10 Questions with Thrill Kill Kult

My Life with the Thrill Kill Kult (Credit: Mindway)
The pioneering industrial electronic band, My Life With the Thrill Kill Kult, have lined-up five California dates that kick-off this Friday in the East Bay at Montclair's That 80's Bar. On Saturday they hit the South Bay at San Jose's Blank Club, and then wrap-up their Bay Area visit on Sunday at the Folsom Street Fair in San Francisco. Be sure to check the links above if tickets are still available!

Thrill Kill Kult (TKK) are one of a handful of artists that were instrumental in defining industrial music coming out of Chicago in the late 80's. Founded by Buzz McCoy and Groovie Mann, the band was signed to the legendary Wax Trax! record label and released college radio staples such as "Kooler than Jesus," "Devil Does Drugs," "The Days of Swine & Roses," and "Sexplosion."

Unlike Wax Trax!'s other core industrial artists Ministry, Front 242, KMFDM & Frontline Assembly, TKK's sound began to shift into an electronic funk disco amalgamation that's still hard to quantify even today. The band left for Interscope records in 1991 and shortly thereafter, Wax Trax! was acquired by TVT Records, the original label of Nine Inch Nails.

We were lucky enough to get a chance to interview both Buzz McCoy & Groovie Mann earlier this week and you can find the interview below. Be sure to make it to one of their three Bay Area performances this weekend!

SFBAC: You're one of a handful of artists that are synonymous with Wax Trax! Can you talk a bit about what it was like during that time?

TKK: It was exciting and chaotic. I think we were the only ones to have an EP and an album out on the label before we even created a band, which made us a bit different than the rest. We weren’t shopping for a label. Everything just fell into place after Jim [Nash] and Dannie [Flesher] heard some tracks we were working on for an experimental film idea. They really pushed us to create more and gave us the studio time and backing for us to start the project. We had no idea of what we were doing, and probably still don’t! Haha!

SFBAC: Looking back, do you have any regrets about leaving Wax Trax! when you did?

TKK: Not at all. We had outgrown Wax Trax, and things were changing quickly with both us, and the label. We kind of had an inside perspective of things because both of us worked there and knew what was going on behind the scenes so to speak. We saw the label starting to spiral out of control. Naturally Jim and Dannie were a bit hurt when we decided to move on, because we were almost like their children who they nurtured from day one. It took a little time for all of us to reconnect, but Jim conceded that we were right in our decision and Wax Trax could never have done the things for us that eventually happened with our career. Both he and Dannie conveyed they were very proud of us.

SFBAC: Can you describe the reasoning for your shift away from the satirical satanic undertones to the disco-funk feel of what's made-up your 'sound' over the past 10-15 years?

TKK: We like to experiment with new sounds and ideas. We’re not the kind of band that has one sound or style and sticks with it. After all, we were just an experiment from the beginning. We need to change and constantly grow. The horror movie stuff was just the first chapter. Then came the disco with Sexplosion. Drugs were a big influence for 13 Above the Night. Rebellion was the theme for Hit & Run Holiday, and so on.

SFBAC: You’ve performed a number of times in the SF Bay Area, what's your craziest story or memory?

TKK: I don’t know how crazy it was, but the first time we played SF was at the I-Beam on Haight. No one remembers the show because we drank 5 bottles of cheap vodka between the 6 of us before the show. The promoter was in awe of how much we could put away, and I’m sure she’s seen a lot. But that’s how we roll in Chicago! Lol.

SFBAC: Do you have a favorite venue?

TKK: DNA has always been a great place for us, and they treat us good there. It’s a mainstay when we tour. We played the Folsom Street Fair about 7 years ago, and that was pretty awesome too.

SFBAC: Of all the artists you’ve worked with over the years, who stands out and why?

TKK: Well of course Siouxsie is an icon, and the whole band were great to tour with (and party with)! Budgie would watch our whole set every single night from the side of the stage. Big Stick is a band we were both very into, and they were fun to work with. The EMF boys were a hoot!

SFBAC: What artist or artists would you want to collaborate with in the future (who you haven't already worked with)?

TKK: We really don’t collaborate much. We have our own way of working. It’s like asking a writer if he wants someone else to write a book with him. We’ve had a few friends like Lydia Lunch join us in the studio to add some added sparkle here and there, but collaborations just aren’t our thing.

SFBAC: Do you find it challenging translating studio material for the live environment? 

TKK: Not really. We’ve worked with some really great musicians over the years, who really know how to enhance the studio work (which is mostly drum machines and samplers), and they really bring the live experience to the next level. We love playing live. Connecting with our fans “one on one” is the real satisfaction for us.

SFBAC: You released Spooky Tricks earlier this year. Can you describe the writing/recording process that went into this album? Did it differ from your 'usual' process?

TKK: The writing process is pretty much the same as it always has been. We start with some initial grooves and ideas of what we want to convey with the album and go from there. We took a kind of voyeuristic approach with Spooky Tricks. Each song is it’s own story, with a lot of sexual escapades thrown in. It’s like peeking into the windows along the Reeperbahn in Hamburg. Every storefront offers something different and tells a different tale.

SFBAC: What can fans expect of your upcoming shows in the Bay Area?

TKK: We’re playing an old school style set we call the “Inferno Xpress”. It’s a trimmed down version of the band, relying mostly on bass, drum machines and samples to perform pumped up, heavy dance oriented versions of our songs. It’s not the “rock” show this round, so prepare to get down and dance. Our line up is Groovie Mann (vox), Buzz McCoy (Keys & Vox), Mimi Star (Bass & Vox) and Toxic Rainbow (DJ & Sound).

SFBAC: Thanks for making the time guys and we're looking forward to your shows this weekend!

An Interview with David Gray

David Gray (Credit: Jake Walters)
David Gray's back with a new album (Mutineers - iTunes) and will be headlining this year's 30-day iTunes Festival on September 14th, but before he does, he'll be performing at Oakland's Paramount Theatre on Thursday, August 28th. We had a chance to catch-up with him yesterday to learn about what went into the new album and his favorite memories of the Bay Area. Tickets are still available for the Paramount show here.

SFBayAreaConcerts: Let's talk about your new album that released in June, Mutineers. Can you describe how your writing process differed with this album compared to your previous?

David Gray: Yeah. I think I've changed a lot of stuff with this record. Perhaps in subtle ways in some ways. But with this writing and recording, I was looking to find a new way in to the good stuff. I would normally write from the piano chords or the guitar chords for the sense of melody or rhythm that’s within it. And then on top of that, put the lyrics. But I've started to try to work backwards. So I’m always taking notes and writing little phrases and things. So one example would be the "Birds of the High Arctic" (iTunes). It would be hard to work such a complex metaphor into a melody coming at it from the other way. So I found a way to sing that, and then worked backwards and wrote a song to attach to it.

I've had a few successes with things like that. I've changed further and started using other people’s words as a way into music. So there’s a poem that begins the song "Gulls" (iTunes), which I culled from a poem by a Belgian poet called Herman de Coninck, so that song was born out of that. I sensed there was music there, and then there was a short story which also led to a song in "The Incredible" (iTunes)

I think there’s a theme of returning to the moment, and there’s a sense of that. A new raw energy, and a joy of being alive, a joy of making music again. There’s a freshness, and a living in the present tense. That’s one strong theme I think that cuts through the record. Obviously, the opening track, "Back in the World" (iTunes), is the most sort of literal exploration of that. And then you've got a secondary theme, but equally as prevalent, is sort of yearning to be somewhere “other,” so outside of the human domain. The sort of track "Gulls", "Birds of the High Arctic", "The Incredible", they all seem to embody this kind of cellular craving to be kind of beyond the world of the human, out in the wild, free of this kind of bullshit we've constructed around ourselves.

So not everything was done differently. But the interesting thing about working backwards was it sort of disabled my sense of taste. And I didn't have a real sense as to whether the melody or tune had any real merit to it while I was working on it, I was just working instinctively to complete it, or make it feel like it was a suitable transfer of melodic momentum and phrasing from one part to another, and complete it satisfactorily as I could. But it was without my sense – I wasn't indulging my enjoyment in the thing. It was only when other people came in and heard it and said “oh, I really like that,” that I went “oh really?” So I think it was advantageous in that way. I was finding a way around myself.

And likewise in the studio, I employed someone who was basically there to sort of challenge my usual way of doing things. And that’s what Andy Barlow did once we got the songs in the studio. He pushed me further to not work a way that I was used to, to shake things up. So it was a process of destroying in order to make to a certain extent. In looking for a traverse across the creative rock face, sometimes you can’t go straight up. It’s time to move over and try a different angle. So that’s the point that I was at. Not all records are so complex and so challenging. This one proved to be so. But we got there in the end, and there’s an added zest and an added excitement and freshness to what we found, because it was hard-won. And when I saw the new sonic vistas opening up in front of me, I rushed in, and there was a real sense of excitement and discovery to be somewhere new.

SFBAC: Where there any specific inspirations that were behind any particular songs on the new album?

David Gray: I don’t know if I can detail my inspirations. It’s really … it’s work most of the time. It’s listening to the music of words. You wish inspiration to come showering down on you like some god-given gift, but that happens once in a blue moon. Most of the time, you’re just trying to make it work. You’re trying to cut the pieces of wood so they’ll fit together and make a suitable piece of furniture that hopefully people will be sitting on for many years to come. That’s what you’re up to. So I’ll have ideas, I’ll read books, and experience things in my life, and see things and witness things, images that embed themselves in me. Then will come out, and some times in conjunction with each other, there’s a song there, or some tension in between. "Snow in Vegas" (iTunes) is a good example. Now that's the closest thing to an inspired moment that I had, because that song had been waiting to be written for a long time. It had that lyric, and had that title. So I think there’s twin themes on the record, I could talk probably more comfortably about that. But whether I could detail my inspiration, I don’t know.

I think just to be clear of the world we've constructed around ourselves. The sort of over-saturated, cloying culture we've developed. I think that sort of yearning to be free is common to most people. Anyway, it's something that’s within me. And it finds its voice when I walk in nature. I watch the birds, the animals, the plants, the ocean. And I long to be further out into it. And that craving gave birth, and colors quite a few of the songs, in conjunction with the sort of returning to the present, and being very much alive in the moment: there’s this other yearning. So those two themes, I think, I can pinpoint on the record. It’s hard to generalize the inspiration.

SFBAC: Historically, you've toured extensively in support of each new album and because of that, the time in between new releases one could argue is longer than other artists. If you've had a chance to think about your next album, do you think you'll apply this new method of writing?

David Gray: Yeah, I have. I've got so many ideas. I think it left the door wide open, and I developed a creative relationship with Andy Barlow, that I think will bear more fruit should we go again. But I also ended up with about thirty or forty finished songs that we never used, so there’s a lot of music waiting to be made. It’s just finding the time. The drudgery of 18 months supporting one album… it stifles a lot of craving to make more music, or to explore further what you've started. It just sort of seems to be that the way the world turns now, you just sort of have to do it in one giant go. That’s something I’d like to have a closer look at as my life progresses {laughter}.

SFBAC: You've been fairly forward thinking with the structure of your own label and the exclusive sales of content through your website in recent years. Do you have any recommendations to other artists in the new music industry paradigm?

David Gray: It’s always been a minefield. Except now, it’s a minefield with a giant gaping hole in the middle of it. That’s the music industry, it doesn't make much sense any more. There’s still a lot of people making a lot of money. There used to be a lot of records made at a decent level, where you might sell tens of thousands in the odd country, and it sort of made some kind of sense, and there was a bit of tour support. But for the sort of small, commercial bands that are making really valid music, these are hard times. It depends what your goals are. So you have to cut your cloth accordingly. I think I've always avoided advertising and sinks like that with product. Wherever possible, I choose not to do that. I see it as a sort of misappropriation. But I've got ridiculous hair, shirts, and at my level questioning and agonizing over this type of thing seems sort of misplaced these days, when the whole … with the shriveling up of radio as a concept, an advert could be one of the most obvious ways of getting your music across. So it’s a changing time, and I don’t think I’m in any kind of position to be giving anyone advice. I think with all these things, you have to follow your heart. You know, I would say if someone offered me a hundred thousand dollars for a piece of music on an advert, I’d say no. But for someone else, in a position without the fan base that I already enjoy, and the structure that I have around me, that might be the money that they can pay their rent for the next 18 months and make another record, and maybe buy a few more bits of kit for their studio.

So it’s like, who’s to say it’s good or bad? So I don’t know. Everyone has to make their own choices. And it’s surely a world in a state of flux, in terms of the music side of it. Sort of gone backwards towards a type of entrepreneurial system, where there’s a lot of pop that’s championed by the TV stations that are exposing these new singers to the world. Like through the Simon Cowell model and various other things. So that’s been one change. Basically, record sales are so catastrophically down that it’s sort of cinema after the birth of TV. That’s where we are with music. It will survive, but it’s reshaping itself. So good luck to anyone who chooses to step into it.

I think the Gillian Welch song, "Everything is Free" (iTunes) – that pretty much sums it up.

SFBAC: You've played SF a number of times. What are your favorite memories of San Francisco?

David Gray: Stunning shows there. Nights at The Fillmore – when we came through with Ray LaMontagne, and we played the Greek, that was an amazing night. I've had so many really charged, extra-special gigs there. I think it’s a special music town. People really give it up when they’re in the mood. So all those gigs come to mind. I've always loved the town. I think it’s the most European of American cities. Because it’s cold. I love it there.

SFBAC: Well, we're looking forward to your show tomorrow night at the Paramount in Oakland and thanks again for making the time today!

An Interview with Rogue Valley's Chris Koza

Rogue Valley (Credit: Justin Blair)
Rogue Valley is performing at the Hotel Utah this Wednesday night (8/27) and we recently had a chance to catch-up with lead singer, Chris Koza. As of this writing, tickets can still be found here.

SFBayAreaConcerts: We’re totally psyched you’re coming into town. You’re going to the Utah. The Utah is definitely one of my favorite venues. It embodies this old California aesthetic, but it’s in the middle of south of market. What do you look for when you guys are looking for venues?

Chris Koza: {Laughter} Well, we just look for a place that’s somewhere on the beaten path. We aren’t too into big venues, so we try to find a place that has a reputation and that people like to go to. It’s a familiar place. A lot of people that we know in San Francisco have heard of it, and have been there or been to a show. It’s got some character, that’s for sure.

SFBAC: {Laughter} That’s a great way to describe it. For sure, definitely. So for the tour right now, you said you guys have some friends around here. Anything in particular you’re looking forward to do while you’re going to be in town?  

Chris Koza: Yeah, we’ll probably play a little pickup basketball, maybe go down to the pier. San Francisco is one of those cities that has a powerful kind of energy that surrounds it. Just being in town feels so different than being in any other city. And that’s one of our favorite things about coming to San Francisco, is to drink it in while we can.

SFBAC: Well, I definitely agree with you there, for sure. It’s a good time of year for that. So your last set of albums were broken out into the different season cycles: Spring (Crater Lake - iTunes), Summer (The Bookseller's House - iTunes), Fall (Geese In The Flyway - iTunes), Winter (False Floors - iTunes). What inspired this kind of focus on these natural, heuristic elements? What made you guys decide to go in that direction?

Chris Koza: Well I think a lot of it stems from having traveled around the country playing music, and getting a chance to see different parts of the country and the seasons. So it was an easy way to craft a song cycle narrative that embodied so many different songs. I’d say travel made a big impression on that project. We’re living in Minnesota where we have four distinctive seasons.

SFBAC: You know, I feel so much of your music is about being in transition, being in cars, visiting different places. It’s interesting you guys try to conjure this it sounds like.

Chris Koza: It’s just what came naturally {laughter}.

SFBAC: I was listening to "Mountain Laurels" (iTunes) recently. And the harmonies are just crazy. What’s your inspiration behind those harmonies? When did you first start thinking about that?

Chris Koza: Yeah, well there’s a lot of strong vocalists in our band. And growing up playing music and making music, I was involved in a lot of choirs. So when I started making pop music, folk music, I always felt that strong harmonies just helps to enhance the melody. And more people singing – if people sing together well – it’s stronger than just one person singing. I like using the vocal melodies and harmonies as an instrument. It’s one of the most unique sounds in music, is the human voice. And to use it as an instrument.

SFBAC: And the male-female dynamic you guys have, listening to Geese In The Flyway (iTunes), it’s great too how you guys do different things with different vocals. It really is like a separate instrument. And that’s part of the whole mix.

Chris Koza: I think there’s no certain spectrum of frequency range that another instrument can hit.

SFBAC: Well you know, speaking of travel, you had a track included in the movie The Secret Life of Walter Mitty, and I'm thinking about all the travel, and all the different cycles he’s going through, it has to feel like a perfect fit for what you guys are doing.

Chris Koza: Yeah. I hope that they found it, because they were searching for music that embodied some of those things the movie goes with. It seems like a natural fit to me after the fact of course. I don’t know what kind of process they went through to find the songs. But I’m glad that it’s on there. We’ve had a lot of people that have found our music because of that.

SFBAC: You know, it’s funny, because so much of that movie is about travel. And we’re talking about some of the themes we were talking about before, and I was thinking – rivers, valleys, moons, these motifs – it seems like such a perfect fit that completely makes sense.

Chris Koza: Yeah. I thought it made sense too.

SFBAC: I was importing some of your stuff into iTunes, and for some reason the genre wasn’t coming up. And I was trying to think, where does this fit? It’s psychedelic, folk, indie, rock. Do you classify your sound? Or are you not limited to that?

Chris Koza: I generally say Americana, which to me is a bit of a copout. It’s just a bit of a hodgepodge, like you said. There’s definitely songs that are pop oriented, and songs that are more acoustic based or folk based, and songs that have as you said a bit of a psychedelic flavor to them. So all in all, since it’s about travel, and travel only in the US, it’s Americana. It’s road music, transition music. I think Americana is the right genre.

SFBAC: That definitely makes sense – for sure. You were talking about acoustic before, also. I feel like you guys do a great interplay. There’s some songs that I listen to that I think just could work completely acoustically, and there’s some stuff you guys go big with. What makes you decide when a song is going to be a more subtle song, versus a song that has just a ton of dynamics to it?

Chris Koza: Basically if I start adding stuff to a song, and I add stuff and I like it more, then I keep adding stuff. If I start adding stuff and I like it less, then I stop adding stuff, and take it away. So, whatever seems to support the overall focus and energy of the song is how I try to scope the arrangement. At least for those songs, that’s the process behind it.

SFBAC: Excellent. Very cool. Well we’re psyched to have you guys in town. We’re looking forward to it, for sure.

Chris Koza: Awesome. We are looking forward to it too. It seems like we’ve been getting out there once a year. You know? One of these days, we’ll try to come out there and play it up real huge. But for now we’re just real glad that there are some people who are excited that we’re coming back. We’re looking forward to putting on a good show.

SFBAC: I think the Utah is going to be great, too. It’s a great space, it’s going to have an intimate sound – I think it’ll be great. I think you guys will be able to have a good show. So thanks a ton for making time for us. We really appreciate it.