I’m very excited about this shit, you’ve got to know that me and my small but frightening crew but are up on this shit pretty intensely. They’re executing some really classic shit right now, and putting their own and very modern spin on the music that means the most to me. My life is spiraling out of control, maybe in a good way, maybe in a bad way, but this music is what helps me spot a focal point and remember who I was before all of this shit got started. I cannot tell you with words how much I love their self-titled LP, I would wear that shit like a necklace, they fucking deliver track after track. I’ve been waiting for this band for the last few years, I knew they were coming, and that they’d blow a ton of shit out of the water. If you’d had the pleasure to see them, they will give you the most punishingly beautiful dance music you will have ever had slammed at your face with a jackhammer. There is no simple way to describe their music, just click below and see what’s been missing for a long fuck of a time. ReAD THIER SHIT BELOW, they’re real and fucking cool, they’re welcome in my drug den any day of the week. YOUTH CODE!!!!

_MG_9196 copy


Can you tell me about your new album, what are some of the influencing factors that inspired it? Can you tell me a little bit about recording it as well?

Ryan: New album was written in sections. A few songs were re recorded from our demo tape. The other songs were written and recorded over a two week period. It was inspired musically by early Industrial, Power Electronics and EBM combined with the stripped down, straight to the point, eagerness of 80’s american hardcore. We tracked the instruments at our home in Silverlake, Los Angeles and recorded vocals between friends houses that didn’t have neighbors and Bedrock Rehearsals in Echo Park. Jeff Swearingen  helped mix and master at his apt in Hollywood. 
We wanted to do an LP that was very bare bones. There is almost no melody, strings, pad sounds or VST’s.  A huge chunk of the percussion is from us banging on things on the street and recording them with our iphones, then transferring them into our sampler. We were trying to make a point. A response of sorts to what Industrial music, for the most part, had become in 2013, a big over polished, stale turd that hardly resembled it’s heritage.  Also to shut down all the snide comments we received from the Industrial “scene” about the way we dress and how we don’t make club music, when we released our demo. It’s sort of a big “Fuck you”. We don’t need a 4/4 beat on every song or a cheesy hook to make anyone pay attention. I think that now that we proved that point we can move on into new sonic territory. We’re excited about the next record. 

Sara: We were also going through a lot of challenge with things around us when the band came together. We had just moved, we were working a shit ton of hours and trying to do the band in between trying to make sure our rent was paid. I was also going through a lot of really fucked up stuff with my family and trying to wrap my brain around writing lyrics and like ryan said going from place to place to record. It was a lot of work. I found that we were turning in music to be mixed while we were still recording the vocals for that song and then finishing the music for the next song while the vocals were being mixed and mastered in the previous song. It was a very tumultuous time for us indeed. 
What was your first experience like in a band or music project? Can you tell me what it was like to write your first song?

R: My first musical experience was sitting in a garage watching my friends punk band practice, early high school. The singer was just… being really shy, so I tore the microphone away from him and just let it rip. haha They weren’t too happy about it but I had the itch to do music after that. I also remember playing bass at another friends garage while he played guitar, trying to figure out Fugazi songs. It was an eye opener I guess. Like I didn’t have any sort of lessons but was able to play along with a little practice.  
The first songs we wrote for YC were just a whirlwind. We were on such a short deadline because Sara booked a show before we had songs. I just sat on the floor in a mess of cables, noise machines and just knocked out what became our demo tape. I’d be like “Sara, is this bassline good?” or whatever. She just kept pushing to make it harder sounding while jotting down lyrics and throwing her two cents in for song structure etc. We were on a mission to make sure our debut show sounded different than everything else happening, locally.  

S: This sorta is my first time writing music. It’s all been a huge overwhelming process. I know what I like musically but translating it to where it sounds new and not something done before ( literally done, not like influence done) has been tough but I think i’m doing alright at it. Ryan is a fucking wizard of synth- so sometimes It can be overbearing because he already has this surplus of keyboard knowledge that I don’t really understand all of the time, but for the most part it’s been really fun and cool. I like to chime in with melodies. I took piano lessons as a kid and was always told I learned by ear. 


Are you still in Los Angeles, what is it like to be a dark electronic artist there today, what is the scene like these days?

R: Los Angeles is great! I can’t really comment on the electronic scene because the bands we associate with, our peers or whatever don’t really fit into a scene. It’s like there’s a big crossover happening right now. It’s pretty exciting. 

S: I was born in Los Angeles, raised in Los Angeles and it is the best city in the entire world. I don’t really know much about the ” dark electronic artist” scene so much… there are amazing clubs like Complex that showcase a lot of that, and The Lash is a bar downtown that has a lot of nights that play that kind of stuff… and the music our friends make is exciting- but I don’t really know too much outside of the music our friends do- which is like what ryan said all over the place. 

Can you give me an example of a piece of music you consider perfect? 

R: Sibylle Baier,” Forget About”. It’s our (Sara and I) song and it calms the beast. This Mortal Coil’s version of “Song to the Siren” (Jeff Buckley) and Minimal Man’s interpretation, of it, while we’re at it. 

S: ” Strength Beyond Strength” – Pantera

What artists are most inspiring to you?

R: Anyone who can bring out genuine emotion in another person. 

S: Ryan’s answer is perfect. 

Have you had an experience with the supernatural that you’d be willing to share? 

R:  Nothing I want to get into. I think when you admit to experiencing things like this people look at you like you’re crazy or full of shit. But in my private life I’m really interested in researching ESP, sleep/dreams, telepathy, consciousness and other dimensions. 

S: It’s funny because it’s the only thing that Ryan and I really bicker about. Not really bicker, but when he talks about aliens or supernatural I just start to get mad. I HATE that kind of shit. HAHAHA. I mean if it’s something you’re into, awesome… I myself have a very scientific view of life and if I can’t bother to actually explain it, it’s not worth me focusing on it. I’ve never really had any supernatural experiences. Maybe I need one. 

If you could collaborate with any artist living or dead who would it be?

R: I used to think it would be a good idea. But after some personal experience, I think working with people you admire or even getting to know them on a personal level is sort of a letdown. I think it’s better to study someones work and how it relates to you and leave it at that. Make something new through it. I read some quote from a graffiti writer once that said “all kings start as biters” or something along those lines. I’ve always liked the honesty in that statement. There’s also another (loose) quote, “success, is being able to hide your influences” . I think that’s the biggest crock of shit ever. You should be proud of your artistic lineage and leave a path so others can explore, if they feel so inclined. 

S: I think that I’d like to just hang out with certain artists and shoot the shit. Kind of see what vibe they give off…. I think that creating is so personal though that if you don’t fully mesh with the person- it doesn’t matter who they are, what they did.. it just doesn’t fit. There are plenty of people I’ve met that have a legacy or what have you, and are the worst sacks of shit ever. If this question has to do with who I’d think would be cool to collaborate with ( given that they are 100% so fucking rad and don’t suck at all) I wouldn’t mind seeing how Trent Reznor works…. the dude can write songs. 


Some are saying this is the greatest era to exist as a musician, others say it’s the worst, what has your experience been like?

R: It’s absolutely the best. We can create our own studios in our homes now on an almost zero $ budget. It also allows us to use production techniques as an extension of our artistic vision. Before now, you couldn’t really take a chance experimenting with production because it would cost so much money just to fart around in a studio all day. Look at the production on our record. Part of the throwback sound is from being a little naive when it comes to recording but most of it is stylistic. We wanted it to sound like it came out in the mid to late 80’s. It’s fucking cool that we can do that and not have to deal with some label or producer telling us that’s a horrible idea.   We now have access to almost every song recorded in the history of music and it’s so easy to meet people and share what you’ve created online. I think people who think it’s the worst era, are the people that want to be millionaires by being a producer or a recording artist and feel like the internet just straight up ruined the party. It’s nonsense. Not only is it smashing the “rock star” , it’s getting more and more people aware and into these truly gifted  artists that have been overlooked for far too long.

S: I think it’s interesting, because when people say it’s the worst I don’t understand. People have access to finding out about you way quicker than they usually would. If anyone is planning on being super rich- they should’ve maybe passed the bar or gotten a PhD…. music is something that is complete luck of the draw. If you’re doing something awesome, this day and age its easier to find out about. That rules. 

If you could choose how the world would end, what would you choose?

R: Aliens, duh. I want to go into space. 

S: I don’t want to think about these kinds of things. I panic enough from looking at the stars for too long. 

What is your astrological sign, does it describe you?

R: Leo. Yes. 

S: Aries…. absolutely. 

If I were to vacation in your hell what should I expect to find there?

R: Mouth breathers. Meat. Punishers. Bathrooms without doors. Broken 1/4″ cables that haven’t been thrown out, just rolled back up. Groomed pointy mustaches.         period piece mens fashion. Drop crotch pants. Drunk people. Decaf. Guitar solos. Saxophones. Sports. Steam punks, Wind. Nature. Dirt. Me. 

S: My life without Ryan.


I Vacation In Your Hell
This entry was posted in Interviews, Videos and tagged , , , . Bookmark the permalink.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s