HORROR SECTION

photos by Bambi Guthrie

                                

HORROR SECTION

When did you guys first realize your love for music? Which bands/artists/songs were most influential to you growing up?

Teflon: I’d say pretty early on, maybe 6 or 7? I was raised in the church and my parents were both in the choir so music was kind of always around. That being said, I loved the ‘golden oldies’ station my parents used to play. 50’s and 60’s stuff. Certainly the doo wop style would stick with me.

Tommy: I realized my love for music pretty early too. I got a record player for Christmas and Micky by Toni Basil. My aunt introduced me to the Beatles and The Beach Boys around the same time. I still love The Beatles and Beach Boys. 

Were horror movies a parallel hobby for both of you guys growing up? Did the fascination with horror make you gravitate towards certain musical genres?

Teflon: I was a pretty late bloomer with horror actually (see above regarding being raised in the church). I was pretty into punk before my horror fascination really took off but yeah I searched high and low for some good horror punk once the bug hit - with varying degrees of success.

Tommy: Things were a little more loose in my house. My mom was a fan of Vincent Price and Alfred Hitchcock and all things blood and guts so I was watching horror movies with her when I was pretty young. 

Which came first for you guys - metal or punk? Who were the most important bands in terms of inspiration for what would later become your own projects?

Teflon: Punk for sure. I kind of skipped the metal phase that so many dabble in before getting in to punk more or less. I definitely remember being exposed to metal through my older cousins but I didn’t really have access to anything at that time. For most important bands it’s pretty typical I guess: Ramones, Misfits, Lillingtons, Riverdales for sure. As far as ‘horror themed’ bands though, Send More Paramedics and Near Dark made an impression on me (both of which are in the hardcore camp though).

Tommy: Metal came first for me and has always been a source of inspiration.  In 1992 the skate video Plan B Questionable had a major impact on me getting into punk bands like Bad Religion, Pennywise, and Green Day. In the mid 90's my favorite bands were MxPx, Strung Out, and Screeching Weasel. Those bands have influenced everything I have ever written but I'd say the most important bands would be the Lillingtons and Huntingtons. Death by Television and High School Rock were game changers for me. 

At what point did you begin crafting your own songs, and how did you approach the task? Did you have any basis for learning songwriting besides being well-versed in the styles you wanted to play?

Teflon: My first songs were your typical ‘sing the same melody as the guitar’ kind of stuff. Well, even before then it was just strumming strings and putting nonsense to them. Probably around 12. It wasn’t until I learned some MTX songs that I understood how to construct a melody with some chords.

Tommy: I agree with Dave, MTX is a good band to take some song writing pointers from. 

Did Eaten Back to Life form at the same time as Horror Section? How did you guys approach having two very similar bands that share members? Are there any norms for contributing songs for either project?

Teflon: EBTL was definitely first. It’s actually odd that we ended up making music together, kind of a small world scenario. I quit playing music for about 10 years but then I moved back into the area and wrote some songs (which became the Prowler EP) and was half-assed looking for some people to play with. I had mentioned it to Dave Nobody and he told me about Tommy and EBTL and I was like "Holy Shit!" I sent really crappy acoustic demos to Tommy to see what he thought (which is still how I send him my songs) and he came back with some demos that blew me away. From there we met up and recorded The Prowler with Gabe (who would later be our drummer) at Encapsulated Studios.

As for sharing members, it was pretty organic. I had no intention for Horror Section to be anything other than a one shot release. So playing shows wasn’t on my radar, I was just lucky to find Tommy who has been a great song writing partner. Early on he would take my crappy acoustic demo and craft them into tight songs. He still does that but he’s also been writing more music which I then layer on vocals. I think the new LP is about 50/50 on the music writing, although at this point I pretty much leave Tommy to write the leads and solos since he’s obviously way better than me!

Tommy: I started Eaten back to life in 2009. We released Love You to Death in 2011 and Killer in 2012 before meeting Dave at a show in St. Louis. Dave was introduced to me as the guy from the Fintas ( a cool band I like ) so I was pretty stoked that he wanted to send me some new demos. Being a fan of his songwriting I thought The Prowler demos were some of the best demos I had ever heard. We recorded The Prowler in 2013 and have been writing each Horror Section song together since.   

Obviously Eaten Back to Life is the title of the debut album by Cannibal Corpse. I've found that there's a strain in the pop punk DNA that allows for a rare breed of pop punk metal heads (like myself). Do you see any particular connection between these two very different styles and scenes?

Teflon: Hmm, I like metal but I don’t think I’m qualified to answer that question.

Tommy: I Agree Deeds, I have seen a few fans of Horror Section and Eaten Back To Life on social media that are into metal/pop punk. No real connection between the two styles that I've seen.

The musicianship and songwriting for traditional pop punk is very different than that of, say, brutal death metal. Was it ever your goal to form an extreme metal band? Do either of you practice metal chops in parallel with your punk techniques?

Teflon: Ha, not me.

Tommy: When I started Eaten Back to Life I envisioned us as a metal band writing and playing pop punk like Screeching Weasel and The Lillingtons. I have been playing in punk bands since 1994 and never considered starting a metal band until 2006 when I started getting into blast beat death metal. I definitely practice metal/speed strumming that I have incorporated into our songs. Pick slanting is a technique I use often as well as alternate picking. I use finger tapping and hammer on's here and there as well. Nothing too tech though. I try to keep it simple.

Horror Section seems to have emerged as the more prominent project, though Eaten Back to Life also has it's own distinct flavor and probably a lot of crossover in terms of people being fans of both projects. Has it been difficult for either of you to balance the activities of both projects?

Teflon: That’s all Tommy to answer.

Tommy: Not at all. Unlike me Dave is pretty well organized and has always handled everything for Horror Section. Merch, album art and layout, booking, practice scheduling.

Horror Section in particular has become a band that releases highly sought after collectibles on vinyl. Was this part of the strategy or did it just fall into place? I've seen that there are some very dedicated collectors who must have every variant! This includes my pal Diggum (Hi Jacob).

Teflon: It definitely wasn’t on purpose. I pressed 150 of the Prowler EP since I figured I could give away a bunch to friends (which I did) and then send some off to distros/labels. Luckily Travis from Eccentric Pop got some and was super into us and wanted to do a repress. I think Tommy had to talk me into that though ha. As for the collectibility thing, I’ve always just tried to make things I as a fan would like. Horror is full of promo and gimmick merchandising and I’ve tried to carry that over into our releases. I like doing special things for releases but usually due to costs/effort that means only a small number are made and it’s a bummer not being able to have enough for everyone.

Tommy: Hi, Jacob!

The songwriting for both bands (but more so Horror Section) is clearly inspired by Death By Television-era Lillingtons. Was your goal to pay homage to this style specifically? In what ways do you feel you've contributed something you unique to it?

Teflon: I actually liken us more to Backchannel Broadcast-era Lillingtons! The beginning of The Killer in the Dark actually starts the same as that album (on purpose). Other than that I don’t think much else is intentional as far as style. I write what’s in my wheelhouse and what I know. As far as unique, I’m not sure... we certainly aren’t the first pop punk band to write about horror but I’d like to think we have a different approach than others.

Tommy: A lot of my leads are inspirited by Death by Television and Backchannel Broadcast.

The quality of the songwriting is very clear when I listen to both projects. Do you guys bounce a lot of songwriting ideas off of one another, or do you prefer to bring in songs separately? Has there been any tension as a result of having two distinct songwriting personalities in the band(s)?

Teflon: As I already mentioned I send Tom stuff and he refines, adds, and overall makes them better. I don’t change any songs he sends me, I just layer on my vocals. Every once in a while we have some disagreements on parts but I suspect less than most song collaborators. 

Tommy: We really have never talked about the songs we are writing. I like every song Dave has written for the band so if we have disagreed it would be on where the lead should be in a song or something like that. Nothing serious.

What are the key ingredients needed for a great horror-themed pop punk song? It's a style that's been done over and over and yet you guys seem to have a real talent for creating it. 

Teflon: For me it’s actually taking it seriously. I’ll watch the movie I want to do songs about, take notes, consider different themes or characters in the movie and try and tell a story from one of their points of view. Sometimes more obvious, sometimes more obscure. And then yeah, sing a lot of oohs and ahhhs until I can get a solid melody worked out haha.

Tommy: I'm not a fan of whoas or oh's in music so I think leaving those out is a good start to a great horror themed song. Taking the lyrical subject matter seriously is a key factor for us. There isn't  much humor in Dave's lyrics if any at all. Hellraiser is a serious movie and the lyrics reflect that. 

How has it been interacting with fans and supporters of the band? I notice that you guys haven't released a lot of interviews. Do you prefer to let the music do the talking? Have you connected with many fans internationally? What's your perception of the following that you've developed since the bands started?

Teflon: We actually haven’t been asked to do many interviews. And maybe this will be the last! I definitely let the music do the talking. From the start I told Tommy this wouldn’t be a typical band - no band photos in albums, minimal context and thanks / credits, etc. I’ve befriended some people through the band (Hi Jacob) which is pretty awesome. That being said, I do like to keep my private life separate from the band more or less. As for my perception I guess I would say we have a small but rabid fanbase.

Tommy: Hi Jacob!

Do you guys ever dabble in other styles of songwriting? If you were to play in a non-pop punk band, what would be your top choice and why?

Teflon: Country for sure. My brother has gotten me into old honky tonk country over the years and we’ve written a few songs together. It’s actually a pretty natural switch for me. Different melody but same basic formula. One of these days we’ll record some songs and start a proper project from it .

 

Tommy: I've dabbled in lots of styles of songwriting. Fast melodic punk is a style I'm a big fan of. That would be fun. 

Do you feel that pop punk, particularly the traditional form, is still as relevant today as ever? Do you think the community will continue to thrive even in this era of digital music and dwindling interest in physical copies of albums?

Teflon: Shit dude, I have no idea. I don’t live in an exactly thriving pop punk town and I sparingly dip into the pop punk internet world.

Tommy: I think pop punk is as relevant as ever. Bands like The Ramones, Screeching Weasel and Teenage Bottlerocket will still continue to inspire people to start bands knowing they aren't going to make money on record sales. 

How have your experiences been playing live? Do you foresee a lot of touring in the future? What's more fulfilling for you guys - playing live or recording?

Teflon: Playing live is always fun. People pay attention to us and usually don’t walk out so that’s good. Touring would be awesome but I’ve got a “dad job” that makes it pretty hard for me to commit to the road. We get asked about playing out a lot and I wish we could make it happen but for now it’s shows and weekends here and there. As for what’s more fulfilling... recording. I listen to our songs fairly often (which I know Tommy thinks is weird).

Tommy: Recording is more fulfilling for me. I do think its weird to listen to your own stuff often. I will admit I have listened to our new 16-song full length on Eccentric Pop Records that we released in 2018 (Hi Travis!!!) more than any other release . 

I really like the vocals and back up harmonies on this record . I'm really happy how the record turned out . 

Do you guys record demos at home? What's your primary method for retaining and archiving song ideas?

Teflon: I’ll have a few drinks and record some ideas on my phone a lot of times. Then I’ll make a slightly better version in garage band and email to Tommy.

Tommy: I demo all of our songs in my basement. I've been demoing and archiving songs on my computer since 2009 .

Do you feel that the traditional aesthetics of pop punk (down-picking, heavy guitar distortion, Ramones-style drumming) become tiresome after a while? How did you guys feel about Stella Sapiente? I noticed a lot of predictably luke-warm responses to the change in style, though I consider it their best album.

Teflon: Being someone who admittedly cannot down-pick to save my life I’ll just say that if you got talent and can do that shit, good for you. But also, it’s not a prerequisite for me liking any music. Stella Sapiente is fucking fantastic. Love that album.

Tommy: I'm a huge fan of the traditional aesthetics of that style of pop punk. It has yet to grown tiresome to me. Every Eaten Back To Life songs have (down-picking, heavy guitar distortion, Ramones-style drumming). I alternate pick almost all of my leads. I think Horror Section's strumming technique is still traditional pop punk. Stella Sapiente is a great record . 

What's next for you guys? What are the "bucket list" goals for the bands? How do you feel about the success you've experienced so far? Have there been people in your everyday lives (family, friends, spouses) who've acknowledged your musical accomplishments?

Teflon: Hopefully more songs and releases! Bucket list I would say would be a full tour and getting into narrative-based music videos. I feel pretty great about where we have come so far. Travis at Eccentric Pop has been super supportive, we’ve got to share the stage with a ton of awesome bands, and of course we got to do a split with the mighty Dan Vapid! My brother has been a big supporter and he’s my sounding board for all my ideas so I’m grateful for that. And yeah my friends are supportive as well which is always appreciated, not only in the music but in doing album covers and art. Nearly all of our art is done by close personal friends which is pretty fucking cool (Josh aka Rat King, Brad Fann, Devin aka Dirtdrool).

Tommy: To do another split with a cool band like the Lillingtons would one to check off the bucket list.

What are your top 5 death metal albums of all time from all eras?

Teflon: Uh, Tommy you can take this one.

Tommy :   1) Slayer - Reign In Blood

                 2) Archspire - Relentless Mutation

                 3) Cannibal Corpse - Eaten Back To Life 

                 4) Deeds Of Flesh - Crown Of Souls

                 5) Disgorge - Parallels of Infinite Torture

HAYLEY CRUSHER

HAYLEY CRUSHER

What are your earliest memories of loving music?

Oldies radio. Living in Hermosa Beach, my big sister and I loved singing along to Beach Boys,
Shangri-Lahs, Supremes and The Monkees K-RTH 101. We also played random records we
found at the thrift store. Some were weird, like when I found Wayne Newton's “Danke Shoen” in
the 25 cent bin, which I played on the wrong speed on a tiny kid's record player, so it sounded
like a chipmunk. We made up lyrics to old songs and they were always inside jokes. We were
obsessed with anything retro (this was in the mid-90s) because the only place we were allowed
to go on our own was the thrift store or to the strand to skateboard. We weren't allowed to watch
MTV, only Nick at Nite, which showed re-runs of Happy Days and stuff. I remember finding a
used 4-CD set of Elvis (I loved “Do the Clam,” which I changed to “Do the Sam,” after my
Weiner dog, Sammy). As for modern music, Weezer's blue album was huge. I listened to it a
zillion times. On long car rides my parents would wake me up to hear the Dr. Demento Show,
and I had a cassette of some inappropriate songs – I loved the humor and fun. My mom's CDs
always surprised and excited me: She had gems like Elvis Costello, the Waynes World Sound
track, and the Go-Gos "Beauty and the Beat.” I bounced around the apartment at seven years
old, singing into a hairbrush like I was in The Go-Gos. I got walked in on once or twice!

At what point did you begin to find your own music, and what were your first favorites?

I was maybe 10 when I bought Nirvana, Spice Girls, Cake, Beck, and No Doubt's “Tragic
Kingdom,” which I still love. Of course, I also had the Titanic soundtrack. My sister was into
Bowie and Velvet Underground. One day I came home and she had shaved her head/eyebrows
and had a Ziggy Stardust lightening bold painted across her face. I liked moody arty music, but
it didn't punch me in the gut. I was 13 when, after PE class, my friend gave me a burned CD of
Operation Ivy's “Energy,” taken from her older brother. Holy shit! This was in the year 2000 and
pop music of the day was extra horrible. I loved the urgency, short songs, and visceral vocals. I
played it over and over. It felt fresh even if it was already more than a decade old. Unlike the
Sex Pistols (which I knew to be “punk” with a capital “P”), Op Ivy was from the Bay Area, where
I was born. That was huge. Punk music wasn't a relic of another time and place. It was
happening now. From there, I got into Lookout bands, and I really loved Screeching Weasel,
especially “Anthem for a New Tomorrow.” I played a lot of SW songs on guitar when I was
transitioning from acoustic to electric guitar. I bought The Queers “Punk Rock Confidential” and
half the tunes reminded me of oldies I liked as a kid. I realized that the Ramones were the
underlying influence, so I went back and dove head-first into Ramones Mania. They were pure
joy! “Rock n Roll High School” inspired my “Hayley Ramone” phase with too-big leather and bad
black box color. Hardcore bands like Black Flag were burned and given to me by another punk
kid at my school (there were very few of us). I loved that I could actually play this all tof hese
bands on my guitar and it was fun to get my aggression out. My first guitar teachers had taught
me classic rock, so I knew how to play Led Zeppelin and Rolling Stones, but it was boring to
play. I later had a great stoner guitar teacher that was like, hey: "Here's some Ventures, the
Clash and X. You might be into this." I still see him around town. I will never forget when he
looked at me and said, “Dude, I want you to shred!”

Did you recognize early on that music was a way for you to assert your individuality? Was
that an important component in the beginning?

There were very, very small punk shows happening in my rural Central California town, at
masonic temples and halls. I couldn't believe the electricity in the room. At first I just watched. I
had always been a writer, trapped in my own head. The feeling of being in a sweaty room of
people thrashing around was intoxicating. I was raised by atheists but this felt like church. I was
14 when I went to a “real” punk show, TSOL and Casualties, 2002. It was held at a lodge hall in
the middle of an empty field in San Luis Obispo, CA. I instantly got smashed in the nose by a
flying elbow and got way too drunk. I was hooked in more ways than one. That year my
boyfriend and I snuck out one night and went to see The Damned in Ventura, 3 hours away. I
drove his 82 Subaru wagon with a stick shift even though I had no idea how to drive. It didn't matter how much trouble we got in, and we got in a lot of trouble! This pissed off my parents, which I liked. When I was 16 my parents split and I returned to SoCal, where I started my first band, an all girl group called Ballroom Burlesque. I was now "in a band." My life revolved around playing backyard shows and going out to Hollywood and LA for punk shows with my friends every weekend. Having now played with some punk legends like FLAG (members of Black Flag), Adolescents, the Weirdos, Agent Orange...it's kinda crazy. That really was my teen dream, but at the time I was partying too hard and would have never made it. The band was short lived. I always say punk rock “saved and ruined my life,” and it's true.

When did you begin to realize that your identity was tied to your love for music?

Freshman year of high school. I didn't feel strongly about being a musician, I just wanted to write
songs. I also wanted to be part of this mythical thing called the punk scene and write songs
about what was inside of me. I loved the ongoing punk zine Cometbus, which later inspired me
to put out my own zine. I tried to join the school jazz band and when they said no, I thought,
“screw this.” I was good on the debate team and had a small group of misfit friends, but by tenth
grade, the truant officer was onto my tricks. I always had my portable CD player and a show to
go to and I snuck out constantly. By 17 I had tested out of high school and was living with my
boyfriend in a one-bedroom in Wilmington, CA with a hot plate next to the toilet, It didn't matter
because there was punk rock every night. Playing backyard shows were the best, because
someone's grandma would be at the door taking dollars and it was just a big ruckus. My first
shows with Ballroom Burlesque,were the Redondo Beach Teen Center and rowdy backyard
shows in Lennox and Wilmington. I'm still good friends with the people I met through that scene.

Under what circumstances did you first pick up an instrument, and what led you do try
songwriting?

I honestly don't know why I wanted a guitar. I always wanted to be an ice skater, but it was just
because they got to wear cool outfits. I asked for a guitar when I was 10 and my dad got me an
acoustic nylon string Fender. I wrote a song almost immediately, about a boy. When my sister
left home for art school, she left behind an old strat she'd never played. It had an anarchy sign
etched into the headstock and I had no idea what that meant. Once I plugged in and went
electric, I had to play music in the barn, instead of my closet. It was nice, though. The barn is
where I blew out my eardrums. I retired my small Fender practice amp for a 50 watt Line 6
Spider 210 with all the cheesy settings and I only used “Recto,” “Crunch” or this channel called
“Insane” which was just the most distorted you could get. I plugged my mic into the old Fender
practice amp and set it on a milk crate. There was an old couch in there and in between rocking
out I would take naps. My dad also helped with a crude recording set-up. It was just a DI box
and simple recording software, but it gave me a sense of satisfaction to make my own demos.

How did you approach songwriting at first? Were there specific styles or artists you wanted to emulate?

I was an obsessive writer with overflowing tortured journals, so it was a natural leap from just
words to words and music. If you haven't already noticed, I'm a little crazy, and writing songs was a way of medicating my almost constant anxiety and mood swings. I also listened to songs
like SW's “Supermarket Fantasy,” X's “White Girl,” Op Ivy's “Take Warning” or Black Flag's “Rise
Above,” and then tried to figure them out. I I learned every Ramones song I could, of which
there was an endless supply. My fave was “53rd and 3rd,” which is funny now that I know it's
about Dee Dee turning tricks for drugs! Sometimes the cheesy guitar mags would have tabs for
like, a Green Day or Blink 182 song. If there was a girl in the mag she was basically humping
the guitar. I wanted to be Joan Jett after I saw her perform at the California Mid-State Fair one
summer, and she was wearing leather pants! She was unreal, so commanding. She was covering the Stooges and making the crowd yell "Now I wanna be your dog!" I still wanna be like
Joan.

How did your songwriting grow and develop into your own style?

I learned to trust myself. I learned to embrace my inner spaz. I started Hayley and the Crushers
because I knew my name would be on it, and I couldn't BS myself. I painted myself into a corner
so I had to just fucking do it. This is the project I have always dreamed of.

What are your typical present-day routines or methods for songwriting?

Iphone voice memo app for the win! Sometimes it is 3 a.m. when I make voice memos and they
are hilariously bad, and I'm, like WTF is this?! I write ideas in a notebook with an index, so I can
reference the page number. I always do a demo in garage band with robot drums, my guitar,
lead vox, and the backing vox. I always have Dr. Cain, Esquire lay down bass, because he adds
a new counter melody usually, and he has great insight. Then I hand it over to the drummer and
I let him do his thing. Full band rehearsal is every Sunday night. Learning new songs are the
lifeblood, and I get bored easily. I don't recommend that people get as crazy as I do about
polishing songs, though. I have learned that songs tend to polish themselves during recording
and touring. Cool/Lame was recorded on the fly. Our drummer used the sound engineer's son's
kick pedal from a toy kit (made for an 8 years old). There are backing vocals that were added
last second, and it's all groovy. I am learning to let go and “let Dee Dee take the wheel.”

Your association with Eccentric Pop! Records has given you a rightful place at the pop punk table, but I know this is not your specific musical background. What is your view on the current pop punk scene, and to what extent do you relate to it?

I missed the golden era of pop punk, being too young. When I was in my late teens and early
20s, it was all about street punk and the revival of 77 style punk, which was also pretty cool. My
friends and I had always worshiped SoCal bands like Agent Orange, Circle Jerks, Adolescents –
it was in the water living in LA's South Bay. There was a major mistrust for anything new,
anything that seemed “too commercial,” as pop punk had become synonymous with shitty radio.
I love all kinds of music--including classic country and rockabilly like Buck Owens and Wanda
Jackson, Martin Denny's exotica, and lately more and more new wave 80s stuff. Still, pop punk
empowered me to play power chords and write catchy melodies when I was a kid. I remember
getting the Riverdales first record in the mail and putting up that jumbo poster. “Back to You”
was literally made for pubescent girls! I owe a lot to the genre and have a ton of respect for it,
although I am missing chunks. I played a Warped Tour date a few years ago with my previous
band Magazine Dirty and I remember watching TBR and admiring the crap out of their stage
performance! I totally didn't know who they were at the time. They gave us a CD, and in the van
on the way back, I was like, “Ok, there is a lot I need to catch up on!” The Dummy Room
Podcast has basically re-educated me on all the stuff I missed. There's so many good pop punk
bands out there making new records, like Horror Section, Jagger Holly, Mean Jeans. A good
pop punk song is extremely hard to write and anyone who says otherwise is naive. A well
written pop punk song is also extremely satisfying to listen to, and it is addicting and sticky a
way that other forms of rock music aren't. Eccentric Pop is an example of a group of pop-
influenced bands that are doing the genre with style and high production value, and there is a
breadth to the roster that is refreshing. I am beyond honored to be in such amazing company. I
owe the encouragement of Dougie Tangent (The Putz/Devious Ones) and for getting me in
touch with Travis Woods. (Dougie also booked our Midwest Tour, April 25-May 7 and will be
playing drums for us on this run). Travis said he listened to our demo in his truck for a few
weeks straight. That was a huge compliment. You never think anyone is gonna care about your
music. I don't have a view on the modern pop punk “scene” because, as usual, I am on the
outside looking in. In a way it's fun, because I am always the weird one at the show in the go go
boots and swimsuit!

San Luis Obispo is an interesting town with more culture and quirkiness that I expected to
find. Do you feel inspired by your hometown environment, and did it play an important role in your development as an artist?

I came up with “Poolside Glitter Trash from Sunny San Luis Obispo, CA” for a reason! It says
that on our vinyl, and reviewers are always confused! If I hadn't left LA I wouldn't have put out
so many releases (I think I am at seven), and I probably would have partied so hard I would be
dead or in jail. Here, the vibe is sleepy but chill for creating. You have to make your own fun.
The Crushers have made pool party scenes out of dumpstered materials, shot weird music
videos featuring mermaids and icons of our town (Madonna Inn, The Shell Shop, Boo Boo
Records). This is classic California. We are a few miles from the beach, we have one of the last
drive-in movie theaters, and one of our biggest claims to fame is an alley covered in bubblegum.
I think that sums up my musical taste pretty well.

Your vocal talents are very obvious, and I wonder if that has played any sort of role in you
gaining confidence as a songwriter. Having a great voice and being able to write good tunes is a great combination! Add your personal style to the mix and it seems we have a triple threat on our hands.

Bless your punk heart. Let this be a word of encouragement to anyone struggling with singing: I
never thought I had a good voice. I had to go on tour in a country band and sing horribly the
whole time and throw my voice in order to finally realize I was approaching it all wrong. I relaxed
into my natural voice and stopped trying so hard to sound “pretty” or “tough” for that matter
(when I sang in punk bands). I was always more confident in my writing, and my inner-voice,
than my actual voice. Now my rule is: “don't try to sing, just sing.”

Is Dr. Cain (bassist of The Crushers) your husband? How important is his support and
involvement in what you do? Are there key roles he plays in the band besides playing bass?

Dr. Reid Cain Esquire married this crazy lady in 2013 and he is still making my coffee every
morning. We have so much fun, it should be illegal! He grew up as one of a few punks in a tiny
mountain town in Colorado and he also lived in the Bay Area in the 90s, where he took on a lot
of the DIY ethics of the punk scene there. This rubbed off on me. If Dr. Cain says he is going to
do something, he is going to do it. He is a bad ass. He's also an amazing songwriter, painter,
builder, and owns a comic book shop in SLO – Dr. Cain's Comics. We don't always artistically
agree, but he encourages me always. I write the lion's share of the material. His main role is
playing bass and he also collaborates on some songs, although we tend to do our own work
separately (we don't usually write together). His bass playing is an extremely important melodic
component, and it allows me to not be so chained to the guitar and loosen everything up. When
he takes over on vocal duties, like during "Lobotomy," I get to dance and interact with the crowd.
He also drives the van and keeps the ABBA on lock. I drive the van sometimes, but I go too
slow and tend to make my passengers nervous. I can see their point.

Your guitar sound is clean and surfy - how did you settle on this style? Do you feel that
distortion and power chords are overused in punk?

I wanted my guitar to scream “California sun” and Gidget. I play a Gretsch and use a
Danelectro Spring Reverb pedal. Dr. Cain's bass is the distorted, fuzzed-out undertow. We tour
with barely any gear. We played with the Murder Junkies once and Merle came with nothing but
a pedal and his bass. We were so impressed that now we always borrow amps/drums and bring
good pedals/cymbals. Our drummer, Gabriel, is a monster of metal music and has a powerful,
soulful swing. (In 2019, we are working with top notch drummers Benjamin Cabreana and
Dougie Tangent while Gabriel deals with medical issues). I chose my Gretsch Electromatic Pro
Jet guitar because it's a knock off of what Billy Zoom of X played. I fucking love distorted guitar,
so I say bring on the distortion. However, I would never trade balls for my Bigsby.

What are your “bucket list” goals as a musician? What would bring you the greatest level of satisfaction?

I want to tour/release in Japan as well as Europe! A palm reader told me Japan would happen
this year, so how can I let her down? I have a Japan tour spreadsheet I am working on. I'd also
like to tour the East Coast and make a record a year. I am beyond jazzed for the new Dan Vapid
and the Cheats album coming out on Eccentric Pop this spring. Vapid's songs are always like
candy to my ears and so, so classic. Collaborating with him would be a dream.

Who are some songwriters who you’ve been especially inspired by? Who are some of your
current favorites?

Songwriters like Loretta Lynn, Charlotte Caffey of the Go Gos, Exene Cervenka of X, Mike Palm
of Agent Orange, Leslie Gore, Joan Jett, Dan Vapid, Ben Weasel, Dolly Parton, Dee Dee
Ramone, and Patti Smith to name a few. Lately I've been digging stuff by Lucy and the Rats,
Midnite Snaxxx, Bleached, The Peawees, and Patsy's Rats. I have also been revisiting the
Muffs catalog. Everything Eccentric Pop is putting out now is awesome. Devious Ones' latest LP
is on my turn table quite a bit and the new Mugwumps “Clown War Four” scratches a major pop
punk itch for me. It's been on repeat. I have also recently fallen down a Kim Wilde hole and am
feeling the 80s new wave. This new LA band, Color TV, is totally kicking ass in the legacy of
The Cars. Their track “Anybody's Girl.” is a perfect pop song.

As we wrap up, any advice to those seeking to develop their own songwriting voice and
build an audience?

Believe that your voice and songs are worth hearing. You will build an audience by being
exactly who you are just turn yourself up to 11. Stone Cold Steve Austin said that. It probably
applies to music as well as wrestling.

HOT LEATHER

HOT LEATHER

What are your earliest memories of loving music? Who were your first favorite bands, and when did you realize that music was an important outlet for you?

I’ve loved music my entire life. I’ve always wanted to be a musician and when I was still in elementary school I always wanted to start a band and I made fake CD cases and stuff like that. I remember recording myself on a little cassette tape recorder singing Dragula by Rob Zombie. My first favorite bands were any bands that were played on late 90s MTV and then also Iron Maiden, and The Beastie Boys. I had my dad buy me punk-o-rama 3 when I was really young and I was really into that. I remember it had Telepath Boy by Zeke and that’s when I realized that you could write short songs that are still good. Another note is that it has Gotta Go by Agnostic Front and that song has a lot of “oi” in it and I thought they were related to AC⚡️DC because they were the only other band I ever heard say oi. 

Is there a particular era and genre that influenced your songwriting style the most

My songwriting (lyrics) is mostly influenced by That Dog. The music basically just blink-182. 

Something that struck me immediately about Hot Leather is that you employ aesthetics that are almost opposite of what many punk bands aspire to sound like. Were you going with a sound that you personally like, and was there a sliver of rebellion against an expensive studio sound

I really wanted to make the poppiest music I could without making straight up pop songs. I’ve always been into lo-fi music and DIY recording. Japanther is a huge influence on the sound where you can tell there’s a really catchy song underneath all the fuzz. I want to make poppy songs that sound like shit. 

Your songwriting is skillful and relatable with many catchy melodies and structures that could easily translate into other forms (acoustic, full band, etc.). How did you learn to write songs? Were there certain templates or influences that you used for reference in the beginning

When I first started writing songs with an instrument I was 14/15 and I would write everything on the acoustic guitar and did a folk punk solo project. I’ve never really tried to be a guitar virtuoso and I’ve always just been mostly powerchord rock (aside from writing twinkle riffs sometimes). This is the first time I’ve really focused on writing catchy lead parts. 

Your lyrics are notably very dark and often confrontational in the sense that the listener must contend with very negative themes and concepts. This is offset by the very catchy nature of the songs and the auto-tune/electronic vibe - did you always seek to create this contrast? Were you ever tempted to go in a musical direction that "sounded" more like the tone of your lyrics - perhaps black metal?

It’s really funny because when I started Hot Leather I wanted to strictly write really positive songs because I was tired of always writing depressing stuff but I’m a really depressed person so a lot of dark stuff comes out regardless. But I think it’s really cool to have two things that are opposites working together (catchy music with dark lyrics). I tried to show this on the art of my debut album with showing a sign for a store advertising total health and then underneath that there’s a marquee advertising discount cigarettes.

Something that immediately comes across in your music is a sense of authenticity - that you are being yourself and sharing your own vision without pretention or ego. Did it take time to develop this confidence?

Not really. I don’t really care too much what people think about me. Obviously I care enough to do so many things that are so attention-driven. I’ve never felt the need to be fake or anything. If someone doesn’t like what I’m about then they can go fuck themselves. 

To what extent does Hot Leather provide a source of therapeutic relief? I've read interviews in which you've recounted stories from your personal history that must have been very traumatic and impacted you deeply - does the music allow you to explore those issues and express some of that pain?

I don’t really think that Hot Leather provides any therapeutic relief. I think the traumatic experiences in my life gave me enough brain damage to make something like Hot Leather though.

Memes are a creative pursuit that I, being 38, am still trying to wrap my head around in some ways. There seems to be endless potential and the form of expression is similar to songwriting in the sense that you can evoke emotion and convey deep/layered communication through it. Did creating memes give you a similar sense of satisfaction when compared to creating music and songs?

Absolutely. I was making music for years and then got too burned out on it and started doing something new (memes). I feel like you can provide emotions with a meme in the most common denominator way that a song couldn’t do based on other people’s personal tastes. Making memes gave me way more satisfaction than creating music but I just got too bored with memes and wanted to start making music again. 

Suicide, self-harm, and human darkness appear to be themes that you repeat throughout your catalog and have become part of your trademark style. Based on the feedback that you get from listeners and fans, do you feel that your art is being received in the way you hoped? Are people generally relating to it in a way that satisfies you?

I’m not sure. Some people reach out to me saying that my songs make them feel not so alone which is cool. Some people reach out to me thinking I’ll be their DM therapist and tell me all this stuff they’re going through and want me to help them which is really frustrating. So there’s two sides to being so relatable. I think some people think I’m mocking mental illness and suicide ideation which is a really weird thing to think. I never really thought about how it would be received though. I just kind of did it. 

You've been able to travel and play shows outside of Idaho and connect with a wider community of fans and bands via Hot Leather - has this revitalized you socially? Do you feel that Hot Leather has provided avenues that would allow you to become a happier person overall?

I’ve always been pretty outgoing and extroverted but Hot Leather has definitely made me a happier person. In dec. 2017 I played a festival in LA and made a lot of friends and then moved to LA in Jan. 2018. If I still lived outside of Boise I would have for sure killed myself. I love meeting people who are fans of what I’m doing and meeting other artists and working with them. A lot of people that I’m fans of that I never thought I would become friends with.

You have spoken about your motivation to create funny things for your friends to enjoy, and I get the sense that friendship and humor are key elements that motivate your art. Do you create songs with friends in mind? Are your friends providing feedback that helps you to develop ideas and goals for Hot Leather?

I don’t really think I create music with my friends in mind. I send them stuff and ask what they think and get feedback and change it but Hot Leather is mostly just music I would like to listen to. 

Who are some songwriters that you admire? Which particular ones have been most influential to you?

I think the songwriters who influence me the most are Anna Waronker, Chris Conley, and whoever writes the songs in Bayside. 

I've visited Boise and Idaho Falls - but my experiences didn't allow me to fully feel out what it would be like to grow up in small town Idaho. Is there a "Napoleon Dynamite" aspect to it? Did you feel isolated and disconnected growing up there? 

It completely sucks. I felt super isolated. I think most people who live there are a couple years behind what’s cool which is pretty frustrating. Some bands come through there but most of them skip it. I definitely feel a Napoleon Dynamite vibe. 

Many have written about the influence of the Internet on your art - to what extent do you feel that the Internet has enhanced or contributed to your vision as a musician and artist? What do you imagine your life would have been like had you grown up a decade earlier when it wasn't a pervasive part of everyone's lives?

I am 100% internet. If I was born a decade earlier I would have probably been extremely Internet still but one of the first adopters. I love the internet. Radiation from the computer is hurting my eyes, I love it!

The name "Kornfan420" really captures a lot of humor and meaning that I think is translated through both your memes and music. Are you fascinated by the low-brow youth culture that proliferates in malls and shithole towns throughout the nation? You grew up in an era where nu-metal, JNCO jeans, aliens smoking joints wearing Dr. Seuss hats, etc. were a prevalent part of small town youth culture. Juggalos, stuff like that. Can you talk a bit about your relationship with that kind of "so bad it's irresistible" culture?

I unironically think numetal and that kind of stuff is super cool. I’ve always been obsessed and fascinated with ICP and Juggalos. Numetal fashion wasn’t as popular in my hometown and I’d very rarely see someone wearing anything cool but there are a lot of juggalos. Juggalos are probably some of the nicest people. My dad bought me The Riddle Box by ICP for me on Christmas when I was in 6th grade and I’ve more or less been a fan of them since. I chose the name Kornfan420 for my memes mostly because I used to be an admin on a Facebook page called “I play korn to my dmt” and I wanted the name recognition.

What are your ultimate goals as a songwriter and artist? What level of recognition/opportunity do you hope to achieve?

My ultimate goal is to be able to support myself completely from music and not have to work a job or any weird things on the side. I think I could reach a largeish cult following like NOFX or something like that. I don’t think I’d like to be any bigger than that because even with a little bit of recognition there’s a lot of stress and creepy people.

RYAN MANHOLE

RYAN MANHOLE

What are your earliest memories of loving music? 

Oldies when my parents would drive us to school or go on trips. I liked the fun 50's doo-wop stuff like "Runaround Sue". Hippie dippy stuff like "Time Of The Season" not so much.

What were your first favorite albums or artists that you discovered on your own?

There was this assignment in middle school where I had to bring in an album I liked. I didn't have one because I only collected comics so my dad pulled out this Beatles double album (the blue one with them looking down at you) and was like "These guys are cool." I took one look at it and was like no way! The combination of it being a huge record, their dumb name and those 4 ugly faces was way too much. So naturally I went out and bought the Ghostbuster II soundtrack on cassette because I liked the movie. I still have it too - my mom wrote my name on it haha. That got the ball rolling though and soon I was jamming out to Phil Collins solo albums and the "King of Wishful Thinking" cassingle on my walkman. I did end up with an REM album though because I liked "Shiny Happy People".

When did you begin to associate music with your personal identity?  

In high school I became a brooding alternative slacker and got a guitar that was paid for by my mom and my dad ;p. I took lessons until I figured out that all the Nirvana songs were just the power chord and then quit. So I guess that's when I officially became a musician. After high school I formed The Manholes and was a college boy in a band / pretending that I was bad XP. It was pretty much a 10+ year manic phase of rolling around in glass screaming "b!&#!!!!!!" and "f@&!!!!!!" while bouncing amps off my head. I also became a black-out drunk, thus solidifying my identity as this total shock rocker with his head up his ass. 

How did you begin your journey as a musician and songwriter? What were those first experiences like, and what were your goals?

Post-Manholes I started recording solo albums on Audacity with a shitty keyboard that had a "fill" button for drums. They were really bad. I was still drinking all the time and trying to impress this girl by being RYAN FUCKING MANHOLE. She wisely rejected my drunken marriage proposals and moved far far away, so I bottomed out and had to get sober so I wouldn't die. After that I made a bunch of embarrassing albums about THE ONE THAT GOT AWAY and then got over it (sort of). It's only just recently that I've started writing stuff that I like.

You are clearly very knowledgable and interested in traditional 90’s pop punk, but your style of songwriting veers significantly from that aesthetic. How did you develop your own songwriting voice and aesthetic?

I found this band on bandcamp called The Cherry Icees that had anime and Hello Kitty stuff all over their album covers and it warped me forever, much like the "Beyond The Valley of the Assfuckers" album did in 1999 - but in the complete opposite direction . I was like "I wanna sing cute songs about 2D girls, ponies and Ben Weasel now!" haha. Helen Love but more ROCK! 

You tend to write conceptually and build upon stories and sagas - what motivates you do to this? Did you move from writing stand-alone songs to more concept-oriented material gradually or was it an intentional shift in your style?

I love those old Orson Welles radio programmes like Harry Lime so its kind of my way of doing that. Nobody ever listens to them in their entirety though so it's kind of a waste of time.

Can you explain why My Little Pony has become a conceptual and aesthetic focus in your work? It comes across as both surreal and strangely relatable. Is there an end goal in mind, or are you just seeing where it will take you?

Back when me and Joe Queer were Facebook friends he called somebody a brony. I commented "Needs to be a song" and he liked it. Years later with no new Queers album in site, I wrote "Big Moose is a Brony (So We Kicked Him Out of the Band) based on it because I though it was a funny concept. I also made up a fake pop punk band for him to be in (The Manholingtons) and made 4 albums under that moniker. After quadrupling down on a joke nobody was into in the first place, I decided to take it one step further and make a BIG MOOSE MANHOLINGTON SOLO ALBUM for laffs. I got all the pony DVDs for research and as I watched it I started thinking it was cool. Now I dream about the ponies (NOT SEXUALLY) and own 2 stuffed ones. I know it sucks, sorry dudes.

Can you talk a little about your work and role as a caretaker? I find that interesting and possibly a source of both positive and negative inspiration for your music.

Music is an escape from my dead end job. Wiping adults' asses is not inspirational in any way, shape or form, but I need to pay the rent and break the first Grim Deeds Commandment of D.I.Y. by eBaying stupid costumes for my lame music videos (https://www.youtube.com/channel/UCytZbvENZz7mb_1rOfb_W9g

Something I often ask musicians is the link between depression and creativity. Your experiences seem especially relevant since you also have dealt with mania in tandem with depressed mood. Does music tend to be therapeutic for you?

When I come up with a song or album idea I'm usually stressed because I like to call my shot and set the bar really high from the very beginning (breaking the Grim Deeds Commandment of D.I.Y. #8). However any relief I feel by artistically sticking the landing (IF I do) is almost immediately dwarfed by everyone's total lack of interest. That's when the self-hatred sets in and I begin to feel like I'm being aggressively ignored. Rough Analytics: The Ryan Manhole Story.

Your DIY aesthetic and solo artist approach is similar to mine in many ways. What has inspired you to take this path, rather than the “traditional” path of maintaining a band?

 I hate having to jump through hoops and walk on eggshells just to get things done, so I work alone. Also there's nothing worse than "jamming" with some dude while he's giving you the fuck eyes - like "yeaaah". Hardest pass ever. Band-in-a-Box is the best money I ever spent. Fake band to play my guitar over - no drama.

Do you feel connected to the pop punk community? Do you feel like there’s a place for you at the table, or do you see yourself more as an outsider looking in?

I'm an outsider looking in the opposite direction! Communities are all circle jerks and I wanna have no part of it. When Jason V did that web thing about the Brony tape I almost cried because he didn't need to do it. Dudes like him are totally fucking rare. Joe Queer used to be like that. I still have a letter he wrote me from back in the early Manholes days. Once I put up my hand to get a high five at the start of the show and he didn't get me. I kept it up and he ran over and slapped it as they started the first song. Rare.

Something interesting about your composing and performing style is your preference for echoey, higher register vocals and layered guitars. Do these trappings come naturally or did you seek out a new twist on the tried and true formulas?

That's just me trying to hide my shitty voice and guitar playing. I'm also TRYING to sound cute. When I sing I usually envision myself as an anime idol girl, or more recently, a female cartoon pony haha.

Lyrically you seem to dance the fine line between humor and insanity - what kind of feedback to you get from listeners about your music? What do your friends and family think of what you do? Do you feel that you’re currently reaching an audience of satisfactory size/reach?

I love my family way too much to ever subject them to my music haha. On an album I average maybe 6 hits on the first track and by the 4th 1-2. I'm pop punk fan-fic so nobody gives a shit. They're too busy jerking off to garbage like Masked Intruder.

What are some of your ultimate goals as a songwriter and musician? Are there particular achievements or accomplishments you’re hoping to carve out?

I just want to Joe Queer senpai to notice me. (and also Jason V's phone number).