One of the most notable things about your sound is its eclectic nature. That’s not exactly something most bands predict. Did you set out to fuse so many influences or was that something that came out?


CG: In 2018, there are so many different genres of music and it would be impossible for us to pick one.



I love, for instance, how “Sugamilk” manages to move between garage rock, arena rock and then back. That seems like the kind of song that’s perfect for the stage.


CG: It’s a high energy song. The entire “Black Champagne” EP is made to be played live and in front of a crowd.



The guitar and drum sounds on this disc is big and roomy. How did you go about capturing that?


CG: We used Chaplin’s in Spring City, PA. It is an old Charlie Chaplin Theater with really tall ceilings and a lot of open space. We used the entire space of the studio by placing mics in multiple places instead of just on the drums or in front of the amps. We did the microphone in a bathroom thing.



One can also hear dashes of peak-era psychedelic music and the 1970s coming in over time and yet it doesn’t sound like you’re trying to ape something. [Can you talk about keeping the sound “true”?]

CG: We honestly have been learning a lot of Queen and Led Zeppelin lately and we have always liked a lot of early Rock and Roll from the 50s 60s and 70s.



“Jack Knife” opens with that kind of over-the-top sound. It’s almost like something that sounds like a jam. And then it moves into something else.

CG: This song definitely started as a Jam. We were just messing with the synth and came up with what we all thought was a cool hook. Then Dee wrote some really provocative lyrics and the song was pretty much done. Jack Knife is one of the most spontaneous songs we have come up with. John’s guitar solos really came to life in the studio.



And “Happy Bee” has that buzzing, overdriven thing. There are moments where I have to wonder if it’s fully improvised. But then the vocals come in and there’s a glue there.

CG: This song is almost 4 years old, it has changed a lot overtime and the studio definitely put a final touch to it. Really, when we wrote “Jack Knife” the synth got added to Happy Bee and it started to take shape. Since the song is so old I feel like we do pretty much just jam on it without thinking too much but it does just come out the same pretty much every time.



I love how “Crooks & Murders” blends elements of production and performance.

CG: We did actually have a lot of fun with the intro and outro of this song. We took the piano part from the breakdown in the middle of the song and ran it through the tape machine with Engineer/Producer Chris Cachuela who used his finger to stop and start the tape. He basically played DJ on an old school tape machine to create the warping effect. Other than this little production trick most of the album is recorded live with overdubbing on Guitar, Vocals and some bass tracks.



The album closes with “Whiskeyhand” which combines elements of sophisticated rock and folk, for lack of a better of a term. It’s like a character study at times.

CG: Whiskey Hand is actually on the “Let it Down” EP from last year (2017), it is just one of our most popular songs still. Whiskey Hand is a ballad about the rise and fall of friendship with yourself and others. It takes a lot of influence from Rock, R&B and the stomp style folk. You could also say it’s a song about drinking whiskey.