TEN EMAILS with GREG WERCKMAN!

Greg Werckman is co-owner of Ipecac Records and manager to Mike Patton. For the rest, read below
xo

Email #1
Greg,
One thing that has always drawn me to Ipecac Records has been the diversity of your artists. I know you co-own // run the label with Mr. Patton. How much creative influence, if any, do you have with releases or are you strictly the businessman of the operation? That is to say, do you often hear albums, examples being Maldoror's "She" or the Melvins "Colossus of Destiny" and wonder if the artists have been given too much freedom? Or are all of the artists on Ipecac given free reign because you have full faith in their artistic output and the audience's open mind?

* Mike and I are 50/50 partners. While I tend to do more of the business side of things and Mike tends to do more of the artistic/creative side we have to come to an agreement before we put anything out. The two examples you give are not very good examples. Maldoror is one of Mike's projects, so of course there is no limit to the amount of creative freedom he has. That was the main reason that we started the label. As Mike's manager, I was looking for homes for the first Fantômas record and the Maldoror record in 1998. After getting some interest from the wrong kinds of labels, we thought why not do them ourselves. Then when it comes to the Melvins, I mean come on! They are, after all, the self proclaimed greatest band in the history of music. Not to mention that as a label we are VERY open to challenging the music listening public. So much music is way too safe and stale. On a personal level, it is one of the greatest honors in my life, to work for the Melvins. Besides being great and smart musicians, Dale and Buzz are literally two of the nicest people I have ever met. But let's keep that a secret. Getting back to your question, I'll say that some artists need direction and others don't. Some want it and some don't. But I can confidently say that you would be hard pressed to find a more artist friendly label on earth. Not every fan of our label is going to like everything we put out. As a matter of fact, I'd be willing to bet there is not a person alive that loves everything we have put out. But is that a terrible thing? The other thing that I think gets overlooked too often is that music is an art form. I doubt that some of the paintings and books and films that we love would have turned out as amazing as they did if middle aged, coked out, white men were telling the artists how to do their art.

Email 2
So many people blame the internet, napster, peer to peer sharing, etc for killing the music industry, but they also said home tape recording was going to kill the record industry in the '80s.

Is the real problem those "middle aged, coked out, white men were telling the artists how to do their art", management throwing millions of dollars at projects like Guns N Roses' Chinese Democracy, and the major labels lack of risk taking?

Also, when you were shopping around Fantomas and Maldoror what were some of the reactions you get? You say the wrong types of labels wanted to get involved, how so?

* Anyone that blames a change in format for killing the music industry is clueless. Format changes have happened many times. It is the way that the industry embraces and adapts to the changes that gets tricky. In this case, the big labels stumbled and bumbled. They ignored mp3s and file sharing for too long. They were stuck in their "old school" ways. They let the public get used to getting music for free then decided to wake up and get involved, but it was too late. Thank god Apple came along and taught the music industry how to successfully make the selling of mp3s possible.

This brings up another point that baffled me. At the time, Metallica got villainised by the fans and press for taking on Napster. But why were they the bad guys. What they did was stand up for artists rights. They should have been applauded. What they were saying is that they spent a lot of time and money making records, that is what they do for a living, so they wanted to be compensated as anyone would want. They did not want people stealing their art. Is that bad?

Maybe it was because of who they were, if they were a more hip up and coming artist who the press loved, would it have gone over differently? If Thom Yorke or Liz Phair was the one attacking napster, would it have been accepted? I'll take it a step further, I think Radiohead actually did more to HURT artists. By becoming heroes for giving their music away they actually did damage. So this already huge, popular, touring,successful band gives their record away and the public says, "hey, I got Radiohead's record for free, why should I have to pay for this band's music that I hardly know?". The culture of expecting free music magnified. All of us smaller labels and smaller artists that actually need the revenue are suddenly scrambling.

So what is killing the record industry? I'd say it was a combination of the big labels not guiding the industry into the digital age correctly and setting up a very unhealthy financial template. Bloated salaries by music execs and bloated advances to bands really created a blueprint for failure. From the very beginning at Ipecac we decided that there is not any reason that every record CAN be successful. If a record sells 1500 copies it can still show a profit. Not sure why record labels have been so determined to see that releases are looked at as failures. Bands that sell 100,000 records get dropped or shelved because they received huge advances and can't even recoup on 100,000 sales. That is ridiculous! Common sense HAS to come into play at some time. You also have blame band managers for grabbing as much money as they can and helping setup this perceived failure. For the first Eagles of Death Metal record, I advanced them $600 for tapes. This meant that if they sold 200 Cds, we all broke even. Of course they went on to sell way over 100,000 Cds, so made and continue to make very good royalties. Another thing is the reality that very few records break the 100,000 sales barrier. It is certainly not a given, nor should it be that every record is going to sell 500,000 records. The odds of doing that are very slim, check the statistics, so why create a budget that assumes these kinds of sales? It is actually too much risk taking.

When shopping Fantômas to record labels we got several different reactions.

We got people that questioned if it was even music, we got people that heard that were willing to gamble that perhaps the next record would be more "normal" and we got people that just liked the angle that it was a "metal" supergroup. Very few people understood that it was ok to release music that challenged the listener. That not every record had to be dumbed down for radio. So much of the music industry is based on underestimating the music loving public.
I'm not one of those anti major label people. The funny thing about the music industry is the self importance level that is so prevalent. The reality is that the average fan could care less about what label something is on. Only the music industry insiders care. People want good music. Everyone has an idea of what is good. As a label I can't force people to think our releases are all good. I just have to try to identify our fanbase and try to deliver music that they will appreciate. There are terrible and corrupt big labels but there are just as many corrupt smaller labels. Carrying an elitist attitude about what is cool is very unhealthy. We can't overlook the basic fact that music is an art form and as such, beauty is in the ear of the beholder.

Email 3
Mike always seems to be working on something new and different, how did you two team up?

* I was running Jello Biafra's Alternative Tentacles record label and Mike was/is a big fan of NoMeansNo who I worked with. He would come to shows that I was at. Mike and I bonded over our love of basketball and video games. We were very good friends and he asked me to help out with Mr Bungle so that is where we started working together, I evolved into being his manager. Mike is always working on 4 or 5 different things. It can get very chaotic and confusing but never dull.

Was part of your attraction to work with him stem from his incredible work ethic
or a similar vision?

* Honestly, it was just wanting to help a friend out at first. Mr Bungle was a crazy and at times dysfunctional family. But his work ethic is great. He really enjoys what he does and wants to try everything. He is not afraid of a challenge and is not content to take the easy way out with anything. I've worked with some interesting and creative people in my life (Jello Biafra, Hunter Thopmson, etc) but none work harder than Mike.

Email 4
One recording I really dig that I felt never got attention from Patton fans was his soundtrack to Crank: High Voltage. How did that come about? Every article I read it just says Patton composed and performed it, but segments sound a lot like Fantomas to me. Do you know who else performed on the sessions for this album? Or was it really an all Patton affair?

* The guys that wrote and directed the movie are Patton fans. We met with the at a horse track and they offered Mike the job. Mike had been looking to more film work. They needed crazy/hyper music, just like Fantômas. Mike moved to LA for several months to do it, it was almost all him. 97% of it is only him. I think it came out well. We were really hoping to put out the soundtrack ourselves but the film company already had a deal in place. I agree, a lot of Patton fans still don't know about it. A shame.

The soundtrack was issued by Lakeshore Records, who released the film, do you think it would have gotten more attention as an Ipecac release?

* Absolutely! It hardly got any press at all. Someday, maybe they will let us give it a shot and re-release it.

Email 5
As many people know Mr Patton is back with Faith No More for a series of reunion shows. How much of your time is that occupying? Were their fierce negotiations or big a group of friends just reconnect?

I don't know about the rest of the band put it seems that Patton and Mike Bordin have been busy ever since the band broke up initially.

* Right now it is not taking up too much time. It was hectic at first. There were negotiations and moving schedules around. The business side of it was hectic, but when the guys got together to start rehearsing it all clicked pretty quickly. They get along very well, which is nice. I don't think they expected the strong reaction that they have received. It was really crazy in Europe, especially. As a fan of rock music, I can see why. There just are not that many really solid rock bands around these days. Going to be fun to do a couple NYC shows. Right now though, the focus around here is Mondo Cane.

Email 6
I've heard Mondo Cane will tour Europe extensively, will they also be making appearances in the US? I read somewhere there might be some issues with getting visas because so many of the members are European citizens.

Is Europe more receptive in general of Patton's work? Or is it just a different
atmosphere?

* I don't think Mondo Cane will tour anywhere extensively. We are doing 5 or 6 shows in Europe at the end of July/early August. Hoping to return again in the Fall. We are working on trying to set up some shows in the US and Australia, but nothing booked yet. Mondo Cane is a very tricky show to set up. It is very expensive. It is a large band. Orchestra, choir and band. It is not a 4 piece rock band. The venues need to be different for this type of show. It has nothing to do with visa issues. As a matter of fact the band in North America will be completely different then the band in Europe. The reason that it is "easier" to pull together in Europe is that there is actually support and funding for arts and cultural programs there. In the US, not so much. This music has to be presented in the right way. Seeing this show in a general admission rock venue would not be enjoyable for the audience at all and would miss the spirit of the project.

Email 7
A few people have told me that the difference between touring the US and Europe, is that overseas even smaller acts are guaranteed a place to stay, a safe place to store their equipment and a meal.

* Hmmm, that might be true to some degree, but it's not all wine and roses in Europe either. Look, touring is hard work. Bands that are not willing to put in the work should give it up these days. You REALLY need to tour to have a decent chance at getting exposure. You can't rely on labels, clubs and promoters to make touring easier and better, you gotta do a lot on your own. Advance work is key. Spreading the word, contacting retailers, etc. It does seem that the arts are respected more in Europe and crowds seem more accepting of different styles of music, but commercially speaking, you do need to do tour and develop a fanbase in the US if you have a hope of greater success.

Is the problem in the US that so many of the venues are owned by large corporations that don't feel the need to take better care of musicians? That if one band does not tour, there will always be someone else to take their place?

* I think that might be part of it. There is also the bad economy and the competition for the entertainment dollar. I think it would help if radio and print media were more willing to cover a wider range of musical acts. If a club sees that a certain act has media support they will pay more attention to it and spend more to market the show. Everything feeds the other.

Email 8
So if you were interested in releasing a band, what would you say the Ipecac
promise is?

* That we don't make promises! HA. No, what we tell bands is that we can't make you a "star". You have to do that by working hard. But we offer a ton of artistic control, you can be involved as much or as little as you want to be in the whole process. We pay royalties every 6 months and pay a very good royalty rate. You will always be able to get us on the phone and we will work hard for you and respect you. We don't do multi record deals. That way, if the artist is unhappy or if we are unhappy with how it is going, we part ways. We license the record from the artist so they retain ownership.

What services do you provide for artists on your label? Are you just handling manufacturing and getting albums to stores and leaving promotion to publicists and touring to booking agents?

* We hire a publicist for each release. We market each release. We try to help with management issues, like finding a booking agent, merch company or lawyer or manager if needed. We offer a lot of advice on anything. And provide a shoulder to cry on.

I realize you don't run a cookie cutter label, and one formula will never work for every band, but were would you begin to focus?

* Where we begin is with a HUGE amount of respect for the artist and the art. We work for the artist.

Email 9
Now this is always a hard question for a lot of people, because they don't wanna reveal too much, but what can we expect in the future from Ipecac? Any surprises lurking in the near future? Or will it just be focusing on the new Melvins album and Mondo Cane for a little bit?

* Well, it is not so much about not wanting to reveal too much as it is mentioning something that does not end up coming out for a loooooong time and it bums people out. But since this is just between us..... We are very sad to announce that Isis just broke up. But we have several interesting things that we are working on. I wish I could say more, but I don't want you to ask me about them in a year and I'll look stupid. With these 2 new releases (Mondo Cane & Melvins) we got our work cut out for us for the next few months. We ARE going to be putting out an original soundtrack from famed composer Daniele Luppi and Josh Homme has been putting together a cool Desert Sessions retrospective for us. Been talking to several artists that we have never worked with and trying to pull together some cool Dvds. Is that vague enough?

Email 10
Well Greg, thanks so much for following through with this whole process and the time you put into your responses.

if you want to send a photo to run with the interview, id love it.
thanks again!

Here is a pic of Mike and I in a helicopter in Australia, not sure if it is high enough quality

best, Greg

IPECAC RECORDINGS

KEVIN DRUMM KITTY PLAY 12" RE-ISSUED

The Kevin Drumm side of his split with 2673 released back in 2005 on kitty play which was exclusively on vinyl, is being reissued as part of the "Necro Acoustic" 5 cd deluxe box set by norway based label Picadisk.

check out picadisk.com for more info

TEN EMAILS with ERIC STEPHENSON!

It’s Wednesday, and for comic fans that means new books are out, I wasn’t able to make it to the comic store today, but I was able to wrap up this interview with Image Comics Publisher Eric Stephenson!

Email 1

Marvel Comics has recently unleashed the Marvel Digital Comics service where for $4.99 a month ($59.88 for the year) fans can get access to comic books online or via devices like the new Ipad.

Whats your take on the digital comics? Several illegal peer to peer sites offer comic books scanned for download as well, does this pose a threat to your business model? Do you think more companies will be offering digital renditions of their current or classic titles?

I personally find the possibilities created by digital comics, from business and creative standpoints alike, incredibly exciting. I don't think print comics are going anywhere just yet, but I do see digital comics becoming a greater presence over time. And yes, I definitely think more publishers will be releasing digital versions of their comics. Many of them are doing that now, and the number of publishers re-working material for digital distribution is only going to grow over the months and years ahead. I don't know if that's a specific reaction to illegal downloading of comics material as it is to the fact that technology is continuing to evolve and devices like the iPad are more conducive to the comics-reading experience.

Email 2

In 2008, shortly after you began as Publisher at Image, Robert Kirkman became the newest Image partner, and the first to attain that status since Image was created. Has Kirkman's role as a partner changed the company?

I think there's perhaps a different kind of energy than there was before, because Robert's comparatively new to the game and he is just fueled by all this raw enthusiasm that is kind of hard to sustain after you've been in the business a while. He's made suggestions here and there about things that can be done better or differently and he has recommended a few titles for publication, but that's not really different from how things were before. He's been a positive influence, to be sure, but it wasn't a case where he came in as partner and then we made all these sweeping changes as a result.

Email 3

As Publisher at Image, how important is it to you be up on what goes on, and the trends at the other big comic publishing houses?

Just in terms of staying abreast of what's happening in the industry, that's tremendously important. However, due to the unique nature of our business, what works for other publishers isn't necessarily going to work for Image. For instance, there have been numerous "event" miniseries from Marvel and DC over the last several years, these large, company-wide crossovers with spin-off miniseries and the like. While we might do an IMAGE UNITED or something like that every now and then, we can't really do the big, sweeping, buy-all-our-titles-or-else type of crossover. LIkewise, due to the nature of creator-ownership, we can't just arbitrarily spin characters or series off. That's why you don't see a dozen different WALKING DEAD series or something like that. So, what's happening at other publishers winds up being important and informative, but not necessarily something we want to emulate.

Email 4

What's unique about image's creator-participation deal? Is creater-ownership philisophically the best way to make comics?
How is Image now different from the company 7 of the industries best artists created in 1991?

Well, it's not creator-participation we're talking about, it's creator-ownership. Just as Todd McFarlane owns SPAWN or Erik Larsen owns SAVAGE DRAGON, Robert Kirkman owns THE WALKING DEAD 100%. John Layman owns CHEW. Richard Starkings owns ELEPHANTMEN. And that's what makes Image unique within comics publishing. There are plenty of publishers who will offer ownership up to a point, or ownership with some kind of media rights percentage, but Image's standard deal is 100% creator-ownership. And that's the same now as it was when the company was created, almost 20 years ago now. Is that philosophically the best way to make comics? I don't know about that. I think that depends on what you want to accomplish in comics. If your life's ambition is to write or draw a character created by someone else and owned by someone else, creator-owned comics are apples to oranges. Everyone's different, creative people perhaps even more so, and I don't think it would be fair to say doing corporate-owned characters is somehow less valid. Some of my favorite comics are by extremely talented writers and artists doing work-for-hire, and I don't really think there's a way you can argue one method of creating comics is necessarily better than the other from a creative standpoint.

Email 5

What does complete creator ownership mean for Image in terms of licensing?
If there is a new Spawn or Walking Dead movie, will Image share in the profits? Or will it have to spend money directly on the film to make any royalties?

Image won't make a dime from the Walking Dead television series on AMC, just as Image never made a dime off the Spawn film or animated series.

Email 6

I'm gonna try to avoid making a joke about Spawn movie profits, I was just underhand pitched...

When Erik Larsen left the post of publisher, he told Project Fanboy, you were "the best man for the job". You were following in the footsteps of two Image founders in Larsen and Jim Valentino. I know you have been with Image since nearly its beginning, but how big a change was the move from being Larsen or Jim Lee's 2nd in command to being Publisher?

Well, I've actually only been on staff with Image since 2001. I was kind of "Image adjacent" before that: When I was first breaking into comics, I worked as Jim Valentino's assistant for a brief period, before being hired by Rob Liefeld to edit comics for Extreme. That happened right after YOUNGBLOOD #1 in 1992 was released, and I went on to work for Rob, editing comics and doing some scripting on various titles, until 1998 or so. I did some freelance comics writing and coloring after that, as well as working on staff for a dotcom, before Valentino brought me on board as Image's sales & marketing coordinator at the end of 2001. Erik replaced Jim as publisher in 2004 and I took on the title "Executive Director," which was really just another way of saying co-publisher, I think, and we made a pretty good team, I think. So much so, in fact, that it hasn't really been that big a change. I had my hands in most aspects of the job before the transition, so it's just been a case of taking ownership of duties I used to share.

Email 7

Working with Liefeld at Extreme did you ever cross paths with Alan Moore during his tenure on Supreme or Youngblood ? If so how was working with him?

Oh, yeah. There was a good long stretch of time when I talked to Alan almost every day, which is easily one of the highlights of that period for me. It was a fascinating experience, because Alan was genuinely enthusiastic about the material and had what seemed to be a limitless number of ideas about how to further develop not only Supreme, but the entire Extreme universe of characters. Just talking to him about the books was tremendous fun and being able to read his scripts as they came over the fax was an education on its own. It's a shame his run on SUPREME was never continued or completed. Alan had some fantastic ideas for what would have been his third year on the book and it has always been a disappointment for me that he wasn't able to wrap things up the way he intended. Likewise, only a fraction of the stories he wrote for YOUNGBLOOD were ever published. I would rank working with Alan (not to mention his chief collaborators during that period, Rick Veitch, Chris Sprouse and Todd Klein) as one the best experiences I've had in comics, honestly. I feel lucky I had that opportunity!

Email 8

Are there plans to publish all or even just some of the unreleased Alan Moore material? I know a lot of people who might not be Youngblood fans but buy everything with Moore's name on it.

I don't believe so, and I'm not even sure it's really possible: None of that work was completed. With Supreme, there's an issue that was written, but neither drawn nor published, but the final issue that would wrap everything up simply doesn't exist. Youngblood would be in a bit better shape, as I think there are four or five scripts that haven't been drawn, but again, all of those would have been chapters in a larger arc that was intended to run 12 issues. Glory was going to be six issues and only two of those were written. It would be nice to see all those comics in print, but Alan has moved on at this point, and it's my understanding he wouldn't be interested in coming back to finish everything up. It's been something like 12 years, after all.

Email 9

So moving forward are there any big new plans or awesome twists coming from Image in the near future?

This is one of my least favorite questions, because there are always big new plans and awesome twists in the works, but in most cases, I'm not at liberty to talk about them.

I can say that we have some cool new series launching in the next few months, though. David Hine & Shaky Kane's BULLETPROOF COFFIN is shaping up to be an amazing piece of work, Tim Seeley is bringing his HACK/SLASH series to Image, Robert Kirkman is spinning off characters from INVINCIBLE in GUARDIANS OF THE GLOBE and up-and-coming new writer Nick Spencer has a great new series called MORNING GLORIES. Actually, one of the best things about working at Image is that we're constantly doing new things. With only a few exceptions, Image's publishing slate can look totally different from year to the next and sometimes from one month to the next.

Email 10

well super thanks for all the time and insight you have given me and everyone who reads this. it means a lot to me that you took the time out of your busy schedule to follow through with this.

could you toss me a photo if you can to run with the interview, can be you or any image related image (ha!)

best wishes in the future
dont forget to have fun!
xo

TEN EMAILS with SONNY KAY!

Photo by Behn Fanning

From 1993 until 2007, Sonny Kay owned and operated Gold Standard Laboratories home to such acts as The Mars Volta, the Locust, Kill Me Tomorrow and too many other great bands to name. Since closing up shop there, Sonny has been creative director at Rodriguez Lopez Productions and Sargent House.

This interview is real long and in depth, so I will let it speak for itself.

Enjoy.

Email 1

Sonny,
First off thanks. GSL was a huge influence on my label Kitty Play, we have worked with some of the same artists Kill Me Tomorrow, An Albatross, etc. I can't help but realize the impact GSL has had on the development of my musical tastes over the years.

That said I was sad to see the label go, and not to dwell on the past too much in my first email but, in the labels eulogy you make reference to Factory Records. In 2002, a film about Factory was produced, 24 Hour Party People, starring Steve Coogan. If their was ever a biographical GSL movie, and you never know these days, who would play you and your rogues gallery? And what are some of things you would hope the story of that part of your life in the music industry would convey?
xo

Hey Mark

Thanks for the kind words regarding GSL, I appreciate it. Forgive me if I get long-winded (I can't avoid it). Edit at will!

Hmm, tough question! The Englishman in me would be endlessly amused to see Ricky Gervais play my part, with maybe an element of Judd Nelson (circa The Breakfast Club) tossed in. It's funny, early on in my partnership with Omar, we actually did envision trying to put together a film of some kind to sort of create our own myth - although I imagined more of a documentary than anything dramatic. My own concept of it kind of revolved around my car and the constant traveling, juggling, string-pulling, coordinating... At the time, I was living in San Diego but constantly back and forth between Oakland, L.A. and S.D. for one thing or another. My car was essentially my office, I could virtually drive I-5 with my eyes closed. All GSL business - and life in general - was conducted in a blue cloud of weed smoke, which in hindsight renders the demise of the label something of a no-brainer. There was never a plan - even from the earliest days when I was doing things solo. I always embraced the idea of the label being an organic entity - my extended "art project" - where one release would lead to the next, one band would lead to another; where touring Europe with The Locust would unearth a bunch of bands in Norway who'd be the next ones we released. And that did work, for a while - largely on the strength of a handful of releases that accidentally did take off. But every great work of art requires a plan, and we came to that realization the hard way. I embraced the idea of doing the exact opposite of what other labels did, of what the standardized model of the music industry dictated you do - so we put out too many records, didn't hold bands as accountable in some cases as they should have been, and in general just kind of made it up as we went along. In my naivety, I actually thought we'd succeed on our own terms - that the presence of The Mars Volta would be the magic wand that would just make everything work. It was a lot of fun, and a fantastic way of seeing parts of the world I may never have otherwise. But it wasn't a business, and we weren't reinventing the wheel. We were reinforcing a loose community of bands and artists around the world who we felt were cooler, more substantial, less desperate and pandering to flavors-of-the-moment than what everyone else seemed to be doing. Any accurate portrayal of the label would focus on the fact that there was never a destination in mind, that the journey itself was always the point.

xx S

Email 2

Now you are working at Sargent House and their contacts has you listed as "creative director", how does your role their differ from your time running GSL? Is the blue cloud gone and are you working with more of a strategic plan?

Things are much different now. My focus is entirely on the aesthetic elements, so I have much less responsibility than with GSL. The "creative director" title is pretty liberal - I definitely fulfill that role with RLP, but with Sargent House, I'd say my role is more that of flight-checker, which I know sounds fairly cryptic. Most of the SH artwork is provided by the respective bands, and I just facilitate everything fitting where it should, turning out the right color, etc. I might design the odd poster or piece of merchandise but as far as the strategy of the label is concerned, that's entirely Cathy Pellow's realm. I'll chime in if I feel strongly about something. With regards to artwork, SH is very similar to GSL in that the bands are encouraged to provide their own art or at the very least it's a collaborative process. The cloud has definitely taken a backseat. It has its time and place, both of which are fewer and further between nowadays.

Email 3

How has the transition been from you owning and operating GSL essentially out of car, to GSL at its height to now being at Sargent House and not being in complete control?

Well, letting GSL go was a difficult decision, but on the other hand, there weren't any other options. It took some getting used to, more than anything. It'd been a huge part of not only my day to day life, but my whole identity, for about 10 years. Accepting that the time had come to switch gears was awkward, but the results were a huge relief. By the end, so much of the process of running the label had become so tedious. Everything started feeling like a chore - which could have been countered by some level of success, but the truth is, the more records we released, the worse they did. It was heartbreaking to put out what we knew were strong, inspired albums that were then met with total indifference by kids and press alike. And the responsibility for almost everything was riding on my shoulders. So, in contrast, things now are far more manageable and a lot more enjoyable. I get up every morning looking forward to doing work I love doing, and I'm aware how lucky that makes me. I don't want any of the other burdens. I wasn't cut out for business or entrepreneurship, and I don't miss it.

Email 4

I'm sure after running a label for that long, even now there are still bands who you want to call attention to and help out. Is Sargent House a place you can bring talent on board?

Are who are some of the young bands now you think are not getting enough attention?

First off, yes - if I was blown away by something, I could certainly bring it to Cathy's attention and I think she would value my opinion. That said, it really doesn't happen that much. I don't feel all that qualified in my knowledge of new or unknown bands cause I don't really get out to shows that much anymore, I'm just not that interested. I could more easily tell you who I think is getting too much attention rather than not enough. The last band that really excited me was HEALTH and obviously the word got out on them, and in my opinion, they deserve all the praise they get. I don't want to name names, because I do believe anyone doing anything creative is a good thing, but most of the LA bands who have blown-up over the past few years are all completely over my head, I just don't understand the appeal or find anything that interesting or novel about what they're doing. No one takes any risks, and very few of them seem to be saying anything. Either I'm old or my tastes haven't kept pace - probably both. I genuinely enjoy and pay attention to the whole Low End Theory clan - Gaslamp Killer, Nobody, Flying Lotus, etc. - and those guys all seem to be doing just fine. I find "bass music" much closer to my heart now than anything else. Maybe I see too much of the young me in the other kinds of stuff, I don't know. But really, my opinion is just premised on living in LA, and it's easy to get spoilt here. I have no doubt that there are truly underground scenes happening right now around the world that would blow my mind and feel really inspiring - there always is, that's just a fact. True disadvantage is unequaled in terms of laying a foundation for artistic expression. That's why so many incredible bands were coming out of England in the mid-late 70's. I'm sure there's bands in Nairobi and Manila who deserve as much if not more attention than whatever happens to be filling The Smell this week.

Sonny also sent this 2^nd response

Damn, I hope I don't come across like a miserable old bastard!...

Email 5

Hahaha, I don't think you are coming off as being miserable at all. I've been asking a lot about a part of your life which has already been written. It is more reflective and honestly I think highly interesting.

You have been focusing a lot of attention on graphic design, often for Omar Rodriguez-Lopez, where do you draw the inspiration from for your art? Solely from the album a piece is created for? Or whats happening in your/Omar's life? A combination of the two?

Also its Cinco De Mayo!! Saw Mars Volta at Roseland here in NYC a few years back, how will you be spending it this year?

Inspiration can come from anywhere. Omar might give me some vague theme to work with, he might toss me a book of Hindi film posters, or he might just scroll through some rough ideas I've thrown together and decide one of them is already on the right track, so I'll get back into it. I spend a lot of time looking at other artists' work, particularly the classic album cover stuff from the 70's - the Roger Dean and Hipgnosis stuff in particular. I look at ffffound.com when I'm really feeling uninspired and just need to be awed by something. With regards to collage, more often than not I just sort of free-associate images that seem like they might click, or have some inherent meaning when placed side by side - hitting on something that way can really get things moving. Omar really embraces the haphazard and absurd, and I think he would agree with me that in terms of his own aesthetics, the less thought involved, the better. I'm more conservative in that regard. I strive for significance, or a meaning - because a meaning generally implies a roadmap. I enjoy the idea of communicating visually with as many people as possible, whereas he's more concerned with something that fits his personal vision, plain and simple. I have a great deal of freedom when it comes to the work I do for him, and so yes, what's going on in my life certainly informs the direction the imagery goes more than his. I like the idea of life's random events influencing the content of my work; that something I create, say, in Mexico might attempt to capture a certain essence of the experience of being there. Quite frankly, actually getting to hear the album in question while designing for it is something that happens only about 50% of the time, as far as Omar's stuff is concerned at least. I don't really know how things might differ if I got to hear the music more often than that... Interesting to think about.

I'm about to get out of the office and go enjoy what's left of Cinco de Mayo. Coincidentally, a friend from Mexicali, Mexico just came to town for the night, so I'm going to go hang out with him and do whatever it is Mexicans do on 5/5. Have a good evening and talk to you again soon.

SK

Email 6

When did you realize you had such a great working relationship with Omar? I always read that he can be a bit of a dictator in the studio is there truth to that?

Sorry for the delay on this one.

The first things we ever worked on together were the De Facto albums and that was a lot of fun for both of us - actually all four of us, since Cedric and Jeremy were part of that process as well. I think at that point we recognized a chemistry and it's just sort of evolved from there. When I began devoting more time to creating my own art, the work I was doing seemed to strike a chord with him. I suppose we've been on a parallel course ever since. As for being a dictator, well... I'd say Omar generally has a good idea of exactly what he wants. He's got an energy and magnetic sort of enthusiasm that seems like it infects everyone he works with, he's just one of those people that can bring out the best in others. But if someone like that's having a bad day, then so is everyone else, you know what I mean? I just watched this documentary about Kubrick making Eyes Wide Shut (I think it's called The Last Film, or something like that) and as they described his method of work and collaboration, it was amazing to me because it was as if they were describing Omar. It was a revelation, to say the least - and strange, too, because Kubrick is easily my favorite filmmaker. In fact, I'll quit while I'm ahead and say that if you want a good idea of what Omar's work ethic and "people skills" are like, see that film.

Email 7

So you've run your own label, you have a comfortable job at Sargent House, whats next?

I mean any big dreams, goals, gonna sell the GSL back catalog to Universal Music? Leak it all on internet peer to peer sites?

Good question. I'm not really sure what's next. I'd love to experience living in different parts of the world - Japan especially (as far as places I've already been). I'm fascinated by Africa, Central America, India, Iceland... I'd gladly take at least 6 months or a year in any of them. I definitely intend to keep pushing myself artistically, that's probably my single most defined goal as far as work goes. Developing and broadening my skills outside of digital stuff is especially appealing - getting back to the basics with the advantage of a few years under my belt. I'd like to arrive at a point of genuine satisfaction with my work - that's something that's eluded me so far, and maybe always will, I don't know. Beyond that... Opportunities have a way of presenting themselves if you make yourself available to them. Most of my life's developed that way and I expect that it'll continue to, so I try to keep myself as open to the options as possible. I enjoy the adventure of not knowing what might come next. And eventually, I'd like to have a family.

As far as Universal Music and the GSL back catalog, well... I'm all ears any time they feel like knocking! I can't imagine that happening. I won't be uploading any of it myself but it'd be hypocritical of me to have an issue with anyone doing that.

Email 8

That said, what is your take on the sticky subject of peer to peer music sharing?.

This may well be a "can of worms"... but I'll try and keep things concise.

As a label owner, I resented it - simply because I witnessed our sales disappear virtually overnight. It wasn't so much peer to peer itself as it was the arrival of the ipod. It decimated our physical sales by at least fifty percent within the space of 4 or 5 months.

Having said that, I no longer have any issue with it - and that's not solely because I got myself an ipod and started downloading tons of stuff I'd never, ever actually spend money on physically. My thinking with regards to business, property, implied value, etc. has come what I feel is a long way in a fairly short amount of time. We need to change our priorities. We need to get beyond money. Capitalism is a rope around humanity's neck and anything that chips away at its foundation is fine by me. And believe me, I understand the contradiction in having an opinion like that while living in and contributing to the society I do - but you have to start somewhere. Even if your ideals are "unrealistic", it doesn't make them any less valid. I don't believe that "stealing" music will hasten the end of capitalism, and I also don't think that so-called communism (or any of the other pre-ordained "isms") is a worthy alternative. I don't believe the value of music is diminished by the inability to turn a profit from it. I think the time has come for us to evolve - psychically and emotionally, the kind of evolution we have some control over. I think creativity should be valued much differently than it is now. But by that I don't mean that we should police downloading so each and every last artist receive their .0005 cents - I mean we need to fundamentally change the whole equation in order to take the emphasis of profit entirely. The world I want to live in doesn't revolve around profit, or exploitation, or gaining anything at the expense of anything or anyone else. Maybe I'm naive - plenty of people I know have told me precisely that - but I don't think it's inconceivable. And I know there are thousands of others, if not more, who feel the same way. All this noise about filesharing and the death of the music industry and the collapse of the economy, these are all symptomatic of far larger and more profound changes taking place. The course those changes take can be guided to the benefit of the planet and everything inhabiting it. Or, they can continue benefitting corporate/government police states motivated entirely by the greed of a relatively tiny amount of people. To my way of thinking, filesharing is the environment is globalization is imperialism - another frontline for the systematic war on the human psyche and the potential of the human soul. The kind of war waged by its victims upon themselves because they're too brainwashed to see existence for what it really is and thereby allow governments and McDonalds and 500 TV channels to do their thinking and living for them. So yes, download away in my opinion. Make all art free - then maybe the only people doing it will be the ones with the inherent need to create it. Let's change the paradigm for everything. There's no reason why we can't, only about a billion reasons why we won't.

Email 9

I think someone needs to make shirts that say "The Revolution will be Hypocritical". Maybe I need to get H&M on the phone with that one, make a killing.

The more I talk to people about the whole peer to peer thing, the more I get responses similar to what you have to say.

I listen to the radio a lot because I always wanna know whats going on in pop culture, just like I'm always talking to some crusty metal kids to find out whats going on in the dirty thrash scene, but I seem to get flack from both ends about my interest in the other.

I think my whole take is people need to do what works for them, buy music when you can, explore where you can, and live life the best you can.
Keep an open mind.

But seriously man, when are you going to get in the studio and kick out some crazy Year Future jams? Or become a member of the Mars Volta and perform some of that live projected sand art?
;)

I bet you could retire on the proceeds from a slogan like that! Seriously.

As for music, I don't know... There's not much I really feel compelled to do. I don't consider myself a musician, not even by a long shot. I don't have the need to do it the way friends of mine do, my instincts and impulses are for other things. I accomplished way more than I ever set out to with music, which was to release a 7" and go on tour once or twice. I managed to get that done by 1992, so everything since then has kinda been icing on the cake. Year Future was a great experience, but I feel now like I said everything I needed to with it. I'm content to leave it to the professionals and the kids with burning ambitions at this point. There's way too much clutter anyway.

Email 10

Damn, well this is email 10. The end is here. I really want to thank you for taking the time and answering all of my questions and going so in depth with your answers.
Sessions like this is why I started this project.

If you can toss me a photo or image to run with the interview when I post it that would be fantastic.

Hope our paths cross again
xo

Can I shoot you a photo on Monday? I don't have anything recent on hand but am gonna do some over the weekend - there's a wedding tomorrow so I'll be all cleaned-up :)

Thanks for allowing me a platform/soapbox to blather from, and for your interest in the first place.

Have a great weekend.

SK

TEN EMAILS with JONATHAN CANADY!

Jonathan Canady is one of my favorite voices in the noise community. DEATHPILE's "G.R." is an album I often use to introduce friends to the genre. Tracks open with vocal outbursts like "Marcia, my high school sweetheart, my first wife, my first whore" and "I'm addicted to prostitutes like some men are to alcohol".

Since closing the book on DEATHPILE and more recently Angel of Decay, Jon has started a new solo project called Diamond Cult, and Nightmares with Mark Solotroff of Bloodyminded. Jon is also a sought after graphic designer and has been showing his work around the US and Europe. His artwork can be viewed on his website art.malsonus.com

Email 1

Jon, from your recordings in DEATHPILE to your more recent artwork, your output

seems, well a bit harsh and violent.

Is their an angry person inside of you coming to the surface in these works or

is it a way relieve stress for a normal average guy?

- I am an angry person but much less so than when I was younger. I am a level

headed old man now compared to how I was in my twenties. I look back at that

time and am pretty amazed I made it to this age without getting put in jail or

an insane asylum.

I have no idea about a normal average guy. I commute to work on one of the main

train lines in Philadelphia and I often wonder why everyone around me accepts

their lot so easily. Or do they just hide their frustration better than me?

To attempt to answer your question, the violence you speak of comes out

naturally. I couldn't stop it if I wanted. It's as much a part of me as my skin.

So much so, I sometimes don't even know it's there.

When people see your work in a gallery or hear one of your recordings, what do

you hope they walk away with?

- You know, I do my best to not think about that too much. I create work to

satisfy myself. Whatever people take away from it is fine with me.

Email 2

so is it a real relief to be able to let loose a bit of that hate and angst in a creative outlet like your music and art?

It s sort of like the sex drive. You do the deed and feel relief for a bit. Then the urge comes back before you know it.

Email 3

In April of this year, the US Supreme Court overturned a federal law banning the depictions of dog fighting and animal cruelty.

Why should violent media always be protected by the first amendment. In my opinion if that law stayed on the books, album artwork like that featured in your Blunt Force Trauma release could have been banned, even if the violent gore shown was human.

I see your point. There should be no differentiation between depictions of animal vs human cruelty.

That said, I would personally rather see barrels full of babies being fed into a wood chipper than a kitten being verbally abused but... I don't make the laws.

Email 4

You just started a new project and website for a band called Diamond Cult which you describe as a "one-man electronic / rock project" and as having "a less dark vibe". Why did you choose to take your musical efforts in that direction? Is it something you've considered a while, or did it just kinda spring up?

I have loved weirdo rock and pop music since I was a child but I've generally kept it on the down low. So since I have been doing various forms of well-worn experimental music for creeping up on twenty years I figured it was time to try something else for a change.

Email 5

What's your take on pop stars appropriating bondage and s&m images for their music videos? You could say it started in the 90s with Madonna, so its old hat. Yet in the past few years you have Lady Gaga, Christina Aguilera, Rihanna all using the same types of imagery.

Do you even care to have an opinion on that?

I wonder if we can do all 10 emails before I pass out?

Anyhow, I have always disliked S/M or fetish fashion no matter who is doing it.

Jon then sent this second response to the email

No 10 in one night. You missed out on getting me in a drunken spiral. Too bad. Ha ha.

Email 6

I miss took your last email for thinking that I was boring you to sleep. but now i've cracked a beer too, so there is still time for you to go on a drunk downward spiral!

i like alot of pop and weird music too, but also a big abrasive advocate, so don't think you are alone there. I've also see Prurient dance to trance music.

Dmoilmp. Lyouirj? Jollllhpoppbvbb!

Email 7

man you should not have signed up for an unedited transcript interview :)

That was a test... Only a test. Had that been a real drunken response you would have been directed to do something official and extremely important.

Jon then sent this second response to the email

The suckling pigs in this house are very evil.

Email 8

well here is your chance to spread something really official and important to the masses drunk or not

Life turned me into a sort of mad dog. But now I am here, it all seems so different. I have the feeling that something beautiful, and very profound is going to change my fate.

Email 9 (editor’s note: sent in reference to the suckling pigs email)

is that some veiled tori amos reference?

Please reference my last message.

Email 10

I hope so too, I don't quite know what life has done to lead you on the mad dog path but I'm glad to hear that you are open to change and have excepted that things are moving forward for the better. Thanks again for the awesome interview and if you wanna send me a picture to accompany it when it posts, please do so.
xo

Thank you Mark. Please don't take my drunken nonsense (and random Spanish horror film quoting) the wrong way. This has been my most entertaining interview experience yet!

I'll send you a photo asap.

2^nd email sent the following morning

Hi Mark,

Shockingly... I am not too hung over. Thanks for putting up with my drunken retardation last night (ha ha). I had fun.

Here's a photo for you:

http://malsonus.com/vergeimg/DiamondCult_8893.jpg

PLEASE credit Scott Kinkade for this photo.

Thanks. -Jonathan

uffie does not need more free press, but i cant believe this is not tearing up pop charts

Frank Zappa, The Mothers of Invention and Burt Ward

Back in 1966, Burt Ward recorded and released a
single called "Boy Wonder I Love You". It featured Burt reading fan letters over musical backing of The
Mothers of Invention. After soaring to number six on the charts in Chicago, the record was pulled off
the air by religious groups and network censors who complained that it was too sexual! Kapow! Bam!

TEN EMAILS with MIKE ALLRED!

Welcome to my new interview series 10 EMAILS. There are lots interesting media types out there I would love to have a chat with and this is my opportunity to do that and post our unedited transcripts.

My first installment is a real treat! I chatted up Mike Allred, an incredibly sought after comic book artist and graphic designer. Allred has worked with everyone!!, and his creation MADMAN is bring bought to the big screen by Hollywood heavyweight Robert Rodriguez.

Allred is also know for his run on X-Force / X-Statix at Marvel and adapting the Book of Mormon into comic book form with The Golden Plates. So sit back, relax and enjoy!

Email 1

Mike,
I noticed when you agreed to do this interview, you replied via an I-Pad. You have been drawing comics for over 20 years, has the technology in creating comics changed for you?

Big time! Our first Mac when Laura started doing all the color separations was the biggest step, and we finally have the tech working for us instead of the other way round.

When you tackle different projects say drawing Madman & the Atomics vs. inking Catwoman, is different technology used?

Not really.

Meaning, is their one title you will only use pencil and ink for the whole process and another you or Laura will computer color, etc. Or do you have one approach and like to stick to it?

I prefer to get as much organically on the art board as possible on every project.

Graphite, washes, tones, rendering.

Laura then adds her keen color sense to the mix and voila!

Members of the music industry are often scared that the internet is stealing their revenue with illegal downloads. Comic book scans are beginning to pop up on illegal download sites more and more, do you think this will have a large impact on the comic industry?

It's possible.

Marvel has already begun to offer a digital comic service for people like yourself with an I-Pad. For a flat fee, around $60 I believe, you will get all the titles Marvel offers for a year in a digital form. Is this a good thing? Or will you always need to be able to smell the dusty pages of an old comic book in your hand? Do you think this will this have a major effect on how creators develop their comics?
xo

I prefer the feel and smell of paper. A tangible object. Hopefully there will always be enough folks like me who feel the same way.

Music is still done basically the same. And there are still hold outs to old school techniques and formats, even a resurgence of vinyl records. But digital has bridged the access gap for all artists who in the past needed a record company or publisher to bless them in order to enjoy success.

The indy movement has helped all artists and has even made corporations "honest" to a large degree.

I've seen musicians and illustrators embrace technology. It's a wash really.

Ultimately, good work is celebrated and supported. If revenue dries up? Things could get slim.

In the meantime, I'll remain optimistic

Email 2

You mention: "The indy movement has helped all artists and has even made corporations "honest" to a large degree."

Does this statement have anything to do with or relate to your decision to produce a title at Marvel namely your work on X-Force and X-Statix, as well as moving Madman from Dark Horse to Image. Or were their other factors involved and simply they just made the right offers at the right time for you to transition to those publishers? Such as Erik Larson becoming Publisher at Image, or having the oppurtunity to work with Peter Milligan at Marvel?

You pretty much summed it up.

But there are multiple factors in why I've published where and when I have.

For instance, at Dark Horse my great friend, Bob Schreck left to form Oni Press, and then his replacement, my best pal, Jamie S. Rich left to join him at Oni. This got me interested in forming my own publishing entity, AAA POP. Jamie has been my editor on all my indy stuff ever since.

Diana Schutz is still at Dark Horse as well as other great friends and colleagues, including Mike Richardson, Mike Mignola, Gerard Way, and Eric Powell, who make it still a very very attractive place to be published. If Bob and Jamie never left, or if I was given Diana to edit my books earlier, Madman and Co. might possibly still be there. But I always feel the need to challenge myself and stretch, and self-publishing was something I had to give a go.

With very few exceptions, I've always enjoyed my publisher/creator relationships, and hope they've all enjoyed working with me.

But moving on, I have great respect, fondness, and admiration for Erik Larsen at Image who pointed out that I would have absolute control with them while having their entire excellent team working with me. Essentially self-publishing but without all the administrative headaches. So, I found a very groovy chemistry there for my Madman/ Atomics/Snap City stuff. And Image's success, being started by creators is a perfect example of keeping the big boys honest. As long as there are fair outlets for artists, the old sweat shop days and unfair profit sharing should hopefully be buried in the past.

When I work on a "big Two" book, like an "X" book with Marvel, I go in with eyes open and great enthusiasm.

But on every project my first thought is to who I'm working with, will I enjoy it, will others, and will it allow me to progress on some level.

I don't regret any project. In fact, I have enormous affection and gratitude for almost everything and everyone I've worked with. Everything has brought me to where I am and have been. "My Happy place!"

If I came into the biz years earlier before those who "fought the good fight" laid out a solid path for me to follow, my attitude might be different. I'm very aware how fortunate I've been, and don't want to ever take anything for granted.

Email 3

It seems your happy place in the industry finds you surrounded by your family. Your wife Laura has been your colorist for some time and now your son Han is following in his family's footsteps. I'm sure growing up having a name like Han is cool for any child star wars fans, but honestly did any other members of your family or your peers question the name? Or is it a traditional Mormon name :)

Did Han always have an interest in art and the family trade or were you worried he might end up a dentist or firefighter?

Hah! Everyone questioned all our childrens names. But being named Michael along with half of my class growing up, always wanted my kids to have special names, which they love by the way.

The kids all have their own unique interests to, in addition to "the arts".

Email 4

There is a huge trend right now in Hollywood of making comic book movies. With all that can be done with computer and special effects, an audience can really be transported to another world. The film industry has also come along way in terms of taking the source material seriously. I mean just compare Batman Forever and Batman & Robin to Batman Begins and the Dark Knight.

And sure some comic book films look great, but they seem to be lacking depth and emotion. OR you have something like Spider-Man 3 where you have Venom just thrown in, because market research shows the kids love the Venom!

What are your biggest fears if/when characters and universes you've created make the jump to the silver screen?

I don't allow myself the luxury of worry.

The main reason I've stuck with Robert Rodriguez so long is my confidence that he'll ensure my vision being on the screen. And no one I know of has more control of what they create.

Email 5

I'm not sure how much you can talk about this topic so feel free to tell me you cant comment.

I did a little wikipedia reseach and it says there Mr. Rodriguez has owned the rights to the Madman film since 1998, and you have teased fans saying the lead role has been cast.

How far along is the film? You seem like a great pairing but also extremely busy and sought after creators. Is Madman the movie on the horizon, and without giving anything away, what can we expect?

We have a screenplay that I co-wrote with george Huang. Very very happy with it. It largely follows the over all plot of the first series with several latter elements accessed. It has a lot of heart, thrills, chills and slam bang-o-rama!

But we got thrown back with the writer's strike.

So our casting is in limbo, pretty much square one. Now mostly scheduling concerns with Dimension.

But, as Robert says, it'll happen. The patience I've learned through this process may now be my greatest virtue. I continue to make the most of every day and remain hopeful that when it happens it'll be the best movie possible.

But most of all I've learned how important the comic book medium is to me and value it with complete awe and passion.

Email 6

I mean, I could be wrong, but I don't remember seeing Spy Kids underwear and swarms of toys. Was one of your fears always an over exposure of your characters once you made the jump to the big screen? Does the prospect of burger king toys and pajamas scare or excite you?

More toys the better. Always always loved toys, tie-INS, and the like.

I did artwork for the Spy Kids happy meal bag by the by. There was some cool spy gear for kids that came out with the second movie.

Email 7

See, I didn't even know any of that haha

I'm sure working in the comic field deadlines are always a factor. From cover to cover roughly how long do you spend drawing an issue? And once you finish a comics how long does it take from being finished at your desk to being in a store?

On average it takes me a full month to do a book.

Some issues have taken three weeks. Some six.

On average I'd say three months from completion to the shop shelves.

Email 8

So I have to ask, aside from the Madman movie, whats next? Any big mind blowing projects? Are their any characters you have not gotten to work with that you hope to in the future?

Axel Alonso keeps talking about Peter Milligan and I doing an X-Statix mini-series. But that'll be a ways off.

So,

It's all about I, ZOMBIE and my Madman projects for the foreseeable future.

Email 9

I know you are a big fan of music, what stuff have you been checking / rocking out to out lately?

I try to spend as much time with pals the Dandy Warhols for any possibility of hearing new stuff, their label mates, 1776, are amazing! Got an advance of their debut which I highly recommend. Big into Grizzly Bear, looking forward to a new Arcade Fire disk, and dig the new MGMT album big time!

Email 10

Well Mike, its the tenth email, I want to thank you so much for your time and responses, I'm really glad you made the effort to chat with me. Thanks again and if you want to send a promo image of yourself or madman for use in the interview let me know. best wishes for the future.
xo

A pleah-zhah!

Howziz?