3. Did the Dartmouth library and Primus and Nirvana, or did you have to go elsewhere?
My mom worked at that library. She also worked at the Dartmouth English Library. She was continuing education throughout that time, going for a master’s degree. My dad was a stockbroker, and he still is. He has also played bass in bands pretty much his whole life, and still plays. That was another major musical touch point for me — the fact that my dad was always playing gigs and rehearsing around the house.
I was a full-time graphic designer and web designer and also doing shows. So I had money at the time from working at this startup company, and music was a hobby. It was sort of a soft transition rather than “all of a sudden I’m making a bunch of money in music.” It was more, “I’m making less money now because I want to focus on music.” I didn’t run out and buy new toys or anything. I spent so much money on gear.
8. The album also has a really interesting, I don’t know if you’d necessarily call it backstory, but mythology, regarding theI came up with that in collaboration with Jackson Greene, who’s my art director. He and I had some conversations about the first song, which is essentially a series of logo drops like you would see at the beginning of a movie — like the 20th Century Fox logo drop has an associated sonic identity with it.
10. Does making those parallels, or even doing a history-based project like this, give you hope for the future? I think there’s a confluence of forces there. One is just having a lot of young people there. A lot of them are down to go out and party. I’m not really sure why that is, but it’s just true. [.] And so every show does well in Denver, no matter who it is. And there’s also a lot of good clubs there. When I started playing shows, I lived in San Francisco, and the first city I flew to to play a show at was Denver, and they were just very receptive. It’s always been a killer scene there.
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