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wincore · 3 years

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childhood dreams | mark lee

pairing: singer!mark x reader

words: 3.3k

summary: you’ve been thinking of childhood dreams lately, and it seems like mark’s been doing the same.

genre: childhood friends to strangers to lovers(?), fluff, angst

warnings: none

song rec(s): childhood dreams - seraphine (cover) [orig. ARY]

a/n: im obsessed with this cover and i need to write cheesy drabbles to prevent writing droughts so here u go friends 👁👁

Mark sits at his desk, bouncing his leg in compulsive habit as he has for the past half an hour. Your presence doesn’t make much of a difference to him—and it would be far more disheartening if there wasn’t more than half a decade of unsaid things between the two of you. With notebook pages crumpled on the floor, a mild scent of musk in the room and Mark’s refusal to look you in the eye, you don’t think this reunion could get any worse.

Or it could, you tell yourself when Mark clenches another page in his hand, glancing at you before turning back to the neatly bundled pages on his desk. He looks uncomfortable, and discomfort wasn’t something you ever recalled in your friendship.

“Mark,” you call. “Why don’t you take a break?”

He looks up at you again, doe eyes and rosy cheeks, and you wonder where it went wrong—where you could have gone wrong. There’s no explanation and there hasn’t been one since tenth grade. He used to look you in the eye back then at least, and joke with you, study with you, hang out with you. Is it wrong to say you were best friends then? You can’t really tell right now, as you cross your legs, withering into your own being on his bed that looks like it hasn’t been made for three days. Some things don’t change, after all.

And some things do.

“Okay,” he says, pushing himself from the wooden desk, which now looks a little lonely. He turns his chair to you, eyes still trained on his lap and occasionally shifting to your form. Dark, messy mop of hair and a face much more grown than you remember—he’s lovely to look at.

You’ve never seen him agree to a break when you were kids. The memory that surfaces makes you hold back a smile. The school library closed at 6 p.m. and Mark had all the books you needed for finals week by four. The sky used to be a warmer colour and so did your room, though you can’t quite remember the colour of your walls. You remember the hot pink ink you used to doodle with though, and Mark’s tired complaints when you wouldn’t let him study. Half of your doodles were inevitably on his notebook pages.

“You know, I didn’t think we’d meet again this way,” you start, trying to smile.

“Yeah,” he says, opening his mouth to continue but closing it quickly.

There’s a quiet pause, filled in by the rustling of leaves and the reminiscence of winter winds outside. Late January nights aren’t close enough to winter and yet still, far from spring. You think of third grade, all of a sudden, of the first snow you saw and Mark Lee’s terribly postured snowman.

“I… didn’t know you were songwriting for idols,” he says, with hesitant punctuation.

You chuckle, looking down at your feet.

“I- I don’t mean it like that- I mean- I—”

“Mark,” you interrupt the mess that’s leaving his mouth. “It’s okay. You didn’t say anything wrong.”

He scratches the back of his head, looking a little guilty. You can’t really pinpoint exactly what’s going on in the space inside his head and it bothers you more than it should. You have been apart for a long, long time. You’re not as entwined as you used to be, not two peas in a pod anymore and not a matching set.

It feels colder, even in Mark’s modest apartment room.

“We’re friends,” you say. “Since college. Sohee and I. She wanted to sing and I wanted to write.”

“Oh. That’s neat.”

You chuckle. “You get to do both. I’m kind of jealous, you know? You’re talented. You’ve always been good at everything.”

“Oh, come on. That’s not- No way.”

You roll your eyes. “Some people see modesty as incompetence, Mark.”

He blinks, something rekindling inside his eyes, you tell with the way he stares at you.

“Oh my god. Mrs Wilsbury used to tell us that.”

The two of you laugh. It’s not particularly the thought of old Mrs Wilsbury, with her sharp words and shriveled face, but the spark of recognition in Mark’s boyish laugh that makes you feel a trembling inside your chest.

“She was horrible,” you say, pulling a face.

“She was nice to me though,” Mark defends.

“Everyone was nice to you.”

Mark furrows his eyebrows and you roll your eyes at him trying hard to remember your high school days. The expressions he used to make haven't changed much; he’s just grown up and into his larger, masculine frame. It’s endearing now, more than ever.

He gasps suddenly and scrambles back to his desk, scribbling in a bunch of lines onto the paper. You lean back on the bed, sighing. It’s supposed to be the two of you writing verses but the way Mark works differs so much from yours that you decided it’d be better for him to do his thing while you’ll be the supporting cast. You don’t really mind when you’ve missed his words so much. You don’t really mind if it leads to him.

“Sorry,” he says when he’s done, a little awkward in tone.

A part of you feels sad for him, however. You feel sad that he’s had to work alone all these years as a solo singer-songwriter. It can’t be easy. You know it’s not easy. But Mark—he has a way of making dreams come true. Every kid dreams and yet, your best friend from years ago is living his. Perhaps, it makes things better, easier to look at.

You glance at Mark again, his eyebrows furrowed in concentration and lips pressed together. Something tells you he wants to scowl right now.

“Hey,” you call again, feeling comfortable on his bed now that it’s warm. “What was your debut song again? Dreamer?”

You know the answer. You just don’t want to give in to the feeling that’s calling for proximity again. Things change, and sometimes—most times—they’re out of your hands.

You should be worried about nosy reporters right now. You in Mark Lee’s own room would give anyone attuned to celebrity news a sickening, sugary treat. A few headlines pop in and you shove them aside. You were surprised by the offer but apparently, his studio merges with his bedroom. (It did take an awkward explanation on his part as to why he invited you to his bedroom.)

Embarrassingly, you wish some of those headlines would come true. Your feelings haven’t changed since you were fifteen.

His walls are blue like the sky and there’s more than enough lights but he only uses the one at his desk. It’s like a little sun, rays caressing his cheeks, nose and lips with a warm, orange touch. You would make fun of the gamer chair but he said it’s from Lee Donghyuck before you could even start breaking the ice you’re standing on. You wish the warmth would return between the two of you, the faint memory of holding hands in second grade floating in.

“It was Dreamer, yeah.” Mark’s voice breaks you out of your old teenage daydreams. You chuckle to force the heat off your cheeks.

A sudden impulse takes over your cold fingers and you take the acoustic guitar by his bed, playing the opening chords to his debut song. Mark’s eyes widen at your action and you give him your biggest smile—it’s like back then again. It used to be Mark on the bed though, with fingers strumming his worn out guitar and kind smile and honey eyes. You pause your playing. Mark’s still smiling at you in awe and you pat the spot beside you on the bed.

All of a sudden, you desperately wish for the past even if it isn’t meant to be recalled this way.

You start playing again and Mark mumbles the beginning of the song, unsure, eliciting an annoyed sound from you. You stop playing and glower at him.

“Those aren’t the lyrics,” you say with mock distress. “You’re ruining the song.”

“It’s my song,” he responds with an incredulous laugh.

You begin again, and though Mark has to google his own lyrics, you spend an hour or so figuring out beats and tunes that vaguely resemble feelings you don’t feel anymore and thoughts you only remember empty decorated shells of. You’re not fifteen anymore, or fourteen or thirteen. Someday is now today. You’re not fifteen anymore but being fifteen is a part of you. The music floats seamlessly.

Your cheeks heat up when you think of the last time you met him, when you said you liked him and laughed it off in the awkward teenage fashion. You pray he doesn’t remember that embarrassing parting. It would be too silly an ending.

That’s why when you heard his name from Sohee’s manager, you couldn’t help yourself. After all, old friends should meet up once in their lives, right? You should close the door you left open if you can’t set foot into the house.

“Okay, but I genuinely didn’t know you write songs for Park Sohee,” Mark says, legs crossed on his bed as he leans in a little towards you. The dim lights of his room make his face look more rugged than usual, the tired lines spread across his face. You wonder if he’s kept up his habit of ditching breaks.

“I’m surprised you’re not in a boyband,” you reply, leaning against the wall. “And that your bed is this small.”

Mark stammers out a garbled explanation and you gasp.

“Wait- wait, oh my god. Don’t tell me… don’t tell me you’ve never had anyone over! For, you know...”

The comment runs a deep flush through his cheeks and you giggle at his expression.

“I- I- I just- I just didn’t have the time,” he says, biting down his lower lip possibly at his own awkwardness.

“Looks like you’re still a loser, Mark Lee,” you say, smiling smugly.

He narrows his eyes at you. “Looks like you’re still mean to me, (name).”

“Oh lord, when was I ever mean to you?”

“When were you not?”

You stick out his tongue at him and he laughs, relaxing against the sound of you and him—old friends. It could have been this way; it should have been this way.

“Why did you move away?” is what you want to ask. What was so urgent that you were left staring at the ghosts of his figure in his empty house, in his empty room and at the empty classroom desk? It’s not anger but a soft sense of regret, boosted by his quiet breathing and tired, thoughtful eyes. You could have stayed this way but instead, there’s a rift between the two of you. There’s years and years, and time isn’t a product to sell back and forth—you can’t buy those years back. Your chest hurts but you clutch the feeling tightly in your hands, afraid it might escape.

“This collab means a lot to Sohee,” you say, after a while. “You know, after the hiatus she’s been on.”

“Yeah. Yeah, I totally get it,” he says, sitting up straight and sobering from the bubble of you two. “We should get back to work.”

You hum. “You mean me staring at you tear all your hair out?”

Mark reddens in the face. “I’m not usually like this. Just saying. I need to be... inspired, I guess.”

“Maybe it’s time for you to revive your soundcloud account from when you were twelve,” you say, leaning back against the soft material of the bed.

“You’re making fun of me again,” he says, the smile lines on his face deepening.

You let out a smiling sigh. It’s just so easy. The thought still eats away at you, however, of what could’ve been. If you were younger, you wouldn’t care for this, you suppose. You’d just get along like nothing had passed at all.

“(name).” His voice sounds deeper and softer. “It’s nice having you back. To talk to, you know? It’s been a long time.”

Your face must have fallen because he straightens, eyes wide and wavering lips trying to form words. You sigh, looking away and see his form inch closer, some sort of fuzz leaving his mouth.

“Mark. Mark.” You shake your head. “I think I’ve been a bad friend. I don’t know why I didn’t keep in touch—”

“Hey,” he interrupts, looking you in the eye. “It’s on me too.”

If you were younger, you would have confessed over and over again in ways private to everyone but you.

You nod instead. If your childhood together was a prelude, there’s quite the long, awkward silence following it. You have to start the music soft and slow.

“It worked out though, didn’t it?” you ask, looking up to find his face nearer to yours than you would have expected.

When he tilts his head, you explain further, “We’re both doing fine, right? We- We did things, got our life and plans set and… now we’re here.”

Mark leans away from you. “I- I guess.”

There’s a pause, and you know there’s a lie fluttering between the two of you.

“I… I still feel like I’m running,” he says, a weary undertone carrying his voice forth. “I know I’ve done things… achieved things and I still- I still feel like I’m running a marathon. There’s still something out of reach.”

You scoot closer to him and offer a smile, your hand resting on his shoulder.

“You can say you’re tired. There’s nothing wrong with that.”

“Thanks, (name). I appreciate it. I just don’t know where I’m going anymore.”

You give his shoulder a gentle squeeze before pulling him into a hug. You can’t hear his breathing over the sound of your pulse drumming in your ears but it’s warm, at the very least. His arms wrap around you after a few moments, heavy but comforting when his hand holds the back of your head, just like old times. The fabric of his mellow green hoodie is warm with his skin and you bury your face into it deeper.

“I’ve worked alone for a really long time,” he whispers. “It’s nice like this. I wish… I sometimes wish we could go back.”

You giggle, looking back up. “We could build a snowman for old times’ sake.”

Mark furrows his eyebrows. “There’s literally no snow. Besides, you just want to make fun of my snowman. Again.”

“You remember that?”

“Of course.”

His cheeks colour, one of his hands leaving your torso to scratch the back of his head. Suddenly aware of the lack of space, you pull back slightly to a more decent enough distance. Mark frowns but he rests his palm against the bedsheet, leaning his torso onto it.

“You could also let me draw in your songbook for the memories,” you suggest, smiling wide. “In hot pink.”

Mark scoffs. “Oh no. I know what you’re trying to do.”

“I’m not as immature as you think, Mark.” You roll your eyes. “It’s not like I’m going to draw a bunch of hot pink dicks.”

Mark opens his mouth and closes it. “I wasn’t- I wasn’t suggesting that.”

One look from you, however, and he realizes his defeat. It’s almost the same look as the one in spring break after tenth grade, except much happier and more carefree. Your eyes shift elsewhere when you remember the argument you laughed off, details lost but the gist was clear. You acted as though it didn’t matter if he moved away—something about that happy-go-lucky persona you’d developed. Oh god, you were an idiot.

The silence isn’t welcome. There’s no rhythm, no melodies in moments like these—moments in between things that should be happening and won’t ever happen. Mark takes a sudden precise intake of breath, making you look at him. His eyes are rich and resolute, and somehow as pure as they were when he was younger.

“When you- when you said you liked me,” Mark begins, and you hold your breath. “When we were fifteen, you said you liked me. Before I moved. I- I don’t really know if you were joking but… Do you- do you think you still would? If we started over?”

You look at him, his eyes unable to meet yours and shoulders tense, and find yourself at a loss for words and for breath.

“Sorry,” he says quickly. “Stupid question.”

“I- I do- I would.”

Mark looks up at you reluctantly, almond eyes shimmering with some sort of emotion—innocent and curious as though you’re fifteen again.

You cough awkwardly and he looks away in a similar panicked fashion. This isn’t as romantic as you thought it would be and you almost think about taking your words back.

No. Not again.

“I would,” you continue, dragging the syllable. “If you maybe asked me out on a date, at least.”

Mark blinks, slack jawed like he’s seen the birth of a phoenix, or something equally dreamlike.

“Yes! I mean, wait- I- uh…”

He clears his throat, cheeks flushing with scarlet heat. “Do you- do you wanna get coffee tomorrow? No, wait- it’s a Monday. Th-This Saturday? …I’m doing this all wrong, aren’t I?”

You can’t hold back your laughter anymore, clutching your stomach at the sheepish look on Mark’s face and his slouched shoulders, much like the ones you were used to seeing as a stressed, sleep-deprived teenager.

“We can make time after this project.” You smile.

“We have to wait until after—no, I mean, that’s totally cool.”

The defeated grin makes you laugh some more. Your eyes drift to the deserted work desk and notebook paper, and you gasp. Dawn will arrive at this rate, crashing in waves.

“We really should get back to work,” you tell him, your fingers against his chest. “Twelve year old us would be very disappointed in us now.”

The two of you laugh in shared memory, of the time when romance was as appealing as ice-cream dropped on the sidewalk. With eyes full of stars and a head full of clouds, where do you go? Right back to each other, you think.

“We’ve come a long way,” you marvel. “We used to think of a different future every five minutes. Me, more than you, perfect poster boy.”

“You wanted to be an astronaut,” he laughs.

“And you wanted to be a swimmer. Said you’d even swim in a lake in Russia. In winter.”

“Yeah, I remember,” he says, eyes faraway. “We had all those childhood dreams.”

“You’ve reached one of them,” you respond, laughing.

There’s a short pause. Back then, everything was visionary. What the two of you had in mind had evolved, molted, shed its skin but now you’re here, in each other’s arms again—in a way that you haven't been before.

“It’s two,” he whispers, and the next thing you know, his lips are on yours and his arms are around your waist, pulling you closer.

He pulls back in wide-eyed, careful consideration. “I- I meant to ask first.”

You respond with a kiss, his mouth warm against yours.

He pulls back again.

“That was cheesy, wasn’t it?”

“Just shut up and kiss me, oh my god.”

You can’t help it, smiling against his lips and making him laugh at the feeling. Your finger brushes over the mole on his neck, unchanging in the same way he still uses too many hand gestures to talk or the way he still likes to lean his head on your shoulder.

There are unchanged parts of him so vivid in your memories that some time through the night, you wonder if you’re dreaming. Then a terribly executed joke later, you have to nudge him with your elbow or smack his arm—and it falls into place in your reality again. Maybe you could’ve saved time; but it’s so much sweeter this way.

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red-rose-9072 · 3 years

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Hi there! I'm still new to Tumblr and this is my first fic here. Note I am still a rookie at this , so my grammar kinda sucks and I did this at like 11 at night when I should be sleeping. Hope you enjoy this!❤��💜

• • •

The audience was full of life , chanting the K/DA fanchant over and over again until it became like a song to her. Light sticks flashed in an ocean of colours , illuminating the stage with bright light that became one with the small silver dots in the sky.

She was nervous...

Excited...

Anxious...

Maybe all in one? Who wouldn't be?

Ahri was sitting on one of the chairs in the backstage lounge , her hair and make up done and now she just had to wait for the girls to get ready and start the show. She has done many shows and live performances , but this one feels ... Different.

Ahri cast her blue gaze to Kai'sa , the young dancer was stretching and warming her muscles up for the performance. Her hair tied into a high ponytail and her crystal wings floating behind her back. Ahri loved watching her dance , Kai'sa looks like a graceful butterfly when she is dancing and her wings hover behind her in every move. Like she was in another world , in her own world when she hears the music and dances her heart out.

Akali was talking to Evelyyn on the couch opposite her , both seemed deep in conversation to know the fox was looking at them. Akali , the youngest (and cutest) member of K/DA somehow was an acception to Evelyyn. Eve was the diva of the group , the girl who doesn't take no for an answer , who likes to make fans drop dead when she walks by. But under all that , she is Evelyyn , the warm hearted friend who helped her when she was a soloist and the group's unnie.

Akali and Eve get along with eachother pretty well , the fandom is crazy over them. When Akali joined K/DA , Evelyyn immediately started treating her like she was her baby.

Ahri smiled softly at the two , Eve being a softie to their maknae was something that can melt anyone's heart. She remembers when she was young like Akali , full of wonder , ambition , pride and excitement. Always eager to show off her skills to other artists and dazzling others with her talent and beauty. The difference was that Akali had three older members to look up to , while Ahri had to peruse her dreams on her own.

There was a small giggle coming from across the room , so Ahri looked at the source of the giggle and saw Seraphine. The blue haired girl was talking to the make-up artist , smiling sweetly and blushing when the make-up artist complemented her. Seraphine was so young , yet held so much talent and so much potential. Blades immediately fell in love with her , Ahri often sees Tweets of fans completing Seraphine. However , not many fans agree with the Chinese singer , saying that she should song Korean and not Chinese because K/DA was a Kpop group.

Ahri advised Seraphine to ignore those comments and look at the positive ones. I mean , Chinese in a Korean song isn't that bad (right?).

Ahri saw her younger self in Seraphine. She has never felt this close to a fan before , and Seraphine was a huge fan of Ahri , once she came to visit her and the songstress and to quickly stash all her posters and drawings of Ahri under her bed. She found it cute , how she gets flustered when Ahri would talk to her or simply touch her.

She was snapped back to reality when Kai'sa sat next to her. "Daydreaming?", The dancer asked. Ahri shook her head and cleared her throat like a profession. "No , just simply looking at my band mates", she said. Kai'sa gave her a smile and patted her back , she than gave a content sigh. "Blades sound beautiful when they say our fanchant , don't they?", She asked. Ahri nodded , feeling her heart spring in joy at how happy they sounded.

"You seem nervous darling , something wrong?", came Evelynn's voice. Ahri sighed and her shoulders tenses up , she looked at the amber eyed singer. "How did you know?", she asked to which Eve chuckled. She than pointed to her crystal tail that was curled up besides her. "Your tail is all twitchy , like a fox worrying about loosing its prey", she said. Ahri groaned and silently cursed Eve for knowing her so well , how was she that good?

Akali sat up and leaned over so her elbows where resting on her legs and her back hunched , azure eyes meeting hers. "It's ok to feel nervous , unnie. From a leader's point of view , I worry whether my band mates will give a stunning performance or trip on their own feet".

"Huh? Your a leader?"

"True Damage , hello?"

"Oh yea , forgot about that , haha"

Akali smiled and giggled , her eyes crinkling. "Nah , it's ok. A lot of people still sees me as K/DA's small and cute baby , ignoring the fact that I lead my own group", Akali said. Evelyyn wrapped her arms around her waist. "Aw , but you're too small to be leader", Evelynn joked and Akali lightly hit her arm. "Yah! I'm taller than Ekko! Kid can't even reach the top shelf".

Ahri rolled her eyes. "Neither can you", she said and Kai'sa threw her head back to laugh , that weird laugh that everyone has grown used to by now.

Seraphine made her way to them , Ahri patted the spot next to her and she sat next to her. Ahri smiled and let her tail rest on her lap , Sera's cheeks tinted a bright pink and she couldn't help but giggle at her. "Your so cute", she teased and Seraphine pouted.

"Five more minutes than were live , ladies!"

Now the butterflies was fluttering madly in her stomach. She has never felt so nervous before , only that time when she debuted. If her past self could look at her now , she would wonder how she made here.

"I'm nervous , you guys?", Seraphine asked. Kai'sa nodded in agreement while Akali waves her off. "Nervous? Never heard of her", she said with swag. Eve rose her brow at the rapper before shrugging. Ahri sighed and fiddled with her fingers , ok , she got this. No , they got this. K/DA has got this.

• • •

"I'll show you what I'm made of

rise to the occasion

got fears but I face them , oh , oh..."

Ahri sang her song over her mic , smiling in happiness at how she saw the happy faces and how they sand along with her. Some mumbling gibberish when the Korean parts came , but she was too happy to care about their pronunciation.

The rest of the group was dancing around and having fun while jamming to her song , Evelynn and Seraphine adding vocals here and there , while Kai'sa and Akali danced together. Smiling , laughing , singing along and having fun.

When the song came to an end , the audience cheered and K/DA hurried to the centre. Ahri gave a friendly wave to Blades and started talking over the mic. "First of all , I would like to thank all of you for coming to our show. It means the world to us , to have our fans all in one place to listen to our songs and sing along. I am also very grateful for all the hard work the staff has put in this performance , and for all the love and support we received even in POP/STARS era". The audience cheered and several 'awws' could be heard.

Ahri than held Kai'sa's hand , who was he closest to her , and smiled at her group. "Secondly , I would like to thank my band mates for being here with me. All my life , I've been chasing my dream on my own , but now I have four amazing sisters to share the spotlight with me. You taught me so much , and I've learnt a lot from you. As a leader , I am so proud of all of you".

The audience went wild when Akali hugged Ahri from behind and Kai'sa wiped her eyes. Evelynn smiled and embraced the gumiho and soon Seraphine joined in and Kai'sa too , trying to control her tears. Ahri would have cried too , those sentences didn't seem enough to her , but to them it was more than enough. It was everything.

Ahri laughed and turned to Eve , a smirk on her lips. "Any messages to Blades?".

"Don't let anybody with bad eyebrows tell you look ugly", she said. There was a string of laughter and applauses , Akali leaned into the mic with a goofy smile on her face. "And if anybody says K/DA or Blades sucks , tell them to fu-", Kai'sa covered Akali's mouth before she could curse live at their performance. Akali shrugged , not looking guilty.

Ahri smiled and turned back to the audience. A sea of smiling faces and lights. "From us K/DA , thank you for attending our show. Keep shining my stars and we love you all!". She said and she blew a kiss to the audience.

This where she belonged. With her members and her fans underneath the stars , and for once , she felt like she finally accomplished her dream. But it was far from done.

#K/DA #League of legends #ahri #Evelynn #Kai'sa #Akali #Seraphine #i did this instead of sleeping

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daggerzine · 4 years

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R.E. Seraphin molds tiny shapes into big songs.

Though he’s been on the scene for a while now (with different bands) I hadn’t heard the music of Bay Area musician R.E. “Ray” Seraphin until this year via a cassette called Tiny Shapes via Paisley Shirt Records (more on the label below). His first real band was Talkies, which he discusses below (and I have enjoyed), but he seems to have really come into his own this year with that cassette and a new EP, A Room Forever, which came out just a month or so ago. In his music you’ll hear influences of 80’s jangle pop as well as some deeper post-punk stuff (and for more current stuff I hear whispers of Dean Wareham and his bands and Wild Nothing). Reading below he seems very well grounded and seems to have a great attitude about everything (even not being able to play shows during a pandemic or being in a writing slump). I think once this is all over this guy will go on 5-year tour and gain lots and lots of new fans. In the meantime do check out his stuff, you won’t be disappointed.

Where did you grow up?

Berkeley, CA. The area I grew up in was filled with Victorian homes and dilapidated industrial warehouses. My family home was walking distance from a lagoon and an old, rusty set of train tracks. I felt I lived in an unremarkable college town. There wasn't much activity outside of the school. I discovered Berkeley’s storied political and musical history much later in life. Now, of course, there are many books written about Berkeley, but I thought it was a kinda nondescript city as a kid.

Do you remember what band made you fall in love with music?

Dating myself hard here, but I remember being floored by The White Stripes’ “Fell in Love With a Girl” video when I was 11. The Top 40 music making the rounds on VH1 and MTV at the time was beyond dreck — a lot of Train, Staind, Matchbox 20. The White Stripes were the first band I was exposed to that made succinct, catchy, no-frills music. I was genuinely enthralled. Plus, the Lego animation in that video still holds up.

Was guitar your first instrument?

I started on bass. My first instrument was an extremely cheap, pointy BC Rich knockoff monstrosity. I believe I was 13. I had no idea how to play and little interest in learning. For the first year, I putzed around with a Pro Co RAT, a wah pedal, and a tinny-sounding Crate practice amp. I just tried (and succeeded in) being as obnoxious as possible. When I started writing songs, I eventually graduated from playing bass poorly to playing guitar poorly.

Tell us about your first band.

My first band that played shows was called The Phil Spector Shotgun Experience. That was primarily a cover band I put together with my high school buddies and my mom. We covered Radio Birdman, the Pink Fairies, and the MC5; we also had an unwittingly hilarious original called “Nitroglycerin Man” — the first song I ever wrote (maybe I was subconsciously inspired by Wages of Fear). At some point, we kicked my mom out of the band and started playing as the Impediments. That band kicked ass — we made pridefully dumb American punk music. That was also my only band to sign a record contract, so it’s quite possibly been downhill from there!

Tell us about The Talkies (unless that was your first band mentioned above).

Talkies (no article!) was a group I started in 2014 as a vehicle for my songs. My previous bands had been more of a shared vision, so Talkies was my first foray into being the lone genius of a group. The sound was mostly drawn from what is disparagingly known as power pop. Basically, I was heavily into the band Shoes for a few years.

We released a few albums and EPs. Did a couple short tours. During that time, the project was dragged from the Bay Area to Austin and back before I finally, mercifully pulled the plug last year. It was time.

When did you transition from Talkies to the solo stuff you’re doing now? Did it feel comfortable?

Talkies had run its course, but I had a smattering of songs leftover from that project that I wanted to record. Around that time, I learned my good friend Jasper Leach (Burner Herzog) was getting ready to skip town. I had always wanted to work with him and, seizing my final opportunity to do so, we banged out my début, Tiny Shapes, last summer. The whole experience was fairly serendipitous. The stars aligned for that one.

I wouldn't say the process was comfortable. Recording the album felt necessary, urgent — almost compulsory at times. My heart was ready for a new project and I truly wanted to center myself for the first time. I’m glad I did. This is the happiest I’ve been musically in some time.

“I think therefore I am”

I love the songs on A Room Forever. How did they come together?

So glad to hear that! I got asked to contribute to a compilation back in April. With the deadline approaching and inspiration still eluding me, I took a glance at my bookshelf, noticed a particular Carson McCullers title, and whipped up “Clock Without Hands.” After my trusty collaborator Owen Adair Kelley added his parts, I felt we had stumbled upon a great sound. I tried to harness the creative spirit and pushed myself to finish a few ideas buried deep in the recesses of my Voice Memo app. I got friends Matt Bullimore (The Mantles) and Yea-Ming Chen (Yea-Ming & The Rumors) involved, and that was that. No great origin story — just pure American ingenuity and elbow grease.

Tell us about Paisley Shirt Records. Who runs it and how did you hook up with them?

Paisley Shirt Records is simply the man, the myth, the legend — Kevin Linn. He is a San Francisco-based musician and artist who records as Sad-Eyed Beatniks.

I met him when I was looking for someone to release my album, Tiny Shapes. He had just put out a tape by Hits — a great local band featuring some friends of mine — and I felt a kinship with his roster. So, I reached out to him. Foolishly, he agreed to put out my album and we’ve been inseparable ever since. Solid dude. High marks.

Have you done any solo tours? If so where and how did they go?

Ha! No. I had only notched two shows as R.E. Seraphin before the pandemic hit. Likely not doing anything beyond the odd live-stream show for a while. That said, if any tastemaking European touring agencies are reading this — give me a ring!

The latest EP

What are your top 10 desert island discs?

Ah, jeez. This question. I’ll just say these are 10 (plus one) that I come back to quite often. In no order:

Marquee Moon by Television

The Everly Brothers’ Best

Forever Changes by Love

Let it Be by The Replacements

Third/Sister Lovers by Big Star

The First Songs by Laura Nyro

16 Lovers Lane by The Go-Betweens

In a Silent Way by Miles Davis

A Different Kind of Tension by Buzzcocks

Something Else by The Kinks

Old No. 1 by Guy Clark

What are a few Bay Area bands that we should know about.

This is a golden-era for weirdo pop music in the Bay. To name just a few: Galore, Cindy, The Umbrellas, Tony Jay, Flowertown, Healing Potpourri, Latitude, Cocktails, The Reds, Pinks, & Purples, Yea-Ming & The Rumors, Anna Hillburg, the 1981, Toner, Frank Ene, Neutrals, Owen Adair Kelley, April Magazine, Telephone Numbers, Hits, Sad-Eyed Beatniks. Essentially every act associated with Paisley Shirt Records and/or Mt.St.Mtn. My bias is strong.

Do you feel that the pandemic has helped your songwriting or hindered it (if either)?

A li’l column A, a li’l column B. I’m a natural procrastinator, so I’ve definitely savored the lack of band practice and shows (things that often necessitate new material). That said, I doubt I would have finished A Room Forever had I not been quarantined at home. Without having many obligations and without being able to leave my house, music definitely became my raison d’être for the first time as an adult. I was fortunate to not be deemed an “essential” worker and to be able to focus energy on my passion momentarily. Silver lining.

What’s next ? A new record by the end of the year possibly?

Hopefully continuing to promote my music and play shows on the ol’ webiverse. A Room Forever will be receiving a small vinyl and tape pressing at the end of September via Mt.St.Mtn. and Paisley Shirt Records. So, looking forward to that.

I was creatively tapped for a few months after A Room Forever. While a new album is possible, it’s not probable. I am plugging away at a few tunes, but I tend to conceptualize albums as a thematic whole and not as a collection of songs. Haven't stumbled onto my next Big Idea yet. Don't count me out, though. I could see myself dashing off a covers album for sure.

What is one song you wish you’d written?

Too many to name! I’ll reframe that question to mean a great song I could see myself capable of writing in an alternate time, place, or dimension. Maybe one of Peter Holsapple’s songs from The dB’s — “Black & White” or “Neverland.” Also: anything by Wreckless Eric or Martin Newell.

Final thoughts? Closing comments?

Just finished reading an interview with the great James Purdy, and thought this quote summed up iur current political climate well:

“You go out into the world and no one knows you, you can be ruled because you’re programmed. Everything is stamped, put on the shelf, described, thrown out into the garbage. It’s a political process, and behind that an economic process. But to be nothing, that is the worst of all possible things.”

www.reseraphin.com

www.paisleyshirtrecords.bandcamp.com

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morningrainmusic · 5 years

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Top 25 Albums of 2018

These are the top twenty-five albums (and one EP) of the year. See you in 2019. Best, MorningRainMusic.tumblr.com

25. MGMT – Little Dark Age Little Dark Age is the album in which MGMT wised up to the fact that they can experiment with their sound while not completely alienating their fans. I expect the evolution of this band will continue to be fascinating. Complaints/criticisms should be taken up with goth Andre Van Wyngarden.

24. Jeff Rosenstock – POST- Good old-fashioned American punk rock in another frustration-filled year in the U.S. of A. Few people can make righteous anger sound as fun as Rosenstock. We’re gonna need more in 2019, Jeff.

23. Jon Hopkins – Singularity Likely Hopkins’ best work yet, Singularity is a monster of an electronic album without the monstrously tired trappings of EDM. Of course, this is the arena Hopkins has been working in most of his career, building sonic worlds of mesmerizing beauty.

22. Amanda Shires – To the Sunset The opening track to Amanda Shires’ eighth album is a statement. Shires is a classically trained violinist who plays with Jason Isbell (to whom she is married) and is still firmly rooted in the Americana/folk scene. To the Sunset is a sea change for Shires and “Parking Lot Pirouette” is the coming out party. While it’s not exactly a pop record, it’s damn close. “Leave it Alone” could soundtrack a 90s rom-com starring Meg Ryan. The country undertones linger here and there, but they are typically buried beneath Shires’ stunning voice and Dave Cobb’s slick production. There’s an unexpected and brutal final line of album closer, “Wasn’t I Paying Attention” that fits into the country-western tradition, but otherwise by the end you might forget she’s a country/folk artist at all.

21. Pusha T – Daytona / Kanye West – ye Yes, this is a cheat. But at seven tracks each and just under forty-five minutes combined, it seemed appropriate to lump Daytona and ye together. The marriage of Kanye and Pusha T in 2018 proved a very successful one. Daytona showcases Pusha T’s impressive rhyming ability and penchant for controversy (see the album cover depicting Whitney Houston’s drug paraphernalia-litterd bathroom, which Kanye paid $85,000 to license). Ye was not particularly well-received by critics, and it certainly has its flaws. But its highs are high, reminding us why it’s hard to hate Kanye, even at a time when most everything else he does makes us want to.

20. Kurt Vile – Bottle It In As he states plainly on “One Trick Ponies,” Kurt Vile has always had a soft spot for repetition. He’s made long albums before, but at an hour and eighteen minutes, Bottle It In is his longest album yet. It meanders A LOT, but this is prime Kurt. From the everyday, small town highs of “Loading Zones” to the amphetamine-taking rocker-on-the-road swagger of “Check Baby,” this record delivers the goods. Of course there’s also the ultra-chill side of KV here, like the almost ten minute long day-in-the-life tune, “Backasswards” and the title track which employs harpist Mary Lattimore as well as some saxophone, slightly calling to mind “Under the Pressure” by Kurt’s old band. If he continues making records this good, Mr. Vile can repeat himself as much as his heart desires.

19. Lucy Dacus – Historian Lucy Dacus is only 23 years old and she’s already proven herself one of the best lyricists alive. The biting, shame-offensive “Strange Torpedo” from her 2016 debut contains witty lyrics and begs to be sung along with. Dacus’ Matador-released follow up, Historian, is more explicitly personal, epic, and all around exciting. And while this record is full of stick-in-your-head lyrics, they are complimented by Dacus’ genuinely impressive guitar-shredding and beautiful voice. She could sing the phone book and it would likely make for a half a decent song.

18. Wooden Shjips – V. While Sleep was receiving heaps of critical praise for their doom metal, weed-worshipping comeback record, The Sciences, the best stoner album of the year was a much more lowkey, hazily psychedelic affair. Wooden Shjips’ V. is a warm, echo-laden, bliss-trip with plenty of jammy excursions and thick, Nuggets-era guitar riffs. It’s one of those rare albums that is equally suited for active and passive listening—one can get as much from it by really digging in with a pair of good headphones as playing two thirds in the car whilst the mind wanders back and forth from daydreaming to attentively consuming the music. Most self-respecting musicians would understandably take issue with that comment—did I just describe wallpaper muzak? Not at all. This is a pivotal function of many great psychedelic rock records: the ability to pull the listener in, then facilitate his slow drift away, only to bring him back a few minutes later. It is an ebb and flow Wooden Shjips achieve masterfully. In his review of the album, Stereogum’s Tom Breihan mentions his wife walking in on him listening to “Golden Flower” and describing what she heard as sounding like “Phish covering Third Eye Blind.” This fairly accurate description of the song will send some running for the hills. I’m not much of a Phish phan, but the thought of hearing Trey & co’s take on a late-90s pop-rock masterpiece sounds pretty damn great to me. In a numbingly turbulent year, V. was possibly the perfect soundtrack to turn on, tune in, and drop out to.

17. Pinegrove – Skylight As is the case with so much art (more and more in the past few years), it is impossible to remove the latest Pinegrove record from the context of its primary creator’s personal life, which is…complicated, to put it mildly. A couple years ago when Pinegrove put out their phenomenal (and overlooked by this blog) sophomore album, Cardinal, they were probably the last band anyone thought would garner controversy of any kind. An alt-country/emo band from Montclair, New Jersey, they quickly built up a fervent fan base that calls themselves Pinenuts (yes, actually). Then all this happened. Though it was almost completely finished before that all went down, whatever it was….some of the lyrics on Skylight seem to reference it—take a close listen to “Rings.” In any case, this is a powerful, introspective, and really just classic Pinegrove album. I hope everyone is okay, and I’m glad the band lives on.

16. Miya Folick – Premonitions Like a handful of artists on this list, Miya Folick came out of nowhere for me. This is part of what makes this list so exciting—the musicians who put out stellar debut albums and those that have been around a little while, but I just recently became aware of them. Cardi B and Miya Folick are the only artists here with debut LP’s. They are radically different stylistically, but they are similarly electric, get-up-and-move albums. Premonitions probably doesn’t qualify as a “party record” in the traditional sense but songs like “Cost Your Love” demand body movement. Pair this pop sensibility with Folick’s wide-ranging, Fiona Apple-eqsue vocals and you’ve got a star in the making.

15. Camp Cope – How To Socialise & Make Friends “The Opener,” which is fittingly the opening track of Australian indie rock outfit Camp Cope’s second album, is quite possibly the most powerful and effective protest song of 2018. Through sarcasm and a scorching vocal performance, front-woman Georgia Maq eviscerates the toxic men who work in music and make life for women like the members of Camp Cope that much more difficult. “Tell me again how there just aren’t that many girls in the music scene” Maq shouts, addressing frustrations and injustices that are largely unique to women and reach far beyond music/entertainment. It is a vital statement of a song and perhaps more important to get its message across, it rocks. The album pivots, offering more balladic personal narratives—“The Face Of God” addresses a sexual assault, “The Omen” is an ode to a lifelong love, and “I’ve Got You” is a heartbreaking acoustic number about a parent dying of cancer. It’s a heavy, cathartic record that establishes Camp Cope as an indie force.

14. Father John Misty – God’s Favorite Customer What’s left to say about Josh Tillman? The man who captured our hearts by dropping out of Fleet Foxes, showing off his moves on Letterman, and putting out a pair of weird, wonderful albums was due for a course correction in 2018. Yes, many consider Pure Comedy a triumph, but really it was a highly uneven, bloated, self-absorbed mess. Tillman, someone who used to poke fun at the type of self-serious people who are so preoccupied by “man’s role in the universe,” had gone and made an album about just that. God’s Favorite Customer is a return to form. Sort of sad, but it apparently took a serious shakeup in his marriage for this sarcastic goofball to get back to doing what he does best: crafting beautiful melodies and singing nutso, often darkly funny lines with conviction and the voice of an angel. (Example: “Last night I wrote a poem / Man, I must have been in the poem zone”).

13. John Prine – The Tree of Forgiveness Want to attain enlightenment? Don’t bother meditating or balancing your chakras. Instead, try living seventy-odd years with a fraction of the honesty, humility, and warm resignation that the old master shows on this record. When you come up with a single joke as hilarious and subtle as the beginning of “Boundless Love” you will have achieved your goal, probably. -Alex Seraphin, blog contributor

12. Lala Lala – The Lamb Lillie West aka Lala Lala is a London-born, Chicago-based musician making slightly dark, reverb-laden songs that would leave you feeling as cold as she looks on the cover, if it weren’t for how catchy and propulsive they are. Painful, celebratory, aggressive, and raw, The Lamb is like a classic punk album that isn’t actually punk. It’s like if Youth Lagoon and Bikini Kill had a lovechild, only way better than that sounds.

11. Hop Along – Bark Your Head Off, Dog Philadelphia mainstays, Hop Along dabble in grunge, folk-rock, emo (yes, a little), punk, and power pop in their boldest and most consistent album yet. I don’t have much else to say except this is a great band more people should be paying attention to.

10. Julien Baker, Phoebe Bridgers, and Lucy Dacus – boygenius This list is traditionally strictly for full-length albums, but an exception had to be made for boygenius, a six song EP by three of the best songwriters working today. Forget all the hubbub about this being the “egoless supergroup of your indie rock dreams” and the album art’s similarity to Crosby, Stills & Nash’s 1969 debut. What matters is the music, and the music here is untouchable. Each song showcases Baker, Bridgers, and Dacus’ individual strengths and when put together they are far greater than the sum of their parts.

9. Remember Sports – Up From Below Anybody remember Sports from Gambier, Ohio? They are now Remember Sports (thanks a lot, lesser Sports) but they are still making scrappy, lovelorn, pop punk. Lots of earworms here, Up From Below is upbeat, fun, sad, angry, and awesome. Do not forget Remember Sports.

8. Parquet Courts – Wide Awake! “We are conductors of sound, heat, and energy And I bet that you thought you had us figured out from the start”

Thus begins “Total Football” and Parquet Courts sixth album, Wide Awake! Indeed, Parquet Courts is a band impossible to pin down—anybody who claims to have them figured out is either a liar or a fool. In twenty-five years when we look back at rock music of the 2010s, Parquet Courts will likely stand out as the most adventurous, philosophical, and downright compelling of the pack. And fuck Tom Brady.

7. Cardi B – Invasion of Privacy Shortly after the release of Invasion of Privacy, Top Dawg Entertainment president Punch tweeted “Cardi B is 2pac,” prompting an impassioned debate on social media. In most ways, it’s a boneheaded comparison that undercuts 2Pac’s body of work, socially conscientious lyrics, and overall contribution to the evolution of rap. However, I can’t help agreeing with the connection in other respects—Cardi has a contagious charisma, charm, rawness, and unpredictability similar to 2Pac. Her meteoric ascent in 2018 was impossible to ignore and she has already cemented herself as a powerful voice in hip-hop. But what made Invasion of Privacy an unavoidable smash hit this year is not Cardi B’s similarity to past rap legends, affiliation with other rap stars, or her stripper-turned-reality-start-turned-rapper Cinderalla story. It’s Cardi B herself. She’s not the next Pac, Lil Kim, Missy Elliott, take your pick. She’s the first Cardi B.

6. Courtney Barnett – Tell Me How You Really Feel Get the fuck out of the way—Courtney Barnett has arrived. Gone is the promising Australian upstart/indie darling with witty one-liners. The woman who replaced her is a full-fledged rock star, ready to shred her way to the top. She’ll locate your inner most lecherous and rip it out carefully.

5. Joey Purp – QUARTERTHING I’m told that the amount of great rap coming out of Chicago is mind-blowing. A quick glance at this list should give you sense of how rap is not one of my favorite genres, so I won’t pretend it is. However, I still listen to some rap, and QUARTERTHING rose above the Playboy Cartis, Travis Scotts, and Kids Seeing Ghosts of 2018. Purp’s talent is undeniable and no other rapper can go toe to toe with contemporaries like Chance The Rapper (“24k Gold/Sanctified”), Brockhampton (“Elastic”), and Sheck Wes (“Paint Thinner”). Joey Purp is rap’s next big thing.

4. Mitski – Be The Cowboy “Be the cowboy you want to see in the world” is an expression of Mitski Miyawaki’s that embodies confidence, unapologetic individualism, and freedom. In some ways, it’s a nice companion piece to the next album on this list. Mitski has given us a collection of infectious pop songs that embrace the joy, pain, ecstasy, and sorrow of being alive. Be The Cowboy is a whirlwind of fourteen songs, only two over three minutes long, that leaves you feeling high and low, but ready to grab the bull by the horns in your ten-gallon hat and make them remember your name.

3. Amen Dunes – Freedom I didn’t know Amen Dunes from Adam before Freedom. Before hearing a single note, a friend described Damon McMahon’s vocal delivery as similar to Van Morrison’s, stutter-scatting his way through sonic slipstreams and lush synthesizers. Perhaps there’s a spiritual connection to be found between Van and McMahon, but for the most part Freedom is something entirely fresh. “This is your time, their time is done” a child proclaims on the intro track, and these words ring true on every song that follows. Of his influences for the album, McMahon said: “I realized that for me to do my job well, I need to put myself out there. I was listening to a lot of good mainstream music too. I wasn’t listening to mainstream like Miley Cyrus, but the Michelangelos of pop. So, Michael Jackson, Bob Marley, Bob Dylan, The Beatles, Marvin Gaye, and so on. They have the best melodies, the best rhythms and the best songs.” Freedom is the sound of a man finding peace and allowing himself to make the most accessible record he’s capable of making. This is an ambitious pop album—but not the showy, staggeringly ambitious type, rather it is quietly stunning. It will floor you in its transcendent subtlety.

2. Nap Eyes – I’m Bad Now I’m Bad Now is a tongue-in-cheek album title for a band comprised of four soft-spoken dudes from Nova Scotia who love Yo La Tengo and The Velvet Underground. More likely a reference to children’s schoolyard pronunciation of switching sides from good to bad, I’m Bad Now contains very little in the way of meanness or cruelty, save for the kiss-off chorus on “I’m Bad” that concludes “which is amazing because you’re so dumb.” Rather, what Nap Eyes have made here is a smart, funny, strange existential odyssey that mines everything from the monotony of “the nine to fives and five to nines” (“Judgment”) to spiritual blindness and religious questioning (“White Disciple”), a song that would make George Harrison proud. “Your life is pointless unless it sets you free” sings Nigel Chapman sounding like a guru Lou Reed. It’s heady stuff accented by filthy guitar solos and brilliant songwriting. Do not sleep on the Nap Eyes.

1. Bonny Doon – Longwave For a short while Longwave felt like the wrong pick for best album of the year. It’s a record I came upon via the ardent recommendation of Katie Crutchfield (aka Waxahatchee) and while it is incredibly pleasant, warm, and enjoyable, it is nothing groundbreaking or seemingly capital “i” important. No matter. Longwave, recorded in northern Michigan by four unassuming guys from Detroit, is a collection of songs that soothe the soul. It gently reminds us of the failings of our hearts and minds (“I should be happy/but I’m not”) and it reassures us that things haven’t worked out quite as badly as we sometimes think (“you are who you’re supposed to be”). This album did not shake up the landscape of music in 2018 or top other lists on the web or even rack up more than a few hundred thousand streams on Spotify (to put that in perspective Cardi B’s “I Like It” is sitting pretty at 6.5 million). But this record already feels timeless. Every single song on Longwave is damn near perfect. Honorable mentions: Khraungbin – Con Todo El Mundo Against All Logic (A.A.L.) – 2012-2017 Foxing – Nearer My God Retirement Party – Somewhat Literate Superchunk – What a Time To Be Alive

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daggerzine · 4 years

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Matt Addison from Mythical Motors gives us the skinny on the band and their new record (Moon Pies, too!).

I first heard about Mythical Motors from a Facebook friend. Mike Brown and I became FB friends a several years ago and I noticed from his posts that he’s a huge music fan and then, seemingly out of the blue, he told me he was in a band in his hometown of Chattanooga, TN. Mythical Motors is the name and rocking out is their game (thank you ladies and gentlemen). I went to the band’s Bandcamp page and noticed they had a lot of releases out. I then became FB friends with the band’s main songwriter Matt Addison as I’ve continued to check out their stuff. Off the bat you’ll hear a Guided by Voices influences, but here’s lots of other stuff brewing under and over the band’s sound (I hear The Beatles, The Who, a touch of prog and as you’ll see below Addison is a fan of Wire!).

The band recently released its latest record, the terrific Leviathan Messiah (on Painted Blonde Tapes). It’s definitely my favorite by them. If you’re not familiar with the band give a listen and then you will become a (instant) fan because you folks all have great taste in music. Read on, music fans!

When the set ends the rumble begins.

Were you born and raised in Tennessee?

Yes, I was born in Nashville, but I've lived in Chattanooga for most of my life.

Was there a record store in town that got you interested in music?

When I was in high school, a store opened up nearby called Chad's Records. Some friends and I would walk there after school, and I remember buying "The Official Ironmen Rally Song" single by Guided By Voices and Pavement's "Pacific Trim" EP on the day of their release. A lot of my GBV collection came from Chad's: Alien Lanes, BOX, etc.

When did you first pick up the guitar? How about any other instruments?

I starting playing guitar and writing songs when I was 14. As soon as I got a guitar, my brother and I immediately started playing and recording on a boom box. He would sing and I would play guitar, and we took turns playing other instruments. We had a small Casio keyboard (which I still occasionally use on our albums), various drums, and we would even bang on pots and pans. We'd basically use whatever was lying around.

Eventually, we graduated to recording on a cassette 4-track. My Dad found one at a pawn shop that was old, but very well made. He surprised us with it one day, and I never looked back. I was hooked on recording.

Was there any specific concert/gig that really was like a watershed moment that made you want to play music?

When I was 16, I saw Sebadoh play at the Masquerade in Atlanta. The next year, I saw Guided By Voices at the same venue. I had already started playing music by then, but those are the first two shows that had a big impact on me.

Were you in any bands before Mythical Motors?

In high school, I would occasionally get together with a friend or two and play music, but it was never a full band.

However, our guitarist, Johnny Wingo, was in a band called The Value in the early '80's. They were Chattanooga's first punk band.

”A higher stage, please.”

Where did you come up with the name, Mythical Motors? It’s got a nice ring to it.

When the band first started, we were called Heaven's Basement. We soon discovered that there was already a British hair metal band with that name, so it was time for a name change. I think we had a show already lined up at the time, so I had to think of something quickly. I've been keeping a running list of song titles for a long time. I found "Mythical Motors" on that list, and just went with that!

Tell us about the beginnings of the band. Was it the early-mid 00’s?

In 2006, I met our drummer, Brad Smith, at the first ever Robert Pollard show at the 40 Watt Club in Athens, GA. We played as a duo for a while, before adding Mike Brown on bass. Johnny Wingo started playing guitar with us a few years later. Before Johnny joined the band, we went through several lineup changes. At one point, we had Daryl Black playing with us on baritone guitar, and there was another lineup that included Hollie Stockman on cello.

Tell us about the making of Leviathan Messiah. I know you played all of the instruments….is that the way it is on most records?

Most of our albums have a few full band songs mixed in with songs where I play all the instruments. But, Leviathan Messiah is the 4th album that's just me.

Did the name Leviathan Messiah come to you in a dream? It’s a cool title.

Thanks! I came up with the title while writing the song "Faceless At The Altar." I think I had just watched the remake of Suspiria, which contains a great deal of evocative and horrific imagery. So, I was attempting to convey those types of images lyrically.

Big stage for a big sound.

Recording-wise, how is Leviathan Messiah different than your previous record 2019’s This Is What the Twilight Zone Was Preparing Us For?

Recording-wise they're pretty similar, but I definitely took a different approach to the songwriting on those two albums. I had written "Ring The Bells Burning" and "Twin Sun Trajectory" while working on This Is What The Twilight Zone Was Preparing Us For. Those two songs were a bit longer and didn't seem to fit on that album, so I saved them for the next one, which became Leviathan Messiah. I also included a pair of even older songs, "Liquid Mirror Measuring Cups" and "The Lifted Heart," which were left off of our album Elevated Levels.

So, Leviathan Messiah basically evolved in a sort of collage-like way. These longer, more fleshed out songs stood in stark contrast to the spontaneous and rapid fire nature of This Is What The Twilight Zone Was Preparing Us For.So, I decided to keep writing in that style for Leviathan Messiah, and eventually came up with the multi-part title track, which is one of my longest songs. Ultimately, I would say the album is a bit of a departure from our previous releases, despite still sounding like Mythical Motors.

Is Chattanooga a good place to be into independent/alternative music? Decent scene?

There's definitely a thriving punk scene in Chattanooga, and several great venues to play, including Sluggo's North, JJ's Bohemia, Barley, and The Spot.

I ask everyone, what are your top 10 desert island discs?

Guided By Voices - Alien Lanes

Neutral Milk Hotel - In The Aeroplane Over The Sea

The Magnetic Fields - 69 Love Songs

Genesis - Selling England By The Pound

Superchunk - Tossing Seeds

Bevis Frond - North Circular

Ghost - Second Time Around

The Beatles - White Album

Wire - 154

Guided By Voices - Suitcase: Failed Experiments And Trashed Aircraft

The latest record: Leviathan Messiah

What are some of your current favorite bands?

Lately, I've been listening to some of the other bands on Painted Blonde, the cassette label that released Leviathan Messiah. So far, I've heard great releases from Red Pants, Soda Pop, Be Cool Cowboy, and Pen Palindrome.

I've also been really into the label Paisley Shirt Records, who have great releases from R.E. Seraphin, Portabella, Sad Eyed Beatniks, Hits, Quad Super Six, and many others.

Didn’t you guys play one of the Athens Pop Fests? Tell us about that….sounds like a dream festival.

It definitely felt like a dream! We were the first band that played on the first day, and I thought it went really well. We became friends with a few of the bands that played that year, and have played shows with them in Chattanooga since then. It was an amazing experience, and I'm glad we got to be a part of it.

When not on lockdown, do you tour much or is it mostly local shows/regional tours?

Since everyone in the band has commitments with family, work, and school, we've never actually done a full tour. In fact, even though we've been a band for about 14 years, we've only played shows in Tennessee, Georgia, and Alabama. Whenever the pandemic finally ends, I would love to get out more and finally do a short tour.

RAWK

What’s next…more recording?

Definitely! I'm currently working on our next two albums, the first of which will be called Sleepwalking On Main Street. Before the pandemic, we recorded 3 full band songs, which will be included on these albums. I'm also planning to release a digital EP on Bandcamp tomorrow (June 19th) and any profit will be donated to Black Lives Matter.

Any final thoughts, closing comments …anything you wanted to mention that I didn’t ask?

I think that covers it! Thanks again for doing this interview!

BONUS QUESTION; Tell us something cool about Chattanooga that we might not know otherwise.

Krystal and Moon Pies both started in Chattanooga, so I guess our junk food is well-renowned.

www.mythicalmotors.bandcamp.com

www.paintedblonde.bandcamp.com

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