Boris Budd at Hempfest

As I prepared for a week of touring in August it would have been impossible to imagine the misadventures and magic that was about to unfold. In the words of Robert Frost, I took the “road less traveled” in what turned out to be a story of sex, drugs, rock ‘n’ roll, international espionage, racial profiling, birth, revelation and a celebrity meeting.

Gig 1: Comet Tavern, Seattle

As we pulled away from Carnelian Agency with fresh copyies of our new record GOD IS GAY, I somehow knew something out of the ordinary was about to happen. We were south of Mount Vernon, on our way to Seattle for the first gig of my mini tour. I was sitting in the passenger seat, sipping a Fresca, when all of a sudden we were in a stopped traffic jam. As we sat for what seemed to be an hour, it became evident that the accident might endanger our timely arrival for the gig. All of a sudden, out of nowhere, a man jumped out of the mini-van in front of us. He screamed that his wife was having a baby in very broken English. Luckily, we had some water which had become warm due to the August heat and my wife’s frugality regarding use of the air conditioner in our car. I took the bottle over to the van and amazingly helped deliver a baby. The true miracle of life. I later learned they named the baby Boris Budd Wu.

At this point the traffic had cleared up and we were back on our way. We arrived at the club as the other groups, Assumption, Illinois and Fort King were loading in their gear. My set began in 45 minutes and a nice number of Seattle friends showed up. I walked outside and burnt one in the alley with my friend Madge and CSB, the latter finding a peculiar rock on the side of the alley that had the message “Be good to each other and Everyone” painted on it. We went into the Comet and I played my set of all acoustic protest songs. It was a really good time. A lot of energy. We then hung out for some Assumption, which I didn’t enjoy. We drove home to Bellingham with the windows down as the softness of the warm August night air invigorated us. We pulled over at a rest stop just north of exit 224 at made love passionately. It was a successful tour kickoff indeed.

Gig 2: The Shakedown, Bellingham

In what developed in my mind as our huge homecoming gig, the premier of my album live with The Waterboarders, this gig had the makings of something special from the get go. As we arrived, club co-owner Marty Watson, dressed in a Ron Paul costume, greeted us with his gang of 20 Tea Party members who decide to forgoe their weekly “Drinking with the Nazis” meeting at the Beaver to protest The Waterboarders appearance. After they were out of breath in a few minutes we set up and played a sloppy, loud, fun set. We were joined on the bill by 1985 and the fabulous Candysound. To get to play in my hometown with a lot of friends is always awesome. Marty later apologized for his antics by giving me an audiobook by Ayn Rand.

Gig 3: Trees Organic Coffee, Vancouver, B.C.

I took the train from Fairhaven Station to Vancouver. I was staying at my friend’s high rise, luxury condo so things were looking up. We reached Pacific Station in Vancouver. I had my service dog Augie (I am legally blind in both eyes, have no detail or central vision and use a white cane because I can’t see the ground clearly. I do have side or peripheral vision, a lot of energy and large feet), my guitar and my computer. At customs I was taken aside and asked if the agents could go through my stuff. After ripping my things apart and taking my dog away the agents took me into a dark room and started pressuring me to give them information about my life as a Russian spy. They said Russia was very upset after their hockey team lost to Canada 8-1 in the 2010 Olympics and had planted spies in Canada to learn their new fangled triangle defense. I told them they were absolutely insane and that I was a dope smoking protest singer from America. They then let me go on my way. Very scary I must say.

Being a little frazzled I grabbed a taxi with Augie in tow and dropped off my stuff. I grabbed my guitar and headed down to the New Amsterdam Caf and enjoyed some relaxing cannabis. After 20 minutes I dusted myself off and headed to the gig with the excellent Good Heavens to Betsy, Elaine Ryan and some other chick. It was another really fun show with many familiar people coming up to say hello.

I felt a little tired due to the full week of action and the fact that I am old. We left Vancouver the next morning to head to Seattle Hempfest. We were at the border crossing when the agent asked me to get out of the car and come with him. My wife was upset and asked if she could come but was told to stay put and keep her mouth shut. I was taken into an uncomfortable, bright room where I was told I resembled a possible match they had regarding intelligence that a member of an elite, radical international terrorist group was smuggling WMD’s into the country. They then subjected me to a humiliating body cavity search. I was cleared but did receive phone numbers from a male agent who resembled Marcus Bachmann.

Gig 4: Seattle Hempfest, Seattle

We were thrilled to have bellebrity Dave Str@y Ney riding with us as he needed a ride to Seattle and we were going to Seattle. In need of coffee, we stopped at Starbucks, which DSN didn’t quite care for due to their global corporate etc, etc. as he texted on his iPhone. Still a lovable fellow and one of the truly great Jewish country singing pirates. So, we dropped DSN off and headed to the fest where we were treated to speakers like Dennis Kuchinch and Rick Steves while mingling with top activists, doctors and lawyers in the cannabis movement.

The next day was the gig and we were closing out the fest. The Waterboarders had a substitution with Luke Warm, who had kindly agreed to fill in for Scott Greene, who was very, very, very busy with numerous things. Before the set the band decided to hit the smoking area backstage, which was very intense to say the least. Anyway, the drummer hasn’t said a word to me since we were in that tent. The set was powerhouse, really thrilling and loud. What a way to close out the tour. We packed up our gear and said our goodbyes. As we were heading up I-5, exhausted from the six days of insanity, we were stunned as we heard a loud thud, it was a flat tire. We pulled the car off to the side of the road and waited after calling for assistance. I decided to get out of the car and get some air when all of a sudden a bus pulled up behind us on the shoulder. It was believe it or not, Willie Nelson and he was headed to B.C. for a huge festival. We went on the bus and Willie then had one of his crew fix our tire. I told him we just played Hempfest and he thought that was great and pulled out a joint which we had with him.

We got in the car and went home to Bellingham. When we hit the driveway to our home, the Van broke down. Just like it does for every group who has ever done a Tales from the Road.

What's Up Magazine - November 2011. Cover by Mat Hudson

Brent and Becca’s baby girl Autumn arrived Oct. 13, joining big brother Harrison and big sister Ruby!

Well, now that Horror Business is done occupying the venues of Bellingham, that means only one thing: October is over. But how great was that month? Not only were there fantastic shows spread throughout, but Beavis and Butthead are back, and honestly, who needs anything more than that? Bellingham’s music and arts community are thriving and excelling. It’s been an exciting time, and November is going to be just as good.

NEW PLACES TO PLAY

There’s so many things happening on the south side of N. State recently that I have decided that it will have its own section for the Le Beat this month.

The Ridge Wine and Bar is done. The business was sold to Shea Hagan (of Ship to Ship) and Rebecca Ogden and they have changed the name to Redlight. Not only will the space on N. State Street be one to host shows, art exhibits, delectable wines and beers, but they will also feature its own coffee roaster in the back called “Redlight Coffee Roasters.” It’s practically putting everything that Bellingham loves into one space. I can’t wait to see the final product.

Another addition to N. State is Positive Negative. Jason Byal is the executioner of this much-needed niche in Bellingham. The space is a 1,000 square-foot industrial room that is being transformed to have a darkroom, dry room, studio, and gallery art space for the community. Everything has been placed on wheels for the space to be adaptable to any artist’s needs while keeping lighting in mind. You don’t need to be a professional to use the space either, anyone is welcome to use the facilities. I’m really excited to see what this space will become. For the longest time Bellingham has had tremendous photographers, and I’m excited for the analog form of film to be accessible for anyone.

Time in Play is a new business on 311 E. Holly Street. The idea for this place is amazing: a family (and everyone) caf that has good food, great coffee, (eventually) beer and wine, and climbing structures, big wheels, and toys for kids to play with and on. In time, the space will regularly host music. Jordan Rain is currently setting up every Monday night for a family oriented Yogoman’s Wild Rumpus.

Also, while we’re on the subject of Yogoman, the Burning Band just acquired Nelson Bell from Seattle as a new sousaphone/trombone player for the band! Congrats Nelson! Welcome aboard. The band is still looking for a singing bass player along with sax or trumpet players. If you’re interested and you think you’ve got the chops, find Jordan Rain running through the streets of Bellingham sometime. Or you can even catch him on Mondays at Time in Play!

ON THE RECORD

Odd Ones Out are recording are currently recording. I saw this group for the first time at WhAAM’s Grand Opening at JINX Art Space and they blew my mind. The group is definitely going places, but more importantly they look like they’re having fun when they play. Which is really the most important part.

Both Sugar Sugar Sugar and Swayze are currently in the midst of recording. I hear that they’re recording a lot of it analog. Mmm….analog.

Tearamanapart posted one song online this past month and I hate them for it. It’s so good and I want to hear all of it ASAP. Like right now. The boys are going to be doing a little traveling for some shows in November. One show is on Nov. 6 at The Shakedown with Rabbits and Sirhan Sirhan. On Nov. 11, they’ll be at The Cabin Tavern with Seattle’s Grenades and Bellingham’s newly adopted Cower. They are then traveling back down with Grenades to play at The Black Lodge in Seattle with Monogamy Party and a few others. Have fun boys!

PRND has a new album coming out. They will have their CD release while playing with Cave on Nov. 18 at The Cabin Tavern.

Also what should be noted is Zach Zinn from PRND is now doing Karaoke at Cap’s. While it’s a very rare occasion that I grab the mic, as long as Sum 41 remains in the binder, anything is possible.

The Daffodils also have their CD release party later this month. Catch them at The Edison on Nov. 26. A little shuffle board and music never hurt anyone, now did it?

David Ney’s new solo CD Blackened will be released soon. The show will be at The Shakedown on Nov. 30… on his birthday! So make sure to mark your calendars for that one.

Queen Anne’s Revenge will be having their CD release at The JINX Art Space with A Cat from Hue and Feather and Bone on Nov. 12. This night is booked solid for an all-ages rock ‘n’ roll party.

Bellingham has always had a little thing for local compilations, and now there’s another one that we can look forward to. Boris Budd has put together an Occupy Bellingham compilation containing local artists such as The Posies, Black Eyes and Neckties, Yogoman Burning Band, Candysound, Kris Orlowski, Dana Lyons, Keaton Collective, Police Teeth, and many more. This stacked release is set to be available on 11/11/11 and will be accessible for anyone to download for free online.

Osa is having their CD release with Little Elephant and The Palisades on Nov. 9 at Glow. Keep an eye out for the poster around town because it’s probably one of the cutest things I have ever seen.

RAD TIMES

After a long drought, the Bellingham all-ages scene is starting to kick butt. Between the workings in The Old Foundry and WhAAM at The JINX Art Space, there are actually options for all-ages shows! More music means more bands means more shows means more fun. This I’m okay with.

Also speaking of JINX Art Space, both Make.Shift and WhAAM have put up a community bulletin board in the basement. Think of it as a less creepy version of the musician’s section on Craigslist. Need a guitar, amp, PA, or singer? Just post it on the board and then everyone going to the shows and workshops in the space will see it. Resourceful, fun, and sensible.

KARP (and I’m not referring to the Pok mon type) is back, kinda. For over four years, Bill Badgley has been working on this film. Little “did you know game,” WhAAM’s President Amanda Kalkwarf played in a band when she was 15 years old called Team Butt. The band played with KARP and The Cleavers (band before Murder City Devils) as their first show. She’s going to kill me for adding that in but I think it’s awesome. This KARP documentary is something that a lot of Bellingham people have been waiting for and on Nov. 19, the film will be showing at the Pickford Cinema. This is definitely something not to be missed.

Acorn Project are going on tour, and their welcome home show is at the Wild Buffalo on Nov. 11 with Quick and Easy Boys.

Two huge benefits are happening in November at The Shakedown. Boom Boom Thwack returns Nov. 25 after a 10-year hiatus to benefit the Seattle Drum School’s Ben Hills memorial scholarship. Personally, I’ve never been to one of these things so I asked Aaron Ball to help describe it: Imagine four drummers with four kits. Some come with beats/ideas/songs and some improvise. This is not a drum circle. This is a “16-limbed beast chopping up drumsticks like they were toothpicks. You have never heard anything like 8 drumsticks hitting 8 cymbals simultaneously – imagine operating a chainsaw inside a jet engine that is flying through a hurricane and you’ll have an idea of the volume/power/energy BBT delivers.” Personally it sounds like a benefit for the amount of ear plugs that The Shakedown will have to provide, but I’m into it.

Then on Nov. 26, Chachi 7 the Hot Shotz will be playing. This group is what some would call an all-star lineup featuring Charlie McCoy from Whatcom Falls, Sharpie, and Camarojuana, Ryan Roullard from Wastelanders and Camarojuana, Darren Johnson from Sharpie, and Aaron Bell from Sharpie, Enders of Ozone, and Virgin Islands. The benefit is for Charlie’s wife Mandy, who owns Studio Galactica. She recently had a terrible fall and shattered her wrist. The group plans on playing many songs from all the bands, including songs that were recorded but never played live before. They also plan on making some of the songs acoustic, and even selling old Sharpie 7″s. It’s definitely going to be a memorable night and it’s all for a good cause!

Did anyone see Make.Shift member and Cabin Tavern booker Audra Robson’s audition for the Wheel of Fortune? Inspiring doesn’t even begin to describe what I saw in the video online. She talked about Make.Shift, cabin-oke, and of Bellingham with grace and poise as she sang in front of a huge audience showing her karaoke skills by request. Good luck Audra on getting a call back! Bellingham will be rooting for you to buy a vowel.

COMINGS AND GOINGS

Olio is done, as a name at least. They are now called The Vonvettas and have been writing new songs. Recordings should be hopefully coming soon and I’m really looking forward to hearing their new stuff.

I don’t know if it was just for the holidays, but Thorny Croft, Bellingham’s own Ramones cover band played twice for Halloween and I hope they’ll continue. The Contra’s own Blake Owens mastered Joey Ramone.

EXTRA EXTRA

The Cole family has a new baby. Brent and Becca’s daughter Autumn was born on Oct. 13, and she is adorable and cute as can be. The whole family is happy and healthy, and excited for their new member of the family.

Start planning ahead! The What’s Up! Awards Show has officially been scheduled for Jan. 28 at the Wild Buffalo. The all-ages pre-awards show will take place Jan. 27 at JINX Art Space. Personally, there are so many venues, bands, art galleries, and individuals working hard in this community, that nominations in itself are going to be a toughy to compile! Keep a look out soon for voting online. You know you want one of those golden beer cans…

In the likes of Rage Against the Machine and The Clash, Boris Budd pumps out upbeat protest songs with his own twist of humor. His album God is Gay represents strong political views, groovy music, and even references to the love of marijuana with a track aptly named “I Love My Bong (My Friend My Bong).” What makes the album lovable is the lighthearted manner in which Budd approaches charged topics.

God Is Gay commences with the punchy acoustic track, “My God Is Better Than Your God,” a satirical number that boasts lines like, “I don’t follow Jesus/I don’t go to church/I don’t have to rabbi/whatever that’s worth.” The song achieves its point without sounding, well, preach-y.

Towards the end of the album, you’ll find less politically obvious songs like “Cataracts” and “Teabagger Song,” which give off vibes of 70s rock mixed with a Bob Dylan spin. They’re the ideal tracks to sip a cold one to, or for firing up the BBQ on a summer evening.

The last song on the album is a remix to the first track, “My God’s Better Than Your God (Redeux)” which kicks the punch up a notch with the Hammond organ and heavy drums for a more chaotic feel. It goes without saying that God Is Gay succeeds in offering songs of intelligence without being pretentious.

Self Released
For more, visit borisbudd.bandcamp.com

11 Questions - Trevor Spencer

This month’s 11 Questions goes to 21-year-old local phenom Trevor Spencer, whose resume includes being founder and operator of Avocado Family records. Get used to hearing his name in the local music scene going forward.

Boris Budd: Tell us about yourself. What’s your background?

Trevor Spencer: Born n’ raised on the side of all three of the different mountains in Issaquah, WA. That’s Squawk, Tiger, and Cougar, as my parental situation shifted around a bit. We’re famous for raising salmon, Modest Mouse, and suburban sprawl! There’s not a lot to do as young folk in Issaquah, so as I started getting into music during middle school/early high school, my close friends and I shacked up inside our parents’ basements and played loud music. We were pretty much playing in the woods for a while as we were relatively isolated from Seattle before we got our driver’s licenses. For a little while, during ages 14-16, we rented out a place to put on shows called the “Kung Fu Club” in town. It was actually a martial arts school, and the owner there would teach kids how to kick ass between sets…it was pretty awesome. That, and we would play with the cool “screamo” bands at Ground Zero Teen Center in Bellevue. That was sort of terrible, admittedly cool at the time, but pretty embarrassing to look back on.

During my later teens, I started to hate getting up early in the morning (or, really, I always have). Partially as an educational decision, but mostly as a sleepy one, I decided to spend my junior and senior as a full time college student at Bellevue Community College. In college, you get to be more choosy when you start class, I thought that was sweet. I got into recording music there, primarily. There is actually a pretty awesome small-scale recording studio, and a lot of classes surrounding it. I took a liking to the instructor Tom Fallat, and he paid me to be the studio monitor for when kids would come in and work on projects after class. It was amazing, because I had a key, and no one used the studio. I learned all the basics there…signal path, what different kinds of microphones did, how to set things up for bands,etc. I even got a job as a producer at the radio station that was situated on campus, KBCS. That started to show me a lot about what the music industry looked like outside of just being a musician.

I fell in love with Bellingham as I visited my good bud, mad scientist, and musician, Geoff Traeger (OG Mary Mary drummer) during his freshman year at WWU. It was totally a cooler version of the small-town-mountain-vibe that some parts of Issaquah have, so I was sold. I graduated high school with my AA from BCC, and transferred up for Fall 2007. I was going to be communications student, being pretty into radio at the time, but then decided I liked rock n’ roll too much to be outside of direct musicianship or recording studio work. So I made it over to Fairhaven, did a lot of bad recordings in the studio there, got to know “golden ears” Chris Vita a bit, chilled on old synthesizers with Bruce Hamilton in the WEAMS lab, and met the bulk of friends I hang out with to this day. I also played drums in Addition, which was a massive success for having a good time.

In May 2009, I started a year long internship at Bear Creek Studio in Woodinville, that eventually became a job. After leaving in June 2010, I lived in Issaquah in deep existential crisis, went on a couple small tours with Skinny Whiskers and Chestnut Collection, and decided it was time to move back to good old Bellingham. Now I’m here, working with lots of friends, doing stuff at Champion St. Sound Studios with Paul Turpin, making new bands, tour plans, etc. Now you already know too much.

BB: Describe the experience of working at Bear Creek Studios in Seattle.

TS: Joe Hadlock, the owner, is a seriously awesome guy. He built an amazing barn based studio that’s been standing since the late 70′s. I was privileged enough to get to do a lot of engineering for awesome bands like The Shout Out Louds, The Fleet Foxes, Johnny Flynn, Ed Harcourt, The Long Winters, just to name a few. I even got to record some of my own projects and friends… I was pretty stoked to get the Apollo Ghosts (Vancouver, BC) to come and record with me there. Matthew Doctor, a previous engineer there, really taught me everything I know about being a good engineer. I also learned a lot about being a kind producer, and the ins/outs of the recording biz. I wasn’t really supposed to have done so much there as an intern…but I got really lucky and got quite a few marvelous opportunities, namely, getting to do some engineering with producer/engineer Phil Ek(the man) on the new Fleet Foxes record and the most recent Shout Out Louds record. He taught me about tape and being a straight g.

BB: Talk about your current personal music projects.

TS: I just finished working on records with The Femme Uke, The Violins, Horses (ex-Bluebird, Patrick Everman), the now defunct Marriage (Mary Mary), and my newest project, Homebody. I’m excited about all of them… I played in and recorded Homebody with members of The Violins and Hungry Cloud Darkening. I love Hungry Cloud Darkening, they’re two pals from Anacortes, WA, Nich Wilbur (Mount Eerie, Saint Merman, Motorbikes), and Allyson Foster. I just finished mastering their album, it’s REALLY good. I also have been working in Nich & Phil Elverum’s awesome church studio in Anacortes. Oh yeah, and there’s Sea Shorts. That’s me songwriting, Stephen Steen from The Violins, Drew Fitchette from Rooftops, and Sam Hutchens from Mission Orange. That band, is really, really, fun.

BB: Discuss the Bellingham music scene and your perspectives on where things will be going in the next five years.

TS: Seems like Bellingham changes allll of the time. I’m hoping house venues will be abundant, Shakedown will be alive and well, and Make.Shift/Whaam will have an amazing space and will totally be ruling things. Music wise, there is always something interesting going on and I think it will continue to be that way.

BB: Write the itinerary for your “perfect” day in Bellingham.

TS: A. Make a scramble with a combo of Sam, Drew, Stephen, and Cora. B. Stop by Onyx to hit up Fitchette or grab a caramel latte from Avellino, hopefully from Alexandra Song C. Go say hi/do work at Turpin’s Champion St. Sound Studio with Sam Hutchens D. Eat a wonder burrito from Super Marios D. Play music with friends E. Go to a show at Hoot House, Jinx, Shakedown, maybe campus F. Whiskey ginger from Caps or my boy Glyndon, Amy G, or whomever at Shakedown G. Sleep a long time

BB: Talk about your gig as part of the sound team for the Fleet Foxes world tour and what you hope to get out of the experience.

TS: Like I mentioned, I was super lucky to have engineered on their new record with Phil Ek. We got to be friends, and a couple months ago Robin Pecknold asked me if I wanted to come along and do their monitor mixing. Actually, as I’m finding out, a crazy job for six guys all with in-ear monitors and multiple instruments. I hope to do more stuff with them, see a lot of places I’ve never imagined of going, get better at live sound, and have an amazing time.

BB: Tell us all about Avocado Family Records.

TS: Avocado Family Records is now mostly an outlet for me to release my friends, or my, projects, and try and gain a sort of companionship from it. I had a grander scheme at one time! When I have time, I like to do things with the label, but right now I’m focusing on bettering myself as a producer/engineer. However, I think The Femme Uke album will be coming out on AFR soon!

BB: Describe your process from writing to recording a song. How do you develop your stuff?

TS: Like most, I feel that recording starts with a well developed song. Personally, I like to play with other people while writing. Exchanging parts, trying out arrangements on the fly, writing when everything is happening, is really fun for me. That’s how Homebody happened. When it comes to the studio, I think generally it’s nice to have things 75 percent or more complete. It allows for less frustration, more focus on tech/creative/sound stuff, and having a good time. That’s what it’s all about! I did use to, and still enjoy, doing everything in studio. Also, did I mention I prefer to do this all on tape? Yep.

BB: What are your life goals?

TS: That’s pretty hard for any 21-year-old to answer, but I’ve got some ideas. Obviously, play music with friends till the end of time. Build an amazing studio for myself, friends, and whoever wants to come enjoy it. Or, be part of one with someone great (Phil Ek, you’ve got my number). Also, live in a house surrounded by woods and a lake.

BB: Who are your biggest influences musically, non musically and why?

TS: I get most of my inspiration from my friends, they are really, really, key. I like to have very open dialogues about music with them. Weezer was the first band that hooked me. Mainly though, Neil Young, Lake, Mount Eerie, Dear Nora, Karl Blau, No Kids, Earth, Little Wings. Pretty much just picture the line-up at What The Heck? Fest in Anacortes,WA…maybe Neil should play this year? I like music that feels like area I live in, and retains a huge amount of artistic integrity. Non-musically, my parents have been insanely supportive with everything.

BB: Do you find more satisfaction on the music (creation and performance) or business side of things (recording, promotion, label, etc)? It seems like an obvious answer for most, but some are very gifted at the latter.

TS: It’s weird because I have a knack for doing business things sometimes. I usually feel pretty organized, and can talk to people about how I think things should go down when it comes to making and releasing a record. However, I HATE talking about money with artists/clients. Leave me out of that. Soon, I hope I’ll have some sort of manager/friend that can take over that process. I would say that recording is over on the music side, it’s not really business for me. I enjoy recording people as much as I do playing music with my friends. They’re really integrated at the moment, it’s awesome.

BB: What is your favorite place to check out a band in Bellingham?

TS: Hoot House, I love shows in houses. And soon, the new Make.Shift/Whaam venue! Also, festivals like Yellingham and Ladyfest are super important for seeing bands around town. Go to those.

On a dreary, damp night, the annual Vets’ Fest, a fundraiser for veterans with post-traumatic stress disorder, was held for the first time at the Green Frog Acoustic Tavern.

The first performer was singer/ songwriter Kitt Nelson. Her soothing, soulful vocals and catchy acoustic guitar work were a good beginning to the music-filled night.

Nelson sang about relationship issues and run-ins with the police, but what got the audience’s attention the most was a song called about her ‘not wearing anything down there.’ The only downside to the performance is that Nelson played about five songs too many, in what would end up being the longest set of the night. Don’t get me wrong, her songs were great, her voice is beautiful and I loved the guitar playing, but there’s nothing wrong with leaving the crowd wanting more.

After Nelson’s set I went to get a shot at the pizza place next door, which ended up being two shots. By the time I got back, Boris Budd’s set was over. I have seen Budd perform before, and once interviewed him for a story about sticking it to The Man, so I was disappointed that I missed his anti-establishment, pot legalization songs and lively political rants.

David Ney was the last to perform before The Frog went electric with Mysterious Chocolate and The Holy Tailfeathers. Ney played mostly his solo material, with a couple covers thrown in for good measure. The songs included quite a few about characters who are down on their luck, which is a staple of the David Ney songbook. In the middle of his set he expressed his opinions about the war, and just in case you don’t know, David Ney hates the war. So, lets just say there were a few F-bombs thrown in the mix.

Now it was time for the amps. It was getting pretty late, so Mysterious Chocolate had to cut their set short. But, in my opinion, their set length was just perfect and it set the right tone for the Tailfeathers.

Mysterious Chocolate’s sound is a pretty unique one in town. It’s a mix of early Weezer, the tongue-in-cheekiness of Ween and maybe a little pop/ punk swagger. The most entertaining aspect of their performance was the lead singers constant air humping.

Next up were The Holy Tailfeathers. Whenever I see them play I am always struck by LP’s great vocal work. Also, LP has hooks for days. Whether it’s his guitar riffs or vocal melodies, they always get struck in my head for days.

The band churned out catchy song after catchy song. My favorite moments were the barn-burner “Right Out The Window” and the guitar solo during their last song, in which LP walked out the door with his guitar and shredded on the sidewalk until the song ended.

Brent Cole photo by Becca Schwarz Cole

Brent Cole photo by Becca Schwarz Cole

Brent Cole photo by Becca Schwarz Cole

I was delighted to find that this month’s 11 Questions interview was going to be with What’s Up! Co-Publisher and (finicky, just kidding) Editor Brent Cole in recognition of the 12th anniversary of the magazine. Cole’s hard work and dedication to the local music scene has created and helped enable an environment for all kinds of musical genres to receive coverage in the community. I recently sat down with the humble Mr. Cole to see “What’s Up!”

Boris Budd: Tell us about your background, how music became your passion and what has led you to publish a music magazine for the past 12 years.

Brent Cole: I’ve been in love with music for as long as I can remember my first favorite song was Band on the Run by Wings (it’s still one of my favorites). I thought the song was called Band on the Rug ya know, the band was playing on the rug. I was four or five at the time. A year or two later, I got my first single at a garage sale Saturday Night by the Bay City Rollers. I was hooked absolutely hooked. Even at that young age, I became obsessed with music, I wanted to know where to get it, how I could get more. This was way, way before the internet or anything, so I had to rely on the radio and my mom letting me go to the record store.

I started to get into local music when I lived in Seattle. It was during the mid-late 80′s and the Seattle scene was just starting up the first show I ever saw was Green River and PIL at the Paramount. Green River pissed me off at the time (Mark Arm was bashing Johnny Rotten in hindsight, he was dead on)… but, they were exciting Mark Arm jumped off the stage and ran up the backs of the first 10 rows. My little 15-year-old mind was blown.

At the time, there was a great music mag in Seattle called The Rocket as I’ve stated a bunch of times, What’s Up! is loosely based on it. I always loved the paper and romanticized what it’d be like to be a writer. Of course, I wanted to be a rock star at the time, but I always really loved what the paper was about that you got to talk to cool bands and tell people about great music. I mean, seriously, they (Rocket) told me about Nirvana in 1988, Mudhoney, Alice in Chains, Soundgarden all the great bands. I wanted to write for them, or one of the other papers in town, but I was a chicken shit, so I never did it.

When I moved to Bellingham in ’92, the local scene was amazing. I’d hit the 3B, which had just opened, as much as I could and fell in love with local bands like Medelicious and FAT. The Up and Up also had some great shows at the time it was a fun, fun time. Over the next few years, I became more involved with the scene itself and found myself and friends in bands and playing in a bunch of really, really crappy bands. It just kind of evolved from there eventually I got to the point where I knew most of the bands in town and was pissed no one was writing about them or coming out to the shows. A few friends and I started it and there ya go.

That first issue, man, was so exciting. I can still remember heading to the Lynden Tribune to pick it up. We’d actually put the whole thing together on the computers at school (I’d graduated a year and a half before). In hindsight, the issue was awful but we did our best and felt as satisfied as I’d ever felt when we got the first one done.

BB: Explain your fascination with tattoos. How does Becca feel about this “hobby?”

BC: Becca is cool with my tattoos, though she’ll never get one herself. My arms are really, really scrawny so the tattoos make them look “less” scrawny, which I’m down with and I’m pretty sure she is as well. As for my fascination with them it’s pretty recent, I’ve gotten 95 percent of the work done since I met my wife almost six years ago. Not sure what it is, just think they look cool and, as corny as it sounds, they all have a special meaning for me. The pain is pretty amazing too, they hurt like hell, but it’s so rewarding and amazing when you look down after two hours of pain and see a beautiful piece of art on your body.

Gotta say there are a lot of great tattoo artists in town. My man is Phil from Sabbath, who I’ve pretty much stuck with since I started my tattoo work.

BB: Let’s talk baseball. What do foresee for the Mariners in 2010? What was your greatest moment at a baseball game?

BC:Oh dude! They’re gonna take the West! I’m feel really good about this team, we’re gonna catch a bunch of games this year.

As for my greatest moment AT a baseball game, that happened last year at the final game of the year. Our family went for Kids Day (along with our good friend Todd)… the look on my sons face when the game started, he was just sitting in his seat, totally in awe of all the players, the, field, all the people every aspect of the game. He’d gone to a game the year before, but this was the first time when he could really understand it and he loved it, just loved it. It was like getting to see that first bit of magic, that first time you fell in love with the game see it through his eyes. Like it was a memory he might have for his whole life. That’s my favorite memory, seeing my son fall in love with the game that I love so much.

BB: What is the most satisfying aspect of running a music magazine? Tell us about the bad stuff.

BC: It’s the bands it’s always about the bands. Whether it’s the music that turns me on or the people I get to meet my greatest joy comes from the bands. Seriously, my job is to work with local bands, get people into local music and tell folks about great music how cool is that? There aren’t many guys pushing forty that get to spend their efforts working on something so cool.

And what great music I get to work with, ya know? Epic quality bands Rooftops, Dog Shredder, Pan Pan three fantastic, fantastic bands who make my job better and more fun. There are approximately 125 bands in town a fair amount that don’t suck working with them and caring about what they’re up to is a damn good way to spend the day.

As for the bad, there’s no real need to dwell on that, but if I had to point to something, it’d be the egos out there. I encounter some folks who think really highly of themselves and think they’ll be the biggest thing in the world. Having done this for so long, though, it doesn’t bother me the way it used to ‘cuz I know 9 times out of 10, the band will likely break up within a year.

BB: Explain the effects of Dixie’s BBQ’s “Man -Sauce” on the unassuming fan at a SafeCo Field event.

BC: The effects are awesome, Boris, as you well know!!!

Note to readers: Boris and I, along with Todd, go to M’s versus Yankees games. At Safeco, there’s a Dixie’s BBQ which is home to the infamous “man sauce,” the hottest sauce I’ve ever had. You put just a little on a tooth pick and dip that into your sandwich. Boris, being a tough bastard from NY, put a couple toothpicks worth and proceeded to sweat like no man has ever sweat before. He sat there, eating his sandwich, trying to keep it together, all the while looking like he was gonna have a heartache it was priceless.

BB: What is your favorite thing to do in Whatcom County?

BC: Ya know, my favorite thing is to spend an afternoon with my family on a little adventure. A lot of the time, we head to Boulevard Park where we’ll walk around a bit, Harrison watches people throw the Frisbee or play catch, then we hit the playground. I get some coffee and Becca, Ruby and I just sit and watch Harrison go nuts. After an hour or two at the park, we’ll head up to Mallard’s for some ice cream which little man absolutely loves. Just sit and enjoy being a family and enjoy being together. From there, we’ll either head to another park, maybe run some errands, maybe head home but as long as we’ve hit Boulevard and Mallard’s, it’s a really good day.

BB: What have you learned from the last 12 years publishing What’s Up!? And what are your hopes for the next 12?

BC: What have I learned? Too much to name, really… I mean, 12 years this magazine has defined my life. So, really, I’ve learned who I am I became who I am because of this magazine. For better or for worse, it’s been one of the top primary forces for over a third of my life.

I learned how to put out a magazine, that’s pretty cool. Unfortunately, I didn’t learn how to copy edit I’m still terrible at it and rely heavily on my wife and others to make the paper to read well.

I learned how to write a story I learned how to get ideas out of my head onto paper. I learned I didn’t want to be a musician every time I’ve had a band practice in the last 12 years, I’ve measured if I would go on whether or not I had things to do for the magazine.

But, I really learned that this is a wonderful, wonderful town that I’m glad I get to be involved with. I thought about and talked about moving for years, but in the end, I stayed and I stayed because I love it. After all my personal feelings about the town and the scene, I’ve learned that there’s no other place I’d like to raise my family than here in Whatcom County.

As for the next 12 years who knows! When I started, I didn’t think the paper would last a couple months, much less 12 years. I know Becca and I would like to continue owning it, but I assume at some point, I’ll step down as the editor. I don’t see that happening any time soon, though, I’m having way, way too much fun. The new format really rejuvenated me, ya know. Gave me a spark that went beyond anything I felt. It’s not like when you fall in love with someone for the first time, more like when you have a family with that person the love I have for the magazine is different, but more intense and more special than it’s ever been.

BB: What are your goals in life?

BC: I want to be a good husband, a good dad and a good member of the community. Eventually, we’d like to own a home and I want to work until I die hopefully with some part of my job always involving music and hopefully I’ll always be involved in publishing. But there are a lot of projects I’d like to do, like a School of Rock!

BB: If you could have lunch with anyone, who would it be and why?

BC: Wow, this is a pretty tough one… Well, taking out some of the obvious choices like President Obama, Ken Griffey Jr. or Keith Olbermann, I’d have to say it’s Ethan Miller. He’s the guitarist for Comets on Fire and Howlin’ Rain the guy plays guitar the way I’ve always thought it should be played. Ethan gets the wildest sounds out of the guitar playing epic guitar solos with soul while always feeling like he’s about to totally lose control of what he’s doing… The sounds, though… I’d want to find out whose behind those sounds, that style. He blows me away.

BB: Where do you see the music scene going locally?

BC: Having been in town since 1992 and involved with the music scene since ’96, I’d say the scene is going to be what it always is a remarkable and amazing collection of talent for a town of its size. Some years are better than others, there’s no denying that but I think people who haven’t been around for awhile see things going poorly and are ready to call live music dead in town. It’ll never be the case the town will never be Portland or Seattle or San Francisco (they’re big cities!), but there is a incredible love and support for live music by the people in Bellingham. Eugene isn’t like this, nor is Corvallis, or Burlington Vermont, or Missoula this is a special town with special people. The faces change and they’ve changed a lot over the years but the spirit hasn’t.

I’ve heard recently from a couple old timers in town about how live music is going to the crapper in town and I just don’t see it the town changes and evolves, but as venues close, new ones open as bands fall apart, new ones start as people move out of town, people move here. It always changes, but is always incredible.

I’m damn lucky to be a part of it for so many years.

BB: . What do you think you would do if you weren’t in the publishing business?

BC: I have no idea. I mean, seriously, I have no idea! I got my degree in Sociology with no minor. If I wasn’t in publishing, I’d likely own a business and most likely it’d have to do with music. I really dig owning my own publishing business (especially since I get to own it with my wife, Becca) it’s hard, hard work, but everything we do is for ourselves and our family. We also own and run the Foothills Gazette and are launching Grow Northwest magazine this spring, focusing on food, farms, DIY projects, etc. in the Northwest.

Answer to the question? I have no idea so thankfully I’m in publishing!

BB: Bonus question because you’re the editor… any last thoughts?

BC: I’d just like to thank everyone for supporting the magazine for all these years we’ve survived when others haven’t and I’m grateful for all this community has given me. I’d also like to thank my wife, Becca, for everything she’s done with the paper while we all tried really hard before she came onboard, it was her guidance that made the paper what it became. It was her that made me realize I could take it from just a hobby to a job, to a career, to a way of life.

It’s pretty cool, ya know. I’m older than most folks in the music community and I’ve got two kids, but the magazine allows me to stay young I feel younger and more alive. It might sound corny to some, but every day, I wake up and think I’m the luckiest SOB around. And a large part of that is because of what I get to do for my career.

So, thanks folks, I appreciate it more than your realize.

And thank you Boris.

Mark Heimer of No-Fi Soul Rebellion

When thinking of great local bands one cannot ignore No-Fi Soul Rebellion, made up of Mark Heimer and his wife Andrea. Known for their rip-roaring live shows and unique approach to performing (combining pre-recorded and live instrumentation, etc.), the duo has released a number of albums and wowed crowds in places large and small.

Boris Budd: Tell us about your life. Can you highlight some signature events that occurred that may have shaped the person you are or are not today?

Mark Heimer: Major influencing factors of my life:

Marrying Andrea in 2003. Total love and support. I need that to keep me going. As much as I flaunt my artistic independence, I really don’t like to be alone. She is totally my other half. I have had other people perform in No-Fi with me, but none of them made me feel as good about it as she does and it makes the whole thing feel correct and complete.

Growing up in Alaska influenced my DIY ethic. It is the last frontier you know. You kinda have to create your own culture there if you want to be part of something artistic.

Late 80s-early 90s radio. Before I bought albums, I listened to the radio. Michael Jackson, Janet Jackson, Salt ‘n Peppa, Naughty by Nature, George Michael, Def Leppard, Motley Crue, MC Hammer, Milli Vanilli, KLF, that whole period when hip-hop was being appropriated by popular and rock music had a big impact on me in terms of musical aesthetics. “Pour Some Sugar on Me” by Def Leppard, “Nasty Boys” by Janet Jackson, “Baby Don’t Forget my Number” by Mili Vanilli, and “Peek-a-boo” by Siouxsie and the Banshees are all excellent of examples (outside of standards like “Walk this Way”) of how pop, rock and hip-hop can coexist in a single composition and sound totally rad.

There is other stuff, but too much to mention and I wouldn’t want to bore anyone…

BB: Explain how the No-Fi Soul Rebellion concept was developed. How long had you tied with the idea?

MH: The concept was inspired by my desire to be somewhat autonomous in respects to how I wrote and recorded music, which I began doing myself around late 1999. I developed the performance schematic in 2000, which was inspired by the cover of Jon Spencer Blues Explosion album Orange, which features a drawing of his theremin on the cover. I liked the idea of the band being symbolized by a single instrument. That is when I came up with the idea for the soul system, a bass guitar with a jog proof CD player inside that is plugged straight into the PA. It’s the original guitar that you play, but you don’t play. I am pretty sure I should probably be suing Guitar Hero…

BB: Please explain your approach to a live performance and the reasons for this unconventional line-up.

MH: I just use nervous excitement to fuel my energy and let myself be free to spazz out and express myself in front of a crowd. It’s probably very therapeutic or something. We prefer to play on floors so we can see the faces of the people in the audience and engage them on a personal level in hopes of making something special happen and letting the crowd know that we know that they are present.

BB: No-Fi Soul Rebellion has had five records released in the past seven years. What pushes you to keep writing and creating and what are the major differences that you notice from record to record?

MH: It’s actually five albums, two EPs, and a live record in 9 years.What keeps me writing and recording is my creative drive and liking to have something to share with people. As far as differences in records, what I notice most is the progression in skill at recording, engineering and musical influence. It’s a nice sonic timeline.

BB: What is your favorite No-Fi record and why?

MH: I think Terrible Muscles is pretty cool and I am still surprised that I made it when I listen to it sometimes. It has a nice mixture and balance of my influences and comes off as sounding pretty damn unique, to me anyways.

BB: Describe your recording process from start to finish. Include details about work habits, gear and environment.

MH: The 5-step program for the Heimer method of song writing:

Step 1: Come up with 30-50 musical ideas.

Step 2: Leave them to sit for about two or three months without listening to them.

Step 3: Review ideas and try to make up lyrics in the shower or while driving.

Step 4: Spend the next 5-7 months trying to write and record a collection of songs and worry about every aspect of them to the point of driving your spouse insane with things like: ‘I suck at this, why do I try?’ and ‘What’s wrong with that song? I like this one!!’

Step 5: Desire to be finished with the damned album sooo bad that you put yer head down and plow through arranging, mixing and mastering with such vigor that you totally neglect to do any sort of promotion for the release and have to listen to people say for the next two years: ‘You have a new album?’

BB: If you could have What’s Up! readers hear one song you have written, what would it be and why? How can we get a copy of the song?

MH: I would have them listen to “Brother Lupine” from our new album Oh Please Please Please to prove that we have other decent songs besides “Let’s Pretend.” Folks can preview it and buy it from iTunes, or can purchase Oh Please Please Please at Everyday Music.

BB: Who are your favorite Bellingham bands of all time and is there anyone in town you dream of collaborating with on a song?

MH: I dunno if I have any all time faves. I liked Black Eyes and Neckties’ first album, but more for the nostalgia of heady days of the mid-2000′s of when we first moved here.

As far as collaborations: I want to produce a Joe Olmstead (So Adult) solo EP where Joe plays and sings and I do everything else. Also, I am pretty sure I am gonna be kicking myself for not joining Sean Meyers’ (Scary Monster & The Super Creeps, So Adult) new band. I haven’t heard them yet, but it sounds like it will be right up my alley…

BB: How do you think your wife/bandmate Andrea would characterize you?

MH: Attractive, kind and intelligent. And big in the pants.

BB: What do you think you would be doing now if you weren’t a musician? Please fantasize in detail.

MH: Graveyard shift donut fryer somewhere in Montana, Alaska or maybe Spokane…

BB: What’s next on the horizon for Mark Heimer?

MH: Writing more songs, playing more shows, releasing more albums, trying to do something to commemorate No-Fi’s 10-year anniversary, and going back to school to become a high school art teacher.

Kat Bula 10 Questions with Boris Budd. Photo by Jen Martin

Boris Budd: Tell us what inspired you to make Thimble vs. Needle. Were the songs from the record a collection of stuff you had accumulated as a songwriter over the years, or was the material a sudden burst of energy based upon prevailing events from that period in your life?

Kat Bula: You mean the album Thimble vs. Needle, which is mostly me multi-tracked, and not the five-piece band Thimble vs. Needle as it exists now, right?

For a long time I wanted to start a new band–an indie/pop/folk project that would get progressively noisier and mathier as it developed. But I had a hard time getting people to understand what kind of music I had in mind when I invited them to work with me. I had been playing in bluegrass bands (Feed & Seed, The Caved In) and Pirates R Us for so long that people assumed that was all I listened to or wanted to play. I watched David Ney go through a similar process after Pirates R Us broke up. He was writing all these songs that were not silly, not oom-pah-pah, but that was all people expected him to do. So he made this great serious album (Bright Blue) and then he was able to easily show people what kind of music he wanted to be making. After that, putting together the David Stray Ney Band was a snap. I wanted to do the same thing.

Some of the songs on my album (like “Pogo Stick”) I’d had for years, but the majority of them I wrote in the months leading up to recording. It all came out poppier and less “weird” than I had really expected, but I like it, and it did the trick as far as helping other musicians understand what I was asking them to be part of. In its current form, Thimble vs. Needle only plays about half of the songs on the album, and the newer songs are increasingly experimental.

BB: Discuss the recording process for the record. Did you work with a set line-up and what lessons and previous experiences from recording were you able to employ and or attempt in the production of the album?

KB: Most of the album is me. I did all the guitar, accordion, and vocal parts, and a lot of the violin and viola parts, before I brought in anyone else. Anna Arvan and I recorded some cello and violin parts simultaneously, and I’m convinced now that this is the way to go for an organic string sound. We did the same thing on Biagio Biondolillo’s record. Anna’s harmony vocals, Chris Stainback’s bass and percussion, and Dave Maguire’s mandolin and resonator guitar are all overdubbed.

I worked with Ryan Richardson at Golden Coin Studios, and that was a great experience. He found a balance of offering input while ceding control, that is hard for a lot of engineers I think. He also let me in the control room during the final mixing, and implemented a lot of my weird ideas without complaint. I don’t think that’s incredibly common.

Whenever I hear people complain about some aspect of my album’s mixing, it’s usually something I did to make it a little less polished-sounding. I like the way it sounds. If I ever want to make something super-polished, I know Ryan can do it.

BB: Please give the readers some background as to the number of projects/bands you have contributed to since you started playing.

KB: Do you really want a number? How about 15? I don’t really know. It’s like when young actors count the number of people they’ve made out with–do they count stage kisses?

I have been in bands since I was an 11-year-old in Spokane. Back then it was nursing homes, county fairs. The first band in which I had creative input was “Blue Moon,” a mishmash of traditional Irish and Scottish tunes and ’60s folk songs. I was 13 and Marcie, my bandmate, was 15. I played fiddle and flute, and maybe mandolin or something. Once we played a show on a stage in a grocery store parking lot for some charity. The audience was literally zero.

BB: Why did you decide to make music your life and why is it a good/bad decision?

KB: I never did decide. When I was little I had no friends so I sang, and then learned fiddle. Now I teach fiddle lessons instead of continuing to work at a video store because I get paid more to teach fiddle and it doesn’t make me want to die.

If music as life were a decision, it would be a bad one. I learned as a college music major that it’s incredibly dangerous to form your whole identity around being a musician. What happens when you work so hard that you don’t even like music anymore? Then who are you? What happens when you surround yourself with people who are better musicians than you are? Does it make you an inferior person in general?

Pirates R Us may have hampered my GPA in my last quarter of college, but I owe them for reminding me that music can be ridiculous and fun. But only as long as I keep my escape route clear.

BB: Give us some insights as to what it was like to be in a group like Pirates R Us. What kind of memorable adventures took place on the road and in the studio?

KB: One of the things I miss most about that band is that we played a lot of house shows, lots of them for people who normally didn’t pay attention to non-mainstream bands. People like to throw pirate parties. Since that band was so high-energy (another thing I miss), it was amazing to play for people five feet from our faces who reflected back that energy so intensely.

…Of course, the whole message of the band was subverting the Man, so “high energy” sometimes meant messing around rockstarishly (in pirate hats). Sometimes the audiences met us there (like the garage full of people in Moscow, Idaho that took the 110 degree weather as an excuse to get naked), and sometimes they did not. I still hear stories sometimes about what a jerk that band was. It’s funny to me; as individuals we are all so lovely. We’d have to be, would we not, to so thoroughly embrace acting like dorks?

BB: What is your take on the condition of the local music scene? What is your prescription for the preservation of the art community?

KB: It’s tempting to oversimplify this. Selective enforcement of the noise ordinance doesn’t seem to be as much of a problem as it once was, but it could resurface any time and we need to get that law changed. (Readers interested in working on this, please get in touch with me; my former B’DAMN (Bellingham’s Downtown Alliance for Music & Nightlife) co-conspirators have all moved away. You can reach me through myspace.com/thimblevsneedle.

On the more pressing problem of disappearing venues: let’s develop non-traditional venues. Please tell me one reason why the restaurant or widget shop where you work couldn’t or shouldn’t host shows during or after business hours. A lot of places really can’t, and I get that, but I think a lot more have just never considered the idea. Come up with a way to monetize it–or at least not lose money–and why not give it a go? Businesses, remember that when bands advertise for their shows, that is free advertising for you, even if you’re not actively making money from the show.

And, duh: musicgoers please actually spend money in the businesses that host music. We live in a capitalist society; make it a worthwhile business endeavor to host music and more places will host music. Especially please support the places that pay bands as the businesspeople they are. (Bands, even if you’re “not in it for the money”, if you have a draw, don’t let businesses trick you into doing their advertising for them without compensating you accordingly.)

BB: Who do you draw influence from musically? In life?

KB: I love when bands like Deerhoof and CocoRosie–even sometimes Radiohead–combine sweet melodies with unexpectedly dissonant or noisy instrumental arrangements. That’s where I want to go with Thimble vs. Needle. Andrew Bird is a buttkicker for me because he has such a similar skill set to mine (violin, just-okay guitar skills, singing) and he makes amazing music instead of complaining that you can’t lead a band with a violin. Peter Woiwod (Go Slowpoke), Anna Arvan (I Love You Avalanche) and Jake Hemming (Big Sur) constantly write songs that challenge my perception of what’s “good enough” lyrically and melodically. Complex instrumental bands like Rooftops, Cicadas, Pan Pan and Piano Mover inspire me to write stuff that requires my whole concentration to play. I miss that about playing classical music, or even the super-fast bluegrass improvisation I had to do to keep up with Feed & Seed.

BB: Where does you see yourself on 5, 10 years? What are your goals and dreams?

KB: Isn’t the world supposed to end before I’m 31 anyway? …I want to have or be working on a PhD. My second major (besides music) at WWU was Culture, Gender & Sexuality Studies. It probably should have just been English with a Critical Theory focus, and that’s probably where I’ll end up doing graduate work. I’d also like to do more academically with electronic music and critical musicology.

BB: What was the wildest experience you have ever had on the road with a band?

KB: I work with kids now, Boris. Isn’t it enough that there are swear words in my songs? …Pirates R Us recently received a request to go to St. John (or was it St. Croix?) and play a party for people who like to fire cannons into the air and make people walk the plank off of a nearby cliff. That sounds like it could take the cake of anything I’ve actually experienced. Even wilder than the mini-golf place in Abilene, Texas. Or the elementary school classroom in Davis, California.

BB: Tell us about your cat you love so much?

KB: As I type this, Audrey is curled up half-asleep on a Mono CD, purring. Oh–oh, now she’s licking her paw. Every little thing she does is magic.

Contact Kat Bula at myspace.com/thimblevsneedle

Fresh from a UK tour, the Fruit Bats will play Bellingham on Jan. 21. Courtesy photo

Boris Budd: The band just returned from an extensive European tour. Give us some highlights and maybe a lowlight from those dates.

Fruit Bats: The highlight was just finally being there. It’s been a while as a band having never crossed the pond. But I’m gonna have to say Lisbon was the highlight. Simply because none of us had ever been there, and we all fell deeply in love with the place; it’s one of those rare places that instantly enchants.

The lowlight? Being stuck in a snowstorm trying to cross the English Channel. One of the biggest delays in the history of the Euro-chunnel and ferries. Although we had fun; we sat in the van, drank beer, had snowball fights with a busload of Dutch high schoolers.

BB: Fruit Bats are known for their engaging live performances. Describe the special feeling you get when connecting with an audience.

FB: That feeling is hard to describe. There’s nothing cooler, though, for my money. Even if it’s just 10 people. Much cooler than playing to 10,000 who could care less.

BB: Compare the process that the group un-took during the recording of The Ruminant Band as opposed to your other records.

FB: Way more of a group process. It was the fastest I’ve ever done a record from start to finish. I think because we were all working together. Plus I was in a hurry to finish the thing.

BB: What insights have you guys acquired in regard to the music industry after being on a label like Sub Pop for almost a decade?

FB: There are no rules. There is no strategy. Sometimes you’re lucky. Sometimes you’re smart. I have no clue. It’s a great mystery. I’ve seen so many people come and go and succeed and fail and the same story never gets repeated.

BB: Describe the thrill of playing on The Late Late Show with Craig Ferguson.

FB: It’s really fun, but also the ultimate anti-climax to play on TV. It takes weeks to plan, all day to put together, and then it’s done in three minutes, which really feels like 20 seconds. But I like being on the TV. It’s a weird little thrill to be on that box.

BB: How has the Fruit Bats sound evolved over the course of the bands career?

FB: The first record came from such a kitchen sink, home recordist angle. I had no idea how to arrange things for a band. It was a nightmare trying to play those songs live on the 2001-02 tour. I enjoy making simpler rock music right now. The band has electric guitars and drums and bass. I’m into that.

BB: The group is listed as having Chicago and Portland as home bases. How does that work?

FB: Pretty easy. When you tour as much as us, you only need to meet up for rehearsal early on, then the rest is on auto pilot. I spend a lot on plane tickets, though.

BB: Who would Fruit Bats name as their main influences?

FB: 1960′s Topanga Canyon Country Rock, British Wizard Folk, 70′s Yacht Rock, any alchemical mash ups of traditional meets cosmic.