Everything with a Purpose: an Interview with phebreze.


The cover of Neophantasia

“A lot of music today it doesn’t really bring a huge response out of people.” Says phebreze, “I really like putting it all together and I think that the cover art, what I’m talking about in the song, and the music itself has to make you feel something.” No, it’s not the household air-freshener making that artistic statement. phebreze is a young producer and musician who is gearing up to release his first album. We sat down with phebreze, whose real name is Carter, and chatted with him over Skype.

Interview has been edited for length and clarity.

First off, how did you come up with the name, phebreze?

So I knew I wanted convey like an aesthetic and a style with a name.  I really liked breezy and natural imagery so I knew I had to have something with breeze. I had just made a series of playlists on Spotify with replacing the ph with f and that’s how I came up with it. phebreze to me means a refreshing new aesthetic and style of music. Also it sounds and looks cool.

Walk me through the creative process for one of your songs. Say “tropics”.

That one actually had a really interesting process. A lot of the songs start from voice memos, I have 800 recorded, full of song ideas. I have so many ideas and directions at once and it is really hard for me to decide which direction to take and which ones I want to record. So this started as a voice memo in 2015, so I must have been like 15, where I was playing high notes on the keyboard and my friend was just playing around with chords and that’s actually the voice memo at the end of tropics. I’ve actually been working on that song for several months, just coming back to it because I was like “I don’t really know how to feel about it”. And it came to a point where I wanted to put it out but I knew it needed a little something else and so I added the voice memo at the end, just kind of like a record with the crackling, you can actually here me say “yeah I got it” at the end. I’m glad you asked about that one.

Neophantasia, walk me through what exactly that means and why you chose that title for the album.

I came up with this title also when I was 15, in January of 2015, that’s how long the album has been circulating in my mind. I wanted to convey a message of what the album was and what the sound was and I wanted to convey that with a single word. So I thought what if I combine two words that describe me and my ventures in music. Neophyte, a person who is new to like a skill or belief. And fantasia, a unique kind of music. Since it is my first album I’m a new member of the music scene and industry and it is a new a different kind of music, so I just added the ph and there you go.

You have been relatively quiet regarding the new album with the exception of a couple of Periscopes. Walk me through what I can expect on the album.

Right now it’s 13 tracks, around 50 minutes long, and each track is kind of personal and each track really makes you feel something. I’m not going to release a track list but I am going to release a single, so I’ll talk a little about that. Cafune, it’s a Portuguese word: to lovingly run your fingers through your lover’s hair. It’s kind of depressing once you know what it’s about but it sounds like just another love song. It’s about a dream I had where I fell in love with a girl and how I forgot her face after the dream ends. It’s about how I could have this connection with a girl in a dream and how it doesn’t translate to real life. That’s probably one of my most favorite tracks in the whole project. It’s kind of like “I want to have these dreamy adventures with you, even if it can’t happen and even if you’re a dream girl”. The other stuff on the album is different from what I have on my Soundcloud. All of the stuff has lyrics and I am experimenting with a lot of different sounds. Each song should make you feel something. I have synesthesia and I hope that each one of these songs can trigger that reaction even if you don’t have synesthesia and should make you feel and see something. If I had to describe the album it would be a refreshing new sound that’s both personal and makes you feel something. I am very excited for people to hear it. I kind of want to step away from it and get some more inspiration before finishing it so I don’t know exactly when it will come out.

How many takes does it take you to make those Twitter videos?

Well the one that took me the longest was probably Weight Off by Kaytranada and BadBadNotGood. To answer the question it takes me several hours to make them. The first couple of hours is to figure out the instrument parts, I have to loop them and it takes me a while just to figure out the choreography of everything. It takes just as long to record it because just one little fuck up can mess up everything. So I’ll usually start at like 5pm and finish up at about 11.  I love making them.

Name some artists that have influenced you.

Tame Impala, just because their sound, especially their Innerspeaker, just blew me away, I knew that I had to make something that gave people the same feeling Innerspeaker gave people. Childish Gambino, especially with his lyricism. Tyler the Creator, just because everything he does is just so beautifully artistic and all of his music endeavors are just really good. Steve lacy and The Internet. Also Abra, I’m forever thankful for everything that she has done, she has helped propped me up especially with where she is right now, she has posted one of my remixes of her songs and she plays my beats on periscopes; she is one of the best ever. Also SZA, Toro y Moi, Kilo Kish, Kendrick Lamar for sure, if we are going older then like Stevie Ray Vaughan, he’s like the first musician I listened to, Anderson .Paak, Flying Lotus, Frank Ocean definitely for sure, Homeshake, Knxledge, Black party and Kari faux, collaborators of Childish Gambino and both have helped me with production. Mac Demarco too, Erykah Badu, Thundercat, Lorde, Nicotine’s Famous Honey, so many others.  Just know that if I didn’t mention them I’m probably like “oh shit I forgot to mention you”.

Soundcloud recently laid off 40% of its workers and is struggling financially, what, is your opinion on the place of such an open forum in music today? What does it give the industry?

I think that Soundcloud is a really really good platform to begin to share your music on, you can talk to Chance the Rapper about that. I think that labels could capitalize off of that like “check out this dude that is working his fucking ass off”. Soundcloud has a fan base and they are all super supportive of local artists. I think the whole Soundcloud community is tightknit and really supportive, but I think the reason it is going down are platforms like Spotify and Apple Music giving more perks for larger artists and having larger catalogs. Also they tried making more money with Soundcloud go which was a flop. It sucks that they had to make cuts because Soundcloud is great for both the artist and the listener.

You’ve remixed Bonfire by Childish Gambino and listed him as an influence. What do you think of Donald Glover’s decision to retire Gambino?

I respect it. I would also agree with him that there is always a time and place for an artist and for them to continue to making music that they want. Awaken My Love was revolutionary and out of left field in the best way possible. Donald has a lot of dreams and he wants to pursue all of them before he dies. That’s the thing with all artists, what the fuck is travis scott is going to do when he’s 60? The artist should decide that, like don’t let the people decide when you are done. Just have a fucking great final album and mic drop on the industry. Don’t let other people decide when you stop being relevant.  Glover is such a pioneer with so many different careers, and his last album is going to get everyone hyped up for it. I’m really excited to see what he brings to the table for this last album and I think that his decision to walk away from it makes everyone remember that Gambino was the guy that put out four crazy studio albums. You can’t make music until you’re dead because you’re going to peeter out, you just can’t just keep putting stuff out. I think that his decision to end it makes everyone just remember what he did and how great of an artist he was.

Neophantasia comes out later this year.

Interview with Verisimilitude: Periscope, Pronunciations, History

The local San Antonio instrumental scene has grown over the last few years and Verisimilitude, a band originally hailing from Austi, is making their mark. Here is the interview with the band, all 42 minutes of the conversation. The presale for AIM Fest, cordinated by the band, begins tomorrow, November 27th.

Haven: “Our Demons Don’t Define Us”

Bringing the Desert Into Their Sound: An Interview With Tera Ferna

The local music scene in San Antonio has been on the rise for the last several years, as more and more local bands pop up and events like the Alamo Basement Sessions and Something Good Fest showcase these bands. One such band, Tera Ferna, have been making a name for themselves in the scene as they prep for the release of a new album in December. Tera Ferna and I met at the studio where pianist Richard Castillo works at, as they prepare to practice that night. Right as the last few lessons and ballet classes begin to finish, they give me a tour of the studio and we walk into a practice room to start the interview where we talk about the surreal experience that is Sonic Ranch, the mess of Alamo Vaudeville, and being able to fufill childhood goals.

You guys just released an album, tell me about how that came into being.

Matt: Well we’re about to release a new album, we’re shooting for December, it’s been a year in a making. Last year around, what’s before September? August! Like last year around August, we went to a studio in El Paso called Sonic Ranch. You know about Sonic Ranch? It’s one of the best recording studios in the world. Some of the best albums ever have been recorded at Sonic Ranch and we were lucky enough to have the opportunity to record there. We spent about a week there and we recorded a full-length album. So it’s like I said, it’s been a year in the making and we’re releasing it this December that’s where we’re at. Everything’s done, we’re getting artwork for the album cover right for a matter of fact.

Jolly: Yes! That’s mainly the main thing we’ve been waiting on like it took us a while for us to get it mastered and stuff so the recording and writing of it wasn’t the hard part, it was some of the other stuff that we’re not good at. I mean, this record has been a long time in the making. Sorry, we’re snapchatting right now (acknowledging bassist, Brandon Kent who is turning in a full circle, taking a Snapchat video).

It’s okay.

Matt: One thing we really try to do is stay up with all the social media and stuff.

Richard: But yeah, album artwork then we still need a few photo shoots, you know, collect some more content for the album and then we’re set.

Jolly: Yeah we’re trying to make the release of the vinyl something special, like the CDs are going to be pretty basic because you know, you get a CD you can just stick them in your car you stick it in…. I mean laptops don’t even have CD drives, cars don’t have CD drives anymore. We’re trying to make it something special, where it’s something you’re spending a little extra on.

On the topic of the album, how do you guys go about writing it?

Richard: With writing the album, before we even went to Sonic Ranch we probably had all these songs on the album close to a year, a little under [Matt: so two years in the making] and these songs that are on the album were composed as I guess the final phase of Tera Ferna, the final members that are in it now, right? Nobody had it before any previous projects. It’s fun and it kind of reflects each one of our own personal styles. And to finally hear it back all mixed and mastered its like wow this is what we all came up with, how we work together is really interesting and how it all meshed perfectly. And the album isn’t over super produced, there isn’t any crazy effects. It’s pretty raw, it’s just us playing our instruments.

Brandon: Richard is our only crazy effect.

Jolly: I mean there was a moment where he had the piano open and doing harmonics with hitting his fingers on the strings and then slap. So you will hear what sounds like crazy effects but it’s just us being crazy. Brandon: weird

Matt: For the most part it’s just straight up raw instrumentation. Of course, we recorded and what not. We brought in trumpets and we also some of the production things that we did, we brought it a guy to play trumpet lead and we also brought in a girl named Kendra Wilkerson and she did a duet with me on one of the songs and that’s a really special track, it’s gonna be one of the tracks, just get ready.

Brandon: Yeah that trumpet player kicked some ‘brass.’ [laughs]

Richard: There is also one track on the album that we did that we do not perform live. It’s a little personal

Brandon: Well, I sat there and watched Jolly in the recording booth with a classical acoustic guitar, you know, playing it and we were on the other side listening to it and he was playing it and behind it, you hear [Darth Vader-esque breathing]. [laughs] And everyone said like “Jolly, you need to stop breathing.” So he had to literally hold his breath during the guitar part of that.

Jolly: We went to Sonic Ranch with this song incomplete. We knew there were three phases of it, with Matt acoustic, me on classical, and Matt singing over that and we knew the chords we were going to do at the end, but no one knew what we were doing at the end. We knew it was going to be the full band in the last movement so Junie and Matt, they just jammed those two chords and then after that we all [came together]. While everything else was going on, we were writing our own parts, it came out to be my favorite song. It happened in the last part of our time.

Richard: We were pretty exhausted, going at you know, three to four in the morning.

Jolly: And also ridiculously inspired as well, so.

So, how did you guys get your time at Sonic Ranch?

Matt: Well, we really, again, this has been a long time in the making we had these ideas to do this, when we first got the idea to write some songs for an album we wanted to record it at the best studio possible and you know, a lot of us grew up knowing about Sonic Ranch, I grew up knowing that that was one of the best studios and as a young musician, had a dream to go there and we emailed them

Jolly: That’s the story: we emailed them. We just asked them.

Matt: They had the time and we were like, alright so we’re going. Honestly, our time there was more of a mythical legendary experience you know, that whole week that we were there messed me up.

Jolly: It messed us up for six months after. We were really tired, and you know the burritos and coffee.

Brandon: I miss those mosquitos, man.

Richard: I remember, we were on the road, and it’s in Tornillo, which is like what, three miles south of El Paso. As soon as we get out the car, we see the owner of the studio, Tony, welcoming us and we’re like “Oh my God.” We’re getting attacked by mosquitos as soon as you get out the door, no joke. Well it’s a ranch so you know, it has irrigation and water everywhere, and you know, you’re in the middle of everything.

Brandon: Stock up on OFF, it is your best friend. [laughs]

In a continuation of that, if you could describe the experience in three words, what would it be?

Matt: I think mythical would definitely be one of the words because it has its own myth already, like its own legend behind it. So mythical would be cool. I would say inspiring, I mean, surreal, they are kind of the same. I mean we were playing on some of the best equipment ever and just everyone was so nice and we were just kind of septic

Matt: It was just so cool, and while we were there, there were other bands from all over the world recording there at the same time so it was such a cool experience to eat breakfast next to people from a different country who are a famous band over there and even people here. We were there one time at the same time with Of Montreal. But it was just a cool experience to be that close with other people who are chasing the same thing you’re chasing.

Richard: I think the one word for me would probably be perspective and seeing where we’re going at at that time period, and where we could be like wow. How great would this be to do this year in and year out and be traveling, performing so this put a lot of things in perspective for Tera Ferna in the future. It just made us like “okay when is our next album” and we already have content for another album so it’s only a matter of time.

So how do you think it influenced your sound recording there?

Jolly: Funny thing is is that we’re working on album art with Hilmy productions right now and they were listening to it and they described it as a mirage because you could hear the desert-y rawness of it. Like when you listen to the record, I guarantee you if you imagine a desert, it would make sense. The guitar tone just has this very earthy vibe. The drums, like sand almost sounds like a bad thing, is like dry.

Matt: It’s more like going into a spiritual journey into the desert and then, in the middle of that realization, the snake appears and you’re like “I have to ride the snake and take it to wherever it leads me.”

Jolly: That’s what the tone sounds like.

Brandon: You ride the snake, and the snake takes you.

Richard: Peyote is a hell of a drug. [laughs]

Jolly: Anyway, in one way to sound off of Brandon’s story, my nose was super congested from the air so when I was trying to record the classical guitar part, I nailed it but you could hear my nose sniffling like there is a little tunnel so I literally had to go like [deep breath and mimes guitar playing].

Matt: The mics are so sensitive, you could literally hear a pin drop and it’s a perfect take and you just hear sniffling. We can’t have that on the record.

Jolly: Yeah some creepy guy over your shoulder and just breathes through his nose.

Brandon: We’re recording this guy’s [points to Richard] piano part for the very end of the album and this guy, and just came up with it and it was phenomenal. But he is in there recording it, he does the most perfect take that you couldn’t have possibly done it better. Thank God he nailed it and that’s what we got but he did it and couldn’t have possibly done it better, but there was one of the engineers in the with him and as he’s finishing it, letting the last ring off, the other guy you hear ‘oof I cough’ at the very end of the track and we were like “no! Marco!” [laughs]

Matt: Overall it was an amazing experience.

Brandon: I cough.

Matt: It let us meet so many interesting people who are doing what they love to do, which is make music and make it.

Brandon: Making those connections was really cool too because we still keep in contact with a lot of those people who we met from there and you know, they’re helping us out and we’re trying to help them out. It’s awesome.

Richard: We kind of went of on a tangent just talking about the place brings back memories. We apologize.

So, how did growing up musically affect the sound in your music?

Matt: I grew up playing music in church, my family was a Baptist family. The church-going Baptist family so I grew up in that environment. I’m not a part of that culture anymore but growing up in that really lead me to ultimately want to know more about what the whole existence of, what the meaning of life thing is. You know, God, Devil, all that. So for me, all that influence come out in the writing for sure. I love the subject of dark, light, good, evil, love, hate. I love doing the opposite so growing up in that environment influenced all that for me.

Richard: For me, I started taking piano lessons when I was 10 and after my first lesson, some lightbulb went off in my head, and thought this is exactly what I want to do with the rest of my life and pursue music, classically trained. Then I met Jolly in college and now we were jamming together. There is a long story between that. I just always knew from when I was a kid that music was what I wanted to do and piano was a way that I could communicate my feelings inside. Now, I’m playing with this band, bringing the art of piano hopefully back to music and art in our generation.

Brandon: So I also grew up in a very Christian household, my grandpa was a pastor and as soon as I picked up any music, any instrument in the church, that’s how I met Mr. Charles over here. Playing in the church, I was the 15-year-old little curly headed fro-headed big kid. I was playing music, jamming out and I was listening to a lot of The Beatles, a lot of jazz, a lot of blues, a lot of classic rock. At that age, I was absolutely refused to listen to anything that was passed ’79, everything else is crap. Now I know that isn’t true, there is a lot of good music out there. But I was very classically influenced, there is a lot there.

I think every 15-year-old goes through that phase where they go “oh my God, everything now sucks and no the last great rock band was the Beatles.

Richard: Or Zepplin, or…

Jolly: I feel 15 right now. I guess for me personally my mother tried to get me to play piano because she’s a great pianist and taught me herself and I just sat there at the keyboard crying because this sucks and eventually my dad was like “get the boy a guitar.” Well, my mom was like “well it has to be classical and start off right” so that’s what I did. And the funny thing is, I play classical guitar on this record so that influenced this circle. My parents were nice enough to give me lessons growing up, because if you’re going to do it, do it right. I thank them for that every day, then I hated it, now I’m really grateful I had that. My dad was also very into classic rock, Deep Purple, Led Zepplin, all that stuff and then that was the only rock that made sense to me. So my parents for sure, my guitar teachers, all five of them, God bless them wherever they’re at, those crazy S.O.Bs, so yeah, those are my influences.

Brandon: That’s cool man, my parents never knew what good music was, my dad’s favorite band in high school was the Beastie Boys and I was like “dad, really?”

Matt: My dad loved music in general, like everyone on my dad’s side, they all sang so I grew up with that influence. I don’t know, we grew up listening to stuff from Christian hymn songs to like Black Sabbath.

So on the topic of growing up, did you guys meet…

Brandon: No, it was all just random life events. We were the first ones to meet [Matt and Brandon]. Like I said, I was 15, at the time, he had just turned 21 and that shows you now how much of a time span there was, the age differences was. None of these guys, I didn’t know any of them growing up.

Matt: That’s another crazy thing, normally in a band, it’s a group of friends that comes together, they grew up together, every step of the way, there was somebody else placed there, and it was just the right timing every single time. I started the project solo, and I needed a bass player and we knew each other and invited each other to come jam and it sounded good. We had another lead guitar player who was with us in the beginning, that didn’t work out, we just had a lot of members come in and then flake out. Through this crazy drummer who was trying to fill in the band, he brought in Jolly. That’s how we met Jolly. We jammed together, us three for a whole year and we were about to release our first EP, Eyes of the Sun, in 2012 and the drummer that we had at that time quit and he left to go sell t-shirts for another band on their tour two weeks before our CD release party.

We were like, what do we do, so we got this subdrummer and he was helping us out to play and he had rehearsal spots right across the street and we were practicing one day and that drummer who was subbing for us happened to be in a hip-hop band who jammed with this guy [Richard]. So he came into the rehearsal space one day just to hang out and he heard Tera Ferna playing and you know we were like, dude you should get on the keys and see what you can do. So we jammed this one song we have, this kind of country song, and he added this organ part to it and the rest is history. After that, we were like you’re in the band and you’re never leaving. The chemistry was that good. So it was us four when we played the CD release party, we released the EP, the drummer again tells us “hey, I’m not really interested in being in a band, I was just helping you guys out so we were like ‘oh my God.'” This is after going through like five or six drummers.

Brandon: We’ve been through a lot of drummers. [laugh]

Matt: So finally, we’re going “you know what, I don’t know what to do” and we always build up to this point and fall. Alright, so this guy says he doesn’t want to help us out anymore, Richie, who before Tera Ferna, was a studio musician would get called into random sessions to play in. So a year prior to all tis, he meets our drummer, Junie, and then he decides to call him up one day to jam and he comes over. That was the first time we ever jammed with our drummer and it was an insane chemistry between us five.

Brandon: He [Matt] was late. By the time you had gotten there, we had already gone over three songs and Junie just nailed them all. All of us were just like what in the world is your problem.

Jolly: And his drumkit was on sale on Craigslist and he was about to sell it, he was done. A week later, he decided to get a new one instead.

Matt: That was what, 2013?

Jolly: Yeah, because we released Eyes of the Sun at the end of December 2012 and Junie jammed with us in January 2013.

Matt: So that happened in 2013 and we’ve been together ever since now that is has come full circle to writing all that material from that point on to getting the idea to go to Sonic Ranch to getting over here.

Brandon: That’s so funny, Junie came on and he was just like so good we sort of assumed he was in the band so nothing was ever said and the night of our first show with him as our drummer, he was just like “let me just get this straight, guys, am I in the band or not?” We were all like of course you are! I didn’t even know that was a question.

So now that you have the full circle, what was the most memorable show you guys played as Tera Ferna now?

Matt: Good question, we’ve done a couple memorable shows, whether they may be good or bad memories. We laugh at the bad memories, but we laugh at the good ones too.

Brandon: Bad Rabbits was a fun show.

Matt: Yeah we played with a band named Bad Rabbits, they’re from Boston and they’re really good, we got to hang out with them after the show. We took them to Chachos and they ordered the King Kong nachos and all of their eyes opened really big.

Brandon: They were about to order two.

Jolly: We were all like “what did you order?” and he was like “the King Kong nachos,” and we were like “dude why?” “Then he got the plate and was like ‘what the heck is this?!” [laughs]

Matt: That was a good memory, we played at the Tobin Center, which was “fun” memories.

Brandon: I managed to give myself alcohol poisoning the night before we played at the Tobin Center.

Jolly: And also the whole program was sloppily put together, it wasn’t our bad. It was supposed to be San Antonio’s best of the best. The host, I guess you should call him, the guy who put on the whole show, needed someone to host to bring in the other acts so he found this guy at HEB and was like “are you an actor??” and he was like “no I’m just grocery shopping” the host said “you look like an actor, I need you to be at Alamo Vaudeville. That was the level of professionalism at this show. That affected everything pretty drastically. We did an all acoustic show that was maybe an hour and a half, closer two hours, we talked about the songs and stuff before.

Matt: My most memorable show with Tera Ferna was when I got to fill a lifelong childhood dream of playing here in San Antonio at the Artisan River Theater. Growing up as a kid here in San Antonio, seeing bands, I always wanted to play there. and we played at Maverick Music Fest. We rocked it, you know what, it was a personal goal.

Jolly: My knee was so jacked up too, I had adrenaline going, it was crazy.

Matt: There were moments where the river boats would pass in front and that’s only a moment that can happen in San Antonio. It’s so cool to be a part of that.

Brandon: Do you want to know something? At one of our other shows, some people after that were like “Yeah! We were on a boat that passed by.”

Matt: That’s a San Antonio only thing, just to be a part of that history.

Richard: And I was over here like I’ve never been a band before, yeah I was in that hip-hop group but that never got off the ground and I’m like “I always wanted to play at the White Rabbit” and then my first show ever was at the White Rabbit and I’m like oh, it’s alright.

I feel like it’s changed a lot since it’s the Paper Tiger.

Matt: Yeah, we got to be a part of the last show. They did like a two day, extravaganza festival thing and we were on that. That was a cool part of history.

I feel like a lot of bands who went there were like “I’ll never forget that.”

Brandon: You see, I never grew up seeing shows and I hear all the kids talking about it and I just started playing shows and I was like screw seeing them, I’m just going to go play these venues.

Yeah, I remember dropping off my brother at the metal shows he was obsessed with and now that I’m going and covering it.

Brandon: A memorable show for me was Warped Tour mostly because when I was growing up, I never went to shows and all the little kids at school talking about “Yeah, we’re going to warped tour, this and this, Warped Tour” and they were like “are you going to Warped Tour?” “No, I’m not.” “Why not?” “I figured the first time I’ll go to Warped Tour I’ll be playing there.” First time I went to Warped Tour, we were playing there.

Jolly: It was very hot.

Was it the year with Smash Mouth?

Jolly: I would’ve remembered that, no, we got the metal year. [laugh]

Matt: It was a record hot heat index that year. There were people chilling under an 18-wheeler.

Brandon: It was definitely a metal tour though. And we were definitely the odd band out. When we did our soundcheck and I plugged in, they started turning up my bass and the sound guy goes “Wow, a bass that actually sounds like a bass!”

Richard: I’m on a porta-potty and the lead singer is just like on top.

So, where do you see Tera Ferna in the next maybe 10 years, maybe, five years?

Matt: Hopefully, we’re still making music, the way things are going now and the way we all feel, we really do foresee us making albums, there’s definitely so much more to come from us you know. Tera Ferna to us means “fertile ground” so with that in mind, all five of us with our different styles and what not can always come back together no matter what and it’s always going to be a fresh fertile ground, everything is going to be fresh, we’re always going to be able to grow more and more and more, so the next five to ten years, I want to be already in several world tours.

Brandon: We ain’t going nowhere but up.

Jolly: We’ve only gone up from starting so we don’t plan on stopping. We don’t let ourselves do worse and we’re very aware of what we’re doing and trying to gradually become a better band. But ten years for sure have records to look back on. We will always love music.

Matt: Another thing, to add on to all that, is one thing that I held true to be a personal value but whenever I look at my own musical career, in perspective of life, like in  all of that, I figure if I keep working hard enough at making a name for Tera Ferna or myself, whatever it may be in music, and I’m doing this five years down the road, or ten years down, twenty years down the road, I’m going to look back and say “you know what, I made a career for myself in music because I worked at it every single day. Never giving up, never stopping.” So I always held that mentality. So as long as I can hold that, we’re going to be here for a very, very long time.

Banshee Bones: the unstoppable traveling band

Having released their latest album, Birds of Prey, over a year ago, there is no stopping the high-energy rock band, Banshee Bones, from playing shows virtually nonstop. Currently on their Last Legs tour, the band has been on the road for eleven weeks and will continue to be for the next four, capping it off at a show in Las Vegas on December 12.

A rock band based out of Los Angeles, California, Banshee Bones are tirelessly making new material and touring. Brothers, Eugene (lead singer) and Ryan Rice (drummer), met Joe Perez (guitarist) and Salem Romo (bassist) at the famous Musicians Institute in Hollywood, California, while studying there. Behind their eccentric name, Eugene describes it as the fact that “the banshee in Irish mythology is supposed be kinda like the grim reaper it comes and brings souls that are lost back to where they started so it is kinda harrowing or beckoning to bring people back to [like] the roots of rock.”

Touring and constantly being on the move leaves the young band with various opportunities and bizarre experiences. Whether it is being held up at gun point or playing at the Los Angeles Fetish Film Festival, the band will be left with stories for years to come. Hailing their recent show in Seattle as one of their best shows, one of the reasons was due to the crowd response and the city’s love for old school rock.

The inspiration behind Birds of Prey was to put something different from their previous releases, Life & Limb and Banshee Bones. Explaining that the band gathered inspiration from themselves, Perez stated that “I think we kinda inspired ourselves to put out something new and better than our old stuff and I think we kinda zoned in on that and wanted to make a really original, creative, new album and go on a little bit of a different direction than our EP was.” Eugene added that they did not want to put out the same type of material they have done in the past because “that’s not what being a musician is.” Romo said that he wanted to make something “harder and more rock’n’roll.”

Currently playing shows in Texas, the band plans to play shows on their way back to California such as Tucson and Prescott. For the dates, the remaining dates are below.

Last Legs tour dates:

11/20 Houston TX @ Acadia
11/21 Houston TX @ Super Fun Land
11/22 Port Arthur TX @ Kings
11/28 Fort Worth TX @ Cowtown Bowling Palace
11/29 Marfa TX @ Padres
12/4 Tucson AZ @ Sky Bar
12/5 Prescott AZ @ The Drunken Lass
12/6 Phoenix AZ @ Chopper Johns
12/7 Prescott AZ @ Hooligans Irish Pub
12/10 Hollywood CA @ Boardners/Club Moscow
12/11 Ventura CA @ Sans Scoui Cocktail Lounge
12/12 Las Vegas NV @ The Hard Hat

Sergio Mendoza Y La Orkesta: the Modern Mambo

Tucson-based Latin band, Sergio Mendoza y La Orkesta brings a new generation of expansive sound to Mambo. Forming in 2009, Y La Orkesta is full of high-energy music as they combine various sounds from the different bands the members play in and influences. Bandleader, Sergio Mendoza pilots the band through their swift melodies and rhythms. After the release of their debut album, Mambo Mexicano in 2012, Y La Orkesta has been on a seemingly continuous tour, playing with a variety of musicians and bands.

With a first connection with music being the Beatles’ Meet The Beatles at the age of four, Mendoza soon started to play the keyboard at the age of five and thus began his eagerness to become a musician. Picking up the clarinet, saxophone, and eventually the guitar and drums in middle school, Mendoza broadened his abilities as a musician, allowing him to eventually become the verse composer and arranger he is now. As Mendoza pursued college and his musical career in Tucson, he began playing with the band Calexico and soon began playing full-time with the band, putting school off until “things slowed down,” thus never returning since.

In being in such a large band, it can be difficult, both financially and spaciously, to travel and tour but this never stopped Mendoza from forming Y La Orkesta. Mendoza expresses that he could have never been a solo act and says he enjoys the different sounds that the diverse members bring in. “I always saw my talent as a person who can arrange a song and get people together,” says Mendoza.

“I want to create a new sound, and I think I’m on my way to finding it, but I’m not there yet,” Mendoza said. “And I think it’s developing for sure.” As the band continues to diversify and continue recording, the sound will continue to develop and expand. Mendoza also states that he expects to release the sophomore Y La Orkesta album in February of 2015 as twenty-two songs have been written as of June.

With the opportunity to bring in a variety musicians into their sound both on stage and in the studio, Sergio Mendoza Y La Orkesta maintains a unique sound with the confident percussion and horn sections or the baritone vocals of Salvador Duran. The stage presence of the band is captivating as each musician begins to get into their own world making performances energetic and crowd-pleasing. Having always been in bands with a horn section, Mendoza makes them one of the essential part of his sound, with strong harmonies and various solos.

“I really like [it] when if I go see a concert, when the artist comes out and you can ask them a couple of questions or just say ‘I really like what you did here’ and ‘what kind of gear are you using?'” Mendoza said about his interactions after shows with fans. “It’s something to make you feel a little more connected.”

Using a blend of different genres in their sound, Sergio Mendoza Y La Orkesta have always maintained that unique characteristic to them. Their next show is at the Rialto theater in Tucson, Arizona, on Friday, June 27, playing at the CD release of Ro Velazquez’s debut.