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Lisa Papineau talks to Sound Colour Vibration
Lisa Papineau is one of our favorite singers and musicians at Sound Colour Vibration and we are very excited to bring this interview to our site. She was born in New England and is a current resident of Paris, France. Lisa has released two full length solo records, two records with her project Big Sir that includes The Mars Volta bassist Juan Alderete de la Peña, soundtrack scores and so much more. Now with a new Big Sir album completed and awaiting release along with a new project with RX Bandits guitarist and singer Matt Embree, she has created a legacy of music that is already showing its timeless nature. We contacted her to get some info on these various new projects and these are the results, enjoy! ~ by Erik Otis
You are releasing an EP this July through Sargent House with singer and guitarist of RX-Bandits, Matt Embree. What brought you guys together for a release and where was the EP recorded at?
Sound Colour Vibration Interview: Spencer Seim of Hella
Sound Colour Vibration interviews Spencer Seim of Hella
Conducted by Erik Otis
All photos from Spencer Seim
Spring of 2011
Hella is a two-piece band that started out about a decade ago in Northern California. The two leaders (and members) of the group are drummer Zach Hill and guitarist Spencer Seim. Over the many obstacles and mutations that Hella has had, they have always achieved a heavy amount of power and spirituality. There is a time when a band rebirths a certain nostalgia to take precedence for their fellow fans and music lovers. Now is that time, and Hella is that band. – Pouya G. Asadi
SCV: Hella is a band of yours that has been around for over a decade and has seen an expansion in line up for the past few years. Zach and yourself decided to bring the band back to its roots with the two piece line up. On the new track you guys released called Headless, there is the same interaction that makes you guys so unique in my opinion. Did you guys record the album in a short window or did this project take awhile?
Spencer: Ha, well… both I guess. We wrote, recorded, and mixed Tripper in only 16 studio days but we did it in short 2 or 3 day sessions spaced a couple of months apart each.
SCV: The new Hella album coming out this year called Tripper is scheduled for a release in late August, are you really excited with the stripped down 2 piece format the group has again?
Spencer: This is my favorite Hella record. I think Zach and I played really well together on it and I like the new approach that we used. Each song was recorded the same day we wrote it. All the music was captured at its freshest point.
Sound Colour Vibration Interview: RX Bandits
Sound Colour Vibration Interview
w/ Matt Embree and Chris Tsagakis of RX Bandits
On the edge of an indefinite hiatus, Rx Bandits are wrapping up a consistent schedule of touring with a string of summer shows. They are completing their summer tour in the place that birthed the band, Southern California. Having crafted a sound with foundations in rock, reggae, punk, and ska, Rx has evolved with every album and influenced many others in the process. With a slew of side projects (i.e. Matt Embree’s Love You Moon, Chris Tsagakis’ Technology, Embree and Tsagakis both in The Sound of Animals Fighting, Steve Choi in Machines, etc.), the group is looking to stretch new musical limbs while giving others time to rest. I sat down with longtime friends and musical partners Matt Embree (Vocals/Guitar) and Chris Tsagakis (Drums) to talk about collaborations, labels, life, liberty, and the pursuit of happiness. -Zack Lazar
This tour has been blown a bit out of proportion. You guys said you were going on a break, and people started saying, “they’re over, this is the farewell tour!”. But really, isn’t it more like an indefinate hiatus.
Matt Embree: That’s what it is, a hiatus. We’re not breaking up.
Chris Tsagakis: We’ve been pretty consistent with touring for a long time.
ME: We’re definitely not going to tour for a while, if ever. It’s not our last shows forever, if we were going to do that we’d like make it something really beautiful and elegant, not that we’re not. We’d do a last waltz type of thing you know, with film, and have all of our friends there.
CT: It’s hard to say that we would ever have a last show ever because none of us are going to go home and be like, “well, I’m going to break my drumsticks and sell my drums and never play.” This is our love and what we’re going to do for the rest of our lives anyways.
In any case, you guys are going to be taking a break. How does it feel right now, and how do you think that will change as you near the California shows?
ME: Already, it’s very flattering, the energy has been really great and positive, but already at shows multiple people are crying. I understand, it means a lot to me that our band… (shoulder shrug) we’re an underground band. We have amazing fans, if not the best fans I’ve ever seen. I’ve never seen a band, maybe Alkaline Trio, with more fans with tatoos. I’m not trying to sound conceited or bragging, I’m just very flattered and very honored. I write lyrics that I’m looking to connect with people, it’s just part of how I am, part of who I am. Chris and I both are introverts and I think that’s why we love music so much, because that’s part of how we connect socially. We have a small close group of friends, we’re not all social butterflies. To get back to your question, heavy. We’ve got people flying out from Japan, we have kids flying out from South America, we have kids flying down from Canada, we have kids flying from the west coast. We have kids that are following every show in California. There’s this kid outside from Guatamala, he just got his citizenship and saw us last night, and he’s going to like 10 shows. It’s like -I feel like we kind of are, even though we don’t sound like those hippy jam bands- we can fit with that in the way we play and jam. That’s why I think our fans are so amazing, they get it and they know every show is going to be different. They know it’s not supposed to just sound like the record. We feed off of them, fans are part of the show. They sing, they give us that energy and we feed off it. If the crowd is dead and weird, we’re going to be weird. They’re part of the band. It’s tough, but change is good and I embrace it. I love playing with these guys, they’re my bros. Chris and I started this when we barely had any pubes.
You’ve been a fixture in the California music and culture scene for quite some time. You guys have been together for almost two decades, what are the biggest changes that you’ve seen in the art and music scene?
ME: Wow. The way I look at it is that now, to be honest, it’s been about 11 years. Because before, Chris and I started the Pharmaceutical Bandits, and that’s something people don’t realize. Essentially we changed our sound, we knew we wanted to change our sound. What we didn’t want to do was just throw our fans away, so we decided “we’re going to start calling it RX bandits from now on.”
CT: It was about being more serious. At the beginning we were just kids who wanted to have fun and play music, it was our dream to do that. And at some point, it became like, WOW, we might be able to make a living off of this. It was like, let’s make a logo, pick a solid name, and start playing a little more serious music. The kind of music we had inside of ourselves. Not that we didn’t have ska inside of us
ME: We loved playing ska and reggae because it was really huge in our scene back home. We both were interested in dancing, and that’s something that kept in the band. Unfortunately people always seem to want to say ska, when they talk about us. Which is super bizarre because, there are these friends of ours and they have two or three ska songs but nobody ever says ska about them. Even Sublime, people didn’t so much call them ska as much as hip hop or whatever. It’s just because we came from that scene, but we’ve always kept that dance element. It was a great scene, that really helped us to mold the kind of show that’s safe and positive, and not gender specific. We have hard stuff, but we want women and men to be together and not for women to be afraid when they’re in the audience. If people want to dance rough, that’s fine. If I see women dancing rough and rocking out with them, then cool. As long as it’s not a situation where a bunch of dudes are running around and all the girls have to hang back because they’re afraid of getting hit. That’s not fair.
CT: The thing that bums all of us, is that there used to be so many more independent venues. There used to be tons all over Califoria. Now it’s like if you want to play in any big city, there are few options. There’s the clear channel options, which for a lot of people are necessary evils.
ME: It’s like sometimes, you can’t play somewhere cool if you don’t play Livenation. There are certain cities that Livenation has a stranglehold over and there’s nothing you can do, but we try as hard as we can to never support that company.
CT: It used to be that we would literally have friends our age, or younger, who’d open up venues. We’d do it in a house or an old strip mall somewhere. It doesn’t seem like that really happens much anywhere. It’ll probably come back, it goes in waves.
ME: It was also legislation. There were all of those skinheads going around starting fights.
How did the Sound of Animals Fighting come together? How did it go from a random experiment to what it is now?
CT: Rich Balling has been behind turning it into the phenomenon you might say, maybe that’s too big of a word. I refered to it as an art project. We were just like, let’s throw some stuff down, let’s experiment with shifts, let’s just do something. Rich took it, ran with it, and before we knew it…
ME: Rich was essentially the label and the manager, and his contacts, like I had never seen Anthony [Green] but he was in a So Cal band, Saosin. Rich had an inkling that Anthony didn’t want to do hardcore stuff anymore, and he loved his voice. So literally I wasn’t even supposed to be in the project. It was just supposed to be kind of this superband sort of thing.
CT: in the beginning Rich had me come down and I played drums for like 5 hours, and he recorded it. At that point I don’t think he had any kind of plan in mind to tell me, it was just “play drums”, and later we’ll figure out the rest. I don’t think anyone had any kind of big plan in mind at all.
ME: We just thought it’d be cool. What happened was that Chris did these jump parts that were just insane. The other thing was the other guitar players we had in mind from some hardcore and screamo bands, none of them could play to it. None of them knew what to do, so they sent me the ProTools file, and I recorded all of the guitar parts in four days.
CT: We’ve always had this connection.
ME: This telepathic, bizarre…when you’ve played forever that’s how it is. From the first day I played with Chris, I felt a connection, I don’t know if he did. It was like this guy likes all of the same music as me.
CT: We just started playing and it was like, “it goes like this,” and I knew when you were going to change. The music kind of wrote itself.
ME: Rich told me, “Hey man you got four days.” So I just got in there. There are some parts that are just crazy, and it was like, ok if Chris wants to take it there I’ll take it there too. It was kind of rag tag, and it all just came together. On the last record, Ocean and the Sun, Chris and I just recorded it all live in a studio in my garage, and we over-dubbed all these other parts. Chris played keyboard and stuff.
CT: The actual first song, was a loop that I made from a jam that we did.
ME: Like in a real dirty room backstage somewhere.
CT: I threw some extra keyboards on, Anthony sang on it, and it turned out to be a cool song. There were a few other ones on there that were experimental stuff I did with drums and gave to [Matt], similar to first album. Like “Uzbekistan”, and that one that [Matt] sang on.
ME: Yeah, Rich was like, “Anthony didn’t sing on that one for some reason, can you sing on it?”.
You guys were really secretive about the project, and that was at least in part due to record company obligations. How was that a part of the creative process?
ME: It was to avoid preconceived notions. Because as lame as it is, rock music snobs are like, “Oh, it’s someone from Rx Bandits”, or some of these scenester-heads are like, “I’m not going to listen to that because it’s going to be lame”.
CT: We had more ska connotation attached to our name at that point.
ME:We had just barely done The Resignation.
This country has seen a lot of changes, both sociocultural and musically, as you’ve grown together. Given your music’s outspokenness regarding political issues, I’d assume your personal political dialogue has also evolved over time. Has it?
ME: Funny thing is, we don’t really talk about politics much. We all kind of agree with each other, so at practice sometimes we’ll say something like, “Did you hear about this shit”. But we’re all preaching to the choir. We all feel things that are liberal, we all think things that are conservative.
CT: Liberal is a word that has its own connotation, but it’s almost more like…futurism. At some point someone was like, ”Black people shouldn’t be slaves”, that person was thinking ahead of everybody else. I dont’ think that we necessarily feel that this is our opinion and it’s a political decision about this and that, it’s more like there are certain issues that are just going to go away eventually. Like, injustices and general wrongs in the world. It seems just like a “doy” idea.
ME: If we want to continue existing on this planet, there are specific things that we need to do. I think anyone can see that. We need to stop destroying our planet, because it gives us life. We need to stop treating other human beings like they’re not other human beings, because we’re all one collective culture.
CT: Everyone is so misinformed. Someone is saying that something is going to be good for you, or to people that are living in poverty, “If we take away health care and cut teachers in classes and cut funding for social programs, that that’s actually good for you and it’s going to make your life better.” People actually believe that. That not having an education doesn’t matter.
ME: That to me seems, like Chris said, very “doy.” Let’s be honest, if we were all created equal we need to all have the same opportunities. America is obviously an economic superpower, but if we don’t make some serious changes we won’t be. Part of it is that we don’t seem to have any respect for jobs, we throw the American dollar around… I don’t want to get into the whole thing about it. It’s like Socialism, like that movie Bulworth, “Socialism, say that dirty word”. If you look at the rest of the first world, like Japan and Europe, they’re a socialist democracy, but they’re capitalist. The only other thing I’ll say is life, liberty, and the pursuit of happiness is in our constitution. I believe that means no one should have to pay for healthcare. That’s the most nickel and dimming business in the world, like, you pay if you get sick. Un-fucking-believeable, deplorable, that should be illegal. We have the knowledge and the ability and the power to heal people but, we don’t if they don’t have money? It’s insane. Access to education, all people should have access to education. I’m not saying colleges shouldn’t make money, but there should be a way that every person is able to get whatever information for free, period.
CT: It’s funny because it’s one of the oldest of tricks in the book for anyone that wants keep power. For thousands of years, keep people stupid and you can do whatever you want. How are we still making that mistake?
ME: Fundamentalist Islam is the perfect example, the lack of education keeps these people angry and focused on violence.
CT: Fighting each other, and not those that they’re oppressed by.
ME: Exactly, fighting the other oppressed. And the pursuit of happiness along with life and liberty is, to me, no one should starve. If you live in a first world country, your government makes tons of money from taxes, and no one needs to starve. I think America does a pretty good job of that. I think it’s all social.
CT: I think the thing is that we obviously are politically minded, but we’re not doing it to try to engage in an argument. The more you say this stuff, the more people come back and try to argue with you. We’re not trying to force people to think our way.
ME: If anything, we just want people to think for themselves. Shit, don’t agree with me. Go out and live your life, go and have adventures, go and meet people, go and see what you think is right.
With such consistent touring and so many other projects on you guys’ plates, you have to be recording on the road. What recording equipment do you guys bring along on tour?
CT: We can’t bring a lot.
ME: I bring my ProTools rig, both of us bring keyboards, midi controllers.
CT: Microphones.
ME: My iPhone has a bunch of recording programs on it for samples, I love field recordings.
Matt, you’ve done colab work with both Zach Hill and Lisa Papineau. Can you talk a little about the process of working with these musicians?
ME: With Zach we just decided to jam for a few days. With Lisa, I flew out to France, and I recorded part of one song at her flat in Paris which is in the Bastille district which is beautiful. She lived above this sports bar when France was in the World Cup and they were playing Mexico. It was the most beautiful apartment. Then her friend’s Uncle Raymond passed, we house sat the house, and were basically living in this 500-year old farm house in the middle of an old Roman village. It was in the middle of wheat fields, rapeseed, peas as far as the eye can see, like an ocean. Her friend, Matthieu, his grandfather was also named Raymond. In fact the living room where we listened to the dailies everyday, Raymond, who was a famous jazz musician played with Coltrane, Miles, all these cats, Dexter Gordon. They all jammed in that room. We recorded on Raymond’s piano, so that’s how the album came to be known as Chez Raymond. It’s to commemorate his death, but also where we were at. It’s amazing in a lot of the songs the ideas came from these dreams that I had. It was an old house, and in these dreams I felt like there was a ghost around, and they were just, it was strange. These sounds would just show up on tracks unexplained. I don’t know how to explain it, but we used them, we used them in loops. I don’t know if it was the spirit of Ray, but it was pretty cool. Then we finished out in East LA at her house. Even stranger, it’s owned by a guy named Ray who she’s good friends with. There were tons of dogs. There were like 5 dogs in her house in East LA. It was great.
Do you think you’ll work with her again?
ME: Yes
You guys have been with a couple labels. In this time of record labels collapsing and the industry having to completely reconfigure itself, how does Sargent House stack up?
CT: It’s working out with them. Sargent House is pretty DIY and Cathy, she does everything herself.
ME: She’s really hands on. There are employees, Chase, Mark, and Brittany, they all do a really great job. Half of them toured with us, half of them cut their teeth by being on tour with us. Cathy is very passionate about music, and Sargent House has done a lot to help us in our career.
CT: It is very personal. We were on another label at one point, and they were owned by MCA. So, there have been points where we were connected to labels and you meet random people. You don’t really know anyone. There’s no actual hands on…
ME: They don’t know anything about it, they don’t know about music, and they don’t care about it. There were so many people at Universal Music Group that didn’t know anything about music. I don’t think I met a single person who even knew how to play an instrument. It was like, why would I even want to associate with someone who didn’t know even a little about rock music?
CT: It’s definitely nice in that regard. It’s small and personal. Whatever we’re doing we can always talk to Cathy or somebody else there. And they’re all like friends.
Tim Stedman (former vice-president and creative director of MCA records) did the art direction for Progress. He took the “forget this” path, and stepped out of the record industry. How was he to work with as a large-label rep?
ME: He was actually one of the guys that I liked a lot. He was one of my favorite people there.
CT: Those are the kind of people that end up changing the corporate labels.
ME: Or just end up going somewhere else.
CT: If the record labels survive, it will be because people like that change it.
Ryans Rock Show Video Interview With Omar Rodriguez Lopez
“It’s loud in there,” says Omar Rodriguez-Lopez in a dark alley behind the Troubadour. It’s a cool autumn evening in West Hollywood and inside the venue they’re sound-checking for the first Bosnian Rainbows L.A. show, a new project spearheaded by the renowned Mars Volta/At The Drive-In guitarist. While his new band is set to make their L.A. debut tonight, and with dozens of fans lined up at the front of the venue hours before the sold-out performance, Rodriguez-Lopez is calm and focused. His immediate task: to find a quiet place to do this interview. “Do you guys know the area?” he asks, peaking around the dimly-lit street corner.
As we set up on Santa Monica Blvd outside a boutique with topiary animals, Rodriguez-Lopez says he’s been busy sculpting odd shapes for landscapes of his own. This year the guitarist released three solo albums, put out The Mars Volta’s latest record Noctourniquet, and toured the globe endlessly with the Volta and his eponymously dubbed outfit the Omar Rodriguez-Lopez Group. Not to mention At the Drive-In’s reunion stint earlier this year – the first run of shows after an 11-year hiatus that made international headlines and launched the band into a trending frenzy on Twitter. But even with a seemingly hectic schedule, somewhere along the road his impulses led him to start Bosnian Rainbows with Le Butcherettes frontwoman Teri Gender Bender, fellow The Mars Volta bandmate Deantoni Parks, and Nicci Kasper – a project that reflects At The Drive-In’s democratic structure.
“I wanted to put together a band where everyone was a band leader,” he says, adding that his goal was for the members to have “no reason to take orders from anyone else.”
As star-struck passerbys take snapshots in awe of Rodriguez-Lopez during our conversation, he shows little regard for the limelight and puts more emphasis on being an older brother.
“It’s his first time over there,” he says in a concerned tone of his 21-year-old sibling Riko Rodriguez-Lopez, who’s currently on tour in Europe with his band Zechs Marquise.
“I need to call them soon.”
FLAB Mag Reviews: Bosnian Rainbows at the Troubador, Los Angeles
“Don’t ask me about any other band or whether they’re touring. This is a new band and it’s what we’re concentrating on now.” — Omar Rodriguez Lopez paraphrased
The Troubadour seems to have once again taken on a Cape Canaveral-like character for Omar Rodriguez Lopez. Nearly ten years ago, it served as a celebratory launching site for his other band, the indefinitely moored The Mars Volta. This past Thursday, the loyal but confused remnants of that band’s ever-splintering following–I, being one of them–showed up expectant with hope that Omar & crew could repeat history and lead us, by way of planetary-leap, to another celestial musical orb that resides within that distinctly rare–in astronomer’s parlance–Goldilocks Zone, capable of sustaining our devoted fascination. Colonies are forming as we speak.
Eschewing dictatorial strangulation (and surely, the bulk of compositional burden) in favor of collaborative parity, Omar has banded up with unequivocal creative talent, the likes of which would humble even someone as decorated as himself. Back from their recent training camp tour overseas, the newly formed but fully realized Bosnian Rainbows, consisting of New Wave power duo Dark Angels (Deantoni Parks and Nicci Kasper of KUDU fame), the playfully macabre Teri Gender Bender (Le Bucherettes), and an egalitarian-minded Omar Rodriguez Lopez, returned in fighting shape to display the inspired yields of an ad hoc participatory democracy in which each member is more than just an “informed citizen.”
Sound Colour Vibration Interview: Deafheaven
San Francisco’s Deafheaven is a band that unlike many, has catapulted into the public consciousness in a way that few can claim experience with. George Clarke and guitar player Kerry McCoy formed the group in 2010 with a self produced, recorded and released demo. Adding in three additional musicians with second guitar player Nick Bassett, bassist Derek Prine and drummer Trevor Deschryver to fulfill the vision presented on the demo, the band signed with Deathwish Inc. after a handful of shows and the band has been touring non stop since. Deafheaven released a limited edition 7″ that collected two songs from the demo and the full length Roads to Judah followed soon there after in 2011.
Combining so many fields of raw and invigorating formats of 20th and 21st century underground rock music, Deafheaven has become a powerful presentation of the heaviest yet brightest proportions. They display an exquisite balance of beauty and chaos with crescendos that fall into dripping colors of tone fragmentation that lead to a deconstruction of sound and ultimately chaos. As momentum builds exponentially and the scene changes at the blink of an eye, not a second is wasted before machine gun blasts are augmented by an excruciating type of pain that bleeds from the guitar, bass and vocal work. With their roots seated in a vast plethora of sound in the 20th and 21st century rock idiom, definition and relation to the whole of music comes at the hands of your own entry way, but the power and sonic aura of their studio and live show presentation is undeniable.
When we hear a band who incorporates a vast plethora of worlds and compacts it into micro fragments of coagulation, it sits right at home with the content we live for. Tradition is stripped down to include new formats, new ideas and new visions of tomorrow and Deafheaven is thriving in this world of tomorrow. The San Francisco based quintet is now managed by Cathy Pellow of Sargent House and this partnership between the two immediately compelled us to request an interview. Lead singer of Deafheaven George Clarke was gracious enough to lend us some of his time and answer the questions we sent. We hope you enjoy our exclusive interview with George and get a chance to see Deafheaven live, they are touring heavily in Europe and the States in the next 2 months.
Sound Colour Vibration Reviews : Therapies Son
Therapies Son “Over The Sea”
Sargent House 2011
Multi-instrumentalist Alex Jacob, or what will commonly be known as Therapies Son has released his debut EP through Sargent House, the label responsible for classic releases from Tera Melos, Fang Island, Zach Hill, Omar Rodriguez Lopez, Big Sir, Adebisi Shank and many more. This is an EP that I can easily say will be one to make our favorite albums of 2011. Painting picture after picture of juxtaposed and shifting worlds where bike rides, carnivals and relationships flow out of a bubbling spring of distant memories of the best and worst times of ones life.
Sound Colour Vibration Incredible Review: Big Sir’s Before Gardens After Gardens
Rodriguez Lopez Productions and Sargent House have been expanding on dozens of releases over the last few years with the plethora of artists that exists between the two. Connected at the heart by Cathy Pellow, Omar Rodriguez-Lopez and many others, this is a movement of sound and vision that is gaining considerable reputation as progressive minds are evolving even further from their origins. Boris, Fang Island, Native, Zechs Marquise, Le Butcherettes, Hella, there are so many genre defining artists to name that it’s hard to really sum up the label and Big Sir is one group out of the entire whole that we have been anticipating a new LP from the most. 2012 has been a phenomenal year for music culture already and the arrival of the latest Big Sir album, Before Gardens After Gardens, only adds more depth to the shape of this year. Based around the multi-instrumental and vocal work of Lisa Papineau and the Jaco Pastorius inspired tones of bassist of The Mars Volta, Juan Alderete, Big Sir is rooted in as many fields of electronica as they are in heavy doses of jazz, pop, hip-hop and so much more. It’s a sound all its own and genre definition becomes some what meaningless in the emotional power and provocative nature of the music.
Sound Colour Vibration Interview: Deantoni Parks
SCV links up with artist and musician, Deantoni Parks
Deantoni Parks is a Brooklyn, NY based drummer, director, song-writer and producer; as well as being the latest addition to The Mars Volta. From historical groundbreaking shows in the early 2000′s with his electronic group KUDU to projects with John Cale, Me’shell Ndegeocello and Omar Rodriguez Lopez Group, Deantoni has been active in almost every creative way possible. Colorful, precise and tasteful: his drumming is a world of sound within itself. With a brief stint with The Mars Volta in 2006, Deantoni toured with the band for a very short time of a month or so. His time with the band was short lived due to other commitments and now he is rolling with the group full time. With work completed at Stanford Jazz Workshop, The Drummer’s Collective NYC and Berklee College of Music since the late 90′s, Deantoni has led a life of constant artistic growth and expansion since he first started playing percussion at the age of 2.
The Mars Volta agreed to take part in an opening stint for Soundgarden to usher in the new arrival of their latest drummer, Deantoni Parks. With shows in Australia and China scheduled, the group will see a new full length album release next year. SCV co-owner Pouya G. Asadi was on site for the Mars Volta’s opening set of Soundgarden in Chicago at UIC Pavilion July 16, 2011. He took stills with his Canon 600D and interviewed Deantoni shortly backstage after the Volta’s set. Deantoni Parks is easily one of our favorite drummers in contemporary music and it is an honor to present this interview at Sound Colour Vibration. -Erik Otis
Check out our entire photo set for The Mars Volta in Chicago July of 2011 at our official FB page HERE
What consisted of your typical schedule for rehearsals before you guys started this year’s touring?