BANGBAKC: All Over the Place


Define the mission of bangbakc.

Brill: The missions pretty clear. Were playing music to power the spaceship whilst trying to tell the entire human that their consciousnesseseseseses have been downloaded onto an alien space computer. Its time for us all to return to corporeal form.

Dylan: Well, yeah, but that doesn’t happen until the fourth album, Brill. We have to complete the core trilogy of albumes before we get into the eventual sci-fi macroverse. Right now we’re just following on the course of the original trilogy. Next album will have a giant in it, and he will destroy stadiums. Our mission is to make that album now.

Aaron: Pretty much what they said.

Tell me about the creative process that informed your second album “Lot Lizards” and the themes this release captures.

Brill: we are some sort of modern family. We live together and play music and these songs came out of that somehow. Our album is inanimate (we think) and probably can’t be informed of anything although i will admit abbigail (babe on the front cover) spoke to me once on a shroom trip but i can’t reveal what she said not even to the rest of the band.

Dylan: There is something that is wonderfully convenient of being able to say “let’s jam” while everyone is still drinking coffee, and then being able to go downstairs. It allows for the capturing of a more off-the-cuff sort of energy, which is where the magic is.

Aaron: This album was much more collaborative than the first one, and was composed more by us jamming, or bringing little scratch pieces that we’d written into a practice and then jam on them until we were able to listen back and distill songs from them. As far as themes…well, we’d been watching a lot of David Lynch stuff, and we thought it would be a cool idea if a show like “Twin Peaks” gained sentience because of bad writing and showrunning. So the album starts as if you are watching the show, but with each song, the stories from the show begin breaking the fourth wall. The show sees itself and its world through the eyes of the show’s protagonist, Abigal, who is a truck stop prostitute that is doing her best to stay out of trouble and keep her kid fed. She is really smart, really tough, and she (who becomes the TV show itself) escapes the digital realm and enters our reality in the end. So I imagine there are some themes of what “reality” means and some philosiphying on perspective, but I’ll wait until Dylan finishes the book so that you can decide for yourself what it at all REALLY means…

Lot Lizards

“Lot Lizards” is a very diverse release. Can you describe the thread that holds it together?

Dylan: Its completely all over the place, partially because there are three strong willed songwriters powering the machine. We all threw ideas into the pot, and this came out.

Brill: fouled up old cracked cymbals and slightly pitchy fretless bass

Aaron: The common thread is probably the story of the album, and the fact that we all like playing these songs. But like Dylan said, we’re all really strong musicial personalities and so our output tends to reflect that. Thankfully so far we’ve worked together pretty peacefully, at least most of the time, and most importantly have a lot of fun playing together.

How does the title of the album reflect on the material you present with this release?

Brill: Most people dont know the phrase lot lizards refers to trukc stop hookers. For the people that do i think they get our humor or will be offended which is ok with me.

Dylan: I really don’t think people ought to get offended. It is an album about a show, that is getting poor reviews that is about that specific vocation. Maybe the producers should have changed the name before we decided to name the album after the show that we made up.

Aaron: Yeah, the title of the album is actually the title of the TV show that the album is about. The whole thing started with a drive home from SeaProg last year, and I think I was explaining to Brill what a lot lizard is and he laughed so hard that we almost had to pull over, and then through a series of conversations we decided to make a surreal modern prog western about lot lizards, that is actually music.

How did you document the music while it was being formulated?

Brill: I have a stereo recorder which we try to use every practice so we can hear what were doin from another perspective. The two songs I “contributed” to the project “theme to lot lizards” and “commercial break smokin joes crab attakc” are reworked jam sessions.

Dylan: I still have a file called “OG lot lizard jam” on one of my old phones. For that one, I remember actually drawing out a structure map so that I could set it on my drums. I think we all made one, and that they were all different, and that I only understood mine.

Is the dynamic flow of the pieces carefully architected or is it an organic outgrowth of performing them together?

Dylan: It was pretty organic. The track without a name is (I believe) one of the first times we played that with Trony. By the time we wrapped up the recording on the album, we were already changing certain things about how we played them live, and playing new material.

Aaron: I’m pretty sure the album was written chronologically for the most part, with a couple of exceptions. But the album is really similiar to how we would organize our live set. We were also writing these songs with the concept of the album on our minds, and how we would arrange lyrics and what not, so we committed to the order of the songs pretty early on in the process. “The Theme To Lot Lizards” and “Season 3″ were written at about the same time, and we figured out that they would fit together well as beginning and end pieces, and then wrote everything in between.

Brill: It was the chikcen…no it was the egg! Now I want some breakfast hash would you like some?


Describe the approach to recording the album.

Brill: Had a preproduction meeting where we figured tempos, and decided where we wanted a clikc and where we wanted to feel it out. Then when it came time to record we got in a wierd fight and almost broke up the band. It was actually a nightmare cause we all had a slightly different approach and we were annoying the shit out of each other that day.

Dylan: We had a fight?

Aaron: I have ADHD, and I think Brill does too but doesn’t know it, and we both get really bad tunnel vision and get all pissy when there’s a distraction or the fucking computer doesn’t work right or one of us is annoyed by the other and then that annoys the third person, and then everyone’s pissed off or confused. So we recorded a lot of the album live, and I’m pretty sure I was really pissed off on every original guitar take that’s still on the album. The funny thing is that we are all best buds in real life, we all live together, and rarely ever get in fights outside of recording bangbakc. Maybe we need to bring in a mediating therapist for the third album because Ben Spees And Trony Mowe are joining us full time for that one, and with all of those variables Brill might actually phase into an alternate reality, and then I’ll get all pissed off because Brill is late for recording day.

How long “Lot Lizards” was in the making?

Dylan: It was partially written when Echocomplexities was released, and finished a few days before Halloween this year.

Brill: Since before any of you were born.

Aaron: What Brill said, but I think in the 3rd dimension it was written over the course of about 8 months.

Which bands or artists influenced your work on the release?

Dylan: David Lynch, David Bowie, David Cross, David Klayman.

Aaron: The first two Davids that Dylan mentioned, as well as Robert Fripp, The Volta/Omar, Kayo Dot and 70s trucker country.

BrilL: Marshburn.

What kind of gear do you use for recording your music?

Dylan: Talk to my agent over there. Talk to him and Salmon ‘b’ Jammin.

Brill: Tascam us 1800 interface into pro tools, and a variety of mid to low priced microphones. Mixed and mastered in the box. Aaron did some triamping on guitar and i recorded the bass bi amped with a di. Getting the tracks in phase was key in the mixdown. For the demo session We had a mic setup for drums that was 2 storys above us by a vent but we didnt end up using it in the release.

Aaron: This band was basically made out of trash. The first few songs we recorded before Brill joined up with us, I used this really old computer that should not have been running Pro Tools or really anything at all, and used whatever shitty old trash I could use to record us, like old moldy mics and taped up mic stands. When Brill joined, he brought a bunch of the goods because he’s been recording bands since before I was just a dumb redfaced baby. The recording probably still sounds like it was recorded in a basement despite having quite a few quasi-nice mics to use, but I think the basement has become a part of us. It usually comes with us to shows, as well as most of the other trash our band is made out of.

What is your view on technology in music?

Brill: Well shit we couldnt do what we are doing now 20 years ago. Perhaps its a double edged sword because with the potential fine tuning capabilites of daws ive found myself living in garages and bassments in front of a screen the last 5-6 years.

Dylan: Brill is right. Some of my favorite musicians would homeless if it weren’t for digital distribution. It made creaters able to create more easily, and has opened up the doors that only certain professionals were able to open previously. Soon the record companes will select label signees with hunger games, since they will have lost so much of their power. I’m for that.

Aaron: I’m all for it. Never has it been so easy to get your music out there into people’s ears. Musicians will complain about how they don’t get paid anymore, and that’s fair, but we also don’t have to lug around 500lb tube amps and spend enormous amounts on gear. And if you’re serious about it, you can learn how to record and mix your own music and spend way less on studio time in the long run. Everyone who wants to play music should get to, and technology has made that a lot easier. It has certainly made it easier for us.

Do you see the band’s music as serving a purpose beyond music?

Dylan: I suppose we try to be nice to people, too. If you’re interested in long-form explanations of the subject matter of the albums, we can also take up plenty of your time expressing that.

Aaron: Yeah, what Dylan said. There might be a purpose beyond music but I am not adequately inebriated to be going on about that.

Brill: what the fukc is music anyways?

What are your plans for the future?

Brill: Krautish rocky jam album.

Dylan: Yeah, that. It’ll probably be about as tuned out as Lot Lizards, but in different ways.

Aaron: We have parts of the third album written already, and it sounds like it’s probably gonna be a super proggy RIO/twelve tone thing that warps into some sort of krautrock-like thing, with a lot of 80s synth pop and new wave influence. I’ve written a lot of stuff already that might go on it. It might even be a double album. And we will probably play some shows and might do a baby tour this spring.

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