I identify as multi-gender at this point, after a lot of research and therapy and trans groups and not feeling quite like what other people were discussing wrapped up my experiences similarly in a bow. I know that can be confusing for people. They are like ,”what do you want? It has to be this or that.” Nope. MYE.
This is a lengthy interview conducted in July by Kriegmaster Hatesturm of the great anti fascist agitators Neckbeard Deathcamp, kind enough to inquire into the guest artists, overall album background and the reasons behind prominent multi-gender/non binary themes on my new Walking Bombs album Sphinges, Sibling Selves and Queens. The album is out now via Nefarious Industries HERE.
Read the interview BELOW and thank you.
The collective we, as like Atypical identity folks, spend a lot of time producing art about that. This release obviously qualifies. Do you feel it more important when producing work under that umbrella to procure like “universal truths” about it or more specifically document your specific experience? Like do you feel like you have to round shit off to make it more palatable?
That’s a very astute question. I think that…well, often transphobes or even just uninformed people tend to regularly say ,”Why are so many people saying they are this or that now? It must be a trend. It’s confusing people.” I think that is very harmful. People feel safer in numbers often. Or recognition sparks. Gender…it really is a spectrum, which means not everyone has the same experience with gender – binary or otherwise. It also for some people is not static. I had a very helpful conversation with one of my doctors about that. Like, not everyone is like me and wishes they could be Mystique from fucking X-Men and change back and forth into however they feel every day and feels like simultaneous lives are playing tug of war in them. So I try to teach them to juggle now, I guess. Some people also…it isn’t bad to question.
I stopped HRT after about a year and a half because I was getting very bad migraines from Spiro and had lost my parents house – my childhood home. My moods were very bad and I just was crying for up to half the day at times. Usually estrogen feels great but I had a lot of situational stuff to cope with. And my beard frankly was one of the few reminders of my dad I have, who died a few years ago. I never got to really navigate my feelings of self in a discussion with him or my mother for that matter because she no longer has her faculties.
I’m not interested in making things palatable for others. But I am not opposed to being ‘human’ on a song if it makes people have windows of insights or softens their hearts. I mean sonically sometimes, sure… I love big hooks. Other times I like completely atonal noise that turns some people way the fuck off. Or having those things co-exist. Like the title track to Suicide By Citizenship is harsh noise punk and then out of the blue I sing like a sweet hook in the foreground about the futility of a rigged system crushing dreams, but it sounds very catchy against an abrasive wall, haha. I hope as more time passes (if humans survive the next thirty years) people will appreciate that record as a cool fucking moment, a reaction to terrible forces.
Walking Bombs thematically has often been about managing depression or commenting on navigating the world, politics, society, etc. Trying not to push people away when I am depressed. Hurdling low expectations. I feel like it is sometimes music that is most likely to make people run away so I don’t even have to push them, hahaha. Many times over the years despite my many, many songs in different bands people sadly don’t know what the fuck I am talking about.
I don’t generally feel comfortable speaking for others, especially about such a personal thing as gender identity. But it obviously was a huge theme on this record more than anything I have ever done. “New Familiar Friend” was the first one and then three or four others popped out alluding or directly commenting. It isn’t every song on here. But I don’t know if you can ’round things off’ for the average comfort level of a cis person because they already aren’t going to know what it is like. You can just present your truth and try to let the art intrigue or inspire, maybe.
I identify as multi-gender at this point, after a lot of research and therapy and trans groups and not feeling quite like what other people were discussing wrapped up my experiences similarly in a bow. I know that can be confusing for people. They are like ,”what do you want? It has to be this or that.” No. I also fucking…I really don’t like surgery. It brings up bad memories. Hospitals tend to make me feel very claustrophobic or sometimes even have acid flashbacks or really remind me of some suicide attempts. So there has been a lot of things that have been like a stop/start or change of direction for me where I had to decide what’s right for me. I think this record really covers a lot of that ground.
“Maladaze (Sextant & Malmsey)” has a lyric about dead naming. I personally am in the minority of those who have always wanted to keep my name regardless of if I was going to present a certain way or not. Morgan is pretty fluid already, lol. That is cool because when I was younger I briefly didn’t like my name cuz I was teased but now I love it and think it is a strong, resonant and old Welsh name. But yeah, I put that particular section in there because I had a very moving conversation with a friend who had overcome going through not being acknowledged by their family for the name they wanted.
What was the goal for this release? When you sat down to begin writing what is it you felt like you were trying to accomplish?
The record art sort of dictates which album comes alive next. To clarify, a year or so back I had a few friends do record art for me as an experiment for albums that didn’t exist yet. And I also made a TON of my own hypothetical album art. So when I start writing you sort of see which batch of songs fits which cover. Like, what record art is calling to what songs? Also, since I collaborate with people often I don’t know completely what I will end up with and some things just make more sense to be grouped in a release than others. I am leaning right now towards doing an upcoming batch of songs with just myself and Jay in the grungy direction again because we vibe quick and get shit done fast. We will see. I also listen to lots of weirdo shit like The Deviants, Spellling, Painkiller and Royal Trux so you never know when things might take a really left turn like I did conceptual acid jazz nitrus or something.
This album, I read about how the Giza Sphinx has the head of a male and a female body. It made me think about the riddles of the self. How everyone has these trestles inside they have to climb to find their authentic self which might not always be visible to the world.
Art is often a relatable medium and to go back to your first question a bit, my friend Julie Catona is an amazing illustrator. When I first was out telling people I was non binary and considering even a binary transition with facial feminization at one point, I had my friend make an album cover with those themes for me and said I wanted non binary figures, spinxes and day/night themes. The search for answers in the mystery of self. And that it is ok to be an evolving riddle. She made the visuals up herself, four brilliant mutli color varieties like old acid rock poster art and I was smitten with all of them and floored/honored. There is a day and night duality and twilight and morning in between and a lot of lyrics reflect those themes. Shades of grey or twilight or feeling like you are falling back from the light into confusion for every step forward, but holding on to optimism. We are…day to night.
“Cut By Moonlight” is one of my favorites on here. I think it’s a legit special song.
I had wanted to work with/hire Hether Fortune awhile ago but I had to move and went broke and then our schedules really didn’t line up and time passed and shit was too crazy in my life. Then I was kind of an emotional wreck, haha… and just didn’t want to bother nagging her while her long running band was splitting up. Or have her be like ,”fuck off”. Haha. No, she’s super rad. But that was a song I started writing a few years ago around when she said on Twitter she was looking for artists to help consult/produce/develop tracks with and we emailed back and forth about the possibility a few times. I am a big fan of hers and we became friendly. She rocks and I very much respect her songwriting and kindness. So even though that collab or consultation never happened I wanted to finish a version of the song as I maybe heard it.
It never had a finished bridge (that was the part I was gonna be really needing some help on). So I was really stuck on it but then just said fuck it and kind of improvised that section through the outro live in the studio and was like ,”Fuck. I hope this works”. The song was all bass to a click track first. Then Nate added crazy drums that took it to a very promising level, of course, and and Jay built the rest out with post-punk skronky verse guitar and keyboard textures with me. It gets stuck in my head the most and I am very happy with the results.
Anyway, this song I knew I wanted to goth the fuck out with huge keyboards and like grunge guitars and wanna be Soft Cell vocals, ahha. So it is interesting juxtaposed with Nate sort of playing generally pounding kind of At the Drive in busy drumming all through the bridge.
The song is about how the comfort in counter culture we find can sort of also harm us. Like, the night time or shadow culture that a lot of people gravitate towards can also sort of cut you or lead to a vampiric detachment and even death or ego swelling just as much as it can set you free or be positive. The second verse also deals a lot with old memories from when I was a heroin addict like twenty years ago. It also has slightly out of tune bass that I hope Nate doesn’t hate. Haha. He’s a stickler. But I thought it made it sound just slightly more post-punk and unnerving. Think of, like the classic rounded but kind of clangy bass tones on “Hollow Hills” or even moreso “Stigmata Martyr” by Bauhaus or the intro to “Last Exit For The Lost” by FoTN. That’s the kind of bass bedding I was aiming for. It was very fun to play. Nate will probably tease me more because I tricked him into playing on a song where the choruses kind of sound like H.I.M. but fuck it, I love that shit. I’ve also been reading Darklost by the legendary Mick Farren, one of my favorites.
Anyway, the Non binary wiki site has helped me so much for living with the sensation of strong Co-existing dualities or feeling it was ok to not want bottom surgery or to feel conflicted at different times or less so at others. That site is a LIFE SAVING resource. Now I feel very clear and just go with the flow and I always need to put my emotional and mental needs and stability first and foremost, whatever I decide I want. This also affects my productivity as I have been trying hard not to spread myself so thin but stay busy. Self-care is vital.
I also love so many different genres. And someone had reviewed one of my older releases and confused my higher octave vocals as a cis woman backup vocalist, when it was all me just harmonizing with myself.
Julie Catona who did the cover art, the mirror grasped by the two selves looks like a trans symbol. A totally unintentional happy accident! When I posted the art in a closed Hudson Valley trans forum everyone saw it in there and freaked out, it was super cool.
Do you feel like you met your goals? And what are you most excited about achievement-wise within this release?
Yeah. I mean, I surpassed them or they shifted. I started out thinking there’d be more of a Scary Monsters Bowie influence on this one, I won’t lie. It definitely did not turn out like that. But what I ended up with…it’s always exciting. And this one feels very rewarding regardless of whoever hears it or doesn’t validate it. I know I got the songs made and alive, in a sense.
Justin from Stormland and Dave from Gridfailure helped me make sure some of the industrial rock touches still cropped up, which I often like to have sprinkled throughout to spice shit up. I was also re-reading the book Virtual Light for the first time in ages. Crazy how much still holds up. Um, Justin’s metal band Stormland has a lot of potential and he is a really nice, supportive dude. It meant a lot he went to bat so hard on the track “Miracle Drug”. The solo section is so thudding and heavy. He really delivered a cool arrangement.
My cousin Kentro added all the music to a poppy a capella vocal I sent him. I had the vocal lying around awhile I just tracked on the fly one day with Sean Paul Pillsworth from Nightmares For A Week at his Leaning Tree Studio. I sent it to different people and no one touched it cuz it was so poppy, hahahaha. They were like ,”What are you doing? Sing rock.” But Kentro, well, he is in the UK and does great drum and bass. I knew I had to add that song right after the heaviest grindcore Napalm Death-influenced song to shock people and fuck with them, haha. I think British people might get that transition more. My cousin was like ,”Yeah!! Fuck genres!!” Ha. But the heart sound of Walking Bombs is kind of acoustic and emo/grunge since that is like the core of it when it is just me, but I hate being confined to one thing.
I am VERY excited that I got Jem Violet and Alison Babylon (The Beautiful Bastards) to be on the sort of sad spaghetti western final song. To get strings on a release again, especially Jem’s insane violin skills for the first time, was awesome. Alison is one of my favorite bassists and we had such a powerful heart to heart the day of recording. Jay and Alison and I had some very memorable and rad conversations that day that were in many ways my favorite part of making the record. Very validating.
I think it’s cool as fuck how many collaborators you had on this. What were more of your favorite parts about working with those involved?
Thank you. I agree. It can slow down the release getting done to try to coordinate collabs but it is worth the effort. It means a lot to have the support of the peers involved. I don’t invite people to collaborate unless I think they are cool and talented, intriguing people with something to say. It’s like inviting someone into your house.
I had a load of amazing collabs on the Brave Hours album like Vowws or Nate from Spirit Adrift and a few solid ones on Know You’re Wild and Peace Quest as well, full lengths and an EP which preceded my 2019 releases.
This year really took the cake though with between the current events Suicide By Citizenship record I did with Gridfailure and this one, I worked with a dizzying amazing array of people. Members of Tad, Built To Spill/Caustic Resin, Kylesa, All Out War, Megalophobe, Globelamp and more on Suicide…then this one many great people as well. So thankful and grateful for it all. Fucking VERY surreal to be able to link to and show people a trippy soundscape where I am singing about overcoming false information and wage slavery while Laura Pleasants plays cool guitar textures and it all dissolves into a Georgia rain storm field recording, for example.
My best childhood friend Nate Kelley drums on three songs on this newest Sphinges album. Our first time doing music together in over a decade since our band Pontius Pilate Sales Pitch was a real highlight. He plays with Googy from The Misfits in a band called The Noise now and a sludge pop band called Laterals who are amazingly catchy and loud. He’s most known for playing on “Delerium Trigger” and “33” by Coheed and Cambria and was their six year original drummer when they were Shabutie. We’ve been friends since we were like thirteen.
Both of us really want to put our past quarrels with Coheed and Cambria behind us. In fact, I am gonna send those guys some love right now. Tangent, I actually just performed at an event that Weerd Science (Josh Eppard) set up and also performed at, a tribute to our very recently departed friend rapper Bobby Delicious that Josh put together and it really meant a lot to be part of. It was very cathartic and positive and I am glad we spoke and hugged and it was overdue good vibes, if for a very sad event of our mutual friend’s passing. Josh performed some songs from the Newborn record he did with Bobby years ago and I did a rap song “Born In December” that Bobby and I did together almost 20 years ago which I added to my Bandcamp as a tribute in the wake of Bobby’s passing in Culebra recently.
I want to promote better loving energy with that whole scene history and honestly Nate Kelley is also like pratically my brother after all our adventures so it felt awesome to have him backing me up on some tunes again. It is like second nature to us. He absolutely crushed the guitars on “Observation Deck…” as well… and numerous beers. There is nothing like the confidence I get when Nate is on a track, knowing the drums will just be disgustingly next level.
Globelamp’s part is small on this one because she (Elizabeth) was on the other side of the country and pressed for time. But I really wanted her on “FTTP://”. It is sort of computer looking shorthand for the chorus “Fuck The Tone Police”. About how some people think delivery matters more than the content when someone like her who has been abused has an issue with someone. She has dealt with a TON of DARVO and has been trying to get awareness about being abused for years now and some feminists turned their back on her because they heard she was a bitch or didn’t want to rock the boat with the large label Jagjaguwar she is fighting who her nasty cowardly ex’s shitty band are part of.
If someone has something stressful to navigate they aren’t always going to smile for you, especially when it feels like people/artists who have said they are an open support network stonewall or believe gossip and gaslighting instead of facing harder, wider truth to power. She is very fed up and sensitive and has been through Hell. So I wrote that song for her and she added some kind of lo fi phone call sing alongs on the chorus where it is just vocals and me hitting the guitar like shouting kids. I’m the main performer on it but am happy she got time to chant backups quickly. Our cat Lil Puff is also yowling on it. She was a stray found outside a local bar. People were trying to put cocaine in her fur. Total scum. My friends rescued her and we took her in but she used to yowlll if anyone tried to hug her. Now she is a sweet cuddly muffin. But yeah, we aren’t actually torturing her on the intro. She was howl whining for kibble like a brat.
Dava She Wolf I have known for about twenty years now. She is one of my dearest friends. Many awesome rock n roll times together and of course Cycle Sluts From Hell are absolutely fucking legendary. If you go back and listen to that record is still goes harder, is more heavy metal and unapologetically powerfully dominant female energy plus real rock n roll than pretty much most of anything else since. Like, “Taste The Flesh” will always be unfuckwithable. She is one of my idols because she has so much integrity and is a total bad ass. I learned so much from her on how to survive ups and downs in the rock scene and am forever grateful for that. We hadn’t done a song together since around the year 2000 when she collabed on my old band Divest’s nu metal Deftones influenced song “The Hollow Point”. Back when we did an album co-produced by the legend Dr. Know from Bad Brains and Applehead Studios. Dava used to scream it with me at CBGB’s and stuff. Wild times. She is a killer guitarist though and has great taste and aesthetics, so it was rad to have her play guitar on a song I am on finally. I loved her band Star & Dagger with Sean Yseult of White Zombie a lot as well and the not as heralded but amazing band doomier NYC gutter rock band She Wolves she had with Tony Mann whom I sang backups for at Bowery Electric once. Dava also introduced me to Sean and Chris Lee and I got to be one of the first people to interview Sean about her book about her time in White Zombie, which was so rad.
I knew right away I wanted Dava on “Pisces Rising Shine” because I wanted that song to be like if Black Flag went further in the stoner direction but still had a kind of faster rhythm section than the slower My War stuff. More like if “I Love You” combined with space/desert rock/dirt glam. She fucking ripped it out of the park on guitar. It also sets a sort of hallucinatory tone for the album. I mean the very first lyric I am talking to a duck. Haha. Don’t ask.
I feel like a lot of folks channel bad feelings when talking about identity experiences, and that often comes out as quite melancholy. Where this is kind of aggressive. I like that. Was that a conscious choice or did these ideas arrive that way?
It’s funny you say that, my first band at age 15 in 1993 was a grunge band from Woodstock called Melancholy. I guess I have always tried to have both, to a degree. I like happy songs too but I feel like you have to do what a song wants and let that wave of feeling crest in the direction it is headed. Um, well…”Hypocrites For Christ” was a grindcore song so I knew it would be heavy but when you are suddenly singing about the hypocrisy of the right wing who allegedly espouse “freedom” and are making excuses for small town football stars who sodomized team mates with flashlights in hazing rituals as totally normal kids but they think trans people are freaks who shouldn’t be allowed in the military, that intensifies the fucking anger. We feel things.
I am angry that people can’t let others have their experience with gender and try to destroy their lives. It can create a boiling, righteous rage. It is not the same as trans-racial either or identifying as a number two pencil. Gender is not sex assignment. Also, race is ancestral. Idiots.
I feel like the last two songs of the album by far were the most emotional. I deep dove into a lot of non binary/multi-gender stuff and alienation. I don’t even really like the emotional labor of explaining some of this stuff outside of like trans support groups I have been in. My city has an amazing LGBTQ center and therapy services around. But, visibility is important and art is an excellent place to maybe make people feel open minded or catch a fraction of tangled feelings. I mean “Observation Deck/Sphinges, Sibling Selves And Queens” I am practically doing a “Daddy” Korn at the end, I was so raw. It also feels powerful while you are venting, like controlled chaos. That whole heavy ending part was tracked and sung in one take because I knew it was going to be fucking intense on me to channel those lyrics and I only wanted to go through it once. Then the song after it is very much on the same themes but kind of like a resolved aftermath after the anger, like a determined rainfall in a scorched desert. Sticking up for your truth and saying ,”Can you know me as this person or just heap on more bad luck?”
We all want to be well adjusted. I think only edgelords really set out to say ,”I want to have a hard time inside and feel fucked up.” Some artists sadly do get pushed to market themselves like that and it can create real problems.
Anyway, for me, being multi-gender I have never, ever felt like I had a very similar experience to most people because it really is like a strong simultaneous energy. It makes even more sense -if you believe in Astrology- I have a Gemini Moon, when I learned more about that. Haha. But seriously, it is fatiguing at times and you are likely going to have major highs and lows in a world that tries to force you in a box. So there is also some very controlled anger that erupts some places but is more subtle in others. Like where I sing ,”Try my best but I’m just human. Don’t demand perfection though when I’m already showing you my pain against my better judgement, oh no.” That is sung melodically and sort of with unease in the closing track but there is a lot of controlled distaste in that sentiment. Like, “fuck off. It already takes a lot of vulnerability to get through the average day.”
Well, I am gonna continue to fail at answering this with brevity…first and foremost. Hahaha. Um, taking care of myself the best I can is my first priority. I work a lot and don’t have the money to tour or a live band right now. It’s a stark reality. If any label loves my releases and wants to work with me, we gotta deal with that. Haha. I’m 41. I have no savings. I’d love to be gigging every night. But I look at bands like Darkthrone who never gig and still have many releases and I think the tortoise and the hare approach of just slow and steady building a discography as best I can with friends is a way to participate in what I love and still find catharsis.
I feel very blessed Nefarious Industries is such a cool, hands on smaller label that cares about artist autonomy, real artistic statements and friendships. A killer roster of wide ranging bands like Mine Collapse, Gridfailure, Globelamp, Those Darn Gnomes. The fact that they are willing to help get more awareness out about my records means a lot. I am not like some touring powerhouse, even if that would be ideal and has always been my dream. I deeply miss regularly playing live.
I have recently started a lower dose estradiol and talking with a doctor again and it’s amazing that whenever I take it I don’t want to drink or smoke cigs much at all. That is huge for me. As soon as I started on estrogen again after a year I was like right back to not wanting any booze. Testosterone can really make me feel very tense and self destructive if not sort of counter balanced or exceeded. It’s crazy. And I was very depressed this past Spring. Just stressed to fucking hell and back. I am feeling somewhat more balanced right now.
That and there has been the big, messy legal battle that had my partner Elizabeth aka Globelamp forced to be far away from me since January while she had to deal with ongoing California court fighting her abusive ex Sam from Foxygen in California. Wealthy wimp Sam came after us on New Year’s Day for literally no reason with an RO renewal pretending there is a plot to kill him so he can promote his new shit record without people taking Lizzie’s real abuse claims against Sam seriously. Sam lied to judges and said needs a security team and video surveillance cuz is afraid of a small girl Taylor Swift fan but meanwhile comes on our Instagrams and leaves comments she can’t legally respond to because of the DARVO. Wow, you seem really scared Sam.
Foxygen’s official Twitter account last year made up an insane completely bullshit ongoing murder plot they tweeted and deleted and also said she raped and beat him literally every day even while on tour and surrounded by tons of people. Ok, Sam. It’s just absurd and evil over the top shit. She used to drive Sam to PT after Sam would jump off shit acting out and get injured on stage. Even Sam’s wikipedia says is known for being unpredictable and maniacal but that’s charming, apparently. She is 5ft1 and a pacifist and Sam is over 6ft tall and known for being a spoiled, hot mess.
Globelamp had thousands of dollars in damages done to dental caps she had after she alleges he struck her and it then cost her so much money to get implants after the fact. They constantly try to gaslight about that and say she only hurt her teeth years earlier on a shopping cart.
Sam admitted to striking her in court but says it was from being startled awake. She has told me their whole conversation at length from that night she says it happened and says Sam definitely wasn’t asleep and Sam even remembers details of the conversation in the shady testimony in court transcripts. How do you remember that if you were asleep? She also has emails where Sam France talks about following her all over Olympia getting a boner when her eye twitched and saying he needed her, not the other way around.
I believe Sam is VERY full of shit and you can’t resolve things ever in a good way that way by not trying to ever face things and even lie in court and wield influence to make the person suffer. No one ever heals that way. We believe Sam also hid from being served an RO for three appearances until judge was fatigued and then had a criminal lawyer show up and lie to the judge that it had all been settled in another court when that prior judge specifically said any other claims like Elizabeth’s claims Sam attacked her multiple times and her desire for an RO needed a completely seperate in depth, fair and fully considered hearing in another court. The server told us Sam’s dad said they didn’t know where Sam lived. That’s such bullshit.
Three unbiased lawyers, including Gwen Stefani’s, who Pitchfork consulted about it agreed Lizzie didn’t get fair adjuducation about her underlying claims of violence against her by Sam France, so when her enemies put lies out there that her claims were settled and Sam proven innocent…that is pure snake tongued spin on their part to cover their tracks, like Trump saying ,”totally exonerated”…complete lie. They have also never been able to be granted a gag order on her about her abuse claims, more evidence it was never settled or even considered in full. We have grounds for an appeal but don’t have enough cash to keep this going in perpetuity right now. They also made a fake site about her that we can debunk and have numerous times, which even Sam’s own lawyer said looked fake as fuck.
We don’t have the privileged luxury of a huge label and wealthy parents to fly her back and forth across the whole country every few weeks and have been dealing with some very dark and slippery people who will say anything to keep their hold on their facade even as people are cyber stalking her daily and flying monkey trolls are constantly trying to trigger her PTSD or making transphobic/non-binary erasure tweets about me and even lying and saying she abuses me. Sick shit. Jagjaguwar should be ashamed.
If anyone really thinks we are trying to coordinate some kind of murder plot or want ANYTHING to do with that person, they are nuts.
We caught Jagjaguwar following hate accounts against her with very few other followers and we have screen shots. They blocked her when she called them out about how fishy that was. Please don’t support Jagjaguwar, even though Secretly Group labels have MANY great bands. They are worth millions and I believe they have really tried to help enable Foxygen and destroy this girl. They also said in ads for Foxygen’s new album they don’t regret any of the journey of working with them and the copy read like they were roguish rascals. It was puke worthy to the fucking max. Sam recently started Fascist Records as a personal brand and then changed it to Faith Records when called out. That should tell you a LOT. Sam is like constantly pretending to find Jesus when people call out the stupid edgelord shit that goes down.
We have no money. We’re hard working artists. I’m trying to run a fucking blog and help all these metal and punk bands and I work security and as a janitor and write for a city-wide newspaper. Lizzie helps me with my mom who has advanced stage dementia. Globelamp wants to be playing guitar with our cat for her fans online. She moved across the whole country to be far far away from her ex and they lie and act like she is stalking Sam even as the France family collected years and years of complete bullshit things cyber stalking her every move when she would ask people for help believing her abuse claims. 99% of stuff they tried to submit in court saying she was plotting evil shit was tossed by judges as nonsensical. The judge said she technically violated the bad faith RO they got on her once by asking her fans to tweet at the band that they suck AGES ago.
It has really taken an emotional toll on her but people want perfect victims so if she yells about it or doesn’t trust wishy washy people saying to just “Be Positive” she gets demonized. Guess what? The legal system and indie scene in America is very messed up. Hence, again, “Fuck the tone police”.
It sucks. I am really eager for her to come home so we can just refocus on our life. She put out her Romantic Cancer album recently which I was honored to be a part of, on the same label as me. just had a gig at The Whisky first then is coming back. I’m very thankful people like Timothy Heller, Wagatwe Wanjuki and Alyssa Milano were supportive to her during the past difficult year. That meant a lot to us. I can’t believe I also got two albums finished during all this bullshit. Lizzie is hopefully recording soon with the original real guitarist of Third Eye Blind, Kevin Cadogan…so we need to get that done next obviously. Kevin was a large part of why that band’s early records blow away everything else they ever did. Very excited about that collaboration for Elizabeth!
Anyway, I have many more releases planned for my own project, for Walking Bombs. Hoping to do a tribute song for a friend of mine who died this year unexpectedly which will feature a well beloeved 90’s noise guitarist, if all goes well. So yeah, I hope I can continue to make as many of these albums as possible given time, sanity and resources. These are crazy times so I pray to the friggin’ Force and try and work hard and keep as level as can manage. Love and light, y’all. Beneath the street the beach.