Road Warrior, Lover

Photo by Jonathan Russell

When I listen to Shannon Curtis’s music it makes me want to run and kiss my girlfriend in the pouring rain as I swing her around time and time again (in slow motion of course). It may sound cheesy, yes, but this piano playing singer/songwriter writes incredible love songs, the kind that make it easy to daydream you’re in a dramatic scene from a late ’90s chick flick. Shannon’s most recent EP, Paris Can’t Have You, is her second release in just nine months on Saint Cloud Records, which according to their Web site is, “the smallest record label in the world.” Small label, big voice, I say. Shannon was midst of a two-month tour across the nation that will land her in Sacramento on Apr. 28 when she performed at the True Love Coffeehouse. She was nice enough to take some time out of her rigorous schedule to talk to Submerge about the ups and downs of touring so much, love, and what the future holds for this pop-star in waiting.

First off, where are you now and how has the tour been thus far?
That’s an excellent question and one that some days I’m not entirely sure of! It’s easy for me to lose track of time and space when on the road [laughs]. But today I’m fairly certain that we’re on our way to St. Louis, MO. The tour’s been really fun so far. I’ve gotten to play in some new cities like New York and Washington DC. And the cities I’ve been to before have been really fun, too, because the crowds are super enthusiastic.

You seem to be quite the road warrior. What are your favorite and least favorite aspects of touring?
One of the best things about touring is that I get to see fans all over the country face to face and play for them in person. That’s really what motivates me to tour as much as I do. But I do also enjoy seeing new and different places. And it’s fun to get to know cities that I don’t live in since I have the opportunity to visit them so often. Like I have my favorite pizza place in Chicago and my favorite coffee joint in Seattle. Every time I go back to a city, the more it feels like an extension of “home.”

Not actually being at my home is one of the downsides of touring, but I really do appreciate being there once I get back. The long drives in between tour stops can get hard, too. But I spend a lot of time listening to NPR—Robert Siegel and Michelle Norris of All Things Considered are like best friends to me out here!

The five songs that make up your new EP, Paris Can’t Have You, are bursting with emotion. Where do you find the inspiration to write such mature love songs?
Ah, I’m just a melodramatic at heart—a sap, probably. I don’t write much else but love songs. Sometimes the inspiration comes from my own life and relationship experiences, but sometimes they come from elsewhere. On this record, there’s one song that I wrote after hearing a friend of mine tell me over lunch about a less than desirable situation she found herself in with a fella. And there is another song that was inspired by a headline on a magazine at a grocery store check out line.

In the song Don’t Call Me, you sing, “Don’t ask me to come over when you can’t sleep at night, I’m not looking for a good time, I’m looking for the love of my life.” So, How is the search going so far?
[Laughs] Thanks for checking in. Yeah, you know, I’ve got a pretty excellent fella in my life. “Don’t Call Me” is actually the song I just mentioned writing for my girlfriend. But I’ve known guys like that, too. I imagine most girls have. So it’s easy to really feel that song when I play it.

You are a native of Sacramento, correct? What drove you to your current residence in Los Angeles?
Sacramento is actually my adopted hometown. I was born and raised in Stockton, went to college in San Francisco, but I lived in Sacramento for several years before moving to Los Angeles. Both of my parents live in the Sacramento area now and all of my friends are there, so, essentially, it’s home. After some pretty jarring personal changes a few years ago, I decided I wanted a new town, and I picked Los Angeles, even though I didn’t know a soul there when I went. I’ve always sort of liked it there when I’ve visited. I know, that totally flies in the face of the attitude I’m supposed to have about southern California, being a native of Nor-Cal. But I’m really enjoying it. There are a bunch of people doing creative things there. It’s great energy to be around. And, frankly, being able to wear flip-flops in January isn’t a terrible thing!

Where do you see yourself in five years? What are you hoping to accomplish with all of this?
Aw, man! The five-year question! I don’t know why I’ve always shied away from that question. Maybe it’s because I’ve found that it’s really important for me to live one day at a time. That said, I hope that in five years I’ll be doing what makes the most sense to be doing each day—like I try to do now. And I hope that will still involve writing, recording, and performing music. It seems that the more I spend time doing things that are true to myself the more success I experience in what I do. Right now, playing the piano and singing love songs is really comfortable and fun and very “me.” It would be great to have that same sense five years from now, too.

Do you plan on ever putting that pre-med biology degree to work?
Uh, no, I don’t think so. Aside from acting like a smart-ass when I’m able to answer the occasional Trivial Pursuit science question!

For more information visit Shannoncurtis.net

Lucky Number 13

There is a certain air of mystery surrounding places off the beaten path. Especially to those of us who live in urban areas, lonely country roads, small towns and backwoods locales—and the people who inhabit them—prey upon our fears and curiosities. Area artist Mark Fox has seen this theme surface in his work in recent years. Born in Sacramento and raised in Elk Grove, Fox now lives in Marysville with his wife. The couple has been there for two years, and Fox has mixed feelings on his new home.

“It’s OK,” he tells Submerge, taking a break from preparing for a few upcoming shows. “I prefer living in cities. I like downtown Sac, because you can walk around, and there are trees. Up here it’s a little different. It’s laid-back country style, I guess.”

The new location has had a noticeable affect on his work, however.

“You get those true characters up here,” Fox explains. “We have my favorite guy up here called Marysville George; he’s really rad. He’s inspiring. He’s all about positivity. I try to base some of my art characters on people I see around here.”

He goes to the say, “Marysville reminds me of Elk Grove like 10, 15 years ago when it was smaller. Now Elk Grove is a little bit bigger, but it has that small town feel. It’s cool though. Everyone knows each other up here [in Marysville].”

Apart from the change in scenery, Fox’s recent preoccupation with “hillbilly, folkish” art stems from the death of his mother around three years ago. His loss led him on a road to self-discovery as he ventured back to Tennessee where he learned about his mother’s Melungeon heritage.

Melungeons are people of mixed ethnic heritage who inhabit the southern Appalachian regions in Tennessee and Virginia.

“They don’t know where they originated from,” Fox says. “They’re considered not fully white, a little bit darker, so treated like African Americans back in they day.”

Fox says that incorporating Melungeon-inspired images into his work is a way of showing respect and a sense of pride for his mother’s ethnicity, especially since the group was often discriminated against and ostracized.

“I try to incorporate that and bring it out because it was such a derogative thing to be called a Melungeon,” he says. “They were considered boogey men.”

Though this phase has lasted a few years, the 34-year-old artist (who now paints full-time) has painted his whole life. The 13th of 14 children, Fox grew up in a religious household and his family didn’t always look favorably upon his art.

“I was diagnosed bi-polar, so ever since I was a kid, I think that’s been my therapy—my way of expressing all the problems I had in my head,” he says. “Recently, when my mom passed away, that added to it. That inspired me to put more meaning into my work.”

Fox points out that, though he incorporates a folk art feeling in his work, he likes to mix it up. Living in Sacramento for so long, Fox also likes to add an “urban aspect” to his painting as well. Also, further perusal of his work reveals his abstract leanings.

“I think a lot of it is how my mood is, how I feel about what I want to get out,” Fox explains. “I did start out more abstract. Artists like [Jean-Michel] Basquiat—that whole abstract expressionist movement, inspired me. I was hella inspired by those guys—just hardly any subject matter, just wild paint, expression.”

Monday March 10, 2008 – Arco Arena, Sacramento

I’m usually not one to attend rock shows in the arena setting because the sound quality usually blows and beers are like twelve bucks, but when the opportunity presented itself to see one of the largest tours of the year thus far, I couldn’t resist. When rumors first surfaced in late ‘07 that Linkin Park would be touring alongside Coheed & Cambria and Chidos, my initial reaction was that of complete confusion. It was indeed an odd grouping of bands but certainly set the stage for a very successful tour beginning on February 12 in Omaha, Nebraska and ending Monday night at Arco Arena in Sacramento.

Unfortunately, we missed the opening act Chiodos. Sometimes things just don’t work out as planned when you are on the guess list for a show of this magnitude. While we patiently waited in the security booth area for our passes I could hear the Michigan based post-hardcore sextet, and see them on a tiny little TV screen, so that was better than nothing I suppose. I cannot comment on whether or not they put on a good show, but from my past experiences seeing them live, I think it is safe to say that they did.

When I entered the actual arena I was immediately heartbroken. There was one beer garden and the line stretched half way around the building. On top of that they were only selling one drink per person so my plan of convincing someone at the front of the line to buy me one was out of the question. It was a bummer, but at least we had legit seats because Coheed & Cambria played so well it surely would have floored me. Armed with two female back up singers and an arsenal of songs from their four rock-opera albums, Coheed seemed at home on such an immense stage. Although the majority of the crowd was obviously there to see Linkin Park, they proved worthy of the coveted main support slot when songs like “The Running Free,” and “Welcome Home” got the crowd both excited and involved. After a lengthy and impressive set the band announced their thanks to LP for bringing them out on the road, and headed back to their bus for the final time on this tour.

It was during the set change before Linkin Park that I noticed a strange phenomenon occurring. People’s eyes seemed to be glued to a couple very large screens on the sides of the stage that were displaying text messages being sent by crowd members to a number posted on the screen. What could be so interesting about that you ask? I can’t personally tell you but the many thousands of people in attendance seemed addicted to it. The messages varied from, “Scream if you support the troops,” to, “Scream if you are tired of screaming,” which was my favorite. When the giant text message screens stopped functioning the crowd was furious, but they were soon rewarded as Linkin Park rose onto stage from a number of elevators. It was without question a grand entrance to an overwhelming applause. Although they are not my favorite band in the world with their nu-metal/rap-rock fusion, Linkin Park sure knows how to satisfy a nearly sold out arena. Everyone in attendance rose to their feet and sang back the words of co-front men Chester Bennington and Mike Shinoda. Playing songs off of all three of their albums including last years Minutes to Midnight, Linkin Park proved they are among the top few rock acts in the world.

No More Drama in the DGD

Dance Gavin Dance’s mélange of screamo and R&B has earned the group quite a following both here in their hometown of Sacramento and beyond. Though its members’ mean age is around 20, the group has already traversed the country six or seven times, most recently in support of Poison the Well. With just a few California dates to come (including Bamboozle Left in Irvine and four dates as part of the Artery Foundation tour that will bring Dance Gavin Dance to the Boardwalk on Apr. 19), the band is now ready to re-enter the studio with a new singer, Kurt Travis, in tow. Submerge sat down with Jon Mess (co-vocals), Zachary Garren (guitar) and Eric Lodge (bass) outside Sargent’s House of Coffee on Alhambra Blvd. and discussed the forthcoming album and the rift that caused Dance Gavin Dance and original singer Johnny Craig to part ways.

You’re going to be heading into the studio soon, right?
Jon Mess: Yeah, Apr. 20 [2008].
[Eric Lodge and Zachary Garren both laugh.]

4/20, huh?
All: [Laughter]
EL: That first day won’t be too productive.

Do you have a bunch of songs done already?
ZG: We have nine so far. We’re going to finish up the ninth one today.

How has the writing gone for the new album now that you have a new vocalist?
EL: We kind of write without our vocalists in mind. We like to incorporate parts for our vocalists, but like, it’s just the people in the band who play the instruments who do the writing, so it’s not really affected by the vocals or anything. So far it’s been going really good. We’ve been progressing pretty steadily. We’re really stoked on the new stuff.

How would you say you’re progressing? Which direction do you see the songwriting heading?
ZG: It’s more groovy.
EL: Each song is tackling a different genre or sub-genre, I guess you would say. But yeah, it’s definitely more groovy, more energetic.
JM: There’s a lot of different types of sounds.
EL: But it still sounds like it’s us. It still sounds like you’re listening to Dance Gavin Dance.

Jon, you’re one of the vocalists. Lyrically, how is the writing going for you? Have you written a lot of the lyrics yet?
JM: Yeah, I’ve got about five songs done. It’s cool. I don’t know how it’s going to end up, but I think it’s going to be a lot better than how I collaborated with our old singer. It’s a lot more coordinated, a lot more thought out. Vocally, I think it’s a little more together.

With Jonny leaving the band, it didn’t seem like a very neat breakup.
JM: There was definitely some drama there, yeah.

Why did you guys part ways?
JM: We just couldn’t get along with him at all. No one in the band liked being around him.
ZG: No one outside of the band even liked him.
EL: Ever since we started the band, we knew that we didn’t get along. We tried so hard–literally, so damn hard–for two and a half years. It just got to the point that the band was going to be done if we didn’t do something about it.
JM: It was affecting everyone to the point where no one wanted to be in the band at all, because of the way he was bringing everything down.
ZG: The way he was acting, his attitude…

I’ve heard the tracks that you guys recorded when Jonny was the vocalist. It’s a really aggressive sound. Did that animosity sort of fuel the fire at all?
EL: I think it more just motivated us. Like, we’ve got to write the best record that we can and show everyone what’s up. The aggression–I don’t know where that comes from.

Kurt’s the new vocalist, but was there ever an inclination to just continue with Jon as the sole vocalist–especially after your last experience?

JM: It was an idea, but that would be very much changing… Well, you’d have to change the music. It would just really change the whole band in a way. It would be hard to keep growing in terms of popularity and touring and whatnot. Because then we wouldn’t be able to play our old songs. I don’t sing like him at all. We needed someone who’d be able to sing the old songs. I can’t sing the old songs, and none of us could, so we just threw that idea out the window and didn’t discuss it any further. And I don’t know if any of us wanted to be in a band that was all heavy screaming and whatnot.

Before you were mentioning that the stuff you’ve been writing has been really groovy, and that’s the one thing that jumped out at me listening to the songs with Johnny’s vocals had a really R&B vibe to it. Is that something you’re trying to amplify more with the newer stuff?
ZG: I think that’s just Will [Swan, guitar]. He’s black. He said he’s been channeling his black side.
JM: There is a song that doesn’t have a name, and it’s called “R&B Song.”
EL: We have another new song that’s going to have a big dance crescendo.
ZG: I think we all sort of like that stuff anyway.

How long did you search for a new vocalist?
ZG: About a month I think.
EL: We knew about Kurt [Travis, formerly of Five Minute Ride], obviously. The day after it happened, we saw Kurt as an option. Our manager, Kurt is like his baby boy. Our manager said, “You know there’s Kurt.” We tried a couple people out, but none of them could come close to what Kurt could do, so it was a pretty simple decision.

Given the tumultuous history with your last singer, was Kurt someone you’d considered replacing Jonny with before?
ZG: I do remember once we’d discussed it.
JM: It was considered. We got to the point where we decided that it was better to do it now than have it happen on the road. But honestly, we didn’t kick him out. He quit, and then he wanted to come back; and that happened a lot. He would quit and then the next day he would say he was just kidding or something. This time, he did a series of events that were a big deal, and he quit, and we just said, “Fine, man. See you later.” A lot of people are saying, “You guys are so stupid. You kicked out your singer.” Well, he left the band, and we just said, “OK.” We didn’t argue. Maybe it was just a mutual thing. Then he wanted to come back. I don’t know. He was a little out of his mind.

You’re heading into the studio in April. Do you have a release date set for the album yet?
EL: It’ll be out Aug. 19 [2008].

Do you have a title for the album yet?
ZG: It’s sort of up in the air.
JM: I sort of wanted to have an end of the world type theme.

Does that fit with the lyrics you’ve been writing?
JM: I don’t know…
EL: We were going to have four-part songs about these paintings Jon had done [laughs].
JM: We have a bunch of ideas. We don’t know which ideas will come into fruition or whatever.
EL: It could be anything–continuing part threes and part fours maybe from our EP. Kind of like movies: sequel!

A sort of concept album?
EL: Yeah, but not a full concept album. Like some parts will be a concept, but it’s kind of random. We’re still working out the details.
JM: Or maybe it’s just a huge hype gimmick. There’s going to be a new CD, you like the first two, so maybe you’ll like the third part.

Also check out our interview with Will Swan from Dance Gavin Dance (June, 2009)

Also check out our interview with Jonny Craig (Dec, 2009)

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Artist 179 Taps into the Diversity of the Emerald City

Seattle-based artist 179 got her start in the art world in 1997 as a graffiti artist. In 2000, she graduated from high school, entered graphic design school and started gravitating more toward fine art. Now the artist finds herself facing what most would consider a good problem—rising notoriety.

“It is exciting, and I’m really hyped about all the work I’m getting and all the exposure,” she says. “But at the same time it’s stressful because, like, ‘What if I’m not good enough? What if I slump?’ It’s the ‘what ifs.’ I get a case of the ‘what ifs.’

In spite of the added stress, 179 reports that she has gone through “a really good inspirational period these last few months.” Local art enthusiasts will have the opportunity to see her recent transformation. March 8, 2008 marked 179 first trip to Sacramento for a Second Saturday. The artist will presented a solo show at UnitedState (1014 24th Street) where she collaborated with local artist Illyanna Maisonet to create a live mural painting. In anticipation of the event, 179 spoke with Submerge about her art, upbringing and frightening sermons delivered in Spanish.

Is the graffiti scene in Seattle pretty active?
It comes in waves. A lot of people travel up here, because we have the trains. We’re close to Portland, we’re close to Vancouver, and so we have people who come and go on their way traveling. There’s a small core of people who paint”¦I think Seattle is such a young city that it’s still developing its identity. A lot of people move away from Seattle—they move to San Francisco, they move to New York. It’s always in a state of flux.

Did you grow up there?
Yeah, I’ve spent the majority of my life in Seattle, but I grew up in a farm, migrant town, a little way out from Seattle—about two hours out. I got the best of country life and the best of city life.

Are your parents immigrants?
My father’s from Mexico, and my mother was born in Seattle, but her family’s from Texas—San Antonio. So, I have the Chicano [side], and my father didn’t really speak that much English, he spoke Spanish.

I noticed a lot of animals in your work. Why do you gravitate toward painting creatures?
I don’t want to necessarily put a face on a painting. When you put a face on a painting, it becomes tangible. It becomes, “Oh, that person is a woman, an Asian woman.” A lot of my women look Asian because I look Asian [laughs]. When you put a face on it, you’re able to give it an identity, but with animals not so much. Animals can be a great many things. They could be your spirit animal, or birds could represent freedom because they can fly. They’re not really subjects, but they can be ideas. And that’s something I really started doing just this year—painting animals. I’m really liking that direction, because the possibilities are endless as far as painting them.

You mentioned that your human characters looked Asian, and I noticed there was an Asian influence in your work.
Yeah, well my family is very multicultural. I have cousins who are Filipino and Mexican, and cousins who are Japanese and Mexican. And so when I came to Seattle from that small city, I had all these different cultures clashing together. I was really confused, because I didn’t understand. When I grew up, I had my father and mother, and they were Mexican, and my sisters were Mexican. We knew white people, and we knew that we didn’t like white people because that dividing line between the farmers and the farmers’ workers. We had those kind of social guidelines. In Seattle, there were all these different kinds of people, and I didn’t know how to categorize them.

When I first saw your work, I thought there were a lot of religious themes, but the more I looked at it, I guess they’re more spiritual themes”¦
I grew up Mexican Catholic, and being Mexican Catholic revolves around fear and forgiveness. So, we’re constantly asking for forgiveness—like going to confession and stuff—and even in a roundabout way, asking the Virgin Mary for forgiveness. Going to church when I was little and having this priest yell at you in Spanish was very frightening [laughs]. It goes with the saying, “Putting the fear of God into you.” I came to Seattle, and it’s kind of the same, but it’s not quite as damning—the church I’m currently a member of. I’m not a practicing member, but I’m still a member of a church [laughs]. Don’t tell my grandma that, though.

A lot of the things that I find in Catholicism I don’t agree with, like the way they treat women. I also don’t think you should have to beg for forgiveness. You are who you are, and you try to the best that you are. I don’t think that being damned to hell because you were born with original sin is any incentive to be good. I think you should do good because you want to do good, not because you’re scared of hell. It is more spiritual because I think your connection to God is more spiritual than something in a book or a priest yelling at you in Spanish.

I take that Catholic iconography, and I make it spiritual, but I’m also kind of making a mockery of it, which my grandparents too terribly like. But they understand. I try to explain that I’m not trying to make fun, I’m just trying to figure it out. If I put a hot dog on a crucifix, I’m sorry. It just happens.

Are your parents supportive of your artwork?
At first they weren’t. At first it was graffiti, and it was vandalizing, and it was criminal, and they couldn’t understand that aspect. When I started doing more art, and I started going to school for design, they got more supportive. Now that I’m doing shows, they’re seeing the rewards of all my hard work. Because, you know, they’re family and their concerned: “Get a job, get married, have kids. You’re 25, why aren’t you working on a career and settling down.” Being Mexican Catholic, I should have five kids by now [laughs]. But they’re seeing it paying off and kind of breaking that mold of what it means to be a Latina these days. I don’t have to follow the same path that my aunties and my mom did.

10 Years in Your Ears

In a time when most bands form and break up faster then you can say “groupies,” Lynus has proven they can withstand the daunting hardships that come with the passing of time. They have managed to stay somewhat under the radar in the Sacramento area earning them a top spot on our list of the most underrated local bands. It’s been three years since their last release, but on Apr. 25, 2008 Lynus revealed their newest LP Nice Outside to an eager audience who have been patiently awaiting their next move. Submerge recently caught up with Joe Senna (vocals/guitar) and Blake Spurlock (guitar/vocals) to talk about the history of the band, the local music scene and peeing the bed.

You guys have been a band for quite some time now; can you briefly explain the history of Lynus for our readers? How has your sound evolved, have you gone through any member changes, etc?
Joe Senna: I met Blake and Minh [Ngo, drums] in the seventh grade in woodshop. We all happened to want to be rock ‘n’ rollers and shit so we started playing our instruments together. That was in 1998, so 10 years ago now. A year and a half ago we parted ways with our original bass player Jason of eight years. One member change in a decade ain’t too bad! From the ages of 12 to 14 we were basically a radio cover band without any vocals. Then from 14 to 16 we did the punk rock deal. Then from 17 on out we’ve tried to allow ourselves no boundaries. So basically we are hecka original! Kidding. We at least try. Really though, I think we’ve just overall been pretty consistent with constantly getting better. Not to totally pat my own back.

Not many bands that meet as early in life as you guys did continue their musical endeavors after their years together in school have passed. How have you been able to maintain your presence in the Sacramento music scene for such a long period of time?
Blake Spurlock: By dropping out of the scene all together! At least we’ve laid low for a chunk of the time. Other than that, we are all really close friends. More so than other bands that I’ve known throughout the years. We all believe in each other and what we’re doing so it’s easy to keep Lynus alive.

Speaking of the local music scene, what are your thoughts on its current state? There seems to be many people who believe the all-ages scene is dead. Do you agree with this?
JS: If anything, the scene is beginning to thrive for the under 21 crowd. It just seems a little segregated from the bar crowd. It would be cool if there were more places around with a Boardwalk or Bottom of the Hill setup in Sacramento. It’s best when everyone gets to have fun, the young and the old.

The art of songwriting can be a complex one. How does the process unfold for Lynus? Is there one main songwriter or is it more of a collaborative effort?
BS: Usually Joe will come to practice with a main idea like a piece of a verse or a chorus, sometimes just some nice chords. We’ll all go through it together and build on it adding individual ideas. Then he usually takes it home and writes his lyrics over the piece of music. It takes about a month from start to finish.

The songs your full length album, Nice Outside, have a very clean, polished sound to them compared to some of your older stuff. What took you guys in this direction?
JS: I think we actually just got better through age. It’s been three years since we’ve put out any recordings so we’ve had time to work on ourselves more as songwriters and musicians.

So, it has been a decade since you started making music together. Where do you see Lynus in another 10 years?
BS: Well Joe will probably be dead [laughs]. That’s a scary question. We all usually don’t like thinking about the distant future. After being around for a decade it’s hard to think where we’ll be in another.
JS: Ten years ago in a middle school yearbook we were asked that very same question, and we’re not where we said we would be!

You guys have spent a good amount of time on the road over the years. What is your favorite story you like to share with people about your travels as a band?
BS: We fucked up a hotel room once. Not so much in the cool throw the TV from the window way, but in a sick pee on the bed kind of way. Don’t ask. Next question!

If you could party with one rock star (dead or alive) whom would it be and why?
JS: Charles Manson would be a trip. But John Lennon or Brian Wilson would be most enlightening. Or Gwen Stefani, if you still consider her a rock star. Get her all drunk”¦
BS: Morrissey would be cool.

Artists Joseph “Bron4000” Molina and Ayami Suzuki-Molina Set their Sights on Second Saturday

Though there haven’t been many dry days so far this year, there are far worse ways to spend a Saturday night than strolling around the city and perusing the works of different artists. Second Saturday provides Sacramentans with the opportunity to do just that, with galleries through out the city staying open late to receive guests as well as host artists whose works are on display. The next Second Saturday will take place on February 9th, and two artists you’ll be able to familiarize yourselves with are Joseph “Bron4000″ Molina and his wife Ayami Suzuki-Molina, who will be showing their work alongside Bradley Platz and Josh Heilaman at SaraJane & Co. at 908 21st Street in Midtown. The San Francisco-based Molina (with a little help from Ayami) answered a few of Submerge‘s questions regarding the couple’s upcoming gallery show and his artistic background.

I saw that you and Ayami Suzuki had done a show together at KidRobot in San Francisco. The two of you are married, correct? How did you two meet?
Bron4000: Yes… to each other. I tugged at the red string tied to my pinky and her pinky happened to be tied to the other end of it. She’s a Molina now.

What are you bringing to the show in Sacramento? Is it different than last year’s show at KidRobot?
Bron4000: A little bit of this and that with some of those over there. I would like to think the new pieces are different from the KidRobot show. I would hate to be that “stuck artist”… too many of those. I might revisit an idea or two and flip it. After the pieces are hung… my opinion gets thrown through the window because it’s up to the viewer to formulate there own interpretations so, I’ll leave that up to y’all to decide.
The show at SaraJane & Co. in Sacramento also features the work of Bradley Platz and Josh Heilaman. Are you familiar with both these artists’ work?
Bron4000: I am now.
Ayami Suzuki-Molina: Me too.
Both at the same time: Interesting.

From what I’ve read, you were involved with the graffiti scene in San Francisco. Is this how you got your start as an artist?
Bron4000: I actually got into art from cartoons and Marvel comic books. John Romita, Sr. plus [John Romita] Jr. equals magma loogies. Graffiti had always been around, but it wasn’t until about ’82 when I caught my cousin doing it. Then I started to differentiate gang stuff from the dope shit. Thanks Swaz1er! Then I started biting folks like Dondi and Vaughn Bodé. I got foundations in San Francisco, but it was when I was living in Sacramento that I started to refine my stuff and began to get more notice.

How has the graffiti scene in SF changed since you’ve been involved in it?
Bron4000: Same baloney, different bread. Including myself at times. One thing I can’t stand is the hipster graffiti heads… 85 percent of them.

Had you always had designs to move more into the fine art realm?
Bron4000: I guess so… What I do love is the creative process—the more outlets, the better. The transition from graffiti to gallery is tough, because once it’s on a canvas it’s no longer graffiti. I would love to make that fine art money, though.

Looking at the characters you paint, I see a lot of different things in them—from pop culture icons to perhaps a bit of an anime influence—and they have a sort of cartoon-y feel. Did you watch a lot of cartoons growing up? Do you still? If so, which ones do you think had the biggest impact on you as an artist?
Bron4000: Adult Swim. I wish it was on all day, but then I might as well get into Star Trek. Voltron, Tranzor Z, RoboTech, Transformers… whatever. I even watched The Snorks, Paw Paw Bears, Black Star, She-Ra, fuck it. Nowadays I like Aqua Teen Hunger Force, some SpongeBob and Ben 10. I don’t like the new Teenage Mutant Ninja Turtles. Saturday TV Fun House. Hell yeah … I think the writing in those cartoons is genius… even those old racist ass Warner Brothers ones. Droopy Dog was a pimp. South Park is kingin’ ’em all… Butters for Prime Minister! My wife being Japanese has nothing to do with any anime influence.

I saw that you’d done a vinyl figure for the KidRobot show. Is this something you hope to do more of?
Bron4000: Yes, I think I might have one for this upcoming show hopefully. I actually like painting those things because it’s 3-D. We’ll see…

When I was doing some research on you, I saw that your name also came up in regards to music. Do you also record? If so, how would you compare that creative experience as opposed to your artwork?
Bron4000: At times you can find me behind a mic, but not as much nowadays. I still keep writing rhymes, though. Gotta keep the sword sharp. Addict Merchants …yehbebeh. Music is more therapy for me. My focus has always been to paint. As far as the creative differences … with a band, it’s a give and take because there are more entities involved and you can only move about within certain perimeters without causing a conflict of ideas. It happens. You can only let so much out before the collective thinks you’re nuts.

In painting, it’s free jazz… all day. The influences are the same, though … at least for me. The thinking process is the same, just different ways of application. If you’re not looking for the perfect beat, then you’re looking for the perfect line or stoke. I haven’t found either.

Love Like Fire!, Red Host, Bright Light Fever

Monday, Feburary 11, 2008
The Press Club

Very few things in life put me in a better mood than cheap beer and quality live rock’n’roll. Monday night at Club Pow! (inside The Press Club) provided a plethora of both with Bright Light Fever, Red Host, and Love Like Fire set to rock the surprisingly large and lively crowd.

After a couple very tall PBRs I was delighted to see that the local rock quartet Bright Light Fever was up first. I have been fortunate enough to catch these guys a couple times in the past, but this was their most superior performance (that I have seen at least) to date. Those in attendance were surprised and excited to witness Bright Light Fever debut a couple tracks off their new record entitled Red Hands in Holy Water. Lead singer Evan Ferro proclaimed to the audience that they are entering the studio next week but he did not hint at any sort of time frame for the release of the record. My personal favorites were “Food for the Rats,” a groovy little number that got people shakin’ their stuff, and “Locust,” which rounded off their set very well indeed. These guys are talented musicians who have developed a sound that is their own and they deserve more attention. Keep an eye out for the new record; it surely will gain them some well-deserved praise.

After a swift set change Red Host was ready to perform. This local trio, consisting of Chelsea Wolfe, Ian Bone, and Jess Gowrie has an immense sound. The best way I can describe it is this: If PJ Harvey got knocked up by Joshua Homme of Queens of the Stone Age, and PJ left Josh to raise the child with Dave Grohl of Nirvana/Foo Fighters, that child would most definitely be Red Host. They are extremely solid and all very good-looking. If that doesn’t make you want to go see them, then I don’t know what will. Red Host will be heading out on tour in the very near future, so check out their dates and tell everyone you know in those towns that they are no longer your friends if they do not attend.

Clear drum kits seriously kick ass. I don’t know what it is about them, but every time I see a drummer playing a see-thru set, I just want to dance. Dave Farrell, drummer of San Francisco’s Love Like Fire plays one of these sets, and he definitely did his part in getting people moving around. Love Like Fire’s infectious sound sits somewhere between Arcade Fire and Yeah Yeah Yeahs, but has enough originality to keep it from getting old. They filled the room with incredible vibes and suddenly everyone had a huge smile on their face. I for one could not help but shake my ass and bob my head every time they dove into a new song. Lead singer Ann Yu’s voice is both emotive and enchanting. It has the tendency to make you forget your everyday worries and become lost in a sea of beautiful sounds. Love Like Fire stole the show, plain and simple. Their energy permeated throughout the crowd and left us wanting more.

You should get off your butt next Monday and go to a show at Club Pow! I promise you’ll have a blast. Bring your earplugs though; it’s fucking loud in that room.

There is an old saying that goes, “hard work pays off.” Sacramento based singer/songwriter Ryan Gillmor has proved this to the fullest extent. After working his ass off for years, both in bands and as a solo artist driving all over the country with an acoustic guitar slinging his CD’s, Ryan is finally starting to reap the benefits of his efforts. Now equipped with a full band, (dubbed Gillmor) Ryan and company are ready to take on the world with their highly infectious pop-rock sound. In fact, it’s so infectious that it caught the attention of some big wigs at Fox who chose Gillmor’s tune “Hey!” to be the main theme song for the new prime time comedy series Unhitched. Not only can we hear them on TV every Sunday night at 9:30, but in the coming month Sacramento will get a couple chances to see them live. First, on March 29 at The Underground in Roseville, and again on April 19 for a KWOD unplugged performance. Make sure you catch one of these shows; it may be the last time you can see them before they blow up and start touring arenas with Good Charlotte or New Found Glory. Although he is extremely busy, Submerge caught up with Ryan to pick his brain about sweaty tours, sex and collaborating with rock stars.

It’s common knowledge that you are a Sacramento native, but I’m curious what your thoughts are on the Sacramento music scene? What was it like being a singer/songwriter trying to catch your big break here?
I love the Sacramento music scene. This city has such a solid group of loyal music fans, and a very supportive community of disc jockeys, promoters and club owners. I’m lucky to have broken into the scene years ago when there were a lot of press heavy bands making noise. I made a lot of friends at that time, and learned from their successes and failures. I have had plenty of both over the years. Through those experiences, I was able to establish myself and build a strong group of friends and fans that have stayed with me along the way. Stripping down the music to acoustic gave people a chance to get to know me on a more personal level. You can’t hide anything when it’s one guitar and one voice. It brought us all closer together. The shows became weekend sing along’s. It helped pave the way back to a full band lineup. At that point, people knew me well enough to know I wouldn’t come out in a headband, chains and nail polish. I added all of the elements back into the mix, but kept the music true and honest. It made for a smooth transition.

Tell us about some of your experiences following the Vans Warped Tour two years ago, and again last year working for Music Saves Lives. I know from experience that traveling with that tour can be brutal with the ever-changing weather, demanding schedules, etc., and that’s from the perspective of someone living on a bus. How was it for you traveling in a car all by yourself?
If I had known how brutal it was going to be, I probably would have spent my summer eating fudge popsicles under a big umbrella by the swimming pool. Fortunately, I’m a sucker for punishment. I’ll be honest, driving myself coast to coast in a small car in the dead of summer was tough. Waking up every morning at 5:30am and slinging CDs for $5.00 a pop is a hard way to make a living. With that being said, it was the best thing I’ve ever done. I was able to push just under 5,000 CD’s and make fans all over the country. I even made a little money along the way. I have to pat myself on the back every time I get an email from a kid in another state that met me on Warped Tour. It gave me a thick skin. The tours I’ve done since have been a walk in the park.

What made you ultimately decide to build a full band? How did you meet up with the current guys? And have you said goodbye completely to the solo stuff?
I haven’t completely abandoned the solo career. I still play my acoustic shows as often as possible. It’s a totally different experience that I love as well. There are songs that I’ve written that just don’t translate to a full band. Some songs are meant to be naked. I always want to leave myself open to these opportunities. On the other hand, there’s nothing like playing with a band. When everyone drops into a song and the stage rattles below your feet its breathtaking. The energy between a band and the audience is comparable to a night of the best sex you’ve ever had with Marvin Gaye rattling the speakers on the stereo in the background. I met my band through my piano player (Tyler Thompson). He came into the studio to do some session work with me last year and we hit it off. His old band broke up shortly thereafter and left three amazing musicians homeless. I invited them in for a visit, and they haven’t left since. I must confess, I found the band I’ve been looking for my whole life. It was a match made in heaven.

When you first got the news that your song “Hey!” was going to be used as the theme song for Unhitched, what was your reaction? How did this all come about? Did you simply submit the song to Fox, or did you have the assistance of a manager, or a publishing deal, etc?
I had just gotten home from LA and was having a BBQ with my family. I was already a little loose from the wine my sister brought over when my phone rang. They told me the directors, producers, studio heads, approved us, and “Hey!” was their top choice for the theme song. This threw me into full on celebration mode. It’s hard enough getting your song placed in a scene of a show, let alone the theme song, especially being an unsigned artist. It was a huge break for me that has since brought a lot of exciting opportunities to the table. All it took was getting the right song into the right hands at the right time. Dozens of phone calls, edits and remixes later I found myself in my lawyers office signing papers. It’s pretty awesome to turn on the TV and hear myself singing. You should try it sometime!

On the EP, “Counting the Days,” you have guest appearances from some pretty big names including Tim Pagnotta of Sugarcult, and Tom Higgenson of Plain White T’s. What did you learn from working with such seasoned, professional rockers?
I learned that musicians, no matter the amount of success, are just kids playing drums on pots and pans in their bedrooms. They have such a passion for the art. At the end of the day, we’re all just fans of music. They’ve had the opportunity through their talent to experience a great deal of success over the years. I was able to take in some of their knowledge and apply it to the final product. It made “Counting The Days” an even better collection of music.

On March 29 you have a show at The Underground in Roseville, what can your hometown fans expect at that show? Got anything special planned?
They can be sure they won’t be disappointed. I never let Sacramento down! I don’t get to play here as often as I would like to, so when I do, I want it to be special. I always talk about breaking out the acoustic in the middle of the set, but never get the chance to, that’s definitely in the set this time. We’ll play until the sun comes up. It’ll be great!

For more information and to hear their music visit www.myspace.com/gillmormusic

Some things were just meant to be. Listening to the music of Sacramento locals Agent Ribbons, you’d think the group had been together forever. There’s an almost preternatural chemistry between vocalist/guitarist Natalie Gordon’s warm, rich guitar tones, her equally resonant vocals and drummer Lauren Hess’s smoothly shuffling rhythms. However, Agent Ribbons have yet to enter their terrible twos (that’ll happen this coming March). In fact, before she met Hess, Gordon, who had been playing sporadic solo shows prior to her work with Agent Ribbons, seemed like she had run her course with performing music.

“After hitting a dead end in songwriting around then, I sold my guitars and didn’t play for a year,” Gordon explained over a brief e-mail correspondence. “Meeting Lauren was a turning point for me and brought invention and inspiration back into process of writing music, and from there we developed a symbiotic approach to the music we create.”

Was it fate? Maybe. But it’s probably best not to overanalyze. What makes Agent Ribbons’ music so engaging is its enchanting simplicity. Gordon took the time from her busy schedule as an employee in an “independent sweat shop” to answer a few of Submerge‘s questions via the mystical strands of the World Wide Web.

I’d read in an older interview that you (or had) lived in a Victorian home. Listening to your music, I got the sense that it had a nostalgic quality to it. Are you a history buff, and if so, what period of history holds the most interest for you?
I was an art history major during my brief stint with scholarly pursuits. I do prefer historical fiction and biographies over most genres…one of my favorite books is called The Fall of Madame X and almost entirely because of my fascination with that story I think I’d like to be in Paris in the 1880s. It’s such a romantic time and place to be in, but probably only for the rich.

Do you and Lauren still inhabit different apartments in the same building?
Lauren lives in the flat below in our building, though half the time she lives in San Francisco where she is employed in a bead shop.

In your first e-mail to me, you’d mentioned that you had a hectic schedule due to your new job. Does work stress affect how you write songs or what you choose to write about?
Actually, having structure and repetition really helps my creative process. Almost all our songs were written whilst riding in the back of a car, on long walks through downtown or ironing because I drift into that space when I’m bored or have the freedom to daydream. Right now, I’m working as the assistant to a corset maker, though I like to tell people that I work for an “independent sweat shop.” Anyway, corset making demands an attention to detail, so I write when I get home.

Reading the lyrics for a couple of your songs on your SonicBids page, it seems that your lyrics are character-driven. Would you say that’s a fair assessment? If so, where do you find inspiration for these characters?
Most of the songs tell stories instead of convey only ideas, I guess. And a good story relies on strong and memorable characters, so I spend a lot of time developing that aspect, almost unselfconciously. Most of the stories I come up with are a hybrid of personal experience and either movies or books. The space I am in when watching a film or reading—especially escapist-type stuff—is the place I’m in while songwriting. So I draw much of my inspiration from movie theaters, but create my own plot and characters, but much of the song is emotionally drawn from actual life.

I saw that your 7-inch, And the Star-Crossed Doppelganger, had a cover drawn by Dame Darcy. How did you meet up with her, and what was it like working with her?
She happened to be on tour with her own band, Death by Doll, and so we asked her to play at our CD release party when she came to the area. She actually stayed in my room for a couple days and I was a bit breathtaken for all of the first day. However, after realizing how fun and dorky she was, it evolved into more of a friendship and she let us stay with her when we came to Los Angeles. We were so honored to work with her on the 7-inch and she seemed very pleased to do it!

Had you been a fan of her work and comics prior? Are you a regular reader of comic books in general (I am, so I won’t make fun of you for saying yes)?
I would not consider myself a comic book fan in general, but I have been reading Dame Darcy for years and was a fan of her solo music before even that. Having once dated the owner of a comic book store for a while, I took on a greater appreciation for comic books. However, I hardly read any. I still haven’t finished Fables [published by DC/Vertigo], which I love so far, but I have finished The Lost Girls by Alan Moore.

I also saw that you’d handcrafted album covers of your album On Time Travel and Romance prior to having the artwork version. You also make band merchandise like jewelry. Is this something you hope to keep doing and has this affected your own appreciation of the group?
Making things by hand for the band is a total blast, but unfortunately, very tedious and time-consuming. After having made 800 handmade CD covers, we started to only feature them once in a while when we have time to make them. We have printed artwork now that we are very excited about that was illustrated by a French artist, Marie Caudry.

You released a full-length album. Are you working on another album now? If so, what direction do you see your songwriting heading?
There is no specific plan for the next album, but we are certainly working on new material. Hopefully we might have something out in the beginning of 2009.