Happy Easter weekend, love birds. He is risen and shout at the devil and all that jazz. If you head over to New Noise HERE you can catch the stream of my solo project Walking Bombs debut full length. It’s a range of tracks and collabos going from 2009-present. Bulk of songs are new from last summer.
Guests include the wonderful talents of Grace Moore, David Andersen (The Warp,The Weft), Sean Paul Pillsworth (The Red Owls, Nightmares For A Week), Jay Andersen (Surmiser), Nate Hall (U.S. Christmas) plus Ashley Moe and Paul Newman (I Multiply) and the band Flourish.
Album statement below and on the Bandcamp.
Album statement from Walking Bombs/GET OUT. singer and author Morgan Ywain Evans (www.morganyevans.com).
“The plus side of endless wars is finding out who your real friends and heroes are.”
“My heroes are singers like Dax Riggs, PJ Harvey or Kurt Cobain who play(ed) guitar as best as they could but their voices are the epitome of golden bluesy pain. Anytime I’ve ever gotten a fraction of that into a song, that is success far more than having record sales or fairweather music fans to me. Ever since fake emo and Max Martin ruined music people think they have to pander and forgot to be crazy. Sparklehorse, early Sebadoh, Neutral Milk Hotel… every song was an adventure.”
“Walking Bombs started as a solo project where I’d collaborate with friends and create songs impromptu, like snapshots.”Know You’re Wild” is the full length, after 7 years of this as a casual project.” The band name is about depression, not celebrating radicalism…but in these times there are so many forms of extremity that we need to look at all kinds of restrictive paradigms , mental health issues or lack of social connection with depth more closely and learn to evolve. Try to forgive and love, even after conflict.”
“My father passed away last year and I’ve been thinking about childhood a lot.
“The cover pic is my sister Cambria and I jumping off the back porch of the country house we grew up in near Woodstock,NY. It was an old farmhouse my dad fixed up over the years and a home that medical bills have threatened to take away from the family. The cover is a photo my father took that a relative from Wales sent in a photo album to cheer me up after Dad’s death and learning my mom’s dementia had changed her forever. When I flipped to that picture I wept and wept. I’ve had a crazy life but my parents always encouraged us to believe in our own free spirits. So it’s kind of about accepting change and trying to grow and heal as best you can without losing all faith in the Universe.”
“This record was so fun to make. Except for one day where I was almost hit by a train by the tracks that ran near the studio. (A lot of this was recorded in the woods near Saugerties, NY with Jay Andersen from the grunge band Surmiser). But that big scare gave me more resolve to not miss the chance to make a great record.”
“The guests…two songs were from 2009 recorded with members of the now defunct band I Multiply. The girl Ashley who sings on them lives in Moscow now. Sean-Paul Pillsworth of The Red Owls/Nightmares For A Week helped me get some others started and is an old friend who used to play in a band called Divest with me. Nate Hall of USX fame, I can’t believe he plays a solo on the title track. I am a huge fan ever since discovering him through the USX stuff like “The Valley Path” that the guys from Neurosis put out on their label.”
“Grace Moore is a friend who is a violinist and has such a lovely voice and creative spark. Working with her was incredible and I hope we do more live shows together. The second I heard her sing and play violin I knew she was a rare breed natural talent. It’s almost scary.”
“That’s just a few of the guests, but the big hero of this record is engineer Jay Andersen from the sick noise band Surmiser. Jay helped me track most of it, was full of encouragement, didn’t care if my dog barked on a song or a guitar was out of tune and made sure the record was more about vibe than over thinking or perfect performances. If a guitar was out of tune, we thought that was cool. He used a home made oscillator pedal on a song that is like Tom Waits and Mogwai influenced. I played guitar through a Harmony 1962 Amp that is rare cuz they were made out of like cardboard but it has this sexy ass Garage rock tone.”
“It will sound schizophrenic to some people. The goal was to combine no wave, goth, glam, acoustic/emo, grunge and stoner rock influences under one roof. A lot of my favorite genres, skullfucked into one trainwreck of joy. The simple guitar line Sean Paul started with for “Festiva Maxima” turned out to be part of a finished song that sounds like Third Eye Blind got beat up by The Pixies and “Eleanor Rigby”, but then you have “Snow Globe” which is a doom song about objectification, full of screams and harmonized Ozzy influenced vocals. There was total freedom.”
“We have strings, inspired by recent Say Anything after an interview I did with Max Bemis for a print issue of New Noise Magazine. I played trombone elsewhere.”
“There is a terrible freestyle rap song I did in my iPhone cracked out on Red Bull one day that Jay put to a glitchy beatbox I did, like Michael Winslow from Police Academy was our spirit guide. I scream into a walkie talkie
“This whole record was super cathartic and way more spontaneous than what I do in my hard rock/metal band GET OUT. You shouldn’t need a label, especially a major label, to matter or for validation. That has no bearing on if art is
good or a scene surviving. Alan Vega and Suicide made their first record and it was an independent release back in the 70’s and people slept on it, so there is no accounting for awareness or taste. But yeah, after 20 years in the scene, if no one knows I’m here by now they are kind of dumb. I’ve opened in different projects for Black Tusk, Castle, Thou, Ozzy’s old guitarist Jake E. Lee, Dio Disciples over the years, lots of bands. Interviewed what seems like every band in the world sometimes. But some very one sided people think I’m a Walking Bomb, so…kiss it or miss it, y’know? Thanks for the fuckin’ support. What-fucking-ever.”
“Besides Jay, special thanks go to the performers Yasmine Kittles and Nikki Jumper, both of whom cheered me up during some very dark stretches immeasurably with positive messages and inspired me to press on with finishing this. Ditto to Doc from Bad Brains, setting me right with some much needed PMA awhile ago. There is even a fraction of a moment of Yasmine singing in the background of one song (“Wind Beneath My Sad Wings Of Destiny”) because I was doing this spoken word thing at a bar into my Iphone while Tearist was playing on Spotify and I didn’t realize until later that my phone had picked up a cool split second of her voice like a banshee cry! Making this album has been a big chapter and I’m excited to move on to make new music and fresh karma after this.”
“I’ll end with that train that almost hit me a few days ago. It really came
out of nowhere and if my car brakes had failed…DONE. Was that close. But afterwards…was really good to go back into recording environment with friends and just underscored how every record is like a moment of your life and should never be half assed or treated with less than focus and respect.
And then I went home, hugged my dog, watched The Knick on TV and prayed. Not to a weird old guy on cloud nine but just the universe. I sent love to good people. And I’m just feeling thankful, because its been a lot lately.
…But I can handle it. Challenges. People who doubt me or don’t see my accomplishments. Or jump to conclusions. And I know I still have a lot of purpose here. And am really grateful for the community, press peeps and friends and musicians I know across the world who have chosen to try to go their own way in life too.”
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