MIKE HUGUENOR INTERVIEW

About a month ago I sat down with Mike Huguenor of Shinobu/Hard Girls/Classics of Love and talked to him about way too much. When I wasn't being a fanboy we discussed songwriting phenomenon and he made jokes that I pretended to understand. This is the first half, the other half will be edited and posted soon.


Me: So, Mike as of right now you are technically in three different bands. Some are more active than others, but could you kind of fill me in on what each project is up to right now?

Mike: Well, Classics is nearly done with writing what will be our first full length, which means that probably within the next two to three months we will try to record it. Jesse has been talking to a few people to kind of feel out recording guys who may be of a similar mindset for the album, but nothing has really been set in stone for that as of yet

Hard Girls is almost done with our half of a split with our friends Kudrow, which will probably be coming out on Asian Man and Quote Unquote when it is finished and Shinobu is in the process of finishing a few old recordings to release a kind of massive B-sides sort of affair on Quote Unquote. Somewhere between 30-40 tracks.

Me: Holy shit, that's a lot of Shinobu.

Mike: Many of them are alternate takes of previously released songs.

Me: Very cool. It's good see each project is keeping busy; you must be a very busy, important man.

Mike: Busy-ish. I still feel like I should be doing more.

Me: Don't stretch yourself too thin Mike.

Mike: I can't promise anything.

Me: Now, how about touring for each band? That seems more difficult for Shinobu, but any plans for the other two?

Mike: Touring is all on a bit of a pause at the moment. If anything really awesome crops up, I'm sure we'll do it. But right now Morgan, Max, and I are all working full time, and Jesse is a full time student. So we're kind of taking a break and playing locally until maybe the Classics album is done, or, like I said, if something awesome crops up.

Me: Speaking of Classics. I'm sure you get this question a lot, but how is it working with Jesse Michaels? Do you feel at all intimidated working with what most people would consider a living punk rock legend?

Mike: It was very intimidating for a while. Operation Ivy is one of those few bands that I really loved when I was in middle and high school that I can still really listen to, and definitely the only one that I still hold in the same regard as I did then. But we've all become used to each other and now it’s pretty normal. It is very strange and completely unlikely how well we seem to all fit together. It helps that none of us really have anything close to a "refined" sense of humor. Working with him is really nice. He tends to bring in ideas and we all help flesh them out, it's very fun.
Me: That was gonna be my next question. How is the writing process between you guys?

Mike: Yeah, it’s pretty natural, I think. Jesse comes in with some ideas, we play them a bit, make suggestions, allow the songs to breathe, try them a few different ways. Some songs work, some don't, but the process is pretty intuitive and Jesse is really into the idea of everybody putting in their own parts, which is fun. I was worried that he might not be, but it is very natural. No power struggles or anything in the writing process.

Me: That's good. Listening to Classics it kind of feels like where Common Rider left off do you feel as if there is a bigger difference between the two bands just based on members alone? That was an oddly thought up question. If you don't understand it I understand.

Mike: People have said that at shows quite a bit, which, to be honest, surprised me at first. When I think of Common Rider, I think much more of the ska influence of the band. “Signal Signal”, “Midnight Passenger.” It is the sort of more thoughtful ska that I think of when I think of Common Rider

Me: Yes, at least the first few releases were more ska oriented, but that last album was leaning more to the punk side.

Mike: That is true, but I think Classics is heavier on the 80s punk than Common Rider. The truth is that Jesse has a style, and so that style comes up in different bands which, I think, is a very good thing, but I think there is a pretty big difference between the two bands. Hopefully I don't just think that because I'm in one of them, but I'm pretty sure that the difference is there.

Me: It seems like it, at least to me. Do you guys get any shit from ska kids for not playing any ska songs? Or perhaps the random Op Ivy song request?

Mike: Well, we do have one ska song as of now, so hopefully that appeases the rudies when we play it. The Op Ivy requests have lessened a bit. We played “The Crowd” a few times and I think that sort of sated people. Now we just do Deep Purple covers.

Me: Well that's good. Switching it up to keep "the crowd" interested. That was a terrible Op Ivy joke. Anyway, moving on.

Mike: There were a whole string of bad Op Ivy jokes some friends and I used to have. We had a friend we referred to as "Big Sleazy." So “Big City” got turned into “Big Sleazy” a lot of the time.

Me: At one point a few kids in the local ska/pop punk scene where I'm from formed a joke band called Big City. They recorded these awful demos and some label in Europe wanted them to fly out there and record some songs for a comp.

Mike: That's nuts.
Me: It is considering they just did it to poke fun at Tim Armstrong. Speaking of Europe though, Classics toured with Mike Park in Europe how was that experience?

Mike: I had a great time, and I think everyone else did, too. It was a very sincerely positive moment for me, to be able to play somewhere far away and have people show up and to be able to see the UK for such an extended period of time. Traveling by train. It was great.

Me: That was one of the first big tours you guys did together, correct?

Mike: Yeah, we had done a few little weekend or week long sorts of things, but that was the first real tour. Mike just suggested it, set everything up, and we did it. It was awesome. I wish Mike would do that for all my bands, all the time!

Me: South American Shinobu tour!

Mike: That would be incredible. I actually have really wanted to go to South America. I never had been all too interested until recently. Watching the Herzog movies in Peru, reading a bunch of Machado de Assis books, and listening to the early tropicalia stuff has made me think that I would really like it, but I probably wouldn't know what I was doing at all.

Me: It seems like such a big place for bands to tour in.

Mike: We were friends with this band the Red Dons (I think they've broken up?), and they did a huge Brazil tour. It sounded like it went great.

Me: A show on an Amazon cruise seems like the only thing that would make it worth it.

Mike: Amazon.com? It would be great to play in Sao Paolo, and then finally see Amazon.com's corporate office.

Me: Yes, to play on Amazon.com.

Mike: I think we'll just release our next album as an eBook.

Me: Now everyone will be forced to buy a Kindle.

Mike: Greg Kihn should do an eBook album. He could finally make another bad Kihn pun. Kihndal and Burn - by the Greg Kihn Band

Me: Quote Unquote can put it out, I'm sure Jeff could find the technology.

Mike: I think Jeff is more of a Nook sort of guy, but he can probably get hip to the Kihndal.

Me: Speaking of Quote Unquote, Hard Girls put out the Hello EP last year on that label. How was that received?

Mike: Somehow, I think it was received really well. I've heard many really positive things, which, being in Shinobu, I'm not used to.

Me: How does the writing in that band work and how did that band even come to be? I know Max and Morgan were both in Pteradon

Mike: Pteradon and Shinobu have shared a practice space for years and been friends and reluctant lovers for even longer and right when Matt, Jon, and Bob were all moving away, Ian from Pteradon was settling down so Max, Morgan and I--the three losers left--decided to try playing together. It was a little odd at first.

Me: How so?

Mike: Well, I was so used to hearing the way Ian played with them and I tried to sound like him for a little bit at first. I'm not sure why, exactly, but it took me a little while to figure out how to play right again. Mostly because I hadn't played with anyone new in a really long time and before Strange Spring Air, I never really jammed much with anyone besides Matt, anyway. But Max and Morgan jam their ideas a lot to develop them, so I had to get used to that, but I think it’s a very natural and fluid way of writing, and I like it a lot now.

Me: Who writes most of the lyrics? I know you and Morgan share vocals.

Mike: For the most part whoever sings the song writes the lyrics. There have been a few times where for backups Morgan has said "Sing this," and I've done the same to him, but mostly, if I'm singing, I wrote the lyrics, and if Morgan is singing, he wrote the lyrics.

Me: I think it shows. At least when I listen to Hard Girls your songs remind me of Shinobu songs. There is that thoughtfulness to them and Morgan's songs are little a looser. Like there are two different subjects. I'm not sure how to describe it.

Mike: I think that's fair.

Me: It's certainly not a bad thing.

Mike: I really envy Morgan's writing style. It seems like it comes to him totally differently than how it comes to me and he just drops pearls a lot of the time that take some time to really sink in for me. But, we both have different styles.

Me: How does writing happen with you? I notice, at least in Shinobu there are a lot of references to literature. "Hail, Hail the Executioner" comes to mind.

Mike: Well, that still comes up in Hard Girls songs. “Vega” is mostly about Solzhenitsyn's book Cancer Ward, which really did some damage to me when I was reading the end of it and there have been some references that are less direct. I think a lot of my writing process has been a process of learning to write, but a lot of the time I will hear a word or phrase, or think of a word or phrase, and, this sounds lame, but, the poetry of the phrase kind of strikes me and I spend some time thinking about how to phrase my words to express that feeling. "Strange Carafe" for me was a moment totally like that. The word "carafe" just really lodged itself in my head and I spent a lot of time thinking about it.

Me: I have moments like this with words or phrases and will think about them throughout the day at like work.

Mike: I know what you mean.

Me: Band names too.

Mike: Yeah, definitely. Sometimes really commonplace band names, too, I'll look at and notice the poetry of the language.

Me: Yes, it is an odd occurrence that happens often.

Mike: It’s a very mysterious feeling.

Me: We should get some scientists on this.

Mike: But it grips you, from time to time, and I think it’s fascinating.

Me: Do you think that's where you get your best work from?

Mike: I think so. “Cetacean History” is the most proud I've ever been of Shinobu. I remember reading those two words and just being floored by them next to each other. It sounds dumb, but mysterious is the only word I can think of that really hits on the feeling it gives me when I notice these things.

Me: I just looked up Cetacean. They are whales?

Mike: Yeah, it’s the class or phylum or something that whales and dolphins fall into, but the look of the word is just so aesthetically arresting and trying to make sense of the meaning conjoined with the sound and the look of the word. It just has a lot of power.

Me: It is rather confusing when you think about it.

Mike: It kind of sucks because I'm perpetually mush mouthed and confused when I'm speaking, but I really love words and language, and I really think that there is beauty and power in them.
Me: So basically, you are writing songs based solely on the words you use? How they move you inside your mind?

Mike: More recently, yes, a lot of the time.

Me: That's awesome!

Mike: Most of the last Shinobu album I was just writing down ideas in this little pocket notebook I would carry around with me and so I would read a phrase or hear a word or think of some combination, and I would pull it out and jot it down. And a lot of those songs came from those jottings, kind of jumbled up and congealed.

Me: So that record was really THAT organic?

Mike: There were two or three songs that were written beforehand, but for most of them we would set up the recording equipment, think of an idea, jam on it until it became a song, and then record it. Then I would go to the notebook and get some ideas, and then start writing out a more fleshed out idea and sometimes it would take a day or two after the music was done. Other times I would have the lyrics in an hour or so and then we would record it and that was the song.

Me: How long did it take for you guys to record Strange Spring Air?

Mike: I don't totally remember now, but not very long though, a month or so probably. Just coming in to the practice space when we could and trying to get something recorded each time. I came back to do and redo vocals a lot, especially since a lot of the time the lyrics weren't totally finished.

Me: Well, I think last time I talked to you at Fest 8 you mentioned that record might not have even come out. How did that feel after doing all that work?

Mike: It’s one of those things where you record it and work on it because you really want to and because you really think that it is some version of what good is to you. Even if it never got released, the process was really cathartic, and I've learned a lot about how to write from it, but I'm definitely glad it came out. I'm really proud of it. “Amor Fati,” I wish we could go back and do again, but the rest I really love.

Me: How did "the kids" react?

Mike: Shinobu isn't very good at getting people to react to us. People seem preternaturally able to ignore us, which is fine, I suppose, but the handful of people who told me they listened to it all were really positive. If only a few people like it a lot, that's better than lots of people thinking its pretty okay.


Me: I remember one time in Jacksonville I was talking to Jon from BTMI about how he played drums with you guys at Fest 7 and he was telling me how much of an honor it was to be playing with this great band that no one really appreciates


Mike: Yeah, he totally did. He was amazing. We practiced once with Jon, the day before that tour and he was better than I was for that tour. He is incredible and it was so much fun playing with him.

Me: He did pretty damn good.

Mike: It was totally an honor to have him as part of the band.

Me: That was one of the best performances I saw all weekend.

Mike: Thanks!

Me: Given, you guys were one of the only bands I was actually excited for. I paid 60 bucks for you guys!

Mike: We can paypal you the money back whenever you want.

Me: Please don't.

Mike: I think Strange Spring Air has made almost 60 buck by now

Me: Good, keep it!

STRAIGHT EDGE

http://www.mutinyzine.com/features4_straightedge.html

Please check out this story I worked on.

Jason Choi and Gettysburg split

http://ghostofa7inch.info/

This was suppose to come out almost 3 years ago!

Everyone should check it out, it's really good.

Every single piece of who we're meant to be...

Tonight I attended the second to last Jason Choi and the Sea performance ever. This was the Melbourne show and the last is Monday night in Orlando. The show was held at Jay Godwin's recording studio Soundquest. For those that don't know Jay is an original member of the Influence one of my all-time favorite bands. I figured the Melbourne show would be crammed with old friends from all over the scene and it was. It was chilly out, but the atmosphere in the room was warm. Now, I have seen Jason Choi live for what seems like well over 4 or 5 years. It took me longer to see him live compared to the Influence and Beneath Low Flying Planes, but I kind of always knew who he was. On record, he only released a split EP and one amazing full length that was years in the making once it finally came out in the summer of 2006. People in the Melbourne scene know all the words to his songs all to well. Jason is probably the best songwriter and performer Melbourne ever had or ever will have. We should be glad to be so blessed. Whether you agree with his religious undertones or not you cannot deny his wonderful tapestry of words. Always a humble soul, Jason expresses that true vulnerable emotion that you come to love almost instantly no matter what music you are into. It saddens me to know that he will no longer be performing under this moniker, but I can only hope he continues to write great songs for years to come. Jason, thank you so much for inspiring me and so many other artists out there whoever they may be. Take care everyone, it's a brave new year.

BEST OF 2009

The beginning of this year was no picnic. I don’t think I’ve been this depressed in awhile. Some major changes came about and along with them came some major resentment. I think my attitude reflects all that I was listening to this year. I spent a lot of time listening to Off With Their Heads, Shai Hulud, and Shinobu. Bitter much? So if these lists read a little too angsty, I am sorry. I would also like to note that there are several releases from of my favorite bands that I just never got around to listening to so forgive me if I forgot any.

9. That Really Awesome Guy With a Guitar-…What with the Economic Downturn and All

I saw this acoustic duo at a show with my band and they were the nicest kids. Tyler handles most of the vocals and plays acoustic guitar while Alli plays banjo and sings a few songs on her own. It’s not super cutesy like a lot of the folk punk stuff you hear, so it is more tolerable. The lyrics are filled with a sense of longing and thoughtfulness though. I can’t wait to hear more from these guys in the near future. Tyler runs his own label and helps put shows together up in Massachusetts.

8. Dredg-The Pariah, the Priest, and the Parrot

My roommate Matt first turned me onto Dredg with their 2003 album El Cielo that is an amazing concept album out REM sleep. Well, this is their latest effort after skipping their last album, which I think most people did anyway. The concept of this record is death and if you didn’t pay attention you might not know that. El Cielo was great because it was rather mellow, but on this record there are instances of electro dance pop music. It’s kind of odd when you think about the bands older releases so it is kind of uncomfortable. However, the song “Ireland” really makes the record worth all the odd instrumentals and pop songs. This record is still a grower, for me at least

7. Cursive-Mama, I’m Swollen

I think this record has isolated several of my friends who are Cursive fans. Most of them don’t like it at all. I actually find it listenable. They probably could have done better, but Tim Kasher is still an amazing storyteller. I think the biggest complaint is that this record sounds too much like a Good Life album instead of Cursive. I can understand that, but there are some really great songs on this album including the closing track “What Have I Done?” a six minute long epic that is probably one of the best closing tracks on a Cursive record ever. In my eyes I think they still have it in them to keep making great records for years to come.

6. Teenage Bottlerocket-They Came from the Shadows

It seemed like TBR just put out a record and they really did. In two years they put out two great records that both stand out on their own. This was their Fat debut that scared some diehard fans into thinking they would start sounding like NOFX? I didn’t really understand why people were worried they are too consistent of a band to just drastically change that fast, especially after putting a record out last year. That is the best thing about this band, consistency. Everything that made their last records fun can be found on this record. Catchy songs about girls and skating, could you ask for more?

5. Chuck Ragan-Gold Country

Chuck Ragan has to be one of the most humble guys in punk rock today. His second full length picks up right where Feast and Famine left off. There are more country tunes this time around, but Ragan’s great punk rock song writing still shines through. His voice is even better this time around and you can hear the sincerity within every breath. These songs live are even better. Mr. Ragan will go down in history as one of the best performers on both record and live in the last 10 years.

4. Andrew Jackson Jihad-Can’t Maintain

This year, I was honored enough to be able to open for these folk punk masters and it was one of the best shows of my life. Even if I didn’t get to play a show them, it would not make this record any less good. Holy shit, they really pulled out the punches on this record. With a full band sound they are still able to capture that great sarcastic energy. With a few more great releases slated for next year I can’t wait to see what these guys have up their sleeves.

3. O Pioneers!!!-Neon Creeps

This is odd, because if you recall this was my number one of 2008. Technically this record should have come out in 2008, since they were already selling it at the Fest last year. However, it did not come out till February of this year for whatever reason. That sucks for the rest of the world that did not get to hear this record. It blew me away last year and I still love to this day. This record definitely helped me out a lot with how upsetting this year has been.

2. Bomb the Music Industry!-Scrambles

What else is there to say about this album that hasn’t been said? It never gets old with each listen. The piano jams are amazing and the song writing is solid as ever. I still don’t think I like it as much as Get Warmer, but damnit this is a close second. The songs on this record are completely relatable and I think that’s why it is so good. There is such a defeatist tone to this record that if you really tried these lyrics would make you cry, but you’re having such a good time you don’t even think about it.

1.Shinobu-Strange Spring Air

Are you really surprised? Shinobu is my favorite band right now. It sucks that this album was suppose to not even come out. That would have been a tragedy on the worst level, but I am glad Quote Unquote put it out finally for free. The songs are a mixed bag of different songwriters and despite the odd short songs and instrumentals it flows rather nicely. I am hoping this is not their last release as a band and they will continue to put out great music for at least a few more years.


Top 5 EPs and splits

5. Matt Wixson-The Saddest EP
4.The Ergs!/The Measure (SA) split
3. Classics of Love-Walking in Shadows
2. Lawrence Arms-Buttsweat and Tears
1. Hard Girls-Hello

Best shows of 2009

Hard Girls @ FEST 8
O Pioneers!!! @ Fest 8 and Harvest of Hope
Monotonix @ Harvest of Hope
Teenage Bottlerocket @ Backbooth
You Vandal/We Are the Union/BTH/Away With You/Go Rydell @ Black Box Collective
7 Seconds @ FEST 8
Strike Anywhere @ Harvest of Hope
Mountain Goats @ Harvest of Hope
Virgins/The AKAS/Dillinger Four/Bouncing Souls @ The Social
Andrew Jackson Jihad/Campfire, Suburbia/Gnarly Whales/BTH/Marcos @ Black Box Collective
BTH covering “The Decline” @ Island Oasis
Watching the end of Madball’s set for free @ Backbooth

Things to look forward to in 2010:
Fest 9
Harvest of Hope
Go Rydell and You Vandal albums
New BTH?
Campfire, Suburbia full length?
Ghost Aviary?
New Alkaline Trio/Matt Skiba solo record
Last Flaming Tsunamis record