Ampacity interview with Piotr Paciorkowski

©Joanna "Frota" Kurkowska - blackboxphoto.pl

Ampacity likes to think of themselves a “prog-rock, stoner, space, psych rock” band first and a Polish band second.  Nestled in the heart of Europe honing their skills at festivals and relentless bar shows, they recently exploded onto the international scene with the release of their debut album Encounter One.  Drawing from some well-known sources like Hawkwind and Kyuss there’s also a healthy dose of John Coltrane and Herbie Hancock at work behind the scenes here, proving Ampacity a diverse group of musicians worth keeping a close eye on.  Between incessant jamming, recording sessions and constant gigging I managed to get guitarist Piotr Paciorkowski to talk a little bit about the history of Ampacity, Polish space rock, recording the Encounter One album and what the future has in store for them.

Who all is in the band and what do they play?

Ampacity is Wojtek Lacki on bass, Sebastian Sawicz on drums, Marek Kostecki on electric piano/synth, “Dziablas” Jan Galbas on guitar and vocals and there’s me, Piotr Paciorkowski on guitar.

Have any of your members been, or are any of them currently in, other bands?  If so have they recorded or released anything?

Oh yeah!  Wojtek is a bass player in a post-rock band God’s Own Prototype, they released their first CD Fall Apart…Every Time You Feel Like last year, and they’re currently preparing to release an EP.

Dziablas, Seba and I have played in a stoner rock trio “Broken Betty” since 2007.  We’ve released two EP’s (Self-Titled and Original Features) and one LP (The Sorry Eye).  We’re currently on hiatus, since all of our attention goes to Ampacity though.

Marek comes from a slightly different background.  He’s been part of various jazz projects but he also played as a guest on Broken Betty’s LP The Sorry Eye.

How long has Ampacity been around?

Actually, we started rehearsing around spring/summer of 2012 I think.  Our first public performance was on the Spacefest Festival in Gdańsk, Poland.  That was in December of 2012 so we’re pretty new I guess.

©Paweł Budziński - www.budzinski.pl

How did you all meet and how did Ampacity become a band?

The idea came up when the head of our label, Nasiono Records, asked Broken Betty to play at an annual festival of space-rock and shoegaze music, called Spacefest.  We agreed, but since Broken Betty was a trio, we decided it would be a good thing to have some more instruments that correspond well with space rock genre.  We share the same rehearsal space with God’s Own Prototype, so we already knew Wojtek who we thought would be a great choice for a bass player, especially since Dziablas had decided to stop playing bass and pick up the guitar.  Marek had been a friend for a long time and was also an instant candidate.  We knew his style, and we knew he would bring in something valuable and original, and he did so indeed.  We jammed together and the results were so satisfying that we decided to make a proper new band out of this supposedly one time project.

Where is the band located?

We’re from Tricity (an agglomeration consisting of Gdańsk, Sopot and Gdynia), northern Poland, right in the center of Europe.

What’s the music scene like there?  Are you very involved with that scene?

I guess it’s safe to say that it’s one of the strongest regions of Poland, when it comes to alternative music.  There are many really great bands, from many various different genres; some of them have a significant worldwide recognition, like Behemoth or Blindead.  We’ve been a part of that scene since 2006.  When we were starting out we didn’t know anybody, but right now we are really into it.  The atmosphere is great!  The local bands all know and support each other, we have clubs that are willing to promote good music rather than just make a shitload of money.

©Paweł Budziński - www.budzinski.pl

Has anyone there played a significant role in Ampacity’s musical history or evolution?

Almost all of the significant events in our musical history occurred with the help of more experienced people from other bands, recording studios, clubs, magazines, blogs and such and of course our fans.  We constantly feel support for our work, and that is the primary driving force behind Ampacity actually.  It would be really hard to mention just a few of them here.  

I don’t like labeling music.  Music is art and as such it seems to avoid classification for the most part. Rather than try and label or categorize, how would you describe Ampacity’s sound?

Of course as an aspiring artist I would have to agree with you on the whole labeling thing, but it’s hard to avoid unfortunately.  Our sound definitely derives from riff-laden, heavy 70’s psychedelic rock, but the arrangements are more prog-rock like.  We certainly take our time to develop a composition.

Your debut album Encounter One comes out the March 31st.  Where was it recorded?  Can you talk a little bit about the recording of the album?  I heard the tracks were all recorded in one take during a single day in the studio?

It actually took us about two hours to record two or three takes of the whole album, we just chose the ones that thought were the best and that was it.  The rest of the day was setting up gear, microphones and such.  We used our live rigs and played just like we do on our gigs, no metronome, no doubles.  We were lucky to be one of the first bands to use the brand new Custom34 studio in Gdańsk.  It’s truly a world-class facility.  An 80 square meters large live recording room with a ceiling of 7 meters, hi-end equipment including a custom Neve console, Neumann microphones and some serious top-shelf preamps.  The Custom34 studio would give anyone who has even the slightest idea about recording music a serious hard-on, believe me!   Our vocalist and guitarist Dziablas, who happens to work as a recording/mixing engineer, was responsible for the whole recording and mixing process.  We used a “retro” approach with only three microphones recording the drums and minimalized the use of external effects on the post-production.  It’s basically a live album, except we recorded it in a studio!

What does the title Encounter One refer to?

The concept of the album is how small and insignificant man is in the universe and his inability to comprehend that fact despite the most sophisticated scientific methods.  Although we often tend to feel all powerful, we are truly only masters of Earth and have to pay respect to anything we might encounter in outer space, even something that’s complete insignificant on a cosmic scale.

Who’s releasing Encounter One and where can people get a copy of the album?

Encounter One is being released by Nasiono Records.  The physical album will be available through their website store (www.nasiono.net) as well as directly from us at www.ampacity.bigcartel.com and a digital version will be available to stream and purchase at www.ampacity.bandcamp.com as well.  It should also appear on several other additional distribution networks and digital distributors like iTunes and Spotify.

Does Ampacity have any other music that’s been released aside from Encounter One?

Not at the moment.

What’s the writing process like with Ampacity?  Is there a lot of experimenting and jamming or does someone come in with more of a finalized idea for the rest of the band?

Definitely a lot of jamming; we always record our every jam, based on our experience that’s where the best ideas come from.  Besides, we feel that the band’s sound comes from the musical identities of its’ members and jamming with each other is the only way to properly mix them all together.  But we’re also open to developing songs from ideas that are brought in from outside the rehearsal room too.  Those are mostly just single riffs or melodies that we work on rather than finalized ideas or finished songs though.  Sometimes it’s also the other way around.  Someone will take the jam home and then work on it; basically there are no strict rules as long as the final effect is worthy.

Who would you say are Ampacity’s musical influences?

It’s a lot of bands and musicians, to be honest, but if I was to name just a few I guess, Hawkwind, Kyuss, Pink Floyd, and Causa Sui but they’re just the tip of the iceberg. 

©Jarek Kowal - www.gdansktown.pl

Aside from the aforementioned, are there any further influences you draw from on a more personal level rather than as a unit or a band?

Well Marek for example, is a fan of jazz.  His style is heavily influenced by the likes of Herbie Hancock so that’s definitely a different influence that stands out in my opinion.

The artwork for the Encounter One album and the t-shirts you released along with it were both great psychedelic pieces.  Who did that artwork? 

©Kuba Sokólski- http://www.behance.net/kubasokolski

I totally agree!  That artwork just takes the album to the next level!  It was made by Kuba Sokólski (www.kubasokolski.com), who is actually becoming quite a renowned artist.  He’s also the drummer in a great post-metal/avant-garde band called Merkabah.  We’ve been very happy with the collaboration to say the least.

Do you give a lot of thought to the visuals that represent the band?  Does visual imagery of that sort play a large role in Ampacity?

We really wanted to do something that would correspond well with the music and enhance the listening experience, I feel like it really makes a difference when it’s not just some random drawing or photo.  We also try to add visuals to our live shows.  It’s important not to overdo it, though.  We want people who attend the gig to listen to the music, not watch a movie with a soundtrack. 

What do you have planned for 2013 so far?  Is there any chance of you making it overseas?  We’d love to have you!

That would be a dream come true but would logistically be really hard to do.  We’re planning quite a few gigs this year though, some of them outside Poland.  Hopefully that will open some doors for us so we can start playing more shows in Europe and then who knows?  Maybe we’ll find someone willing to book us on your side of the Atlantic.

If I understand correctly this is your first English interview? How does it feel to be internationally recognized?

Yes, it’s the first interview as Ampacity in English, but we’ve had some foreign interviews while in Broken Betty before.  We’re really happy that we’re gaining recognition simultaneously in Poland and internationally.  Our goal from the start was to reach out to people who would enjoy this kind of music without looking at the borders of our location.  For a long time there was this strange conviction amongst Polish bands that you should first get recognized and “famous” inside the country, and then, if you were good enough, you could try to export your music abroad.  Thankfully that’s beginning to change now.  In our case there are only so many people in Poland interested in this sort of music in the first place, so we think of them as a part of a larger worldwide community.  We like to think of ourselves as a “space/psychedelic/stoner rock band” first and a “Polish band” second.  

Thanks to the internet I’m being exposed to more and more music that I would never otherwise get a chance to listen to and really realizing for the first time that there is a musical world out there.  For me it’s opened a door to a whole new cosmos of music and bands.  How do you feel about digital music and the affect the internet has had on musical release and distribution?

You’re absolutely right.  We would never have this interview if it wasn’t for the internet and social media.  For bands like Ampacity this is a real blessing.  We don’t need a big influential record label to spread our music because of the internet.  Of course the whole shift to digital distribution changed the market.  Before that recognizable bands that sold albums had enough money to make at least a decent living.  Today, even the big names in the business often need day jobs just to make ends meet and sometimes that’s what kills really good underground bands; having a job and touring/recording is often really, really hard.  In general though I think that the way the internet has broadened the musical universe is invaluable. 

©Paweł Budziński - www.budzinski.pl

What is the best way for people to keep up on the latest news from Ampacity?

Currently it’s our Facebook page at www.facebook.com/ampacityband.  But if you’re not into the whole social media thing, you can also check our webpage/blog at www.ampacityband.com.  We update it with all the most important news.

I ask everyone that I talk to this question and please feel free to name as many or as few people as you’d like; who should our readers be listening to from your area or scene?

Ok, the list is a long list but trust me when it comes to stoner and psychedelic stuff it’s worth checking every single one of them out.  From our area I can think of;

-             1926

-             Psychollywood

-             Naked Brown

-             God’s Own Prototype (Wojtek other band)

-             Octopussy (Dziablas’s second band)

-             Sautrus

-             Struggle With God

From the Polish scene in general there is

-             Satellite Beaver

-             Major Kong

-             Merkabah

-             Perspecto

-             Vagitarians

-             Dopelord

-             Elvis Deluxe

-             Belzebong

-             Snake Thursday

-             Thaw

-             Palm Desert. I

Who would you suggest our readers listen to nationally and internationally that they might not have heard of?

There are so many good bands out there internationally that I wouldn’t even know where to start.  I can give you two bigger Polish names though: Blindead and Tides From Nebula.  If you’ve never heard them, fix that ASAP!

Is there anything that I missed or that you would like to talk about?

You pretty much nailed it!  Thank you very much for the interview and best of luck!

© Oskar Szramka

DISCOGRAPHY

(2013) Encounter One – Nasiono Records – CD

Interview made by Roman Rathert /2013

© Copyright http://psychedelicbaby.blogspot.com/2013

The Myrrors interview with Grant Beyschau

The Myrrors formed back when they were still in high school.They didn't have any musical experiences and decided to have a band and an amazing thing happened. The band self released an album and posted songs on Youtube. They have almost half a million hits there. I was really happy when I found Grant, their drummer, to talk about what they're doing these days. We are helping them to get a proper vinyl release out this year. It's a must! Oh, and if you are wondering how they sound; well "desert rock" would be the best term to describe this lazy, hazy, hot music.

You formed in Phoenix, Arizona. How did you meet?

I met Nik in high school, in 2005. We were in a guitar class together, and hung out with the same people. He and I talked a bit and we figured out we liked the same music (Neil Young, White Stripes, 60's garage stuff etc.) So we decided to form a band. Chris, Niks younger brother, played the bass and I originally played guitar with Nik. There were 2 other members, a drummer and a keyboard player, who both eventually left the band. After playing together for nearly 2 years, and going through a few different lineups, we found Cesar on Myspace. He just so happened to live in the same neighborhood. So Nik ended up singing and playing guitar, Cesar played guitar, Chris played bass and I played the drums. That was the final lineup and it hasn't changed since.

Your music can be described as “desert rock” and you truly produced some really nice songs, which bring this kind of mellow desert atmosphere. What can you tell us about your sound?

Well, we were really inspired by our surroundings at the time and the music that we listened to. We were inspired by quite a few different things, but we always wanted our own original sound. We really played the music that we wanted to hear, you know? I think if you do that, you won't ever look back and say “What was I thinking??”

What are some of your influences?

As I said previously, we were inspired by the desert, the sun, the moon, the stars, the southwest's flora and fauna, and the history of the area in which we lived. We were inspired by all types of psychedelic music and garage rock, by avant-garde music, free jazz, and folk music from around the world, such as Tuareg music, Indian ragas, Turkish folk, Latin/South American folk and Native American music.

Were you in any bands before The Myrrors?

The Myrrors was the first band for all of us, except Cesar. I think he had done a few things previously. He had also been posting a few of his home recordings on myspace, and that's actually how we found and recruited him.

So let’s get to your album, that you released in 2008. It is called “Burning Circles in the Sky”. What can you tell us about recording this album?

The entire album was recorded in Niks living room, with a very rudimentary setup. We only had a few mics and a pretty basic recording program. We did all the mixing and producing on our own, with basically no experience. We were only 16 and 17 years old at the time! We really did the whole thing ourselves, which is kind of cool, you know? We all really dig DIY stuff.

Did you have any concept in mind while recording it?

I don't think it was really a 'concept album' per se. We just kind of drew on our influences and made the music that we wanted to hear.

Do drugs have any place in your music? I mean, I know it’s a cliché to say it, but if I'd need to connect your music with a drug I would immediately think of peyote.

As far as I know only two of us were regularly using drugs at the time. I feel like it was less about the drugs, and more about the feeling and ideas brought about by the music. I wouldn't say that it's necessary to take drugs to enjoy the music. It seems to me that an open mind can be as enlightening as taking trip. I feel like one doesn't really need drugs to enter an 'altered state.'

One thing that really fascinates me is the cover artwork on your album.

The artwork for the album was done by our bassist Chris. He is an amazing artist. He designed almost all of the posters for our shows. He's a really smart and talented guy, and I have a lot of respect for him.

If we get down to your songs. Like in my many interviews I ask musicians to comment their songs. Would you like to comment yours, please?

The Mind's Eye

The Mind's Eye was one of the first things we recorded. We based this off a rough demo we had made called "For Tomorrow" about a year earlier, that was actually on a Quixodelic Records compilation. Definitely a bit more lighthearted than the rest of the album.

Plateau Skull

We played this one live quite a bit. I kind of feel like there's this building tension through the whole song that never really gets released. It kind of gives me a feeling of a trip through the desert, guided by forces supernatural or otherwise.

Burning Circles in the Sky

I believe this song is a protest against the destruction of mother nature and lack of any kind of acknowledgment by the ones destroying. We were, and still are, appalled by the complete lack of empathy and consciousness on the part of the world governments and big business.

Warpainting

Warpainting is probably the closest thing to a "hit" that we recorded. I remember when I first heard the final version, it sent shivers down my spine. We played this one a lot at concerts. When this was recorded there were, and unfortunately still are, at least 2 wars being fought by the American government, the Iraq war and the Afghanistan war. This song kind of speaks to the anger and sadness associated with war and the unnecessary violence and death, and the effect of that on regular men and women. The one's who actually suffer when the 'leaders' of the world decide to have a war. It also speaks on the real reasons that these elites feel the need to invade countries and kill countless numbers of their fellow human beings.

Mother of All Living

For me this track really encapsulates the feeling of spending time in the desert in an altered state.

There's 2 tracks that weren't on the original album. Pyramids and a short improvisational excerpt. These are a bit more representative of what we sounded like when we played live. A lot of times we would set up microphones in our practice space and record our rehearsals, and these are 2 cuts from those recordings. We had hours and hours of these recordings, but most of it was lost in a computer mix-up a while back...

Warpainting reached a big success on Youtube with so many hits. How do you feel about that?

It's really cool to see. When we were playing shows around Phoenix, the audience was often pretty small. We didn't really get much recognition at the time, and we certainly didn't make any money in the process. Though, that's not to say we didn't have fun doing it! I personally had more fun than ever, making music and playing shows. In 2008 we all graduated from high school and kind of went our separate ways and I kind of lost track of all the Myrrors related stuff. In 2010 I happened upon the youtube videos of our songs and saw that a few people had made music videos and Warpainting had some 200,000 views. I was amazed. I thought we were destined for obscurity, and to find out that people actually like the music that you make is a nice feeling.

How did the album originally came out? This was your own work, like limited edition digipack?

We put out 50 copies of Burning Circles in the Sky on cd-r. If I recall correctly, we ordered the digipacks from a local company that makes them out of recycled materials. We hand screenprinted and burned all 50 copies ourselves. We made a few t-shirts as well, though I don't remember how many exactly.

We've been working on a re-release of Burning Circles and hope to have it out on vinyl and CD sometime in the near future.

Why did you disbanded and can we expect you to get back together sometime in the near future?

Nik and Chris went to college a couple hours from Phoenix and I moved to California. So we all live at least a 5 hour drive from each other. That being said, we're actually kind of back together now. We've been jamming and recording as much as we can. I'll be moving back to Phoenix in May and we might be doing some shows around Arizona this summer. We've got an entire new album recorded and more. We're going to try to get it released soon, but we'd like to get the Burning Circles re-release done first.

What currently occupies your life?

I work and go to school in southern California. I've been doing some home recordings and collecting records/CDs/Tapes etc.. We're all going to school, and I'm pretty sure Cesar plays the occasional open mic night in Phoenix.

Thanks for taking your time. Would you like to send a message for It’s Psychedelic Baby readers?

I would like to thank you, Klemen, for all these amazing interviews and for giving us a bit of exposure, you've featured some really cool people and groups on here. For the readers, thanks for supporting psychedelic magazines, books, bands and artists.

Interview made by Klemen Breznikar/2013

© Copyright http://psychedelicbaby.blogspot.com/2013

Mike Polizze of Purling Hiss & Birds of Maya Interview

For the better part of the last decade Mike Polizze has been a mainstay in the Philadelphia music scene, best known as the guitarist from local legends Birds of Maya.  In the last few years though the spotlight has shifted to Polizze’s own lo-fi, DIY, one-main turned full touring band, Purling Hiss.  I recently picked Polizze’s brain about everything from how it is to play and record with a band to the earliest parts of Purling Hiss’ history.  From humble beginnings in his bedroom on a 4-track tape recorder to his ground breaking 2010 tour with Kurt Vile.  Now on Drag City Records with the likes of Bonnie Prince Billy and Ty Segall Polizze took some time out of his hectic schedule to catch up with Psychedelic Baby about the release of Water On Mars and everything else Purling Hiss…

Where are you from?  Was the music scene there influential to you or did you look elsewhere for inspiration early on?

I’m from Media, Pennsylvania.  I didn't get into music through a music scene or community.  I felt a bit isolated in that way from early on.  Though I did go to punk shows in my teen years occasionally, they were pretty random.

As for inspiration early on, I had to discover music on my own.  I didn't really have any mentors until later in high school; there were a couple friends who got me into some music.

Your father studied music at one point academically; did he play a role in your interest in music?  Is guitar your first instrument?

Yes, music was always around me from an early age.  My parents had a good size record collection, and my dad would practice playing saxophone and piano often.  My first instrument was the piano.

I know you have been in bands going back to your teen years, what were some of those bands?  Did they record or release anything?

I've collaborated with people and been in bands dating back to high school, but never really recorded anything with anyone until I was in my early 20's.  Birds of Maya were the first band I consider putting something proper out with.

Was there a lot of music in the house when you were a child?  Who did you listen to growing up?

There definitely was music all around me growing up.  Between my father playing instruments and jazz records, and listening to my mom sing and play her music, I have a lot of memories of music early on.  My grandparents had a big Wurlitzer organ that I used to play on all the time.  I also fell asleep to the oldies station on the radio every night when I was in grade school; that seems like a good way for a song to really become embedded in your mind.  Even as a toddler in the early 80's my parents would have MTV on, and I would hear Michael Jackson and stuff like that.  I was really scared of the "Thriller" video.

You were originally known as the guitarist from Birds Of Maya, are there any plans for new material in 2013?

Yes, I've been playing with those guys since 2004, and we are still going strong. We've been playing a bit more.  There will be things to look forward to later this year.

What does the name Purling Hiss refer to?

I came up with the name while I was working on what became Purling Hiss’ first release, the Self-Titled album on Permanent Records.  At the time it was just another 4-track recording I was getting into.  I wanted something really unhinged and loose, with the guitars way out in the front.  White noise was a component I was using to give the project its’ aesthetic, so the name is derived from some wordplay I came up with.  Purling, besides something to do with stitching, is a murmuring or flowing sound, usually from a stream.  That, next to the word hiss had a ring to it.  I thought it seemed like a good fit for the music I was making.

Who are the members of the live band?

Mike Sneeringer plays drums and some backing vocals, and Kiel Everett plays bass.

How did Purling Hiss start and how has it evolved into what it is today?

Originally, it started as a solo recording project.  I recorded and released two albums (Purling Hiss and Hissteria) before there was a live band, and by the time the third album (Public Service Announcement) came out on Woodsist Records, we were on our first tour.  I formed the band when I was invited by Kurt Vile on a full US tour in the fall of 2010.  We've since been a band.

How long have you known Kurt Vile?

I've known Kurt for about 7 or 8 years.  Birds of Maya played a lot of shows with him back then.

The 2010 tour with Kurt Vile was a milestone in your career as an artist for several reasons; can you talk a little bit about the important role Vile has played in Purling Hiss’ history and that 2010 tour? What effect is it having on you at this point, some three years later?

Kurt's had a huge impact on Purling Hiss!  Besides being pals and playing shows together in the beginning, he's also been a strong proponent for Purling Hiss.  Especially when I gave him a hand-assembled CD-R/Self-Release I had just finished, which eventually became the "Public Service Announcement" album released on Woodsist in 2010.  He gave his seal of approval, and hooked me up with Woodsist.  Though Woodsist asked Birds of Maya to do a record a few years prior, this one was hooked up by Kurt.  Between that and the invite to tour, he's helped a lot.

Could you tell us a little bit about your writing process for Purling Hiss?

I've been continuing the path I’ve been on creatively, but the difference is working out the songs with the band.  I'll work on ideas at home and even record them sometimes, then bring it into practice.

I saw an interview where you said “if there’s an idea don’t wanna overthink it, if you think you stink”.  Do you still subscribe to that theory?  Lounge Lizards sounded much more constructed and intentional than the earlier Purling Hiss records.

I used to be really stubborn about writing songs.  If I had an idea that initially interested me but couldn't finish it, I would totally be stuck with writers block syndrome.  There's always a way out!  I realized I had to find what quality originally stimulated me and re-work it; I learned that from playing with Birds of Maya. It used to blow my mind how we would jam on something for such a long time, feel like it was almost going somewhere, never quite making it, and the guys would be like "let's just not play that anymore".  I took it as giving up.  But I realized it could always pop up later, and we did indeed learn something from it. I brought that idea to working on my own stuff.

I think the Lounge Lizards EP was just a natural progression from the earlier recordings.

You recorded the first four Purling Hiss albums and both of the limited cassettes yourself; will you explain the recording process and what sort of equipment you used to record those albums?

Some of the recordings date back to 2004.  All were recorded on my Yamaha MT4X (I happen to be next to it right now, otherwise I’d forget the model name) which I purchased as a floor model at a Sam Ash music store back in 1999.  I recorded all the instruments and vocals by myself.  I had a single Shure microphone that I used to mic everything, one track at a time.  Recording the drums first made the playback much easier for overdubbing the other instruments.

Have you always been a lover of analog or have you dabbled in digital recording?  It seems to be just about everywhere, almost unavoidable at this point, but as far as I know all of your releases have been recorded on analog equipment.

I love analog recording.  At the time of recording the old stuff, I wasn't experienced in recording techniques, nor did I have a lot of resources. The goal at the time was just to record the ideas and create the song.  I'm no gear head, though I’m more interested in learning more and producing now.  The recordings are crazy and all over the place, nowhere near a normal engineering technique; which I think, makes the recordings interesting and unique.

I always filled the 4-tracks on the recorder, and when I ran out and wanted more, I ran all the tracks into Garageband as one track, usually just to do vocals, exporting them as an mp3.  I tried bouncing tracks on the 4-track (combining of tracks to create more) one time, probably when I was 19 or something and it didn't work, so I never tried again.

Can you tell me about the release of “Public Service Announcement”?  It has a markedly different sound than Purling Hiss’ first two albums.

The interesting fact about Public Service Announcement is that it was recorded before the first two official Purling Hiss records.  Public Service Announcement was recorded in 2007, so it wasn't initially a part of the project, but I wanted people to hear what else I had done.

The Lounge Lizards EP was the first time you went into writing an album with the knowledge it was going to have to be performed live by a band.  How did that affect the writing for that album?  How has it affected writing since then for Purling Hiss?

That was a record that did come out while the band was together, but it had been written and recorded before the band.  This new record, Water On Mars, is the record where I really wanted to capture and compliment the band's sound.

You have recorded the bass, drums and guitar for every Purling Hiss record up until this point, is that the case with Water On Mars as well?

This is the first album with the full band, and it's a great feeling.  It really turned out great, and to play those songs live, and have the recording sound the same is awesome.  There's only one song on there that I play alone, and that’s because it's acoustic.

In April of last year, all three members of the touring band recorded the track “Lolita” over two days in a professional studio environment as part of the Shaking Through documentary series.  Did you enjoy the experience?  Did you learn anything that you used on the new album?

Yes, it was a lot of fun to collaborate with everyone at Weathervane Music, and Adam Granduciel from the War on Drugs, who curated the episode.  It was just one day, one song, so it was a long one.  I hadn't been in a situation like that before, where there was a whole camera crew and producers all at once, but it was a great learning experience, and I think it really helped to carry over to when we recorded the album later.  The album was recorded by Jeff Ziegler at Uniform Recording in Philly, and co-produced by Adam Granduciel.

Are there any plans to re-issue the extremely limited, tour only Dizzy Polizzy or Paisley Montage cassette tapes material in the future?

Not at this point.  I had plenty of out-put in the last couple of years.  Those tour only self-releases were a lot of fun to have available, the point was to keep it rare.

All of your albums have either been on vinyl or cassette; however Water On Mars will be available on CD through Drag City Records.  Have you intentionally avoided CD releases until this point and if so why?

No, in fact the Self-Titled album was released on CD before Permanent Records released it on Vinyl.  There's an original 500 CDs that were released on archivecd.com out there in the world, somewhere.

Most if not all of your releases have been on different record labels thus far, do you have plans to continue working with Drag City after the release of Water On Mars?

Yes!  It definitely feels great to have found a home, and with the way the band has evolved, and some of the songs have changed up a bit, it makes a lot of sense.

You’ve basically only used your Mexican Fender Stratocaster when writing and playing live since you were a teenager, is that still the case?  I noticed you were playing your girlfriend’s Hondo H-76 in the Waters On Mars promo video…

Yeah, I still play the same old Strat, though I have another 1978 American Stratocaster that I have as a backup, and play a lot at home. I should work it into the set more.  I just wanted to use the Hondo for the video because I think it looks cool.  I love the way it plays too.

Originally you weren’t always pleased how the Purling Hiss recordings translated into the live environment; however in October of 2012 you released the aptly titled, A Little Off Center which is a live performance for WFMU radio.  How have things changed and progressed since the band started playing out?  How do you feel about the live Purling Hiss live performance at this point?

That's my favorite live recording that's out there, and I think it really captures the spirit of the band.  We've just been practicing a lot and playing live so much in the last 2 years that we are really learning our own language.  It's better than ever, and we are really starting to improvise more in the practice space and feed off each other.  It's only going to get better.

What does Purling Hiss have planned for 2013?

With the release of Water on Mars, we plan on supporting it by touring.  Right now, US and EU dates are being worked out for the spring.  An announcement will come soon.

Who should our readers be listening to from the Philadelphia area?

Anything on Richie Records or Siltbreeze Records.

Is there anything I missed or you would like to discuss?

I don't think there's anything you missed.  Thanks Roman!

Interview made by Roman Rathert/2013

© Copyright http://psychedelicbaby.blogspot.com/2013

Purple Overdose with Costas Constantinou

Purple Overdose formed in late 80's, but their roots spread way back in the late 70's. During the years they released several albums; all of them inspired by psychedelic pioneers of the "hippie" era. They still managed to stay original. We had a special opportunity to do an interview with Costas Constantinou, who managed to take his time to share the story of Purple Overdose. We would also like to take this interview to promote their brand new release of the Gemineye - The Last Ever Recordings album. The quantities are limited so make sure to visit wonderful Anazitisi Records.

Band formed way back 1987. Before we begin I would like to talk about the time before Purple Overdose. Were you in any other bands?

I began to play music in the late 70's and I formed some bands in the high school, to mention one of them was the "Poison Pen" and we're made some gigs in 1979. At this time we were a cover band but we also have a track of mine which was instrumental then, and later I used the riff in the "Shady Reflections" and the "Magic Forest" song from our second record.

How did you first came in contact with "psychedelic" music and what was the turning point for you?

Magic touched me first with the Beatles and the Rolling Stones, then I became a very hard "Who" fan. My first contact with the psychedelic music was the Jefferson Airplane's "Surrealistic Pillow", Hendrix's records, Iron Butterfly, The Doors, Country Joe & The Fish etc. But I really shook up with the 1st Electric Prunes, and the 1st 13th Floor Elevators albums. So these records really inspired me to start the experiment in psychedelic music in the early 80's. I've written many songs in the time between 1982-1984 from which many at them later became songs for our 1st album "Exit #4".

As I already mentioned, the band was formed in 1987. How did you guys came together and decide to form the band?

In the time between 1984-1986 I was working as a DJ in the "Mad Club" which was a dancing club but also was LIVE club for many Athens bands. There I met the "No Man's Land" and I became friend of them. I've played guitar in many jams with them as a guest. I formed "Purple Overdose" with the bass player and the drummer of "No Man's Land"  Giorgos Papageorgiadis and George Nikas, and we began to make noise in 1987 as a trio. Meanwhile the psychedelic thing was trend.

Was there any scene at all in Greece when you started?

Yeah, there were bands for all kinds of Rock'n'Roll, Punk Rock, Hard Rock, New Wave etc. I think that in the 80's it was a rock explosion in Greece as in every corner was a new band.

In 1988 you were signed to a label called Pegasus Records and you started recording what would be later called "Exit #4". Tell us about the material, that appears on your first LP.

As I mentioned before the first songs played were "Holes", "Still ill", "Elevation", "Are you there" and "When you talk about me". We recorded them as a trio in 1987. Then they came "Yellow mole", "Rooby go round", "Blue torture", and "Orange journey" with Christopher as a new drummer and added keyboards. "Exit#4" composed as one song and later we made the intro, outro thing and we recorded them in the beginning of 1988. Pegasus was the only label who show some interest in us and released the stuff.

Your debut received some nice reviews and the follower "Indigo" made you a cult band. You are one of the very rare bands, that are really on the same level as the best from the late 60's as far as psychedelic music goes. The album is very inspired by different magic and fairy tales. Tell us if there was some original concept to it? Was any concept also on the first album?

Thanks, that is very flattering to me. The truth is that we received great reviews but the sales were poor. The second album was very provoking to us, because we changed our style into more breezy lyrical progressive thing and some complex and jazzy moves, with the addition of flute in our sound with more British influences than our first album. Something we improved in our next albums.

Greece had in the 90's some loyal scene as far as psychedelic music goes with you and No Man's Land and Jack of All Trades. What were some other bands?

Some other very good bands, I liked were "The Sound Explosion", whom their first single I produced. Also the "Cardinals", "Voyage Limpid Sound", "Willow the Wisp", and the "Green Onions" and the very new "Lemonade Influence".

How about concerts? Where all did you play and did you perhaps do any tour out of Greece?

No we didn't play any concert out of Greece we didn't make it although we wanted very much. But inside Greece we played as much as we could. In every place you can imagine.

Any favourite shows?

In 1989 Mykonoj Festival and the support to the "Sky Saxon's Dragonslayers". In 1999 the Rock Wave Festival, in 2000 Mylos Club Thessaloniki, and just before we break up the support to our legends "Electric Prunes" in 2002.

Why did you choose the name Purple Overdose?

Well it was something like a joke just because from a child yet my favorite colour was purple and in the teenage years one of my favourite band was Deep Purple. So you can figure out.

This might be a bit odd question, but still I want to ask you if you were inspired by any hallucinogens. If so, please tell us on what level and what in particular did you like to experiment with?

Still I'm in love with Mary Jane, and I did several times all the other psychedelics, and I dropped acid I don't remember how many times. Thank you! Wow! Those were the days, man!!

In 1994 you released self titled album, which is really great crafted with beautiful arrangements. A good year later another album came out titled "Solemn Visions". Tell us what are some circumstances behind this two releases?

Well, it started on "Indigo". It was the big turn in our sound as I told you before. We took a new organist and we arranged the flute as one of the lead instrument along with the guitar and keyboards. We stepped much further into the progressive music, with more complex arrangements, and lyrics. I think it was like a trilogy the "Purple Overdose", "Solemn Visions" and "Reborn" albums and I consider them as the best we ever offered.

In 1999 your last studio album was released titled "Reborn" and it's really considered by lots of fans as the best album you've done. Would you like to share some memories from recording and producing it?

Well, in that period of time I had many problems with the members of the band. You know, like which way we'll follow after that, about the sound production and many others. So in the Reborn album actually I worked alone with the presence of the other members of the band only in the sessions of each other. But I think that the "Reborn" helped a lot by the producer Jim Spliff who gave a great job in the sound. So I consider this as the best and the most mature of all our albums.

What happened to the band after this album was out? I know you've released some live cuts and also some early recordings…

After "Reborn", we've made many concerts to promote the album, and very successful I might say. But the problems inside the band became bigger and bigger  We decided to release a live best of album. So we recorded about 5 hours of live material and released it as a double album and a CD version with other tracks each all in very limited numbers. Then our last organist left the band and we took a new organist but the glass it was broken. I wrote some new stuff and we made demo recordings live in the studio with six tracks. And then came the end of the trip. After that I think in 2004 I made contact with Najoni records in Germany and we released the double "A tirp to Purpland" with live material to meet and play in some rehearsal jams together. So our last live performance was a reunion in an open theater in September 2005 in Tripoli.

One thing I need to mention is, you had a really great psych sound. What gear did you guys use?

I used vintage sound effects all analogy, Cry-baby wah, Vox fuzz box, Electro-harmonix fazers, Gibson Les-Paul guitar. Our bass player had a vintage fender. Pressicion bass, we used hammond, forfissa, cory organs and Rogers drum set.

What currently occupies your life?

Sell and buy. Also I'm a devoted collector of Psychedelic original records, and I'm listening music many hours, every day.

Anazitisi Records are planning to release your last recording from 2005. Would you like to present us what will be on the album? Are you excited about it?

The new and ever-last album will be called "Gemineye" and is the demo recordings we recorded from 2002 till 2007 and never released till now. So the production quality will be poor. But after that I love this stuff, which is more improvised and instrumental than all the other works. So yes I am really excited about it.

Are there any future plans for the band getting back together or did you all go on different paths?

No. We're going different paths.

Before we end our interview, what's on your turntable and what are you reading right now?

I love the beat. Writers Jery Rubin, Carlos Castanenta (science fiction), Abbie Hoffman, Timothy Leary. And now I'm listening to Joe and The Fish, and the new bands Paperhead, ARON, Cosmic Trip Machine, Obscuria and Cherry Choke.

Thank you very much for taking your time. Would you like to send a message to It's Psychedelic Baby Magazine fans or say anything else we didn't discuss in our interview?

Purple Overdose members (organ+percussion), old manager and two Electric Prunes members (when they were in Greece on tour where Purple Overdose were the support group).

Many thanks to you and to all the Psychedelic Baby Magazine fans. Keep on rocking guys and let the doors wide open!!

P.S. Some very talented friends and a very talented girlfriends!!

Interview made by Klemen Breznikar/2013

© Copyright http://psychedelicbaby.blogspot.com/2013