Foshee Interview
Q: Can you talk about your musical history?
A: Well I guess I started music at an early age, thanks to my family. I used to go to my grandparent's house during the holidays and pick around on this old organ that had a lot of switches and knobs and pretend to write songs, but really it was just me wearing sunglasses and making weird noises over whatever karaoke-style backbeat I'd happen to select. I believe my preferred genre was zydeco. Eventually my mom enrolled me in piano lessons when I was five and I hated it, but I learned 'Spinning Song' really quickly and everyone thought I was some sort of prodigy. Until I failed to learn another song, because I hated reading music. I just liked the recitals, because that means I got to dress up and go to Applebee's after people watched me perform. Also, I wouldn't actually play the entire song - but instead, halfway through I would start to improvise and play something I had written the night before. In hindsight it's rather remarkable, because this happened on at least three occasions I can recall, and yet each time everyone would still look so damn confused and I would get scolded afterwords by my teacher. But I still got to go to Applebee's, so I didn't care. I applied the same sort of methods to the cello in junior high and they cut that shit off real fast, so I decided I wanted to play guitar instead. So when I turned 15 I got an acoustic guitar for my birthday; some off-brand type with super high action that made my fingers bleed. And that lead to writing songs about my feelings and playing Green Day covers after school in my bedroom. And here we are.
Q: You have made music for TV and commercials. Can you talk about the difference in how you approach a task like that compared to the music you release for yourself?
A: Honestly, all of the tv and commercial stuff has been pretty random. It's all music I've already written and recorded that's been placed by a few different song libraries I'm affiliated with, one of which (I won't name) that I feel is a huge rip-off seeing as I have well over 100 placements and haven't made shit from them. But other than that, I had a pretty cool guitar riff that ended up being used for an OnStar commercial from a record I made in Portland a long time ago with Larry Crane (the editor of Tape Op and engineer of some pretty cool Elliott Smith records) that never saw the light of day. I basically drove to Portland to make a 30 second OnStar commercial and have Larry show me where Stephen Malkmus used to live. And I'm okay with that. A few months ago I got to do a super cheesy Die Hard-themed voice-over (that I recorded in my bedroom) for an IFC Father's Day commercial where I sang in the style of Harry Chapin's 'Cat's In The Cradle' (let that soak in for a minute) and that was pretty weird. But I was really broke at the time and used the money to pay rent, so I feel pretty good about it.
Q: Your exceptional new album Strange Relations is so well written and the production is exceptional. Can you talk about the creative process and what it was like working with Andrija Tokic (Alabama Shakes,Benjamin Booker)?
A: Firstly, thank you for saying it's exceptional. That's very exceptional of you. Secondly, the record was a dream to make. In all facets. The process actually began about a year before though, when I was in talks with another producer. I had already selected most of the songs (almost none of which are on Strange Relations) and it was going to be a pretty straight-forward country record. But then I lost communication with the guy and didn't hear back for like six months, which really bummed me out, so I decided to move on. During that time some really weird shit happened in my life that forced me to change gears and embrace a different side of my music and how I expressed myself, and as fate would have it, I was introduced to Andrija when it all came to a head. I had honestly not heard the Alabama Shakes record (other than the single) however it seemed like every day leading up to our first encounter I was listening to a record he had his hands on, especially the first Luke Bell, the Hurray for the Riff Raff records and the one he did with Langhorne Slim. So the timing was really interesting, especially because when his name was suggested I was sitting on the toilet reading an article about him in Tape Op. So basically, I just sent him an email with a few demos attached and he ended up calling me the next day at like 8:30 in the morning. It was the most excited I had ever heard anyone talk about my music, so I was like 'hell yeah, this guy rules!' It had been less than 24 hours and he was already talking pre-production ideas with the fervor of some sort of mad scientist and that really carried over into the sessions. I was lucky enough to have him lock in some great players, and walking into the studio on the first day everyone was extremely prepared and knew the songs front to back, which blew me away. Before recording each song (to his MCI JH-24) Andrija would make all of us come into the control room and sit on the floor. All of the session guys had charts, and he'd play the demos from his laptop. And then they'd start taking notes, and when it was over Andrija would make a few suggestions, tell us what he was hearing, and then we'd bounce some ideas around. It was really a cool way to operate and extremely inspiring. I definitely 'grew up' a little bit during these sessions and become more confident in my craft. After a brief conversation we'd walk into the next room and... record the song. I think we did Whiskey & Wine on the first take. Everything else we did a few of so we'd have options. And then when that was over we'd do overdubs and before you knew it, the record was done and I was sitting in the control room listening to the mixes.
Q: Can you talk about your musical history?
A: Well I guess I started music at an early age, thanks to my family. I used to go to my grandparent's house during the holidays and pick around on this old organ that had a lot of switches and knobs and pretend to write songs, but really it was just me wearing sunglasses and making weird noises over whatever karaoke-style backbeat I'd happen to select. I believe my preferred genre was zydeco. Eventually my mom enrolled me in piano lessons when I was five and I hated it, but I learned 'Spinning Song' really quickly and everyone thought I was some sort of prodigy. Until I failed to learn another song, because I hated reading music. I just liked the recitals, because that means I got to dress up and go to Applebee's after people watched me perform. Also, I wouldn't actually play the entire song - but instead, halfway through I would start to improvise and play something I had written the night before. In hindsight it's rather remarkable, because this happened on at least three occasions I can recall, and yet each time everyone would still look so damn confused and I would get scolded afterwords by my teacher. But I still got to go to Applebee's, so I didn't care. I applied the same sort of methods to the cello in junior high and they cut that shit off real fast, so I decided I wanted to play guitar instead. So when I turned 15 I got an acoustic guitar for my birthday; some off-brand type with super high action that made my fingers bleed. And that lead to writing songs about my feelings and playing Green Day covers after school in my bedroom. And here we are.
Q: You have made music for TV and commercials. Can you talk about the difference in how you approach a task like that compared to the music you release for yourself?
A: Honestly, all of the tv and commercial stuff has been pretty random. It's all music I've already written and recorded that's been placed by a few different song libraries I'm affiliated with, one of which (I won't name) that I feel is a huge rip-off seeing as I have well over 100 placements and haven't made shit from them. But other than that, I had a pretty cool guitar riff that ended up being used for an OnStar commercial from a record I made in Portland a long time ago with Larry Crane (the editor of Tape Op and engineer of some pretty cool Elliott Smith records) that never saw the light of day. I basically drove to Portland to make a 30 second OnStar commercial and have Larry show me where Stephen Malkmus used to live. And I'm okay with that. A few months ago I got to do a super cheesy Die Hard-themed voice-over (that I recorded in my bedroom) for an IFC Father's Day commercial where I sang in the style of Harry Chapin's 'Cat's In The Cradle' (let that soak in for a minute) and that was pretty weird. But I was really broke at the time and used the money to pay rent, so I feel pretty good about it.
Q: Your exceptional new album Strange Relations is so well written and the production is exceptional. Can you talk about the creative process and what it was like working with Andrija Tokic (Alabama Shakes,Benjamin Booker)?
A: Firstly, thank you for saying it's exceptional. That's very exceptional of you. Secondly, the record was a dream to make. In all facets. The process actually began about a year before though, when I was in talks with another producer. I had already selected most of the songs (almost none of which are on Strange Relations) and it was going to be a pretty straight-forward country record. But then I lost communication with the guy and didn't hear back for like six months, which really bummed me out, so I decided to move on. During that time some really weird shit happened in my life that forced me to change gears and embrace a different side of my music and how I expressed myself, and as fate would have it, I was introduced to Andrija when it all came to a head. I had honestly not heard the Alabama Shakes record (other than the single) however it seemed like every day leading up to our first encounter I was listening to a record he had his hands on, especially the first Luke Bell, the Hurray for the Riff Raff records and the one he did with Langhorne Slim. So the timing was really interesting, especially because when his name was suggested I was sitting on the toilet reading an article about him in Tape Op. So basically, I just sent him an email with a few demos attached and he ended up calling me the next day at like 8:30 in the morning. It was the most excited I had ever heard anyone talk about my music, so I was like 'hell yeah, this guy rules!' It had been less than 24 hours and he was already talking pre-production ideas with the fervor of some sort of mad scientist and that really carried over into the sessions. I was lucky enough to have him lock in some great players, and walking into the studio on the first day everyone was extremely prepared and knew the songs front to back, which blew me away. Before recording each song (to his MCI JH-24) Andrija would make all of us come into the control room and sit on the floor. All of the session guys had charts, and he'd play the demos from his laptop. And then they'd start taking notes, and when it was over Andrija would make a few suggestions, tell us what he was hearing, and then we'd bounce some ideas around. It was really a cool way to operate and extremely inspiring. I definitely 'grew up' a little bit during these sessions and become more confident in my craft. After a brief conversation we'd walk into the next room and... record the song. I think we did Whiskey & Wine on the first take. Everything else we did a few of so we'd have options. And then when that was over we'd do overdubs and before you knew it, the record was done and I was sitting in the control room listening to the mixes.
Q: There are a long list of musicians that contributed. What was that experience like and did they have any input or did you dictate what was going to be played?
A: The musicians were all really, really cool. I still feel very lucky to have them on my record. I mean Jeremy Fetzer (of Steelism) and Jon Estes just played on a Grammy nominated record (Kesha's 'Rainbow') so they'll probably never return my phone calls again. But Jack Lawrence genuinely seems like he still digs it, so maybe I have a chance of him playing bass for me in the future if the money is right? No, but seriously. Andrija really guided the production on the record. He had some really great ideas that we all ended up executing to make the songs sound as good as they do. And Jon Estes was a godsend. He played like fifteen instruments on the record and charted all of the strings, which his wife and her friend ended up playing. Jack was such a nice guy and has like, the best bass tone I've ever heard. And the first thing he said to me when he walked in the room was 'Oh hey man, are you the song guy? Because your songs are like, really f*cking good!' So naturally, I now adore him. Alexis absolutely slayed on background vocals. 'The Fight' and 'A Middle-Aged Bachelor's Lament' wouldn't be the same without her. Molly Parden was a gem and has such a pretty voice that worked perfectly for 'It's Alright, We're All Gonna Die' and another song that didn't make the record. I really like the flanger effect Andrija put on her vocals on the choruses. It really triggers some alien abduction stuff and whatnot. Dave Racine was easily the best drummer I've ever worked with. He was the steady hand through and through. And Jem's background vocals on 'One Of These Days' might be my favorite part of the record. He was very Mick Jagger that day. There, I've kissed everyone's ass one last time! But for real though, they are all very talented people and didn't need the gig, so I'm still blown away they allowed me to pay them green monkey paper in order for them to perform music things with me.
And yeah, so... I wrote all the songs. Most of them are actually pretty old, but a few are from the last year or so. I recorded demos of each one in advance that were pretty fleshed out that each musician got to hear ahead of time. Some of which I released online via shitty lo-fi records from my past, and some of which were just songs I had been neglecting on my hard drive that I'd get drunk and show some poor sap I tricked into playing music with me. Seeing as in the past I would record everything at home by myself and play all of the instruments, the mixes for Strange Relations ended up having a lot more nuance, more complexity and each instrument was 'delegated more properly'. And played by better musicians. And sang by better singers. Except the lead vocals. THAT GUY FUCKING SLAYED!
Q: What are the themes that run through Strange Relations?
A: Well, I kind of want people to have their own opinion on that. And I think that they will. But to me, the record is sort of a take on the human condition and the humbling experience of just being honest with yourself. We all like to play the victim, especially when we are hurting. Take a listen to every love song ever. Someone is always getting fucked over by someone else and then they're sad. Right? Wrong. I don't know about you, but that's not how my life has gone. The last relationship I was in really opened my eyes to the fact that sometimes I can be a real piece of shit. And so can everyone, because you're human. The point is to learn from it, learn why you're being a piece of shit, learn why you're angry or sad or anxious or jealous or depressed or drinking too much or smoking meth with a waitress you just met at Waffle House, WHATEVER - and then try to do something about it so you don't make everyone around you miserable. I hope there's a certain level of accountability to the record that people can relate to from the perspective of their new best friend, the anti-hero songwriter that's really into psychedelics and thinks he may have been abducted by aliens.
Q: What else do we need to know about Foshee?
A: Nothing! Go research Net Neutrality or take some LSD and experience life while you still can!
A: The musicians were all really, really cool. I still feel very lucky to have them on my record. I mean Jeremy Fetzer (of Steelism) and Jon Estes just played on a Grammy nominated record (Kesha's 'Rainbow') so they'll probably never return my phone calls again. But Jack Lawrence genuinely seems like he still digs it, so maybe I have a chance of him playing bass for me in the future if the money is right? No, but seriously. Andrija really guided the production on the record. He had some really great ideas that we all ended up executing to make the songs sound as good as they do. And Jon Estes was a godsend. He played like fifteen instruments on the record and charted all of the strings, which his wife and her friend ended up playing. Jack was such a nice guy and has like, the best bass tone I've ever heard. And the first thing he said to me when he walked in the room was 'Oh hey man, are you the song guy? Because your songs are like, really f*cking good!' So naturally, I now adore him. Alexis absolutely slayed on background vocals. 'The Fight' and 'A Middle-Aged Bachelor's Lament' wouldn't be the same without her. Molly Parden was a gem and has such a pretty voice that worked perfectly for 'It's Alright, We're All Gonna Die' and another song that didn't make the record. I really like the flanger effect Andrija put on her vocals on the choruses. It really triggers some alien abduction stuff and whatnot. Dave Racine was easily the best drummer I've ever worked with. He was the steady hand through and through. And Jem's background vocals on 'One Of These Days' might be my favorite part of the record. He was very Mick Jagger that day. There, I've kissed everyone's ass one last time! But for real though, they are all very talented people and didn't need the gig, so I'm still blown away they allowed me to pay them green monkey paper in order for them to perform music things with me.
And yeah, so... I wrote all the songs. Most of them are actually pretty old, but a few are from the last year or so. I recorded demos of each one in advance that were pretty fleshed out that each musician got to hear ahead of time. Some of which I released online via shitty lo-fi records from my past, and some of which were just songs I had been neglecting on my hard drive that I'd get drunk and show some poor sap I tricked into playing music with me. Seeing as in the past I would record everything at home by myself and play all of the instruments, the mixes for Strange Relations ended up having a lot more nuance, more complexity and each instrument was 'delegated more properly'. And played by better musicians. And sang by better singers. Except the lead vocals. THAT GUY FUCKING SLAYED!
Q: What are the themes that run through Strange Relations?
A: Well, I kind of want people to have their own opinion on that. And I think that they will. But to me, the record is sort of a take on the human condition and the humbling experience of just being honest with yourself. We all like to play the victim, especially when we are hurting. Take a listen to every love song ever. Someone is always getting fucked over by someone else and then they're sad. Right? Wrong. I don't know about you, but that's not how my life has gone. The last relationship I was in really opened my eyes to the fact that sometimes I can be a real piece of shit. And so can everyone, because you're human. The point is to learn from it, learn why you're being a piece of shit, learn why you're angry or sad or anxious or jealous or depressed or drinking too much or smoking meth with a waitress you just met at Waffle House, WHATEVER - and then try to do something about it so you don't make everyone around you miserable. I hope there's a certain level of accountability to the record that people can relate to from the perspective of their new best friend, the anti-hero songwriter that's really into psychedelics and thinks he may have been abducted by aliens.
Q: What else do we need to know about Foshee?
A: Nothing! Go research Net Neutrality or take some LSD and experience life while you still can!