Soul on Display

I’m trying to write a zine I genuinely don’t like. I like it in theory, but every time I work on it I think it is a worse idea than the last time and the writing I’m doing to fit the “theme” of the zine is largely not anything I am proud of. I keep wanting to try to put whatever ideas I have bouncing around in my head into the form of absurdist fiction, but I keep trying to write about this idea I have which I don’t think works when every piece of writing is fitting that criteria. But anyway, I decided to expand my nonfiction a little bit for the zine and not have such a specific box so I just wrote something that was closer to an essay on the topic I had in my head about having a probably overly intimate connection to music. I pretty much accepted it was going to be a little bit more straight forward when I was naming an artist and albums at the beginning, but then I got into the milieu (I think that’s the right word) as I went on and I probably should kill that habit of going into every little detail or rambling or however you want to describe it, but I think it’s kind of funny and I think it is a good way to sort of illustrate the way my brain works at times. Anyway, the point is that by the time I was done writing it (actually before I had finished writing it,) I knew this wasn’t the sort of thing I wanted to put into my zine (even though I need content) and then I thought “I have a website” so now I’m posting this here even though the writing format really is making it seem like this website is a blog which is an idea I keep trying to not succumb to even though the last post I made on here is a blog post about this website’s existence. Anyway, I am sure part of the way this turned out was a result of knowing I wasn’t putting it in my zine so I really indulged myself with all my bad writing habits, but when I’m trying to get into a better writing habit I really shouldn’t worry about if I want the end result when I have an idea that is actually influencing me to write as opposed to other stuff where I’m sitting for five minutes picking a word. So here’s a brand new piece of writing and if you see it in any of my zines, unless it is changed drastically, you’ll know I was super desperate to fill my zine (which is an absurd idea since I’m making my own zine so it’s whatever length I want it to be, but I have a sort of “template” based on previous zines where I just deleted all the contents that sort of has become what I am trying to fill.) Anyway, without further adieu….

Some songs are meant for headphones. The best songs are meant to be listened to in your room. You can’t share this shit with anyone even though it’s publicly available for all to hear. Their ears don’t work right. Pearls before swine.

I remember being younger. I had some sort of opportunity to request songs for Joey Cape to play at a show, perhaps a MySpace blog in which he asked? It wasn’t spur of the moment, shouting at the man on the stage. I gave it some thought and forget what I came up with, but what I recall is intentionally avoiding songs off Resolve and 12 Small Steps, 1 Giant Disappointment. I didn’t want to ask him to play songs off my two favorite albums because it felt cruel to request him to perform songs that came from so much pain. After some time had passed, I thought back on it and wondered if it was rude to not request those songs. Did Joey feel like I didn’t appreciate those album when he saw them absent from my requests?

Years later, in fact the year I am writing this, I am still trying to be more confident at age 31. Reflecting back, its highly likely that I will determine that I was not acting “confident” or in any positive, improved manner, but that I was actually acting weird and obsessive or potentially creepy. But at the moment I’m trying to be slightly bolder. I think I saw a video of L.A. Witch playing “Heart of Darkness” in Los Angeles and that’s how the idea popped into my head, but I decided that I wanted them to play it when they came to Portland on their upcoming tour. So I tweeted at them and got a “like” which is a little bit unclear as far as responses, but I want to be confident and I also want to be chill and definitely not unhinged so I don’t demand a written tweet reply. I go to the show and feel sort of weird because it’s still a pandemic and literally nobody does exactly what I want which is to definitely not walk within 10 feet of me and also to definitely not drink because it’s a pandemic and you should keep your mask on. I have a little bit of excitement in my gut that they’re going to play the song, but I’m not sure if my request was even actually acknowledged so I’m tampering my expectations. But also I’m thinking in my head about how to react if they do play it. And I wonder if they’re dedicate it to me since I’m the one who asked and I’m kind of shy so I don’t want that, but also I have a big enough ego to think they will dedicate a song to a complete stranger for tweeting at them. But also, why not?

Each time they are going to play another song, I wonder if this is going to be “Heart of Darkness.” But “Heart of Darkness” is not a normal song. Part of why it’s my favorite L.A. Witch song is because it’s unique in their catalog. It’s very stripped down. So I am watching the show, waiting for some sort of transition to maybe an acoustic guitar?

They finish their set, but people wait around for an encounter (as is custom) and it really feels like this is the moment when it might happen. They won’t need some weird mid-set transition. They come out as a three piece and I think this is really the moment. They don't dedicate the song to me, they don’t introduce it at all. But they are definitely playing it: the moment I waited for all night.

I’m really enjoying the song, but it feels like I’ve been stripped naked. It feels far too intimate. Does everyone else in this room appreciate what they are hearing? Does anyone else in this room appreciate what they are hearing? Do they love this song like I love this song? I don’t want to listen to this quiet song with these people. I want to watch the band the way I listen to the albums: alone. Singing along if I feel inclined.

The band follows it up by bringing back their fourth member and playing a louder song which seems like it gets a better response from the crowd. I feel like I may have ruined their set by asking them to play the strange, quiet song that only I understand. I stick around for a few minutes. I’m not sure how long they would want to decompress after their set, probably longer. But I don’t want to stand around awkwardly waiting so I leave. I tweet thank you to them and I receive a “like” and a part of me doesn’t know if they even knew I requested the song or if they have a social media manager just liking any tweet sent to them, but I try not to think about it too longer because I’m trying to remain confident and not become unhinged.

Beast of Burden

Utters hoodie, woods shirt, all black. Obsession will be the end of me, but it’s the only way I’ve made it this far. I think I can crack this code. Emulation. Empathy or mirrored behavior. But a Machiavellian worldview is beyond me. Faking interest strains me. I’m incapable of “til you make it.” Life is as serious as a heart attack. Where do you think my hair went? The only thing keeping the stress at bay is day-by-day. Estate planning is well and good, but there’s no hope on the horizon so I’ll listen to this record for the millionth time.

Lyric

I’m listening to these records like they contain the Da Vinci code. Like if I hear the lyrics for the fiftieth time, everything will finally click. There’s no cure for the kind of loneliness that comes from feeling like you aren’t on your home planet so I listen and listen and listen and just maybe, the record will create a portal. I need to reach out to those closest to me who have been singing these melodies for a decade plus. I treat these records like precious commodities and I treat the people in my life the same. Not that I respect them or am loving toward them, but the obsession. A stream of questions until they don’t have the answers. They will never satiate my thirst because I don’t know what I am taste I am longing for myself.

While I wait for these songs to make everything else make sense, I try to emulate these strangers I have welcomed into my home and head and heart. I write and rewrite, trying to find the balance between earnestness and safety. I am trying to do what has been done for me, but I am not sure I am capable. Every few years I decide I desire vulnerability but then I remember my fear. I used to be sincere and kind, but the only way I knew how to survive here was to grow cold. The idea of shedding this shell I’ve spent three decades building is absurd. It is all I have to show for my time on Earth.

So I keep listening to these albums over and over until I get bored of them and then I set them aside for a few months. The people find themselves in similar situations. But these songs don’t perceive me. These songs don’t ever know more than I’m comfortable with them knowing.

"I’d rather be an artist first and foremost": an interview with Walter Etc.

Walter Etc. has a new album out entitled The Dark Comedy Performance Piece of My Life out now on his own label Making New Enemies so we reached out to him over e-mail about a month ago and then ended up Twitter DMing in the afternoon of April 9th. The following interview has been lightly edited for clarity.

Walter: Yoooo

Ghoulish: Okay okay. Let us begin I guess. How is the coronavirus treating you?

W: TBQH, besides being stressed about the future of our democracy and economy, and feeling sad for people struggling... my day to day life hasn’t changed too much. I’m usually a hermit so this whole stay inside thing just relieves any pressure I had to go out and socialize. haha

And I’ve been busy working on this album release so my work hasn’t changed too much either. What about you?

G: haha, well I am "essential" at work so my shit is just the same except now that I CAN'T go out, I want to. But I am actually making friends at work by just being super passive aggressive to everyone in authority and talking mad shit so it's kind of a win personally. But yeah I think I had a mental breakdown in the lunch room like a week back thinking about how we're all going to die.

Anyway, to get into the album... how do you approach something like this when it's got all these personal repercussions? Do you play it for your ex first or just put it out and apologize later?

W: Well before I recorded the album I called her and told her about the album, and asked if I could use her real name in a couple songs. She agreed and was probably dreading the album release for a long time. I offered it to her when it was finished but she didn’t want to hear it. Since it’s come out I haven’t heard from her. But yes it’s been pretty embarrassing in my personal life to put this out, but in the end I’d rather be an artist first and foremost so I had no choice but to put it out really.

G: The album lyrically is a change of pace for you and kind of more "direct" but musically it's pretty different too. Did you intend for that or were you just drawing inspiration from different stuff and it happened?

W: Ya, I think musically it evolves along the same lines we’ve been going - indie / surf / pop punk based music that dabbles in more and more different genres as time goes on... But ya I didn’t really intend to make these songs as “direct”, that kind of just happened. I think it stems from writing songs primarily for myself, usually a therapeutic practice, and I think I just fell back on my old literal story telling lyrics in order to deal with the things I was going through, cause that’s the style that comes most natural to me.

G: I gotta ask about “Cheer Up Walter” though. That song is a Capella. How do you decide to go with no musical backing?

W: That song was always a Capella based, but we actually tried to give it a noise soundscape behind it, but in the end that sounded too spooky and foreboding when it was generally a positive song about cheering up. So the decision to make it naked vocals came when the noise thing didn’t work, and Ian and I agreed totally naked felt more spiritual and honest

G: Interesting. So I assume this isn't the kind of album you would have put out when you were younger. From what I listen to it, it seems like more and more artists are kind of taking the leap of faith and putting out albums that make them feel vulnerable. Do you think that's sort of where we are at as a society or is just more just a coincidence of people getting to the same places in their life where they're willing to not self-censor?

W: That’s a really good observation and question. I really don’t have an opinion, but a couple ideas. Maybe it’s artists’ reaction against the increasingly phony culture of late era capitalism? Like an artist is compelled to be ultra honest because no one else is telling it like it is?? Or maybe music execs have convinced artists that authenticity sells so everyone is just going for it??? Or, I read an article lately talking about how millennials highly value authenticity while Gen Z doesn’t necessarily. So maybe it’s just that a millennial artist’s idea of their magnum opus is one that is super personal and honest, so they hit an age where they try to write that record? I’m not sure... just some thoughts... What are some examples of these recent vulnerable albums you’re talking about?

G: Uhh, I wrote down that question like a month ago when we were going to do this over email so I'm not sure I remember what I was thinking of at the time. But the new Gladie record [Safe Sins]. Uh, that Hayley Williams [series of] solo EP[s] thing she's putting out [Petals for Armor]. I actually feel like I listened to so much "punk rock" when I was younger and now I don't connect to a lot of it and I'm seeing so much creativity in hip hop so it's a really stark contrast to go from over-whelming machismo in rap to all this stuff now. Like Danny Brown put out an album a few years back about being a drug addict [Atrocity Exhibition]. This guy Supa Bwe is like almost entirely rapping about being depressed. [Additional albums that came to mind later: Manic by Halsey, Care for Me by Saba, Cry 4 Help by Kari Faux, Big Fish Theory and Prima Donna by Vince Staples.]

W: A lot more creativity in hip hop than punk these days huh?

G: haha, I don't wanna get "cancelled." The thing for me is just like I got into "punk" from Rock Against Bush comps and now we're in this Trump shit and I honestly think one of like 3 [“punk”] records I heard that come even close to capturing what is going on in the slightest is the last Sum 41 record [Order in Decline]. Maybe I'm not hearing the new punk bands though; I'm seeing almost constant new rappers.

For some reason all the lyrics I wrote down questions about are from your single “Punk With An Ex” which makes it sound like I didn't listen to the record, but on that song you said you're on the wrong side of your twenties which made me wonder what point did you know you were going to be doing this for a long time?

W: I gotta try that sum 41 album

Ummm I think I realized a long time ago that I’d be doing this Walter thing for a long time whether it’s popular or not. I like what I’ve started with it and want to continue its “legacy”, rather than just start a new unrelated band. I’m pretty sure I’ll be into making music for a long time, so the logical conclusion is that I’m in this for the long run! But ya definitely in the wrong side of my twenties, meaning literally the second half, but figuratively this is the side where you aren’t “sexy” anymore, you aren’t young and up and coming, there isn’t as much time to correct mistakes or go back on decisions, people don’t give you the benefit of the doubt for being young, financial responsibilities are adding up, and it’s not cute to be in an underground band past 25.... lol

G: haha, no I get it. I just wasn't sure if you were envisioning any of this when you put out Every Town Needs a Cowboy. Uhh, we're almost done, but we gotta get the "plug" sort of questions in... So this is the first Walter album that is coming out with a zine, how'd that come to be?

W: Always wanted to do zines with albums but always get lazy or too pressed for time or money to whatever. This one seemed like a good one cause a) there’s a ton of lyrics to fit on a lyric sheet already so a booklet would be nice and b) I’m putting it out myself so I might as well go all in and include a zine since I’ll be producing / shipping both from my garage

G: Well you gave me the lay up for the other "plug" question: this is the first time in the last like what? 4 albums, that you are putting out yourself? Was that just because it was so personal you wanted full control or how'd that decision come to be?

W: Definitely part of it was because it’s so close to home, Id like to keep it literally close to home. But the decision was mostly informed by a larger desire for independence in my music “career”. I’m really intrigued by the way someone could have a successful music career as a diy musician in the 2020’s with the internet and all the resources we have. I didn’t want to split my album proceeds 50/50 with a smaller indie label when I could just do it myself and keep 100% and own the masters for life. Traditional music marketing hasn’t worked for our band in the past, the music scene / industry doesn’t seem to care about our band, and so I didn’t think it’d be any different this time around and thus not work the money a label would put into it at ultimately our expense. I already run my own online store, so I don’t need anyone to ship my records for me. I know how to get digital distribution, and how to order vinyl. Haha long rant here but basically, since there was no major label million dollar offer, it just made more sense to me to do it myself and explore what this new era music career could look like for me.

G: How's it going so far?

W: For Walter standards, pretty good! Made my money back from the vinyl, so I’m in the green which was basically my only goal financially. But you know, I sacrificed the chance of major success. Like, putting this out myself isn’t gunna get me big press or big tours. But I knew that going into it

G: haha, nice. Well I had a few more questions but they didn't really fit into the flow or we kind of touched on them so now that I've kept you twice as long as we agreed to, I just want to ask one final question which is just what you're reading or listening to or, I had a question that didn't really go anywhere about your references to the Office and Modern Family ,so what you're watching in quarantine.

W: Haha you can ask me more dude I’m just chillin.

Dude I’m a random phase of trying to get into Beck and reading For Whom the Bell Tolls. Lol not the most interesting answers but that’s where I’m at

G: Are you listening to any albums you wanna shout out?

W: Dude still very into Milk Flud Supportive Nature even though it’s like 5 months old now

G: yeah the man of mystery. I have a billion questions about him, but I think that would veer things far off course haha.

I think the main question that I skipped over earlier (because you referenced how you came to write these more "direct" lyrics) - and this could be a massive bust, but with the way my brain works I found it to be the most fascinating - is like the way I hear the lyrics on this album - and I texted you about how it reminded me a little bit of the path Micah Schnabel has headed down - is it kind of seems like you hit a wall and were like "fuck it, I can't express myself whimsically. I'm just gonna cut the shit." Philosophically, is any of that true? Like is there kind of a limitation to certain forms of art?

W: Ya, I feel, for me, like sometimes metaphors and abstract lyricism is just a bunch of beating around the bush. Like why do I have to come up with some clever obtuse way of saying “we’re broke and don’t have sex and getting chubby”? Like to say it bluntly sometimes feels a lot better for me personally, and I think it has a certain stab to it cause people aren’t used to hearing lyrics that aren’t either cliches or metaphors. I mean obviously exceptions, but generally speaking the hyper literal lyrics seem to stand out to me. But there’s limitations to the direct lyrics too. Like things are maybe not as open to interpretation or appeal to broader questions? Sometimes a blunt lyric just starts and stops with that lyric haha

G: Yeah, that makes sense. Alright, I have no idea how putting an album out goes. Are you already thinking of your next moves or are you just focused on getting all the records shipped and shit right now?

W: I have a lot of the next record written. So I’m eagerly awaiting this shipping week or two to be done and so I’ll start demoing or recording the next one - and also putting effort into still getting this album out there marketing wise, but I fear I’ll fall short because I will be too excited to start the next project

G: Is that kind of how it always goes (minus it all being your responsibility) or just the nature of where you and the world are at in this moment?

W: Haha how it always goes for me at least

G: that's wild, but I guess it's also security from writer's block if you are one album ahead

One question I didn't write down to fall back on, but I wanna ask about given a few things you said in this interview and some of your tweets I've seen in recent months is like when I met you in the Portland punk scene I think I kind of thought of you as not particularly political, but now you're talking shit about capitalism. Is this kind of something you've grown into or along the lines of how you always felt? And also what's your view about like addressing politics in art vs personal subject matter?

W: Ya I pretty much have the same viewpoints as I always have had but I didn’t wanna speak out cause I knew I was young and there was a lot I had to learn. Now I’m starting to feel like I understand what I’m talking about enough to have public opinions. Still far away from being preachy tho cause I’ve much to learn and I’m not so steadfast in my views. I think art has room for politics and personal subject matter, and no one should be shamed for doing either. I sort of don’t like when people state that if you have a platform then you are obligated to use it to speak out about politics and such. But I think people have a right to if they want

G: I guess I'm just curious from my own experience of like when I was younger and trying to express myself through writing I felt sort like I should be talking about injustices but it just came out like complete shit and it still is like pulling teeth if I try really hard to write explicitly political stuff so I guess it's a question of inspiration, but do you just write what you write because that's what flows out of you or like you tried to write a song about the Supreme Court and it sucks and sounds like you don't know what you're talking about?

W: Haha ya I kinda just wrote what I write . I’ve never tried to intentionally write a political song, if anything just slip in a line here or there that questions some thing about our society, but nothing too directly political. I’ve actually been interested in writing more climate change / environmental lyrics,,, but I’ve yet to find a way to do that and not having it be clunky and lame haha

G: yeah dude! that's what I'm talking about. I think everything has it's place and I absolutely adore Propagandhi, but I was having a conversation back when we were still allowed to gather in groups about how Good Riddance influenced me so much more just by not being 100% political at all times, like they had songs about girls mixed in. I think I kind of prefer, it's almost a Trojan Horse, all the artists who write non-political songs and then just have a line in there.

Alright I think I'm all questioned out and I thought it would be cool to post this interview as screen shots, but I think I need to edit a little bit of the text so hopefully it copies and pastes well, but I think the way to end these things is to ask if you have anything else to add.

W: Haha umm just thanks for being interested and supporting me all these years. And I hope to see you soon!

G: Yeah you'll have to come up to Portland post-pandemic or something!

“It’s the greatest partnership humans have ever known”: Discussing Group Picture 5 with Milk Flud and Walter of Making New Enemies

Milk Flud and Walter, as Making New Enemies, have been putting out free compilations of their and their friends’ music since Christmas 2011. This year, they are releasing Group Picture 5 - the second compilation in the series to be accompanied by a zine. A few days before Christmas, they took time out of their days to discuss the origin of and intent behind the series while remaining fairly tight-lipped about the specifics of Group Picture 5. The raw, unedited transcript can be found here. Group Picture 5 comes out Christmas Day at 6 PM PST MNE time. It, along with the previously installments in the Group Picture series and other musical releases, can be found at makingnewenemies.bandcamp.com

Milk: GP5! December 25th! Let’s do this!

Saul: Okay, introduce yourselves.

Walter: I’m Walter. One of two MNE cult leaders.

Milk: My name is Milk Flud. I am the other MNE cult leader.

Saul: And you two are the entire team behind the Group Picture series? And MNE?

Milk: I’d call us the curators, is that the word?

Walter: I like to say that too. Milk mostly handles the album and I mostly handle the zine.

Milk: Exactly.

Walter: Well, my soulmate Francis Mayflower [handles the zine] to be exact.

Saul: Alright, so how’d this whole thing start? Back with Group Picture 1?

Milk: I just got an idea one day to make a compilation album of songs that Walter and I had in our archives just sitting there. We asked some friends to send in songs that were doing the same and that was GP1. This was like December 20th and we wanted to release it December 25th.

Walter: [Laughs]

Milk: I think I was in Utah?

Walter: We’re always out of state for some reason.

Milk: Seriously.

Walter: And it came together nicely so we decided to do it again, and again, and again.

Saul: So you really wanted it to come out Christmas?

Walter: It’s nice to give everyone their last Christmas present.

Milk: Also a significant day.

Saul: The birth of our lord and savior?

Milk: Not exactly.

Saul: [Laughs]

Walter: What’s the significance, Milk?

Milk: Generally people are home with their families then, so I thought it’d it be nice to have something for them to listen to or read at the end of a long day of family time. [Pauses] I dunno. [Pauses] Am I supposed to be all 666?

Walter: Yeah, everyone is home and shares it with old friends around Christmas and, it sounds corny, but it brings our friend group together.

Saul: Okay, so you had some archives, and then for Group Picture 2, there’s a huge increase in the amount of songs - and each year it seems like you add one more song… is Group Picture 5 going to be 19 songs?

Walter: Oooh! Interesting, interesting.

Milk: It will be between 15 and 20. The one song thing is nothing intentional.

Saul: Is everything submitted? [Editor’s note: it is 8 PM on December 19th.]

Milk: No! [Pauses] And I was gonna master this year’s.

Saul: Oh really? When’s the cut off?

Milk: People think its December 24th.

Saul: [Laughs]

Milk: Or early the 25th. I’ve been learning to master albums and really wanted to this year.

Walter: Some friends are slackers…

Milk: I think I have 10 right now.

Saul: Jesus. Anyway, so all the zine stuff is submitted right?

Walter: The zine stuff is all submitted.

Saul: And you’re doing physicals of the zine and the album?

Walter: Yup, yup! Get the album on Spotify and all that.

Saul: Money, money, money!

Walter: Nah, not really. [Laughs] That’d be sick though.

Saul: How’d the zine become a part of it? Why’d you bring it back after none for [Group Picture] 4?

Walter: I had one all ready to go for 4, but I choked. I had to leave town before I could finish and print it. So I didn’t wanna let anyone down for 5 this year. And I think it’s turning out to be pretty cool.

Milk: It looks really cool – via cell phone pictures. Walter is in Portland. I’m in California.

Saul: And how’d the zine happen for [Group Picture] 3? Why’d you bring it into Group Picture? Is Group Picture just going to keep expanding? Comics and short films next?

Milk: Woah, I hope so!

Walter: That’s exactly it!

Milk: Include more friends, not all make music.

Walter: We all do way more than just music. Gotta exercise all muscles.

Saul: And you just had enough writer friends that seemed like the logical next inclusion?

Milk: All types of visual artist friends.

Walter: I’ve always been pretty into writing. We all make dumb collages… it was bound to happen.

Saul: [Laughs]

Saul: So, not to hit a sore spot for Milk, but based on what you do have - is it a lot of familiar faces and names?

Milk: As opposed to previous years?

Saul: Yeah, can people expect to see a lot of the same bands and writers?

Milk: Yes, for the album they can. Also quite a few new artists that I’m really excited about.

Saul: Do you care to mention some? What sort of genres can we expect?

Milk: Extremely diverse, but, yes, a lot of the familiars will be there.

Saul: Walter, do you want to mention anything about the contributors to the zine?

Walter: There’s three things I’ll say to that, Saul.

Saul: Okay.

Walter: I love the quantity of writers. There is over 15 writers and artists. I love how there’s possibly more girls than guys in it, haven’t counted. And I love the diversity of the work in the zine. It’s all very inspiring!

Milk: Which is what I personally love about GP.

Saul: And it comes out at 6 PST?

Walter: Well, you know, MNE time.

Milk: Yeah, 6 PM PST MNE time.

Walter: We don’t stick to deadlines if it sacrifices the quality of work, but we do try.

Saul: And it will be at Making New Enemies dot bandcamp dot com?

Walter: Yeeee.

Saul: Alright, unless you guys wanna talk about any specific songs or zine inclusions, I think we’re going to wrap it up. Anything else you guys wanna say?

Milk: I liked your questions, Saul.

Saul: [Laughs] Thank you.

Walter: Yes, thanks for doing this, Saul.

Milk: I also want to say: I like that it’s been 5 years of the same partnership.

Saul: Well, you’ve been partners with Walter longer than that even.

Milk: Yes, but just for GP.

Walter: It’s the greatest partnership humans have ever known.

Saul: It rivals Starsky and Hutch.

Walter: [Laughs]

Saul: Yeah, for some reason, I thought you guys had more friends working behind the scenes - just 2 boys!

Walter: Well, I have had help with the zine a bit from my girlfriend and roommate.

Saul: Alright, so what day and time do you want this on the blogosphere?

Milk: Tomorrow! [Pauses] Did we do good?

Saul: Yeah, I think so.

Walter: Of course we did good! The tide is high right now!

Milk: I’m going to finish the intro tonight.

Saul: Like rap albums have?

Milk: Kind of. Little Cousin makes a return this GP.

Saul: Sweet!

Milk: Dakota from Animal City, my favorite band, gets involved and will continue to work with MNE.

Walter: To be honest, I have to redo the whole zine right now.

Saul: Why?

Walter: Changed the margins by .25 and everything went to hell. [Pauses] I also love the album art!

Milk: oh, yeah!

Walter: My favorite GP album art.

Milk: The album art is incredible!

Saul: Well, I’ve got everything.

Walter: This was fun! Thanks, Saul!

Saul: You’re very welcome, it was fun interviewing you guys!

Milk: Yeah, thanks, Saul.

Walter: Later, guys.

Saul: Bye. 10 AM tomorrow this will go up!

Milk: Okay, we’ll post it unless we re-read it and shake our damn heads.

Saul: [Laughs] That’s just being alive, though.

Milk: Woah.

Saul: [Laughs]

Milk: This guy gets it.

Milk: Okay, I’m gonna work on my shit! Later!

This interview was originally published on the Someone Else Plays the Piano Better Tumblr page.