interview Photos

Tedd.gif Interview Photos
I gave this girl a fake number. s/o to my gf.

TVW: The reason I think it works is because your music stretches beyond hip hop, into electronic and even ambient music. Is that because you listen to a lot of that?

T: Honestly, yeah. When i graduated high school in 2012, I was listening to a lot of electronic music because it was different. I used to write a lot of songs to those songs, low key. A lot of the songs the I write to certain beats, I put on a different type a beat. That didn’t happen with Lanlord. Because we were just creating these songs on the spot. 

But, like I said I’ve been listening to electronic music for a while. I didn’t even listen to much rap at one point. I try to branch out. I need ideas. And like rap nowadays, a lot of the shit is repetitive so it’s hard to get inspiration. 

Tedd.gif Interview Photos

Tedd.gif Interview Photos
Every party is a chance to network. He’s constantly pushing his brand.

TVW: So who have you been fucking with both in and out of the rap world.

T: I like different shit. Where you kind of question it, but the shit’s fire. You can’t really say anything. This is shit that somebody else couldn’t pull off, but they’re pulling it off. 

TVW: Is that what you want to be too?

T: I feel like my shits different. I feel like a lot of the shit I say gets overlooked. Like, I’ll say a certain line and people don’t get what it means, don’t understand the reference. But I feel like people are starting to wake up.

I’m very in tune with everything that’s going on in the underground.

Tedd.gif Interview Photos
Tedd came up to me every 20 minutes to give me dap. “That’s how you know I really fuck with you.”

Tedd.gif Interview Photos

Tedd.gif Interview Photos
“Most n***** end because they end weak.”

TVW: Is there a certain place that’s coming up?

T: Florida is definitely running shit right now, too many artists.

TVW: who do people need to know about?

T: TEDD.GIF. *laughs* There’s too many to name. I feel like I’d be leaving people out.

TVW: Follow him on SoundCloud! See what he’s listening too.

T: I actually don’t like too much on my TEDD.GIF SoundCloud, but I have a secret SoundCloud called xx80spy. I also do uploads to YouTube, very low key. I like to curate shit, have little things that people can follow-up on and find cool shit. 

Tedd.gif Interview Photos
Two days later, Tedd holds a ‘Lil Mixtape’ listening party at Studio 18.

Tedd.gif Interview Photos

TVW: What you mean? What’s going on YouTube?

T: I can show you, bro. This is one of my channels, it’s called xx80spy. I just started this project a couple months ago. I got 21 Savage on here, SKI MASK, Pollari, Nessly. 

TVW: Speaking of 21, I saw him and Lil Yachty on XXL Freshman Class. Yachty was talking about that he’s all about positivity. He wants to make people feel good. And how 21 is on the opposite side of that spectrum. You know like, murder music. Where do you fall on the spectrum?

T: I think I’d be closer to Lil Yachty. I like to make music people can have fun too. Even though certain songs are inspired by negative things or I feel like I’m releasing anger, but this project is not that. The Lil Mixtape project is more positive.

Tedd.gif Interview Photos
“Imma let the music speak for itself.”
Tedd.gif Interview Photos

TVW: Would you say it’s your biggest, most official thing to date? 

T: Yeah, it does feel like that. There’s some songs on there where I tried a lot of new shit. Honestly, I haven’t even heard the final version of the project. I’m just waiting for it come out tomorrow so I can listen to it just like everybody else.

Tedd.gif Interview Photos

Tedd.gif Interview Photos

TVW: What’s next?

T: A lot more music. Lil Mixtape, it feels like the past because it’s already been created. I’m trying to do a video for like every song. More mixtapes. I’m actually working on an EP now. 

Tedd.gif Interview Photos