A FEW WORDS WITH KEVIN GREENSPON.







































Its a great honour for us starts this blog with a interview with one of the most interesting avant garde musician and label owner of the alternative and DIY music scene.
Welcome to BRIDGETOWN RECORDSand the world of KEVIN GREENSPON.




            We could start this interview by asking you about the record label, yourself and other obvious things but due to the massiveness of your pass year tour I think we should go straight to the important things. You did a US tour from the 28th of July until the end of October, how did it went?
            It was definitely my favorite tour I've ever done, and probably the most intense period of my life. Looking back on it, it doesn't seem too crazy though. For the most part, it was relatively calm considering it was nearly three months of  constantly having to get up and go somewhere new, to live another day in another place only to leave again. Personally I feel like I have a much stronger view of myself and everything around me. As a musician, I'd consider it my most successful tour by far. I met so many more great people and shared what I do on such a larger scale than ever before.


            What's it like to travel and play in a different place everyday? It must be hard.
            This tour was 75 shows over the course of 82 days, and it took a toll on me mentally and physically at times. I don't know too many people who have toured for that long without a break. It can be likened to being homeless. You're essentially living in a car and the only constant is change: a different city each day, a different set of circumstances you're performing under, a different place you're sleeping (or attempting to), and different kinds of people you're around. Touring for any length of time can be a shock to your system if you're not ready for it. I started small and have done around a dozen tours over the past few years ranging from extended weekends alone on a bus to a month with 4 other guys in a van. It's a good way to learn a lot about yourself and how you function in these situations. To be honest, I never really felt like I was on tour this time, it just seemed natural and normal until I realized I was 60 days in and still on the other side of the country. 


            What kind of feedback did you get from the audiences? Of all the places you played in this tour, what gigs would stand out and why?
            Some of the shows were pretty magical, it was hard to believe at times. I truly felt like my performances had a real impact in several cities. A lot of people came up to me to say that the music resonated with them in a very emotional way, that they cried, that they'd never seen or heard a performance like this before, that they were happy I came through or that they were at the show. The people that really enjoyed it made everything so worthwhile. 

            As with any tour, there were times when no one came in for the set, or people were rude and made it a point to talk over it, or I felt very unwelcome, but that's just how it is. You can't win them all, and not everyone is going to be into it, or going to give you a chance. 

            The positives far outweigh the low points though. I have never felt as good playing a show as I did in Norman, Oklahoma. I was really looking forward to meeting a few people there who had supported my label for a long time, but had no idea it would be that amazing. I couldn't believe that for a last-minute free show at a coffee shop, everyone there would be so engaged, respectful and encouraging. So many people had wonderful feedback, and I have never sold that many albums before either. One of the best shows I've ever played. 

            Other than that, there are far too many standouts to name. It felt like half of the shows were among my favorites ever. Big cities get plenty of attention from everyone else though, and they're not going anywhere. Instead, I'd prefer to mention a few lesser known places that I had an excellent time in:  Kittery, Maine · Carrboro, North Carolina · Lynchburg, Virginia · Troy, New York · Buffalo, New York · Ludington, Michigan · Ewing, New Jersey · Dayton, Ohio · Toledo, Ohio · Savannah, Georgia · Columbia, South Carolina.
You can read about my experiences each night here http://bridgetownrecords.tumblr.com/


            I'm guessing a tour like this one must be very important to you, how do you feel about getting involved in something like that? What positives and negatives have you drawn from the tour?
            It really is. I don't think I could have gone much longer without going to all of these places and having a chance to meet people from all over, people who have supported my label or my music from afar for so long. For me, it's really all about bridging that gap and connecting in real life even if it's just for a short time. The digital divide of the internet is a massive barrier that I try to take down as often as possible. One of the best positives is that I get to meet these people who support what I do and just be a regular person with them. Another is that I was able to see a lot of friends who moved away, and make new ones that I hope to see again soon. It's really enriched my life being able to do that. As for negatives, nothing really stands out as that bad. Some of the worst would be that sometimes you play shows and question why you're even doing this. I've found that my attention span for music has really gone down, can be difficult for it to grab me anymore, or to sit through hours at a show feeling anxious to play and get it all out. Another one would be that you maybe lose interest in a band you were really excited to see and meet when they brush you off or give you the cold shoulder. That's kind of rare but it's a real negative for me, to be treated rudely by someone who's art you're a fan of. Really though, they're just little things that when ignored, make it all worth it. 


            From all the bands that have played with you on this tour, which ones have you enjoyed the most and most liked to play with?
            One of my favorite people I've met was Jack from Big Waves of Pretty, his band was a blast to play with and I got to see them five times over the course of around two months when our tours crossed paths. Definitely some of the funnest guys I've ever come across doing this.

            Peter J. Woods of Milwaukee, WI is one of the most legit guys going in the U.S. noise scene, we played a couple shows together and his style of running things in his hometown is really inspiring. It's great to see such a unified scene where hardcore, shoegaze, rock, noise, and experimental stuff all mesh together so well.

            Lucky Bone was touring with Peter and plays awesome collages of cut-up records, audiotape and VHS tape with manual manipulation of the mechanical parts with his hands. It's a little different every time and he has so much control, shaping each moment into complex, rhythmic progressions of beats and melodies. Here's a video from our basement show in Minneapolis: http://www.youtube.com/watch?v=BdmVvdzsHuE

            My pal Justin plays as Cornelius F. Van Stafrin III and played my Los Angeles show, and a house show in Carrboro, North Carolina. His sets are kind of a blend of object-based performance art, sound design, mysterious rituals, and electroacoustic noise composition. In Carrboro, he cut his hand open while slicing a squash on an amplified cutting board, recording it to tape reels separated by a few feet of distance, with physical delay between the recording and playback of his actions. 

            Terrors is my friend Elijah, who moved to Baltimore from here a few years ago. He kind of rides this strange line between downtrodden singer songwriter and the freak scene of the noise underground and blends the two into really personal and beautiful songs.

            Sky Stadium's done four releases with me, including a tour edition split cassette and I was really happy to finally meet him. He plays serene and emotional new-age miniatures. His set in Delaware was seriously 5 minutes long. I love short and sweet performances and he really took it to the next level at all the shows we played together.

            There are so many others too, but this would go on forever if I didn't stop somewhere.


            Paul Skomsvold from Former Selves created the visuals for your tour, can you explain a little bit his work in your live act?
            I really love Paul's visual work and was glad he helped out with making some visuals for my new Folding Focus DVD release. Having his visuals for my music was something we talked about a bit and happened naturally before the tour. I brought a small projector to show some of the DVD at the shows, and whenever another projector was available, would show more of his work to accompany it as well. It wasn't really synced up to my performance, but a lot of the times I would perform the same first song on the DVD at the same pace just to get things started. 

            I was also projecting video work from Matthieu Séry, who did the visuals in the second half of Folding Focus. His non-video work has this beautiful, soft rawness to it and I was very excited when he asked if I'd want to do a video with him. I got questions from people nearly every night about his section of the projections, which was really great. The response was awesome and I hope to do more with him as well.


            A tour like this is  economically rewarding or is it a tour de force for your love of music? Here in the UK is very difficult to get paid cash on a show and it’s usually paid on ticket sales, how is the situation in the US?
            I don't really think anyone tours in the DIY scene with the intent of making money. It can be very unpredictable playing small art spaces or homes that usually rely on donations to pay the performers. These kind of shows generally ask attendees for $3-5 for attendance, but that is really your best case scenario most of the time, and not the usual outcome. By mostly setting up shows in places where people were genuinely interested in my work, I was able to play shows that covered all tour-related costs and a bit extra, but it's not really even close to the equivalent of a minimum wage job, honestly. Being a solo artist, and by having my own label with a diverse catalog helps a lot with cost efficiency but I can't imagine how hard it must be in a full band. The costs go up so much when you have to feed 4 people and a van that gets poor gas mileage. 

            In comparison with Europe, small artists here in the U.S. are often treated as their work is being done as charity, that it doesn't need to be monetarily supported because they like to do it, or it is seen as a hobby. It can make things difficult when it's hard to pay for the cost of living, let alone the costs of bringing your ideas to fruition.


         How is the day to day of the tour, travelling, sleeping, leisure time, food, friends, party… ? Your fans only get to know about you on stage. Could you explain to us a little bit how do you spend your time? How is the daily life of Kevin Greenspon from show to show?
            The truth is, traveling for so long isn't an exciting new experience everyday. It's more of a routine in which you live a slight variation on the same day over and over again. "Normal" life consists of the same rhythmic pattern, it's just that the elements that comprise this sequence are different on the road. Some of my favorite things to do are just see what a town is like or be shown around. Hanging out with people on the porch outside the house where the show's at or where I'm staying, just talking about whatever. Grab some pizza or maybe watch a movie after the show. The smaller the group the better, at least for me. At shows, I'm really approachable though, anyone can find or talk to me about anything pretty much anytime. 

            There's often a kind of glorified or romanticized illusion of what touring is, like it's a constant party where every show is a thrill but it hasn't ever really been that way for me. Maybe for some people, that's all it's about, but my personality is a little more low-key. I really prefer more personal interaction with just a few people in a quieter setting.


         What was your soundtrack like on this tour, the music you were listening to on this long trip?
            Kind of a weird mix of styles. For the most part, I try to keep what I listen to in the car pretty different from the sort of bands you see or play with at shows. Lots of trance mixes. Anything by my friend John Thill is great for the road, iconic Southern California DIY/folk songs that remind me of all the weirdos back home. Gaze's "Mitsumeru" was on probably every other day. Unwound's "Leaves Turn Inside You" is always my go-to album for driving. The Carpenters greatest hits. His Hero Is Gone's "Monuments to Thieves" was always playing in my head when I needed to be energized. 

            I was working on a mix on another blog, and came up with a set of tracks that I'd want if I could only have one mix CD to get me back home and all I wanted to hear were friends of mine. You can check it out here: http://workinnights.com/mix-69


        You launched The Singles Club for Deathbomb Arc in 2010 and now you are doing the same for our blog with this interview. What do you feel about the work of Brian Miller?
            Brian's a great guy, and has done a lot for Los Angeles. He's so supportive of everything and has had a huge impact on a wide variety of sub-scenes here whether they're aware of it or not. Things would be very different these days if he was never involved here. I've played some crazy shows he's put on with bands like Future Islands or Lower Dens, and seen home taper legends Charlie McAlister and Refrigerator play with my friend John Thill in a living room to like 7 people because of him. There's so much range and I don't think anything slips past his radar. It was really cool being asked to kick off that singles club because I knew there was going to be a huge variety of artists from all styles represented, which is why I wanted to have two totally different kinds of songs on it.


            The audio is divided in two separate sections in your webpage  www.kevingreenspon.info  , Ambient/Tape Collage and Rock Shoegaze. Listening to your records we also find these two facets of yours, one more rock and the other more experimental. What were you doing at the shows on this tour? Experimental, rock, you don’t know, a mixture of both?
            I mostly pick certain compositions under the ambient/collage sound that I've chosen specifically for shows. It's usually a couple of short songs from various albums, strung together as a series of movements. Some aren't appropriate on some nights, depending on my emotions, the environment, or other variables, but for the most part, I had about 18 to 25 minutes of songs from the past 3 years as well as new material that is not yet released that I would play most nights unless it didn't make sense to play that long because the show started late or there were a lot of other performers. 

            Very rarely do I play the songs under the poppy/shoegaze/rock style at shows. I have a few times when close friends are playing and I'm willing to make a fool of myself but it's not as fulfilling for me to do live. Sometimes people request it but I don't really feel comfortable with doing them on the spot for the most part. I'd like to change that at some point and do more band-oriented songs but not yet.


            What’s the scene like in California and what would you highlight?
            There's a lot going on, way too much to really be a part of all of it. In respect to spaces in Los Angeles, I feel a good connection with the Pehrspace crowd, I've played there more than probably anywhere else in the city. Human Resources and Acrobatics Everyday also put on good shows. Over the past year or two, a lot of great things have happened just outside the city limits at The dA Center for the Arts and tons of artists on Bridgetown have played fun shows there. A little further out, there is The Depression Chamber, a house show space run by a friend of mine who has been supporting this scene for years. Everything at these places is a lot of fun and basically just our circle of friends hanging out.


            How is the record label going? We have seen the Already Dead 7” you shared with Nicole Kidman... what can you tell us about Jon Barba? I think he is one of the most interesting acts these days.
         The label's going great, I've received some really thoughtful emails from people who picked up releases in the past few months and it's very encouraging. The Already Dead 7" you mentioned is the 85th release on Bridgetown and I never thought I'd release this much music for my friends when I first started. Jon Barba was there with me from the very beginning and started taking his Nicole Kidman project pretty seriously around the same time I released the first couple of Bridgetown releases five years ago. He's one of my best friends and we pretty much grew up together in this scene. 

         His songs are just some of the most personal and intimate confessions out there in the American DIY/underground world. It's funny to think about now, but we'd be playing shows together all the time and I'd overhear people saying things like "that guy's got more balls than anyone I've ever seen" or others would just be shocked by the brutal innocence and honesty of his lyrics. In the start it was kind of like being confronted with the first emotional outbursts of a shy, nervous teenager who never told anyone what he was going through and just feeling his bittersweet pain transfer to you. He's really matured as an artist and has seriously helped some young people out there through his music. Our collaborative record together is one of my favorite things I've ever been a part of.

         In March we're doing a West Coast tour with Shivering Window that I couldn't be more excited for. Matt of Shivering Window was one of the first people to really give us a chance and help us with shows when we were first starting. Together we are all a bit different musically but we come from the same background and it's all about doing things from the heart for all three of us. We're such good friends and align so well together that I think this is going to be one of the funnest periods of my life, even if it's not even two weeks long.



 There is no holiday for you and  you always stay at work. What new things awaits us on Bridgetown Records?   www.bridgetownrecords.info
     
   There's never a holiday or break. I got back three months ago and wanted to wait until I had sufficient time to accurately reflect back on the tour before doing this interview and gain a more level perspective. When I got back, I finally started recording an album that I was writing and planning before I had left, and had even played a bit of on the road. I've tried to keep busy, and did a 4 day mini-tour via bus/train in December to play some shows in San Francisco and Oakland with different equipment from usual. The new material went over really well and can be previewed here: https://soundcloud.com/kevingreenspon/betrayed-by-the-angels-promo 

         The first Bridgetown batches of the year will be out in a few months and include cassettes by Nicole Kidman, Derek Rogers, Cousins, N O W, Hollow Sunshine, Torn Humorist, Lavas Magmas, Wide Sky, Familiar Haunts and Paper Armies. I'm really excited about these ones, it's a diverse batch and most of the artists aren't too well known, but I have really been aligning with the people behind these projects and am proud to be sharing their albums with the world. There are a few more things in the works but I'm trying to keep plans a little looser this year. I was able to do so much in 2012 because everything was so cautious and calculated, but it's time to slow down and take a break.

      
   Thanks so much for asking me all of these thoughtful questions, It was really nice to look back on this trip and shed a little bit of light on what it was like. 

Thanks to you kevin, was amazing  had a chat with you and is amazing all the job that you are doing with your music and you label.





Kevin Greenspon - "Maroon Bells" from Kevin Greenspon on Vimeo.