Interview with Black Lips’ Jared Swilley

Black Lips’ Jared Swilley discusses covering the Beatles, the importance of music videos and radio for connecting with fans, and the band’s upcoming venture into country music.

Atlanta‘s Black Lips have proven to be a resilient force in the tumultuous and challenging world that is today’s music industry. Despite numerous changes to their lineup, the band is known for seemingly endless tours which established their reputation for rowdy live shows (including a 2012 tour of the Middle East). Meanwhile, production on their own records with assistance from big-name producers such as Mark Ronson and Patrick Carney from the Black Keys haven’t managed to slow down a band that’s been in the garage rock scene since 1999.  After 8 full-length studio records, a live record recorded in Tijuana, various side projects (The Almighty DefendersThe Gartrells, and Crush, to name a few), and the creation of a new genre dubbed “flower punk,” the band’s legacy and influence upon younger musicians is undeniable.

Now, almost twenty years since their inception, Black Lips seems like a completely different beast. Only two founding members remain (bassist Jared Swilley and guitarist Cole Alexander), the wildness of their live shows has been toned down considerably, and the band has now set their sights on releasing their interpretation of a country album. Despite the group’s departure from the violence and rebellion of their younger days, the punk ethos which Black Lips was founded upon still shines through in their work.

KCR’s Andrea Renney recently spoke with vocalist and bassist Jared Swilley in advance of their November 13th show at the House of Blues San Diego. The following interview has been edited for clarity and conciseness.

KCR: So your next tour starts next month. I was kind of surprised to hear that you were co-headlining with [Danish punk band] Iceage, since Iceage isn’t really a band that I would associate with Black Lips. How did that come about?

J: Well, we’ve known each other for a long time, and we have some mutual friends. We had met them in Denmark before. They were going out on tour around the same time as us and I like them a bunch. I kinda like going on tour with bands that are a little different; it just changes things up. We don’t really have the same sound at all, but I think they have a really great live show. Every band that we end up going on tour with is just from us hanging out and talking and saying “Oh yeah, we should tour sometime.”

KCR: I guess Kesha’s a good example of that; not someone that you would necessarily expect [Black Lips to tour with]. But I do think that there is a certain similarity there. I know Kesha has her roots in Nashville, and she is, despite being so pop, kind of rock and roll. It was something that was surprising, but at the same time, it made sense.

J: Yeah, she has really good taste in music. I was surprised when I first met her years ago; we started talking about music and I just thought she was this pop star or whatever. But she was really into Dead Moon and all these bands that I like… We’ve been on tour with bigger bands that are rock bands, and we’ve gotten heckled by their fans. Their fans didn’t really like us. But with Kesha, it’s all really young kids that are really stoked to be there. They’re just there to have a good time.

KCR: I think Black Lips are the perfect band for Kesha’s fans. Like you said, they’re just there to have a good time.

J: Yeah, they were all real sweet.

KCR: It’s been over a year since Satan’s Graffiti or God’s Art? came out, so I’m not gonna ask a bunch of questions about that. I feel like you’ve already discussed that record at length. But I do have one question — I wanted to know about your cover of “It Won’t Be Long” [by the Beatles] and how that kind of came about? Did Sean Lennon [music producer and John Lennon’s son] approach you guys with doing a cover, and was it that one specifically?

J: I never would have been like, “Hey, can we cover one of your dad’s songs?” but he really wanted us to do that. When we were playing it at the studio we were doing it exactly like they did it, but obviously they do it a ton better, and ours just sounded like a carbon copy of it. So we kind of started messing around with trying to make it sound like an evil version of it. I would never in a million years have thought to bring that up or try to do that, but [Sean] did a lot of the arrangement. We didn’t try to do a Beatles copy, we just did a sinister version of it. I was happy with it. And Yoko gave us the blessing to do it so that was real cool to hear her say “Yeah, you should do a Beatles song.”

KCR: Yeah, absolutely. What an honor, really.

J: Yeah, that was pretty cool. Overall, it was pretty surreal. But it was awesome.

KCR: On the topic of records: Satan’s Graffiti or God’s Art? came out last year, and now all I’ve really heard is about your forthcoming new country record. I haven’t heard too many details, but is that still the plan?

J: Yeah, yeah. The whole thing’s written and we’ve already done a couple songs. We did a session in Berlin this summer with King Khan [of King Khan and the Shrines, The King Khan & BBQ Show, and other projects], and we did another one at Oakley [Munson, the current drummer for Black Lips]’s house. But yeah, the whole thing is written. We’ve got tons of songs, and we’re just right in the middle of finding what label’s gonna put it out and what studio we’re gonna go to. But it’s definitely gonna be out by spring next year.

It’s not, like, serious country. It’s definitely all country influenced, but it’s kind of our take on country. It’s different, but we’ve always been into kind of twangy, southern style stuff. For this one, we’re more focusing on that. There’s not gonna be synthesizers on it or anything.

KCR: I know that some people were surprised about the whole country record thing, but I feel like on every record you’ve ever done, there’s always at least one song that’s pretty obviously influenced by country. On the last record, “Rebel Intuition” – that’s pretty country. And songs like “Workin’’’ [from 2005’s Let It Bloom] and “Drive By Buddy” [from 2014’s Underneath the Rainbow] – definitely. So to me, it seemed pretty natural. But what made you decide that now was the time to do this one?

J: I guess just because we’ve done so many garage rock records and stuff like that. We just kept talking about it, like, “Yeah, let’s do a country record.” It kind of worked out real good with having Jeff [Clarke, also of Demon’s Claws] in the band, because he’s great at writing songs like that. He’s really good at playing those kind of things. So it just felt like a natural thing for us to try out. Kind of like us doing our “mature” country record. But it’s not all that mature.

KCR: Growing up and becoming country stars.

J: It’s easy to age gracefully in country music.

KCR: Definitely. While we’re on the topic of changing sounds: you’re still in Atlanta as far as I know, but Cole and Zumi [Rosow, saxophonist] are in LA, and you said Jeff’s from Alberta, while Oakley’s in New York?

J: Yeah, he’s in the Catskills. And Jeff’s been in Germany for the past couple years, but I guess he’s kinda living at my house in Atalnta. But yeah, everyone’s scattered all over now.

KCR: Do you think that spreading out has been helpful for changing your sound and keeping things fresh? Or does it make it difficult to reconcile all those different perspectives?

J: No, it kind of didn’t change anything… I mean, Cole still has a house here so he’s back a lot to visit his family. But we never really practiced before, like at all, unless we were just about to go in the studio or had new stuff to work on. So really, I haven’t noticed that much of a change. I guess we’re usually in Atlanta before a tour, and then we leave from there. But as far as music scenes, I’m not really all that involved in the Atlanta music scene at all. I don’t go out too much when I’m not on tour. I know Cole and Zumi are pretty involved in the LA scene and stuff like that, but not me.

KCR: Just working on your own stuff?

J: Yeah, I’m mostly a homebody when I’m at home.

KCR: I think that’s pretty typical for people who are on tour as often as you guys are.

J: Yeah, going out’s like… I do that for a big part of the year. So when I’m at home, I hang out with family a lot, friends.

KCR: So, I’ve always loved your music videos that you guys put out. Most recently I loved the one for “Crystal Night;” About music videos though: obviously music television isn’t really a thing anymore. So why do you guys still continue to release videos? Do you think it’s just an artistic expression, and do you still want to keep putting out videos like that?

J: I still like watching videos. If we’re in hotel rooms and stuff, I’ll watch the music video channel. Even in Europe, where I don’t like any of the music, I like music videos. And I like making them. We always direct our own videos. I mean, there’ll be directors, but I did the treatment and everything for “Crystal Night.” And the other one we did was “Can’t Hold On,” and Cole did that treatment. It’s just fun. I enjoy the video aspect thing. It’s harder and harder to get money for that stuff nowadays, because there is no MTV. But we’ve been lucky with Vice [Records], because they have resources to let us do that. And sometimes, like, I think we had Ray-Ban help fund a video for us. But yeah, if we can find the money for it, it’s just a neat little tool to have.

KCR: And I think fans appreciate it too. It’s interesting to see what the artist interprets as the visual side of their music.

J: Yeah, me too.

KCR: I know I mentioned this earlier, but I’m calling from KCR College Radio. It’s the college radio station for San Diego State University, and I think that it’s such a cool thing that we have. So I just wanted to know – obviously music streaming services have kind of become the primary way for consuming music, especially for young people. Do you think that radio is still an important resource for getting your music out to a new audience, even your current audience, and reaching new fans?

J: Yeah, I think it’s still really important and a good thing. In Atlanta we only have half of a college station now – it only becomes music after 7 or 8 now. During the day NPR bought it. And we lost our cool AM station, so that kinda sucks. But there’s still KEXP and KCRW and WFMU. I mean, I still listen [to radio]. I don’t stream music, but I guess I could figure it out. I’ve just never done it. I just pretty much listen to WFMU out of New Jersey because they have everything up on their site. I mean, it’s important for me, but I’m 35 years old, so obviously the kids are listening to something else. College radio was a big thing, especially growing up. I never went to college, but me and Cole had our own radio show, and it’s actually still going on.

KCR: Really?

J: Yeah. We started it fifteen or sixteen years ago, and there’s still students doing it with our same format. So that was always awesome for me – I got my own radio show and I didn’t even go to the school. I was really proud of that. So I think that’s still real important and I think that it makes a big difference. Because people are loyal to their local stations, which is now usually almost always college stations.

KCR: I just joined it this semester, in September. And it’s actually kind of crazy how well-regarded it is. In the major newspaper here, it won best station in San Diego, even against the commercial stations. Like, this college radio station did. So it’s pretty clear that people really do appreciate college stations and even radio in general.

J: Yeah, I love the format. And I think it’s good for record sales and promotion and things like that.

KCR: I did an interview last week with Zac [Carper] from FIDLAR, and I asked him the same question. We were talking about how the cool thing about radio is the curated aspect of it. How you don’t really get that with streaming, or with just finding music on your own.

J: Yeah, you don’t get that at all with streaming, really. I guess you can do the algorithm thing.

KCR: Yeah, but it’s not the same. You know, you can look ahead and see what all the songs are. It loses that aspect of wondering what the next song is gonna be.

J: Yeah. I got into so much music when I was a kid that really turned me on. When I was in middle school and high school, there was this show called “In the Aquarian Age” on 88.5, which is the Georgia State station. At that’s how I got into so much cool, weird, old ‘60s music, through that.

KCR: I think radio’s good for stuff like that, a genre or a time period that you’ve never listened to before. It’s hard to just jump into that. So radio’s great for guiding you and guiding your taste.

J: Yeah, you definitely don’t get that on streaming.

Catch the Black Lips at the House of Blues on November 13th on their co-headlining tour with Iceage, supported by Brooklyn’s Surfbort.

Written by: Andrea Renney
Photo courtesy of: Grimy Goods

88Rising Music & Arts Festival at Los Angeles State Historic Park

This year marked the first ever 88Rising Music Festival: Head in the Clouds.” More importantly, this was the very first Asian-American music festival in North America.

With an attendance of 2,500 or so, 88Rising does not rival the big dogs such as Coachella or Lollapalooza, whose attendance is in the hundreds of thousands. However, this is not to say that the touring festival was not filled with an equal amount of passion. 

It was held at the Los Angeles State Historic Park, a fitting location considering the festival is a major milestone for Asian-Americans. 88Rising is a mass media company that covers all aspects of a musician’s life, from management and production to everything in between.

By representing artists such as Rich BrianKeith ApeHigher BrothersJoji, and more 88Rising is becoming more known and respected in the music industry. It is a one of a kind company that truly aims to support Asian artists and underrepresented people in music. In addition to their star-studded lineup, 88Rising brought out Anderson .Paak and MadeinTYO and had them perform some of their own original songs. L.A. natives DUCKWRTH and Dumbfoundead represented their city and introduced their fellow artists to their hometown (several of them had never been to Los Angeles). Nonetheless, all the artists had undeniable chemistry with one another.

The festival itself is very organized – especially considering it is the first of its kind.

There were the usual merchandise booths, eateries, and a second stage with local DJ’s dipping their toes into the pool of live performance. This festival was the very first stop on their tour across the nation, and hopefully the first of many more tours to come. A company with as much ambition and passion as 88Rising will grow exponentially as they add more and more artists to their unique label.

Review by: Eduardo Orozco
Photo by: Eduardo Orozco

Game of Thrones Live at Viejas Arena

Game of Thrones Live at the Viejas Arena was a phenomenal experience which allowed fans to relive all the highlights from the series.

If you don’t watch Game of Thrones… you are definitely missing out! After the concert, my excitement for season 8 has reached unprecedented heights. For those unfamiliar, German composer Ramin Djawadi is the mind behind all the beautiful, heartbreaking, and intense scores we hear during the show that always leaves us wanting more.

In addition to his work on Game of Thrones, Djawadi attended Berklee College of Music, worked with Hans Zimmer. and even won an Emmy for his work on the Season 7 Finale “The Dragon and the Wolf.” His contributions to Game of Thrones are embedded within the show’s DNA; Just as the characters and houses have evolved over time, so too has his themes. For example, Daenerys Targaryen’s theme started small, but became progressively more powerful after each season. Daenerys has proven herself to be a “Khaleesi” to many, so it’s only fitting her song grew with her. Her theme was initially built with only a cello, and has progressed into the powerful and strong song that it is now. During the concert, as Daenerys became stronger, she would say ‘dracarys’ and the stage would glow in flames.

Djawadi conducted an 80-piece orchestra along with a local choir. The set up included a screen that projected the show and multiple stages that separated parts of the world in the series. There was a stage dedicated to King’s Landing and one to Winterfell, with the Iron Throne directly in the middle.

Several soloists surrounded the stage, each dedicating their mastery to a specific song. Violin soloist Molly Rogers performed the House Stark theme while ascending into the air with a huge dress on, as rose petals fell from the sky! Some instruments were even specially crafted for the tour, including a 14-ft Wildling horn, which was used during a scene on the attack of the Wall. A lovely soloist brought fans to heaven (and tears) when they heard “The Rains of Castamere.” With scenes as heartwarming as Ygritte and Jon Snow’s cave scene, to the bloody and heart wrenching The Red Wedding, you are thrown headfirst into the very best moments of Game of Thrones. As “The Light of the Seven” was playing, the whole audience held their breath knowing the Wildfire was about to be lit. I intensely cried during a specific scene of Hodor’s (if you know, you know) as my fellow KCR member Peter Swan comforted me.

During the show, Djawadi even admitted that he had to write the music for season 7 before the writing for the show was even released. He also acknowledged that putting together the Game of Thrones Live Tour took over 3 years. This means they were continuously adding the music as the show was being released!

I am extremely lucky to have had this opportunity to see Ramin Djawadi in action and the unique experience of how the series was brought to life. If you ever have the opportunity to see or hear Djawadi’s work, whether from Game of Thrones, or any of his other work, I strongly recommend it.