Revista The 13th N° 58 (Interviews)

AÑO: 6 | NUMBER 58

THE 13th UN A REV I S TA I M A GI N A RI A

MEDICINE 7AM - TOMBSTONES IN THEIR EYES THE JESUS AND MARY CHAIN

INDEX INTERVIEWS

TOMBSTONES IN THEIR EYES

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IN THE LOOK OF THE OTHERS 10

7AM

MEDICINE

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[ Interview with John Treanor from Tombstones In Their Eyes by Diego Centuriรณn.

Photographs: Cathryn Farnsworth. ]

TOMBSTONES IN THEIR EYES SOAR IN RECORDING WONDERLAND

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I have interviewed Tombstones in their Eyes for a while now and it is a band we love and they are about to release their second album "Maybe Someday", which will be released on November 15. We contacted John Treanor to ask him some questions and this is what he tells us.

Hello guys: Again we meet again after our initial interview in 2017, when they released "Fear". What has happened with your band in these past few years?

After “Fear”, we released the “Shutting Down” single with two songs and the “Nothing Here” EP with 3 songs. We like to keep putting out songs as long as they keep coming and we love writing songs! We played a few shows (we don’t play out much) and kind of came to the conclusion that for the time being we are going to be mainly a recording band. Some of the other members play in more active live bands. Mike Mason, our bass player, plays in another band called The Wyldewood Green and Josh Drew, our other guitarist, has been dipping his toe into playing with some other young local bands.

and did a wonderful job.

Another single "Maybe Someday" is coming – what can you share with us about this and the b-side "I Can't Feel It Anymore (Junkie Version)".

“Maybe Someday” is possibly my favorite song that I have ever written.

And, as with some songs, it just came out of nowhere. One day I went down to the basement to make up a song and there it was. The demo was so good that I listened to it hundreds of times and it gave me chills. I was nervous to record it again, as I didn’t want to lose that magic, but we managed to retain what was special about the song. Part of what is special about it are the guitar parts on the breaks between the vocals, which were done by Josh while he was sitting on the couch in the basement.

And Stephen, the drummer, provides a great metronomic beat that keeps it You have just released the single ticking away like a clock.

"Open Skies" and Hugo Coaster made a very nice video for this. “I Can’t Feel It Anymore” was written by Please tell us about this.

Mike Mason and myself. Mike brought Hugo has made a couple of videos in the song and chord progression and of our songs before and I really liked I added the vocals and some dirge-y them. He did one for “I Want To Fly” wah guitar. The original lyrics are what and another for “Nothing Here”. So, is present in the “Junkie Version” and when we needed a video for the which I felt strange about releasing, “Open Skies” single, I reached out to because that kind of song has been him and asked if he would do one for written many times before and it was commission. He agreed and you have such a downer, as well. But we kept seen the resulting video. Hugo had that version and then re-recorded a complete artistic control of the video different vocal version for the main

album.

Next month brings your new album.

How was the recording process and how long did it take you to write the songs?

The recording process that we have with Paul Roessler is a dream. We have now worked together for some years and have learned and developed a system that works well for us. He understands us so well and helps with the decision making.

The process took from January through July, I think. At first we had “Maybe Someday” and a couple more songs. So we would do a weekend session where we did 4 songs. Then we would work on those songs in the studio while we wrote more outside of the studio. Then we would go back and do 4 more and repeat the process. In the end we had 12 songs and debated on whether to include them all. In the

end, we just said “fuck it” and put them all on the record. For the vinyl release, we will have to cut a few songs out, but we have not started on the vinyl yet.

Probably after the album comes out, we will put together a limited release vinyl edition.

I have been reading that this album was more fun to make than your previous works. Tell us a little about this and your recent success getting your music placed in film.

The comfortability of working with our producer, Paul Roessler, has just grown over the years, so it is more and more fun to do the recording. I hate not being in the studio with Paul! We’ve learned some tricks to streamline the process so that we maximize our time in the studio without having to sit around a lot.

As far as the placement in a TV show goes, we have a publishing company

called Red Queen Music, and they look out for opportunities to get songs in shows and movies. It’s so hard for bands these days to make money or even get heard that getting placed in a show/movie really helps! The main benefit of being placed in the Netflix show “Chambers” was that a lot of people were turned on to the song “I Can’t See The Light” (from our “Bad Clouds” EP). So we got thousands of YouTube, Spotify and Apple plays, which is nice. And we got a little money

– not a lot, but at least enough to pay for a weekend in the studio!

The changes in this era of social networks are becoming more noticeable and faster. For example, Instagram has become a very effective tool for distributing content for a band. Do you think anything has changed since we last spoke?

I don’t think we have utilized Instagram effectively yet, but the Facebook and Twitter pages are fairly active. It is great

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to see who likes the music and be able to communicate with both fans and the press easily. I think since we have last spoken it has just become better.

Really, in the last ten years, things have changed so much, it’s easier to make/ record music at home, it’s easier to self-release, it’s easier to promote. On the other hand, it’s obviously harder to make money, but if money is a primary motivator for you to make music, I think you’re in the wrong game. My goal is just to have as many people as possible aware of the music and enjoying it, if it’s their kind of music!

releasing "Maybe Someday"?

I’ve already started writing more songs and am looking forward to getting back in the studio for another EP or single. Haha. Beyond that, we have to get together as a band and do some practicing, write some songs together and get out and play some shows. I would love to do a small tour somewhere that the music is being appreciated.

Thank you once again for your willingness to answer our questions.

Best regards and we will be watching you along your path. Thank you.

Finally, what are your plans for Thank you so much for the great Tombstones In Their Eyes after questions! It is always a pleasure, and thank you for your interest in the music!

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IN THE LOOK OF THE OTHERS

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The Jesus and Mary Chain Automatic (1989)

The Jesus and Mary Chain – Automatic Label: Warner Bros. Records Realease Date: 09 October 1989 Sincerely the idea of retaking the section with this album has to do with the desire to invite different musicians but at the same time to claim one of the albums that changed the direction of the band, but at the same time, modified the sound of a generation of bands that came picking up the sound (especially of the electronic drums) generated in this album by the Reid brothers. This month we celebrate the first 30 years of the album and our way of honoring it is this.

The artists summoned for this collective review is very varied, which makes reading more attractive.

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Track and guest musicians: "Here Comes Alice" by Nico Castello "Coast to Coast"by Max Tarenzi "Blues from a Gun" by Phil Wilson "Between Planets" by Antonio Zelada "UV Ray" by Nico Beatastic "Her Way of Praying" byUral Mountain "Head On" by Gabriel Boccanfuso "Take It" by Paul Baker "Halfway to Crazy" by Ferran Pont Verges "Gimme Hell" by Tom Lugo

"Here Comes Alice" por Nicolás Castello (NAX) “Creo que la escucho por primera vez.

La voz aireada del cantante te va llevando de a poco a través de los versos a medida que la canción va creciendo lentamente. La emoción de repente levanta cuando Jim (el cantante) reproduce la misma melodía, en el tercer verso, pero una octava arriba: un gran y efectivo recurso, en este caso, muy bien utilizado.

Con una estructura relativamente simple esta rola lleva el sello distintivo de los "Jesus". Melodías copadas, distorsión y Alan Moulder: ¿Qué más podemos pedir?”

"Coast to Coast"

by Max Tarenzi (PINHDAR) “Jesus and Mary Chain succeeded in an immense task: to reshape rock by the power of a simple idea. In my opinion, shoegazers are seeing their third generation nowadays thanks to bands like this one who turned their apathy into a new musical style and a whole attitude.

With Automatic they clearly proved that noise can be pop and vice-versa. Coast To Coast is definitely my favourite song out of Automatic. It hits both your brain and stomach so that your taken and cannot do other than turn up the volume play after play. It's indeed the perfect tune to play loud in your car (ideal environment would be a long road in the desert, with loads of beers in the backseat) but it could even be the perfect soundtrack of a drug party too. The drum machine beats are upfront and the guitar riffs are more muscular than their previous work, kind of exploring heavy metal territories so that, after a few seconds from the start, you almost know what to expect and you feel so glad it's exactly what it's delivered. In a few words, this is pure rock'n'roll.�

"Blues from a Gun"

by Phil Wilson (THE RAFT) “First thing's first, I feel I need to leave a disclaimer that I know very little about post Psychocandy Mary Chain (terrible on my behalf I know and I'm sorry!). So many of my favourite bands cite that album as a huge influence on their career that I had to get involved, and of course, I was on board from the very first floor tom hit....

After that my interest waned somewhat and I'm not sure why. Maybe it was down to the blossoming of my love affair with the more ethereal end of the genre. Maybe I just wasn't getting it. I don't know. I always knew the band were there, they always seemed to slip under my radar.

So when I was asked to write a few words about Blues From A Gun I certainly didn't feel qualified. But then I thought maybe it was a chance for me to acquaint myself a little better with a band I've always meant to get back to. I also felt that I might be able to offer fresh perspective on a song that is so well known to so many.

Anyway, for what it's worth, here are my thoughts.

The first thing I'm struck by is the energy. The simplicity of a good old fashioned rock and roll riff goes a long way sometimes and it starts this one off with a bang. That, along with what sounds like a programmed bass drum and hi-hat offer up a dancey swagger that a lot of bands were experimenting with at this time. Hardly any pulled it off as well as this.

When William starts singing I'm reminded of Dylan. There's definitely a hint of Subterranean Homesick Blues in the delivery and lyrics yet something refreshing about his laconic, effortless vocals almost whispered over the guitars that make it unquestionably his.

The lyrics seem to me to be about wanting to escape from a dead end British town but I'm not really sure. Whatever their meaning they evoke feelings of romance and desperation, or rather romance in spite of desperation. Looking at the stars from the gutter, feeling stuck in a life you were born into, hopeful but helpless. Maybe that's just me though. That's the great thing about lyrics like these. They aren't shoved down your throat, you have to do some of the work yourself.

It's the guitars that really drive this track though. Not quite cranked up to maximum feedback like Psychocandy but still right there in your face. Just a little too loud but not uncomfortably so..... Until William launches into the solo and takes your head clean off. I remember Alan McGee saying that William is not the most technically gifted guitarist in the world but that there is nobody else who sounds quite like him. And that is evident here. What he's playing is loud, simple and effective. What more do you want? It's the kind of playing better players have tried to emulate over and over and never got near. It's just him and unless you are him you're not going to do it.

As the song draws to a close, Jim chimes in with his 'well I guess that's why I've always got the blues' refrain which he drives home to emphasise his brother's point. William joins in and you can tell that despite all the fights they understand each other. And that feels kind of nice, even though they are both singing about having the blues!

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So, if you like your tunes raucous and loud with thought provoking lyrics this would be a good place to start. It's certainly got me interested in The Mary Chain again. Thankfully, there's loads more where this one came from.”

"Between Planets"

by Antonio Zelada (RESPLANDOR) "Between Planets" es la cuarta canción de Automatic, el tercer disco de los hermanos Reid y coincidentemente en su concierto en Lima fue la cuarta canción dentro del “set list”. Tuve la oportunidad de llevarlos a tocar a Lima y el nombre de mi productora lleva el nombre de Automatic en honor a ese disco y justamente por que soy fan de The Jesus & Mary Chain, así que Between Planets es una de mis canciones favoritas del álbum con sus ritmos corrosivos y acelerados, “Between Planets” es un máquina rápida, cuyos tambores y guitarras chocan y hacen una amalgama de sonido al unísono. Los riffs de guitarra van y vienen, se deslizan, giran y ascienden contra la voz cruda y melancólica. "Between Planets” está empapado de tristeza y angustia, mientras sigue siendo una canción de rock de lo más potente y con ese estribillo que va del minuto 2:36 “Baby you drive me crazy. Don’t come around here no more…” simplemente se me escarapela la piel.”

"UV Ray"

by Nico Beatastic (Xeresa - Beatastic - Shore Dive Records) "From an album receiving poor reviews back in 89, UV Ray shows the brothers' passion for The Stooges married to a pounding drum machine. The mechanical hihats giving a motorik quality to the track. It's easy to see this as an influence on Primal Scream circa XTRMNTR."

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"Her Way of Praying"

by Cyril Degilles (Ural Mountain) "Her way to praying" es parte del disco más subestimado de la banda Automatic (1989), después de los Éxitos que fueron PsychoCandy y Darklands.

Es notable el giro que tomó la formación para ese álbum y esa canción en particular con un drum machine y synthetizer para sustituir el bajo dejando los hermanos Reid solos a bordo de este proyecto. A pesar de ese cambio, sigo encontrando todo lo que me gusta de esa banda en esa canción: el riff de guitarra, esa reverb y esa manera de cantar relajada y afilada a la vez para una gran canción de Rock. Y si uno se pregunta de dónde salió el primer disco de Oasis "Definitely Maybe", debería escuchar ese tema rápidamente.

"Head On"

by Gabriel Boccanfuso (The Nocovers) Cuando escuché a THE JESUS & MARY CHAIN allá por 1990 por primera vez, quedé atrapado con este tema, lo presentaban en un estudio haciendo playback. Fue impactante escuchar William Reid con esa melodía de guitarra riffera de los '50 pero distorsionada al extremo ,el sonido de batería (máquina de ritmos) sonando fuerte a la par de las cuerdas con ese "tacho" con reverb, y el bajo (un sinte) fortaleciendo el tema para los silencios donde la base predomina. Sumando desde el principio Jim Reid, con el subidón emocional en la melodía cuando canta "And the way I feel tonight/I could die and I wouldn't mind", para después llevarlo al "Makes you want to feel makes you want to try/Makes you want to blow the stars from the sky", para volver a ascenderlo todo con una letra de resaca y descontrol cuando dice "I can't stand up I can't cool down/I can't get my head off the ground". Después de ver eso compré el LP en cassette. Si bien escuchaba el disco entero, cuando llegaba al lado B y le tocaba a Head On rebobinaba como 5 veces sólo para volver a escucharlo entero de nuevo.

Head On fue el punto de partida de mi admiración por ese sonido.

Lo que llamaron Noise-pop, buenas y oscuras canciones felices (Head On es el himno de Automatic para mí) pero llevadas al caos y a la destrucción-construcción del sonido.

Una de las bandas pilares y motivadoras del shoegaze, y un tema eterno HEAD ON, que aunque ya tenga muchas versiones y seguramente siga teniendo, la mejor sigue siendo la original, aunque suene con una máquina de ritmos y un sinte como bajo.

"Take It"

by Paul Baker (Static Daydream) "Automatic" was the first album from them I ever heard, and I thought it was strange because it sounded so familiar in some ways, yet very alien at the same time. I had read something in a magazine about them and was very curious. This idea of two brothers from some boring or gloomy place in Scotland making exciting music made me think that maybe I could also do something great, and I didn't have to live in NYC or London. So, the song "Take It" was especially crazy, not lyrically, but sonically. The beats, the deep bass line, and the breakdown with the feedback, are all fantastic. As a young kid, it basically sounded like the Beach Boys from Hell, and I realize that's not an original sentiment, but for me it was kind of bizarre. I loved, and still love, oldies like The Shirelles, Dusty Springfield, and The Seekers. To hear those pretty sounds through the filter of distortion and destruction was inspirational, to say the least. The breakdown at the end is especially wild, with all of the samples. I don't know where they're from, but they sound like film noir things. Basically, it all just sounds like pop music for villains, and that was an interesting thing for me as a youngster. It was pop/rock music from another universe, and that was a great thing. Additionally, the overdriven guitar sounds throughout "Automatic" are amazing, and "Take It" is no exception, especially the blistering solo.

"Halfway to Crazy"

by Ferran Pont Verges (Horacio.nuevatemporada) Automattic y en general la obra de Jesus and Mary Chain ha influenciado a muchísimos músicos a partir de los años 90, pero también ellos fueron influenciados por músicos que los precedieron: es imposible no ver en ellos las ideas de spacemen 3 o de Suicide, pero por otra parte, y yendo aún más lejos, el tema sobre el cual elegí hoy escribir, que es «Halfway to Crazy», está claramente alimentado por una canción perteneciente a la banda más importante de los últimos 50 años que es The Beatles...

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La canción en cuestión, qué tiene prácticamente la misma progresión armónica, es «Words of Love», de esa primera etapa de The Beatles (más precisamente de rubber soul)...

The Beatles habían sido también influenciados por bandas de rock de los años 50 y habían de alguna manera estilizado esa forma de componer, agregando sutilezas vocales y de arreglos más intrincados. the Jesus and Mary Chain -siguiendo con las influencias- habían tomado premisas interesantísimas de fines de los 80 en cuanto a recorrer el camino inverso, es decir el de deconstruir, minimalizar... en este punto casi cabría decir que The Jesus and Mary Chain fueron unos destiladores, que tomaron unas formas y las pasaron por el alambique para dejar la esencia.

En sus canciones -como en las de Los Ramones- se pueden reconocer ecos de esos temas de amor adolescente de los 50's y 60's, pero pasados por el tamiz del «fin de la candidez» que significaron los 70.

La canción siguió siendo la misma, pero esta vez ya impregnada de una oscuridad y una belleza simple, logrando ese sonido tremendo que tantos hemos tratado de reproducir en nuestras canciones.“

"Gimme Hell"

by Tom Lugo (Stellarscope, Panophonic, Cielo Oceanico, Patetico Recordings) "Gimme Hell is a hazy and grinding dark slice of heaven. With Richard Thomas on drums, the Reid brothers delivered a gritty distortion driven anthem. Like peeking through a dirty window into the darkness that lies within, it’s a cautionary tale with an open invitation to follow them down the rabbit hole into a drug fueled trip of sonic ecstasy. "

[ Interview with Miko from 7 AM by Diego Centurión. ]

7AM: WE ARE NOW RAISING THE MONEY FOR IGGY POP´S SHIRT

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A few days ago the second album of the Slovenian band, 7AM was released, the work called "Benefit for Iggy's shirt" consists of 12 simple and direct songs against the chin. Flying the DIY flag, and, understanding the times, this trio makes selfmanagement a way of life for the band.

We had access to them and were able to send them some questions to meet them.

Hello guys! give a special meaning to it.....it Before I started, I wanted to just sounded simple enough to be thank you for the kindness a band name. of agreeing to answer our questions.

I have read that you manage everything from your records For starters I would like them to every show. I want to be told to introduce themselves... about how much wear and tear Hello Diego, It’s just me (Mico) this work consumes by not answering this...we are 7AM having someone to do it?

(Anabel-bass, vocals, Davor It’s a good question and a thing drums and Mico-guitar, vocals), that not a lot of people think of. loud and dirty alternative rock if It’s a lot of “work” but it’s mostly you will. Normally we don’t want fun. The most annoying thing is to be associated with any genre computer stuff (like writing 2000 of of the music since we just want to emails to organize a 3week tour) play powerful, good music. It was and people not replying. Please marked already as punk, noise people out there, reply your emails! pop, alter rock, ext. but that’s up Even if the answer is no. It’s really to the listener and we don’t really hard for DIY bands to book a tour care how we are called. if no one is replying for months.

I would like to know how the band's name was born?

It was an internal joke between me and Anabel calling ourselves the Am´s. And then Anabel found Cd compilation that she burned for the car. It was called 7AM. I guess it was a Cd that for some ment going to work and for others coming from a party. But we don’t

In our pages we have already had bands from that country ...

How is the scene of Slovenia?

What scene?

Well the underground is actually not that bad but it’s mostly hardcore and metal and in most cases 7AM is too soft for them. The other side is generic pop rock with same production for the last 25

years. This is the music elite in Slovenia but the music they do is so fucking boring that it makes me wanna jam the drum sticks in my ears whenever I hear it! And in between its nothing or not much.

Mid-size club scene, again with rare exceptions, doesn’t exist...... alternative rock bands always go to the generic pop rock side if they get a chance to do so and if they are willing to lick asses for the years to come.

They

recently

"Benefit for Iggy's shirt". Tell me why the album title.

We have this promo photo where you can barely see 1/3 of my upperbody skin. And this photo got some promoters on our last tour so worked up that they cancelled some shows. The long story short, we are now raising the money for Iggy Pop´s shirt so he would stop jumping around shirtless and these people can live in peace.

For those who don't know published 7AM, how would you describe

its sound? moments as Sonic Youth. And I Over the top distorted, ear have read that the songs of the bleeding and radio unfriendly. last album have been written in a chaotic way, is that so?

The cover art is very simple, You could say chaotic yes.... it but at the same time it shows was just more creative approach, that attitude, if you want punk. we just kind of re-wrote the songs And he has the same spirit as as we recorded them and kept his first work, "Bonus Track" what we thought sounded ok. We Who is in charge of the covers? wanted to record on our own to All the artwork on 7AM is mostly have all the time in the world to spontaneous. Me and Anabel experiment. Since we have shitty decide what goes on the covers equipment and no one of us never and in the sleeves but we don’t really mixed project like this, we overthink it. Bonus track isAnabel´s knew the sound will not be the younger brother drawing, LP is best.... but we didn’t care and mine, taken from a canvas that we still don’t.....we are happy we I did, tape was done by a friend did it like this and that the album Simon Kocjancic, new artwork for represents the band at the time it tape will be from a friend Deso was recorded..... and so on and on.....as for that punk attitude you mentioned..... Finally and thanking you for we don’t want that the music or the availability to answer me, artwork we put out there is polished the last question ... What are and shiny because we don’t think your plans for the remainder of the real world is like that. The real this 2019 and 2020? life is beautiful, rough, fucked up, Thank you Diego for interesting full of mistakes, nice, shitty, out questions and support......at the of line......the plastic, polished moment we are planing another people with plastic, polished life long EU+UK tour in the April of are not part of our world.

2020. The first part will be with great Norwegian punk rock band If we refer to the strictly sound, GÖTTEMIA and then we separate they perform a mix of punk, post and we go alone to the UK. punk, for experimental rock But the most important thing right

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now is to upgrade our home studio at the 7AM farm and start recording again.

Thanks guys!!!

Thank you, cheers.

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http://madwaspradio.com/

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Loose Canon http://www.6towns.co.uk/

Simon's Big New Thursday Thing https://dimitriberzerk.bandcamp.com/releases

[ Interview with Brad Laner and Annette Zilinskas from Medicine by Diego Centuriรณn. ]

MEDICINE REUNITES WITH ORIGINAL LEAD SINGER ON NEW ALBUM

I first discovered Medicine through their participation in the film The Crow (1994) and then later, the soundtrack, for which I recall Elizabeth Fraser of Cocteau Twins added vocals to their track ‘Time Baby III’.

The brainchild of Brad Laner, he is now accompanied process by Jim Goodall and with Annette Zilinskas (formerly of The Bangles and the band’s first vocalist). The band came to be considered as the North American response to My Bloody Valentine, but in 1995 they separated.

Briefly returning in 2003 as a duo, Medicine again appeared in 2013. Just recently, they returned with the makeup of its primary trio. On their new album "Scarred for Life" we see them making brilliant music together again. We had the pleasure of speaking with Brad and Annette on their past, their current affairs, and dreams about their future.

Hello and thanks for agreeing to answer our questions, it is an honor to be able to speak with you today. I can only imagine what it feels like to be together again.

With such an extensive past, it is difficult not to ask many questions. But I will try not to dwell too much on the past. Speaking of the past... with so many years and so many achievements... collaborations, albums, member changes... Brad, can you share some pleasant memories with us about the history of Medicine? Any bad memories?

Forming the band and making records, touring, getting reviewed and interviewed are experiences filled with both pleasant and bad memories, all of which I’m trying very hard every day to forget as much of as possible.

There is only now, after all.

Brad, I have a question about your career outside of Medicine. You created a project called "Electric Company", but also your collaborations are many and include Brian Eno for "Another Day On Earth" and M83 in "Hurry Up, We're Dreaming". What can you tell us about Electric Company and these collaborations?

I made 10 Electric Company albums and

many compilation appearances between 1994 and 2004. Much of it is available online.

People should check it out if they want to hear what that was. I am very proud and happy to have been asked to collaborate with Brian Eno and M83. They have shown excellent taste in doing that!

Annette… I can't help but ask you about The Bangles. Last year you returned to the band – can you talk about this band and the current lineup? Do you think it will work out to actively take part in both bands?

I’m taking it day by and not really planning that far ahead. I’ve never done that actually for better or for worse. Right now it feels right playing with the Bangles. And regarding Medicine I could definitely see us recording something together again. Perhaps another project altogether. Who knows? We do work well together in the studio.

After a few years of the revival of the shoegaze genre and the return and sometimes reformation of bands who, like you, have contributed a lot to establishing this genre, how do you view the world shoegaze scene today?

There’s some really cool shoegaze psych

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bands out there right now‌obvious like Brian Jones Town Massacre and Reverends. A bunch of cool new bands. Big scene in Austin and so many on festivals like Desert Daze. It seems the shoegaze scene is alive and doing well.

the decision made for Annette to rejoin Medicine?

It was after the Trump election I was stunned and in a daze. I was communicating with Brad here and there for a while and went over to his studio and we just sort of hung out and both sort of shaking our heads in disbelief Already in the present, I have a question because of the election. I said I had a song I for both of you... how and when was was working on and said “hey do you wanna

record this idea I have”. Later he suggested we record cover songs. “Sally Go Round the Roses” was the first one we did and when I heard it back I knew “this was gonna be good”.

On your new album "Scarred For Life", how and why did you ultimately decide to cover so many other artists’ tracks?

This was Brad’s idea. He said it would be cool to record songs we’ve always admired but “reinterpreting” them. Which on the most part I think we have achieved.

What caught my attention is the wide variety of artists so different from each other that they have chosen ... They go from popular artists like Judee Sill or Buffalo Springfield, going through the psychedelia of The Monkees, or the rhythm and blues of The Jaynetts, as well as touching on the experimental rock of Frank Zappa and jazz of Miles Davis. How did you go about selecting these songs?

Me, Brad and Matt Devine (the guitarist) would bring in different ideas of songs to cover and some worked while others didn’t.

I thought of “Sally Go Round the Roses” and Matt thought of “Sentimental Lady”.

Brad came up with the bulk of them though including the Judee Sill, Frank Zappa and Miles Davis covers.

What are your plans for Medicine in the next year or so? Are you planning something special for 2020, when you can commemorate your 30-year anniversary?

I can’t really answer that because I don’t really know. Who knows what the future holds ? ;) It’s kind of a day by day thing.

Surely many of our readers know Medicine, but what would they say to those who still don't know your work?

The first time Brad and I collaborated was on Aruca. I remember when he gave me the cassette of just the music to listen to write a melody and lyrics to. I remember thinking it sounded like early Butthole Surfers and My Bloody Valentine. I was pretty blown away immediately. I think the LP harkens to early Medicine and I feel it’s has the big wall of guitar with melody tucked in there…somewhere in

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the eye of the hurricane you can hear some cool harmonies and melody.

Thank you for kindly answering these questions. Hopefully this won’t be the last time we interview you.

Thank you for having us! All the best‌

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The13th

U N A R E V I S TA I M A G I N A R I A